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RedCode and Final Cut 7

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Jonothan Whatley
RedCode and Final Cut 7
on Jul 18, 2012 at 12:52:10 am

I'm sure that I'll have to use ProRes when importing to FCP 7, but my question is what must I ensure when a client is trying to send me REDCODE footage through something like Dropbox? Is it possible?

What must I also ensure when editing it in FCP 7 aside from transcoding it to ProRes?


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Angelo Lorenzo
Re: RedCode and Final Cut 7
on Jul 18, 2012 at 10:44:35 pm

I feel like there is a little bit more to this situation for it to end smoothly.

Ideally, to be compatible with all of the different implementations of RED software and RED supporting software, it would be nice to have the entire file structure from the original magazine/card.

As it stands, the newest version of Redcine-X seems to do okay with standalone *.R3D files (just make sure spanned clips, the clips that are multiple files, are all located in the same folder). I wouldn't trust it fully, as I've never personally gone start-to-finish with orphan clips.

If you're getting all the *.R3D files anyways, it's minimal overhead just to get the full structure since it's small metadata files and folders.

With that being said, sure you could use Dropbox to share a folder, but depending on your client's upload speed, it may be entirely unpractical to do so. It may be far easier for your client to FedEx you a hard drive with a clone of the footage.

In terms of getting the footage into Final Cut, RED does have a plug-in that allows you to edit natively but it's kind of buried on their site so here is the link https://www.red.com/downloads/4f56854d6261f95a5700066d

Beyond that, depending on your system, it may be more advantageous to edit with ProRes files. There are a number of ways to generate them, within Redcine-X is probably the easiest. The question becomes do you want to use something like ProRes LT and conform to your original footage later, or do you want to work purely in ProRes by using something like ProRes HQ?

If you don't have a Red Rocket card I would lean more towards working in ProRes HQ. Why? You take the hit rendering your ProRes files at the start of the project which can be very time consuming, but as you edit, if you need to make editorial changes, you can render out a file with little fuss. If you work natively, you may have to chew through all that footage time and time again as you send editorial revisions to your client. Make sense?

Once editorial is locked, you can export an Final Cut XML file and import that into Redcine-X. Redcine-X will conform the edit using the original files and you can work with that if you want to color correct in Redcine-X or export it for finishing using DPX or whatever else you need. I don't use Final Cut personally, so I can't say how much of a pain, or if there are any caveats to roundtripping it back into FCP once it's been conformed (relinked to original footage) in Redcine-X. I have a feeling it'll want you to Log and Transfer it so it'll be wrapped in an MOV file.

Angelo Lorenzo
Fallen Empire - Digital Production Services
RED transcoding, on-set DIT, and RED Epic rental services.
Fallen Empire - The Blog
A blog dedicated to filmmaking, the RED workflow, and DIT tips and tricks


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Noah Kadner
Re: RedCode and Final Cut 7
on Jul 20, 2012 at 7:21:31 pm

Unless you're both on T1 lines or it's 10 seconds of footage- that's going to take years to do over Dropbox. Get them to FedEx you a hard drive with the footage on it instead and get the job done before RED releases 5 more camera models...

Noah

Call Box Training.
Featuring the Panasonic GH2 and Panasonic AC160/130.


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