Re: Editing with RED footage in FCP and everything else

[Chris Woods] "1. Just wondering if I have the best computer to work with RED footage. "

No. You don't have the best computer. The best computer right now costs about $6000 (8-core 2.93Ghz). But your computer should be fine, even if it isn't "the best".

[Chris Woods] "2. Do I need a video card like Kona LH or Blackmagic to work with this footage or do I just need it for viewing on an output monitor"

It's just for viewing on a external monitor.

[Chris Woods] " I heard if you don't have the right stuff for your computer, when you export it would take days."

Video card doesn't enhance RED playback. Exporting all comes down to processor power.

[Chris Woods] "Also is 6GB of RAM good enough? "

Good rule of thumb is 1GB+ per processor. Four processors and 6GB RAM sounds fine.

For the rest of the questions, I would suggest you first read the whitepaper you downloaded from the RED support site.

Next, you should decide how you're delivering the footage. DVD? Web? Broadcast? HDCAM SR? Film? Digital Cinema? Also, are you willing to put your time and money into finishing the film in the best way possible? Because with RED, there are a lot more options that with any other digital format.

Here are some of the options:
1. Edit with proxy files in FCP and color in FCP and render out your master from FCP.
2. Convert RED files to ProRes and edit and color using those files.
3. Edit and send the project to be colored in Color.
4. Edit in FCP using offline files or proxy files and export an edl for REDCine to use a Crimson workflow.
5. Edit in FCP using offline files or proxy files and then export an edl for a high-end color grading systems like Scratch that can access the R3D files and render with a full debayer.

Having taken several RED projects though Scratch, I think it's be best option. But it does require more money to do something like that.

If you need to finish this on your own, you'll look at some of the other options.

I strongly suggest converting all of the RED footage to a "edit friendly" codec like ProRes SQ or HQ, or DVCPROHD. It makes working with the footage much less processor intensive and makes rendering out your files from your timeline much faster than working with the proxy files. I also think FCP isn't as reliable when editing with proxy files.

To answer your question about the REDCODE codec, it is a read only codec. So while FCP can read the R3D files that are wrapped in REDCODE, you can't import a file to REDCODE. In fact, if you're using Log and Transfer, then you're only option is ProRes.

Anyways, read the whitepaper and then feel free to ask some more questions. If you're looking to have your film having a digital theatrical release, I can answer some of those questions too.

-Russ


Russell Lasson
Universal Post
Ridgeline Digital Cinema Mastering
Salt Lake City, UT