Before editing with RED footage, this guide will aid you in the post process. Stage 1: Downloading REDCODE Media Files to Your Computer

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1 Before editing with RED footage, this guide will aid you in the post process. Stage 1: Downloading REDCODE Media Files to Your Computer After shooting REDCODE media, connect the camera s hard disk drive to your computer, or insert the CompactFlash card into a card reader connected to your computer. See the documentation that came with your RED ONE camera for more detailed information. Be sure to set your scratch disk to your personal Hard Drive. Download your files to the hard disk storage device that you will access with Final Cut Pro. Be sure to also archive copies of your REDCODE media on a separate storage device for safekeeping. Because REDCODE media can require large amounts of disk space, be sure to have adequate storage capacity available to hold your entire project. When recording 4K RAW at 24 fps, a 320 GB hard disk can record about 180 minutes of media. When recording 2K RAW at 24 fps, a 320 GB hard disk can hold about 720 minutes of media. When downloading your REDCODE media files, keep the following recommendations in mind: Copy the entire contents of the CompactFlash card or hard disk to a folder or disk image. Each folder or disk image you copy REDCODE media into must have a unique name, preferably one that clearly identifies the contents. After you copy REDCODE media into a folder, the folder will have one or more subfolders with an.rdm extension that contain the actual REDCODE media. During the log and transfer process, Final Cut Pro uses the name of the.rdm folder as the reel name for any source media file enclosed in that folder. Because the reel name is a critical part of organizing a post-production project and crucial to any further use of the REDCODE media, it s a good idea to rename the.rdm folder to something meaningful and easily identifiable for your workflow. For example, you could change the automatically generated folder name H046_ RDM to Day01_Scene05.RDM. The.RDM folder must have a unique name. Do not under any circumstances change the names of any folders or files inside the.rdm folder. After you have ingested the media using the Log and Transfer window, do

2 not change the name of the.rdm folder again, and do not change the name of any other file or folder. Doing so will jeopardize your ability to later reconform offline sequences to the original source media. This may effect the coloring process, especially if using the program Color. Important: Make sure to name the.rdm folder before ingesting. Using the Reel field of the Log and Transfer window to enter new reel names for REDCODE media during ingest is NOT recommended. Always copy the entire contents of each RED volume to an individually named folder or disk image. Do not combine the contents of several RED volumes into a single folder. For example, don t make a folder called RED MEDIA and put all the.rdc and.profile items in it. Do not nest folders of RED content within each other. Do not place the contents of the RED volume in your Capture Scratch folder. Stage 2: Choosing an Apple ProRes Codec for Transcoding Decoding native REDCODE media for playback requires a lot of processing power. To reduce the processing demands on your computer, you can use the Log and Transfer window to transcode your REDCODE media to the less processor-intensive Apple ProRes format. Your sequence settings then change to the default Apple ProRes settings appropriate to the ingested media. To choose the destination codec for transcoded REDCODE media Mount the volumes that contain your REDCODE media. About the log and transfer:

3 #1 - This area will show a list of the video clips on the card, as well as the duration of each clip. #2 - This button is used to change the Intermediate Codec setting, which will be described in the next section. #3 - This is the preview window for each clip. This can be played even before the clip has been logged. #4 - This is the area where the clip can be marked with IN and OUT points, either by using the buttons here, or by pressing the letters "i" and "o" on the keyboard. #5 - This area is to identify clips and include descriptions. It is extremely important to identify clips with relevant information. Do not change the reel and name information, as this will affect the mapping of the clip back to its original source. Add either the scene, shot/take, or angle information. This can later be scene in the browser of final cut pro. #6 - Only after the IN and OUT points have been set, and the info has been added to the clip, you can drag clips to this area to begin the logging process. Click the gear-shaped icon as shown in #2 in the image above and select Preferences.

4 Open the Log and Transfer window, then choose Preferences from the Action pop-up menu (with a gear icon) in the upper-right corner of the Browse area. In the Import Preferences dialog, click the disclosure triangle beside RED FCP Log and Transfer plugin in the Source column, then select RED Digital Cinema REDCODE.

5 Choose an Apple ProRes codec from the pop-up menu in the Transcode to column corresponding to the RED Digital Cinema REDCODE item in the list, then click OK. For more information about using the Log and Transfer window, see Overview of Transferring File-Based Media and About the Log and Transfer Window in the Final Cut Pro 7 User Manual. Stage 3: Transcoding Your REDCODE Media You transfer REDCODE media to your scratch disk using the Log and Transfer window in Final Cut Pro. During the transfer, your media will be transcoded to an Apple ProRes codec. For more information about using the Log and Transfer window, see Overview of Transferring File-Based Media and About the Log and Transfer Window in the Final Cut Pro 7 User Manual. After you ingest the REDCODE files, your ingested clips will have a working resolution in Final Cut Pro of either 2048 x 1024 (with a 2:1 aspect ratio) or 2048 x 1152 (with a 16:9 aspect ratio). Important: Although it is possible to copy REDCODE files directly to your scratch disk, Final Cut Pro won t recognize these files. You must use the Log and Transfer window to transfer REDCODE media. Stage 4: Editing Video Using Transcoded REDCODE Media Editing video transcoded to an Apple ProRes codec is the same as editing other formats in Final Cut Pro. However, you need to make sure your scratch disk supports the data rate. To facilitate editing REDCODE media, you should set your sequence settings to Unlimited RT and medium quality (to display the video at half its full dimensions). Read below for step by step instructions: If you haven t already done so, ingest a REDCODE media clip into a Final Cut Pro project. Create a new sequence and open it. Drag the REDCODE clip into the Timeline. When the resulting dialog asks if you want to change the sequence settings to match the clip settings, click Yes. Final Cut Pro automatically configures the sequence to Apple ProRes This the most appropriate setting because REDCODE media uses 4:4:4 RGB color and Apple ProRes 4444 retains the full color with no chroma subsampling.

6 Note: Do not change the compressor setting to REDCODE, because encoding functionality is not supported by the REDCODE codec. Choose the following settings in the RT pop-up menu in the upper-left corner of the Final Cut Pro Timeline: Unlimited RT Playback Video Quality: Low or Medium. Medium-quality playback shows video at half its full dimensions. Playback Frame Rate: Full For more instructions and help, go to: workflows/index.html#chapter=11%26section=2%26tasks=true