Edit RED raw files or convert to Pro Ress? What do you guys prefer?

Hey Guys,

Just picked up a projec that shot on the RED. Should i edit the Raw files in Premeire or conver it to QuickTime for FCP 7. Also the drive they gave me is USB. Just wanted to here everyones advice.

Thanks


MAc Pro 12 core
28 gigs ram
FCp 7

It's really up to you. Either solution will work. It would be a good idea to get the footage onto your main hard drive if you have the space for the duration of the edit, but I have run R3D off a USB drive on 16GB of RAM in Premiere and it worked OK.

Oh, does it have to go back to the raw files for grading? That can add complication to the transcoding process. make sure you get the right timecode on the proxies.

Jude, it's FCP7. No way is he going to edit R3D natively, and don't even dream of dragging in the QT reference movies that the camera may record.

Transcode if you are working in FCP7. If you're working in Premiere, test it on your system and see if you are satisfied with the performance before jumping in.



www.strypesinpost.com

That's what I said, Strypes - either transcode and work in FCP7, or work with native files in Premiere CC, but yes, check performance.

If you are transcoding, you can use the Resolve to generate offline rushes, or use REDCINE-X. Both are able to generate offline rushes that the Resolve can relink to.

If you are working with Premiere, and your system is not powerful enough to push 4-5K of footage around easily, you can transcode and follow the same workflow for the other machines. For short form work, I have seen pretty good performance on RED to prefer editing native over transcoding. But you may get better performance if you transfer the files onto faster storage.



www.strypesinpost.com

Ah. I need to read the OP. Yes. Either works fine, but you may prefer to grade straight off the raw footage.

You also can transcode and edit low resolution in Premiere if your machine is not powerful enough. My fav workflow if I'm not working native is probably to transcode to ProRes via REDCine-X, and then relink to the RED mags in the Resolve. And I'll prefer to work in Premiere for both offline and finishing.

From memory, the Color workflow was quite cumbersome.



www.strypesinpost.com