This post, I just want to do a quick roundup of the Red process in terms of the very basics, using what each NLE solution would find the “default” (ie, minimal 3rd party tools).
Final Cut
Recently got a new Log & Transfer plug in with native RAW support for both FCP and Color. This is great news, but a few caveats.
1. Even importing “native” L&T recreates the raws wrapped into a .mov; this means if you wish to transfer in a terabyte of footage, you ought to have a terabyte of free space. Less the space, the time for re-wrapping seems like a waste, since it’s going to be just as processor intensive as ever, because it’s still .R3D you’re working with. That means all the debayering stays.
2. It seems that plotting proxies into the timeline is almost exactly the same as working with the L&T’ed footage. This makes it seem like the best route to pursue. There are some issues here though. Spanned .r3d files seem to bug out in Color, being the most notable one.
But, if your system can handle debayering a 2k proxy for editing, you can output crispy files straight from Final Cut. That, and hopefully the spanning issue is resolved in the next update.
3. For those with weaker computers, we can use L&T to import smaller pro-res files, but the automatic method of relinking for finishing requires us to go through L&T again and conform for native. That means, we import/transcode once into pro-res (time and space), then again into R3D wrapped (time and space), so we can later render out of Color (time and space).
If all this isn’t your cup of tea, there’s still Crimson, and I must say it works like a charm. Edit in whatever you like, pro-res imports, or proxies, with knowledge that you can always take it back to RedCine or RedLine and export at any resolution your picture lock. Crimson is, however, $180.
Avid
This one I’ve started playing around with more recently but here seems to be the gist:
1. Take all your dailies into RedCine or RedRushes, and spit out Avid friend .MOV renders. Time & Space
2. Create an ALE of the clips you’ve just rendered.
3. Put ALE into Avid, and “capture” those clips. Ie, let Avid transcode the Quicktimes you’ve just made into .MXF’s and place them in its own happy file tree. Time &, you guessed it, Space.
Premiere
Have not tried yet, but the idea is to use an intermediate codec like CineForm. Here the thought process is a little different. The idea here is that once you’ve converted to CineForm, you never have to go back to the raws again. Downside? Codec costs a few grand.
But, the Adobe team is hard at work with their own .R3D plug in. It’s delayed, so far, indefinitely. But, that actually makes me feel better; I hope it’s less buggy than the L&T plugin for FCP. Verdict is still out on this one.
I will try to do these “state of the union” updates every once in a while as the information trickles in.
