Using RED QuickTime Media in Final Cut Pro - Eric De Vos
Contents
1. Again operation similar to Exposure which pins the black point at 0 while raising or lowering the white point of the image linearly scaling everything in between The available range is 100 2000 320 is the default unity gain setting for older Mysterium sensors while 800 is the default unity gain setting for Mysterium X sensors Because of FLUT raising the ISO results only in boosted highlights being more compressed no clipping will occur Important Changing the ISO setting of your RED camera during a shoot does not alter the recorded data However since it changes the lightness of the image you re monitoring during the shoot it will influence how you light the scene and adjust the camera s iris Using RED Media with Final Cut Studio Aug 25 2010 41 Using Proxies in Color When using RED QuickTime media in Color you have the option of choosing a proxy setting in the User Preferences tab of the Setup room otherwise Color s proxy mechanism is only available with DPX or Cineon image sequence based projects Bander Proy Halt Resolution Grading Frowy iWarter Resolut ior Flaywoack Proxy Siiarter Fesalutit The Render Grading and Playback Proxy pop up menus are found in the User Preferences tab of the Setup room of Color Lowering the Render Proxy Resolution for Faster Rendering As its name implies the Render Proxy setting affects the output resolution of projects using REDCODE DPX and Cineon so2. When the Import Preferences sheet appears choose Native from the Target Format column corresponding to the RED Digital Cinema REDCODE item in the Source Format column og and Transfer Import Preferences V Remove Advanced Pulldown and Dup Apple ProRes 4444 Apple ProRes 422 HQ Apple ProRes 422 Apple ProRes 422 LT RED FCP Log and Apple ProRes 422 Proxy AVCHD Plugin AVCHD Apple ProRes 422 AC 3 Audio Matrix Stereo Choosing Native to ingest native RED QuickTime files To proceed with ingest follow the instructions in the Overview of Transferring File Based Media section of the Final Cut Pro 7 User Manual found in the Final Cut Pro Help menu Using RED Media with Final Cut Studio Aug 25 2010 18 Tracking Ingested Media to the Original R3D Media Whether you choose to transcode to QuickTime files using one of the Apple ProRes codecs or ingest native RED QuickTime files the correspondence between the source R3D media and the QuickTime files that are created during the Log and Transfer process is maintained in three ways The name of the RDM directory that encloses each set of archived RDC directories that contain the source RSD files is used as the reel name of ingested clips e The name of each RSD file is used to create the universally unique ID number UUID also referred to as the Clip ID for each ingested clip This ID number which is not user accessible is used to track
3. Half Quarter Multiclip Playback Use Playback Settings Full Quality The RT pop up menu in the upper left corner of the Final Cut Pro Timeline lets you adjust playback quality in order to maximize real time performance Primary In Room Parameters for RED Media in Color Using RED Media with Final Cut Studio Aug 25 2010 36 Additional RED Parameters in Color When RED QuickTime media is sent to or imported into Color a RED tab appears in the Primary In room next to the Basic and Advanced tabs There is no corresponding RED tab in the Primary Out room Enabled Saturation 000000 Kelvin 6829 Tint 000000 Exposure Red Gain Green Gain Blue Gain Contrast Brightness Gama Rec 709S Color Space Camer aR GEB 1s0 320 The RED tab appears in the Primary In room whenever a RED QuickTime clip is selected as the current shot and provides access to RED specific parameters The RED camera writes linear light image data to the R3D files that are recorded The controls found in the RED camera s Audio Video menus in no way alter the way the Using RED Media with Final Cut Studio Aug 25 2010 37 image data that s written within each RSD file Instead whatever settings were chosen at the time are stored within each recorded clip as metadata similar to a LUT that determines how these media files are displayed by compatible software This metadata can be overridden during the log and transfer process F
4. 3 Work Offline Using ProRes Reconform to Native REDCODE Media Using Cinema Tools and Color 31 Workflow 4 Work and Finish Using REDCODE 35 Using Unlimited RT When Editing RED Media 36 Additional RED Parameters in Color 37 About the Gamma and Color Space Controls 38 RED Image Controls in Detail 39 Using Proxies in Color 42 Lowering the Render Proxy Resolution for Faster Rendering 42 Setting the Grading and Playback Proxy Resolutions 43 Minimum and Maximum Levels for RED QuickTime Media 43 Using RED Media with Final Cut Studio Aug 25 2010 Introduction Software and Hardware Requirements This document describes the best practices for following a digital cinema post production workflow with Final Cut Studio using media recorded with the RED camera including information specific to the Final Cut Studio RED Installer v30 1 0 Minimum processor requirements for using the RED software for Final Cut Studio e Dual 2 0 GHz or faster Intel Core Duo or Intel Xeon processor the RED plugin is only compatible with Intel processors with a minimum of 2 GB of RAM Rendering at 4K resolution requires a minimum of 512 MB VRAM Minimum software requirements for using the RED software for Final Cut Studio e Mac OS X v10 5 6 or later e QuickTime 7 6 or later e Final Cut Pro 7 0 Color 1 5 and Compressor 3 5 The appropriate version of the RED Final Cut Studio Installer available at http Awww red com Using RED Media with
5. Do not under any circumstances choose REDCODE as the compressor for your sequence settings All of the workflows described in this document rely upon the Sequence Settings using one of the Apple ProRes codecs as the compressor Getting Real Time Performance in Final Cut Pro Using RED QuickTime Media Because native RED QuickTime media is extremely processor intensive to work with you ll want to use Unlimited RT while you work Otherwise you may need to do a lot of rendering Using RED Media with Final Cut Studio Aug 25 2010 23 Exporting and Rendering Native RED QuickTime Media RED media is read only in Final Cut Studio applications you can neither render nor export media using the REDCODE codec This means that whenever you render a native RED QuickTime file the rendered file will use a different codec specified by your sequence settings If you re finishing this should ideally be a high quality codec such as Apple ProRes 422 HQ or Apple ProRes 4444 Since RED media is natively RAW which is not a useful color space to work in the color space that is used when RED media is decoded and rendered depends on which codec you re using and which application is doing the rendering If you re rendering native RED QuickTime media in Final Cut Pro and your sequence is set to one of the Apple ProRes 422 codecs Proxy LT 422 or HQ then the RED media will be decoded as Y CgCr image data with 4 2 2 chroma su
6. Final Cut Studio Aug 25 2010 Improved Color Science in v30 1 0 This version of the Final Cut Studio installer includes compatibility with the new RED color science referred to as FLUT both for transcoding R3D media to ProRes files and for native RED QuickTime workflows using Color FLUT introduces improved color accuracy to the raw to Y CaCr or RGB conversion process striking a balance between accurate hues and pleasing color rendition with a special emphasis on naturalistic skin tone FLUT also eliminates clipping by compressing signal levels at the outer boundaries of O and 100 percent using floating point math The result is improved preservation of detail in bright highlights and shadows FLUT is Compatible With Older Native Media The new color science supported by this installer will also benefit projects with R3D media shot using previous RED camera builds If you re beginning a color correction job from scratch using native RED QuickTime media this means that you can take advantage of these improvements even for older projects Downgrading for Older Projects If you re doing revisions to a Color project that was previously graded using an older version of the plugin you should downgrade to the previous installer v20 0 0 to avoid unwanted changes in color rendition Otherwise you will experience visual alterations including non uniform shifts in hue and altered highlights that are the result of the improved colo
7. If your goal is to shoot with a shallow depth of field this may not be ideal Even if you re planning on finishing at 2K resolution you may find it preferable to shoot 4K in the field thus exposing the greatest possible area of the sensor comparable to a Super 35MM film gate in order to obtain the shallowest depth of field for your compositional needs and let Final Cut Pro downconvert to 2K It s also worth noting that shooting 4K will result in higher image quality even if you downconvert while transcoding to one of the Apple ProRes codecs in Final Cut Pro Also keep in mind that while 4 5K resolutions are not supported by Final Cut Pro or Color it s still an acceptable shooting resolution if you re planning on finishing and mastering at HD or 2K resolutions Choosing an Aspect Ratio The RED camera supports two variants of each resolution a taller 16 9 aspect ratio for projects intended for full frame high definition video mastering and a wider 2 1 aspect ratio for projects intended for film output When shooting with the 2 1 aspect ratio be aware that it s a bit wider than the 1 85 1 standard so you ll want to protect the frame for 1 85 1 to avoid cutting anything off at the sides During post you can simply crop a bit off the left and right of the frame in preparation for printing to film You can also shoot with a 2 1 aspect ratio and then use Final Cut Pro s motion tab parameters or the Pan amp Scan room in Color
8. Pro For more information see Creating a RED Using ProRes Sequence Preset in Final Cut Pro You ll use this preset to media manage your edited sequence Right click the edited sequence in the Browser and choose Media Manage from the shortcut menu to open the Media Manager The recommended settings are e Media pop up menu Create Offline e Include render files Off e Set sequences to pop up menu RED Using ProRes the name you gave the sequence preset you created e Include master clips outside selection Off e Delete unused media from duplicated items On this is optional but recommended e Use Handles On this is also optional as is the duration specified Include affiliate clips outside selection Off Using RED Media with Final Cut Studio Aug 25 2010 27 Base media file names on pop up menu existing file names Duplicate selected items and place into a new project On e Include nonactive multiclip angles Off Media Manager r Summary Create a new project containing the items you have selected Include active Multiclip angles only Delete unused media from the duplicated items maintaining handles 00 00 01 00 in duration Make duplicated items offline Items without a reel name will not be made offline Modified n a move your cursor over bar graph for more information m Media Create offline H media referenced by duplicated i
9. Space option that s selected in the RED Camera s View menu it s not available as an individually adjustable parameter There are six options for gamma available in Color Linear Light No gamma adjustment is applied at all linear to light as captured by the Mysterium sensor This setting is not recommended when transcoding R3D media to one of the Apple ProRes codecs e Rec 709 The standard gamma curve as specified by the Rec 709 standard for video gamma e REDgamma An improved gamma curve designed to be perceptually appealing on displays calibrated for Red 709 with an improved soft roll off in the highlights for improved highlight detail This is the default setting in camera build 30 and above e REDspace Similar to Rec 709 but tweaked to be perceptually more appealing with higher contrast and lighter midtones REDspace was the predecessor to the REDgamma curve REDlog A nonlinear logarithmic gamma setting that maps the native 12 bit RED image data to a 10 bit curve The blacks and midtones that occupy the lowest 8 bits of the video signal maintain the same precision as in the original 12 bit data while the highlights that occupy the highest 4 bits are compressed While this reduces the precision of detail in the highlights this is a relative loss as the linearly encoded data has an overabundance of precision This is a good setting to use to maintain maximum lattitude when transcoding media to the Appl
10. are best for your project are a matter of personal preference although the REDgamma and REDcolor settings have been designed to strike an excellent balance between accuracy and visual appeal with emphasis on flattering skin tone and wide latitude for further adjustment Bear in mind that the Color Space option that was chosen for monitoring during the shoot influenced the lighting decisions that were made at the time As a consequence altering the Color Space or Gamma settings in postproduction will significantly change the look of the image from what was originally intended Using RED Media with Final Cut Studio Aug 25 2010 38 RED Image Controls in Detail The RED tab has the following parameters and controls Enabled Turns all of the parameters found within the RED tab on or off Turning Enabled off suspends the effect of these parameters on the final rendered image in Color e Saturation This parameter is available in the RED camera s Color submenu and adjusts the color intensity of the image The overall range is 0 monochome through 5 0 extremely high where 1 is unity e Kelvin This value is set by options in the RED camera s Color Temp menu along with Tint This setting is designed to compensate for the warmth of the available lighting to keep white elements of the scene looking neutral Low Kelvin values will compensate for warmer lighting such as tungsten while higher Kelvin values
11. compensate for cool lighting such as noon day sun or overcast days Two user selectable options set Kelvin to predetermined values Tungsten 8 200K and Daylight 5 600K The Auto WB option automatically chooses a custom value for this parameter based on analysis of a white card while Manual WB lets the operator choose any value The correction made by this parameter is designed to work specifically with RED linear light image data to provide the most photometrically correct result Dragging the Kelvin slider to the left shifts the image towards orange correcting overly cool images while dragging it to the right shifts the image towards cyan blue correcting overly warm images Tint This value is adjustable within the RED camera s Color Temp menu along with Kelvin Tint is designed as an additional white balance compensation for light sources with a green or magenta component such as fluorescent or sodium vapor bulbs The correction made by this parameter is designed to work specifically with RED linear light image data to provide the most photometrically correct result Dragging the Tint slider to the left shifts the image towards magenta correcting greenish fluorescent images while dragging it to the right shifts the image towards green correcting overly purple magenta lighting Exposure Available in the RED camera s Color menu Increases and lowers image lightness in increments calibrated to f stops Exposure
12. is unique among the RED tab parameters in that using this parameter to raise the signal beyond 100 or lower it below O will clip the signal at the boundaries of broadcast legality The overall range is 7 to 7 where 0 is unity Red Green and Blue Gain Available in the RED camera s Gain submenu Allows individual adjustment of each color channel Adjusting any of these gain parameters boosts or lowers the maximum value of the corresponding color channel and scales the midtones while pinning the bottom of the channel to O percent Lowering does the opposite Like Exposure these parameters will clip the signal if your raise or lower the signal past the boundaries of broadcast legality The overall range is O to 10 where 1 is unity Using RED Media with Final Cut Studio Aug 25 2010 39 e Contrast Available in the RED camera s Color menu Raising the contrast boosts the highlights and lowers the shadows while leaving the midtones centered around 50 percent unaffected The video signal is compressed rather then clipped at the boundaries of 100 and 0 percent The overall range is 1 to 1 where 0 is unity Brightness Available in the RED camera s Color menu Raises and lowers image lightness The video signal is compressed rather then clipped at the boundaries of 100 and 0 percent The overall range is 10 to 10 where 0 is unity Gamma pop up menu In camera the Gamma setting is determined by the Color
13. of every clip in your Color project to match the new 4K resolution of the Color project Resolution Chage Would you like Color to automatically scale your clips to the new resolution As a result all 4K clips that match the resolution you chose have their scale parameter reset to 1 000000 which is the native resolution of your media 4 You also need to open the User Preferences tab of the Setup room and check the Render Proxy setting before you render to make sure that your project is rendered at the correct resolution For more information see Using Proxies in Color Important With 4K source media all Pan amp Scan adjustments are baked into the final rendered media whether the selected project resolution is 2K or 4K regardless of whether you re outputting DPX media for printing to film or QuickTime files to send back to Final Cut Pro Reframing requires readjusting and re rendering in Color Stage 5 Render Out of Color 1 When you re ready to render the color corrected project you have two choices If you re printing to film by delivering an image sequence Set the Render File Type to DPX As with the digital intermediate workflow described in the Color User Manual Pan amp Scan effects are rendered within Color when you select DPX or Cineon as your Render File Type and dissolves are rendered by Color when you use the Gather Rendered Media command to assemble the final consecutively numbered i
14. telling you how many clips were added to the database 5 Click OK The database opens up in List view If necessary you can add additional REDCODE media from other hard drive volumes that are used by your project to make relinking to media in multiple locations easier Using RED Media with Final Cut Studio Aug 25 2010 31 Note The List View in Cinema Tools defaults to Keycode view You should choose Video from the Display Mode pop up menu at the upper left hand corner of the window to display and verify the reel names of each entry in the list 6 Drag other RED media used by your project from any other volumes onto the Cinema Tools List View window 7 When a dialog appears asking if you want to Add new clips to the database click OK When this process is finished another dialog appears telling you how many clips were added 8 Click OK The Cinema Tools database is automatically saved When you re finished adding REDCODE media quit Cinema Tools Important Cinema Tools derives the reel name of all clips from a particular RDM folder using the name of the RDM folder itself For a successful reconform process it s essential that the name of each RDM folder match the reel name of each corresponding event in the EDL being imported This won t be a problem as long as you don t change the RDM folder names after you ingest your media using the Log and Transfer window Stage 3 Export an EDL of Your Project
15. this option appears below To proceed with ingest follow the instructions in the Overview of Transferring File Based Media section of the Final Cut Pro 7 User Manual found in the Final Cut Pro Help menu Using RED Media with Final Cut Studio Aug 25 2010 15 Color Space When Transcoding Using Final Cut Pro When you transcode RED media using the Log and Transfer window the raw RED media is encoded as Y CsCr image data whether you re transcoding to one of the Apple ProRes 422 codecs or to Apple ProRes 4444 However the chroma sampling will be different If you re transcoding RED media to one of the Apple ProRes 422 codecs Proxy LT 422 or HQ then the RED media will be decoded as Y CsCr image data with 4 2 2 chroma subsampling If you re transcoding RED media to Apple ProRes 4444 then the RED media will be decoded as Y CgCr image data with full 4 4 4 chroma sampling Apple ProRes 4444 is capable of encoding either RGB or Y CsCr image data but always at 4 4 4 Color Processing When Transcoding The Color Color Temp and View RED ONE camera settings that were in use during the shoot are stored as metadata within each recorded RSD file When you transcode R3D media to Apple ProRes this metadata is used to preprocess the color and contrast of the transcoded media as long as the RED FCP Log and Transfer plugin submenu of the Action menu is set to As Shot which is the default setting The result is th
16. to crop and reframe your media to a 16 9 aspect ratio Alternately you could letterbox the top and bottom of your program to retain your intended 1 85 1 framing within an HD master s 16 9 output Using RED Media with Final Cut Studio Aug 25 2010 8 Choosing a Frame Rate The Color workflows in this document have only been tested with timebases of 23 98 and 24 Although the RED camera supports shooting other frame rates such as 25 29 97 50 and 59 94 that are appropriate for broadcast you should perform your own workflow tests with Final Cut Pro and Color before you commit to shooting an entire project with one of them Choosing the Appropriate Timecode Track for Each Magazine The timecode recorded by the RED camera is always non drop The timecode that is recorded for each clip depends on what the RED camera s Display menu is set to when the clips are recorded There are two choices in the RED camera s Display menu Time Code This is the default which is set to record timecode matching the camera s time of day However if an external timecode source is connected to the camera s SMPTE timecode input and the camera is put into Jam Sync mode the external timecode will be recorded to each clip instead In either case the timecode of subsequently recorded clips will likely be discontinuous e Edge Code If this option is selected the first clip recorded onto a blank magazine starts at 01 00 00 00 and the tim
17. window e mov Four QuickTime reference movie files serve as proxy files for applications that support this file structure These movies are not used by the Final Cut Studio workflows described in this document QuickTime proxy creation is optional and can be turned off by toggling the QT Proxies checkbox in the Project settings of the camera Using RED Media with Final Cut Studio Aug 25 2010 12 Y My Project Reel_01 102 463 CA7M log v A009 1110E RDM anal A009_CO01 1110TN RDC m A009_CO01 1110TN_001 R3D A009_CO01 1110TN_F mov A009_CO01 1110TN_H mov A009_CO01_1110TN_M mov A009_CO01_ 1110TN_P mov digital magazine profile digital magdynamic profile Ee Ee EG Example of a single RED media directory containing log and profile files as well as the RDM folder that contains the actual RDC folders that contain the recorded media The media stored in each RDC file consists of one R3D file and four optional mov files When archiving RED media you must keep the entire directory structure intact Using RED Media with Final Cut Studio Aug 25 2010 13 Ingesting REDCODE Media Using Final Cut Pro The Log and Transfer window in Final Cut Pro is the preferred method of ingesting REDCODE media into Final Cut Pro When using the Log and Transfer window the R3D files that are recorded by the RED ONE camera are converted to QuickTime media using one of two methods Method 1 Transcode to an Apple ProRes Codec
18. x 960 Using 4K REDCODE Media in Final Cut Studio When you ingest 4K REDCODE media as native RED QuickTime files the native 4K image data is kept intact However since only 2K media is supported by the real time effects architecture of Final Cut Pro native RED QuickTime files are resized to 2K on the fly while you work in Final Cut Pro When you transcode 4K REDCODE media in Final Cut Pro it s automatically resized to 2K QuickTime media using the selected Apple ProRes codec e Color projects using 4K native RED QuickTime files are capable of accessing the native 4K data within each RED QuickTime file and you have the option of rendering your graded media at 4K resolution If you want to finish at 4K resolution it s recommended that you shoot at 4K resolution not 4 5K Using RED Media with Final Cut Studio Aug 25 2010 7 3K REDCODE Media Is Not Recommended The image data of 3K REDCODE media is also kept intact during ingest but this resolution is not supported by the real time effects architecture of Final Cut Pro so it may be an inconvenient format with which to edit Using 2K REDCODE Media in Final Cut Studio Regardless of how you ingest 2K REDCODE media the resolution is kept the same Shooting 2K Versus 4K Versus 4 5K REDCODE Media RED does not recommend 2K as a primary shooting mode for principal photography Keep in mind that the RED camera records smaller resolutions by using less of the sensor s area
19. Using RED Media With Final Cut Studio v30 1 0 www RED com Table of Contents Introduction Software and Hardware Requirements Improved Color Science in v30 1 0 FLUT is Compatible With Older Native Media Downgrading for Older Projects Unsupported FLUT Features Choosing Camera Settings for Final Cut Studio Compatibility Choosing a Camera Resolution Choosing an Aspect Ratio Choosing a Frame Rate Choosing the Appropriate Timecode Track for Each Magazine Archiving RED Media in Preparation for Ingest Archiving RED Media Using Disk Images The Structure of RED Media Directories Ingesting REDCODE Media Using Final Cut Pro Method 1 Transcode to an Apple ProRes Codec Method 2 Ingesting Native RED QuickTime Files Tracking Ingested Media to the Original R3D Media Specifications for RED QuickTime Media Using RED QuickTime Media in Final Cut Pro Automatically Conforming a Sequence for RED Media Using RED Media with Final Cut Studio Aug 25 2010 Oo O O N N OA a A A N N MA Y u M O O O O N A N Creating a RED Using ProRes Sequence Preset in Final Cut Pro 20 Real Time Performance in Final Cut Pro Using RED QuickTime Media 23 Exporting and Rendering Native RED QuickTime Media 24 Color Workflows Using RED Media 26 Workflow 1 Work and Finish Using Apple ProRes 26 Workflow 2 Work Offline Using Apple ProRes Then Reconform to Native RED QuickTime Media in Final Cut Pro 27 Workflow
20. When you re ready to render the color corrected project you have two choices If you re printing to film Set the Render File Type to DPX As with the digital intermediate workflow described in the Color User Manual Pan amp Scan effects are rendered within Color when you select DPX or Cineon as your Render File Type and dissolves are rendered by Color when you use the Gather Rendered Media command to assemble the final consecutively numbered image sequence for film output If you re outputting to a Y CsaCr 4 2 2 videotape format this includes DVCPRO HD HDCAM D 5 etc Set the Render File Type to QuickTime and set the QuickTime Export Codec to either Apple ProRes 422 HQ or Uncompressed 10 bit 4 2 2 After you render the project send it back to Final Cut Pro If you re outputting to an RGB 4 4 4 videotape format this includes HDCAM SR and 2K D 5 Set the Render File Type to QuickTime and set the QuickTime Export Codec to ProRes 4444 After you render the project send it back to Final Cut Pro Note It s important to check the Render Proxy setting in the User Preferences tab of the Setup room before you render to make sure that your project is rendered at the correct resolution For more information see Using Proxies in Color Workflow 4 Work and Finish Using Native RED QuickTime Media This workflow consists of working in Final Cut Pro with transferred RED QuickTime clips from the very beg
21. You can also initiate this process directly from the Log and Transfer window although the resulting archives are always the size of the media volume you re archiving regardless of how full that volume actually is For more information see the Archiving File Based Media from Cards section of the Final Cut Pro User Manual available in the Help menu of Final Cut Pro The Structure of RED Media Directories The RED media recorded to a CF card or RED Drive consists of an RDM folder the name of which is used as the reel name for all media contained within that contains a series of RDC Red Digital Clip folders There s one RDC folder for each clip that was recorded Alongside the RDM folder are two files with log and profile extensions that contain camera data that while not used by the workflows described in this document should be retained When archiving any kind of RED media you should always copy the entire directory structure of every volume you record to For your reference each RDC folder contains media files with the following extensions R3D This is the high quality REDCODE raw image data itself Since there s a 2 GB limitation on file sizes longer clips may consist of multiple spanned RSD files In this case every file must be present for the clip to be readable R3D filenames with suffix numbers such as _001 should never be altered as this will make them unreadable by the Log and Transfer
22. You can transcode R3D media to any one of the Apple ProRes codecs The one you should choose depends on your planned workflow ProRes 4444 Suitable for high quality ingest of 4 4 4 Y CgCr or RGB color space media mastering of HD and 2K media for output to 4 4 4 tape formats and mastering of 4K media intended for film output ProRes 422 HQ Suitable for ingest and mastering of high quality 4 2 2 chroma subsampled Y CgCr color space media for high definition broadcast masters ProRes 422 Suitable for ingest and mastering of high quality 4 2 2 chroma subsampled Y CgCr color space media for standard definition broadcast masters or good quality mastering at HD resolutions ProRes LT A low bandwidth version of Apple ProRes that s suitable for more highly compressed Y CgCr mastering or offline quality editing ProRes Proxy An extremely low bandwidth version of Apple ProRes intended for offline editing and display of media at proxy resolutions This codec is also very useful for ingesting media at offline quality for multi camera editing its low bandwidth makes it ideal for simultaneous playback of many streams of video in Final Cut Pro Using the Final Cut Pro Log and Transfer window to transcode REDCODE media to any of the Apple ProRes codecs makes it easy to reingest the original media whenever you need to reconform your project using a higher quality codec This makes it feasible to ingest REDCODE media
23. ally processes all cross dissolves in your program Other transitions are not supported and will instead be processed as cross dissolves if they re present in your project Using RED Media with Final Cut Studio Aug 25 2010 24 e Don t use the Motion tab to create animated pan and scan effects Instead use the Pan amp Scan tab in the Geometry room of Color which lets you scale recenter change the aspect ratio of and rotate your clips and which can be keyframed Pan amp Scan effects are rendered along with your grades when you render DPX or Cineon image sequences out of Color Don t use superimpositions transfer modes speed effects or filters unless you re planning on prerendering these clips exporting each as a self contained QuickTime clip for reediting into the Timeline to replace the original effect as ProRes 4444 media before you send to Color Color does not render these effects Using RED Media with Final Cut Studio Aug 25 2010 25 Color Workflows Using RED Media This section covers the four supported post production workflows when finishing programs with RED media using Final Cut Pro and Color Workflow 1 Work and Finish Using Apple ProRes This workflow describes transcoding your REDCODE media to 2K resolution Apple ProRes clips and then mastering using Apple ProRes Advantage This is a straightforward workflow with no reconforming necessary Editing using the Apple ProRes 422 HQ codec
24. always rendered with a resolution of 2240 x 960 even if the project resolution and render proxy resolutions are set higher Setting the Grading and Playback Proxy Resolutions The lower proxy setting of Quarter Resolution provides faster performance as you work in Color at the expense of slightly lower visual quality If you re starting out with 4K media any quality reduction is quite minimal Unlike DPX or Cineon based proxies there is no need to use the Generate Proxies command before changing the proxy resolution all Grading and Playback proxies for RED QuickTime media are generated on the fly Important Whenever you work with proxies it s a good idea to review your grades at Full Resolution at least once before rendering your final output Minimum and Maximum Levels for RED QuickTime Media In Color RED QuickTime media is processed in its native RGB color space This does not allow for processing values above absolute white 100 percent or below absolute black 0 percent As a result all grades applied to RED media will roll off and compress at these outer boundaries regardless of whether Broadcast Safe in Color is turned on or off If Broadcast Safe is turned on expanding the broadcast safe range by raising Ceiling IRE above 100 or lowering Floor IRE below 0 will have no effect on the image However restricting the broadcast safe range by lowering the Ceiling IRE below 100 or raising the Floor IRE above 0 will cl
25. aster than editing using native RED QuickTime files After you reconform your project to native RED QuickTime media you can work in Color at higher quality with access to all of the raw linear light image data in the R3D file as Color can bypass QuickTime and use the RED framework directly You also gain the ability to render 4K media at 4K resolutions in Color Disadvantage Reconforming is an extra step that requires good organization a 1 Ingest Using ProRes and Perform an Offline Edit 2 If its necessary to edit your program at offline quality for efficiency transcode the archived RED media to one of the Apple ProRes codecs ProRes 422 Proxy ProRes 422 LT ProRes 422 or ProRes 422 HQ using the Log and Transfer window in Final Cut Pro For more information on each codec see Transcoding to One of the Apple ProRes Codecs Edit your project in Final Cut Pro as you normally would Stage 2 Reconform Your Project to RED QuickTime Media 1 Once your edit is locked prepare your edited sequence to be media managed by moving all video clips that aren t being superimposed as part of a compositing operation down to track V1 This makes navigation and grade management much easier once you start working in Color and may eliminate unused clips from the Timeline reducing the amount of media that needs to be reconformed If you haven t already create a RED Using ProRes sequence preset in Final Cut
26. at each transcoded clip visually matches the image that was monitored during the shoot This preprocessing is baked into each ingested clip If you want to later reapply a different type of image preprocessing to a clip you need to reingest it If necessary you can choose other color preprocessing options from the RED FCP Log and Transfer plugin submenu of the Action pop up menu Log and Transfer 5 r EX Hot Set Mo Clip Seler Add Custom Path Preferences tion RED FCP Log and Transfer plugin Eo y As Shot ba The image preprocessing options found in the RED FCP Log and Transfer plugin submenu Using RED Media with Final Cut Studio Aug 25 2010 16 By default there are five options As Shot The default setting Uses each clip s internal metadata to preprocess the clip The result should look nearly identical to the image as it was monitored during the shoot Tungsten Preprocesses each clip with a color temperature correction that assumes warmer more orange Tungsten lighting to achieve a neutral result Daylight Preprocesses each clip with a color temperature correction that assumes cooler more blue Daylight lighting to achieve a neutral result Warm An adjustment that attempts to preprocess the image so that the final result is warmer more orange than the originally monitored image e Sepia An aggressive adjustment that preprocesses the image for a sepia tone resu
27. bsampling If you re rendering native RED QuickTime media in Final Cut Pro and your sequence is set to Apple ProRes 4444 then the RED media will be decoded as Y CeCr image data with 4 4 4 chroma sampling Apple ProRes 4444 is capable of encoding either RGB or Y CeCr image data but always at 4 4 4 If you re rendering native RED QuickTime media using Color and the QuickTime Export Codec of your Project Settings is set to Apple ProRes 4444 then the RED media will be decoded as RGB image data with 4 4 4 chroma sampling Note Whenever you re rendering native RED QuickTime media in Final Cut Pro you should set the Video Processing option in the Sequence Settings to Render 10 bit material in high precision YUV to obtain the highest quality It s also a good idea to select Enable Chroma Filtering for 4 4 4 sources in the Advanced Compression Settings dialog of the Sequence Settings For more information see Creating a RED Using ProRes Sequence Setting Editing Tips in Final Cut Pro When Outputting to Film from Color Keep the following guidelines in mind when you re editing a project that you want to grade in Color and render as DPX or Cineon image sequences to be printed to film Restrict transitions in your project to cross dissolves only When you render DPX image sequences out of Color and use the Gather Rendered Media command to prepare a single image sequence for film printing Color automatic
28. e Presets tab select one of the presets in the list the Apple ProRes 4444 1920x1080 24p 48 kHz preset is a good one to start with and click Duplicate to make a copy 3 When the Sequence Preset Editor appears enter a new name such as RED Using ProRes and description in the top two fields Using RED Media with Final Cut Studio Aug 25 2010 20 4 Adjust the settings of the General tab in the following order Frame Size 2048 x 1024 for 2K at a 2 1 aspect ratio e Aspect Ratio pop up menu Custom e Pixel Aspect Ratio Square Field Dominance None Editing Timebase 23 98 or 24 Timecode Rate Same As Editing Timebase e Compressor Apple ProRes 4444 or Apple ProRes 422 HQ Rate 48 kHz e Depth 24 bit e Config Channel Grouped Recommended sequence preset settings for RED media edited in Final Cut Pro Using RED Media with Final Cut Studio Aug 25 2010 21 If you decide to use Apple ProRes 422 HQ instead then click the Advanced button in the QuickTime Video Settings area to open the Compression Settings window in order to access the Enable 4 4 4 chroma filtering option for the maximum image quality when rendering the final output of your program QuickTime Video Settings Compressor Apple ProRes 422 HQ HH Quality 1 100 N Advanced Enabling the chroma filtering option when using Apple ProRes 422 HQ When the Compression Settings dial
29. e ProRes 4444 codec e PDLOG 685 Another logarithmic gamma setting that maps the native 12 bit RED image data into the linear portion of a Cineon or film transfer curve Color Space pop up menu These options are available in the RED Camera s View menu in camera these options are tied to corresponding Gamma settings CameraRGB Identified on the camera as RAW this mode bypasses the RED camera matrix and represents the original uncorrected sensor data This setting is not recommended when transcoding R3D media to one of the Apple ProRes codecs REDcolor Fits the raw RED image data into a color space that s compatible with Rec 709 monitoring yet is designed to strike a balance between accurate and Using RED Media with Final Cut Studio Aug 25 2010 40 pleasing color rendition with an emphasis on accurate skin tones This is the default setting in cameras using build 30 and above REDspace Fits the raw RED image data into a color space that s larger than that of Rec 709 Appropriate for digital cinema mastering and film output REDspace was the predecessor to the REDcolor setting Rec 709 Fits the raw RED image data into the standard color space specified by the REC 709 standard for high definition video While this can be a suitable starting point for grading media destined for video mastering it is not required if you prefer one of the other color space options instead e ISO pop up menu
30. ecode of each subsequent clip is recorded sequentially and continuously as more and more clips are recorded Important You should never change timecode tracks in the middle of a magazine If you find it necessary to change the type of timecode you re recording make sure you only change the display timecode when you change magazines In offline online workflows the reel name clip ID and timecode of transcoded QuickTime files are matched with the enclosing folder name filename and timecode of their R3D counterparts For more information see Tracking Ingested Media to the Original R3D Media Using RED Media with Final Cut Studio Aug 25 2010 9 Archiving RED Media in Preparation for Ingest No matter what your workflow is it s highly recommended that you archive all of the original RED media for your project onto one or more backed up hard drive volumes even if you re planning on transcoding the media to another format This ensures that you always have the option to retransfer RED QuickTime clips from the original R3D media It also makes it easier to use the Log and Transfer window in Final Cut Pro to ingest media for your project Regardless of whether you re shooting with CompactFlash CF cards or a RED Drive you should always copy the entire contents of each CF card or drive that you ve finished recording with to an individually named folder on your archive volume For example if you ve shot a proj
31. ect using 12 CF cards the contents of each card should be copied into separate directories At the end of the process you should have 12 different directories perhaps named MyGreatProject_01 through MyGreatProject_12 each of which contains the entire contents of the CF card to which it corresponds RDM Q E Mag 2 digital magazine profile 3 A007_C002_10104F RDC gt 3 Mag 3 gt digital ma mic profile A007_C003_1010HK RDC gt E Mag 4 3 A007_C004_1010SE RDC 9 A007_C005_1010CR RDC gt AO07_C006_1010MM RDC gt Example of four archived directories of RED media The name of each RDM folder is used as the reel name for all the media it contains If you re using a RED Drive you should copy the entire contents of the drive to a new folder every time you fill it up or are finished with a particular part of your shoot For example if you re archiving the contents of the drive after every day s shoot then after four days you should have four directories perhaps named MyGreatProject _Day01 through MyGreatProject_Day04 For organizational ease use sensible folder names You should also be aware that the name of the folder that ends with RDM is used by the Log and Transfer process as the reel name for each clip contained within If you like you can change the name of each RDM folder prior to ingesting the media into Final Cut Pro in order to create more intelligible reel names How
32. eed to add all of the RED media that you ll be retransferring into the Log and Transfer browse area 8 1 Click the Add Volume button in the upper left corner of the Log and Transfer window 8 2 Choose the folder or disk image that contains your archived RED media and click Open 8 3 If you have RED media in other folders or on other hard drive volumes repeat steps 8 1 and 8 2 until all the RED media referenced by your project has been added to the Log and Transfer browse area 9 Lastly right click the new offline sequence that s been created and choose Batch Capture from the shortcut menu When the Log and Transfer window appears reingest all necessary footage from your archived RED media directories Stage 3 Grade Your Program Using Color 1 Prepare the sequence for sending to Color following the guidelines described in the Moving Projects Between Final Cut Pro and Color section of the Color User Manual available in the Color Help menu 2 When you finish right click your sequence in the Browser and choose Send To gt Color to send the prepared sequence to Color for grading Once in Color you have access to each clip s camera setting metadata via the RED tab in the Primary In room You can use the RED image data as is or make adjustments as necessary Keep in mind that clips that have been transcoded to ProRes 4444 lose the ability to access these camera settings as they no longer contain the native RED raw i
33. ever do not under any circumstances change these folder names after you ve ingested the media Doing so Using RED Media with Final Cut Studio Aug 25 2010 10 jeopardizes your ability to easily reconform offline sequences to the original source media at a later date For safety most productions immediately copy the contents of each CF card or RED drive to two separate volumes once recording on that magazine has finished Tip If you re shooting using relatively inexpensive CompactFlash CF media you should consider purchasing enough CF cards to shoot your entire project without having to erase and reuse cards This provides you with valuable redundancy should your hard drive archival volumes later prove to have problems At the very least have enough CF cards for an entire day s worth of shooting so you can verify the integrity of your media at the end of each day before reusing them the next day In either case be sure to physically label each CF card with the name of the corresponding directory you copy its media to as this is the only way you ll later be able to match a directory of archived media to the CF card it was originally copied from If you change the name of that card s RDM folder you should write the new name on the CF card s label as well Should you need to restore media from that card you ll be able to rename its RDM folder as it was before Archiving RED Media Using Disk Images For additional pr
34. from Final Cut Pro 1 It s a good idea to do some project preparation before exporting an EDL to import into Color Because the EDL format is considerably more limited in terms of what edits and effects can be used it s prudent to be extremely conservative and eliminate any and all effects that are unsupported by the CMX EDL formats or by Color itself For example move all video clips to track V1 Video clips in tracks other than V1 superimposed clips transfer modes still images freeze frames filters and Motion tab settings are not supported by the EDL format so it s best to either eliminate them or export clips with effects as self contained movies as described in the Moving Projects Between Final Cut Pro and Color chapter of the Color User Manual Note Cross dissolves are the one exception These are the only type of transition that Color supports Any other type of transition will be rendered as a cross dissolve of identical length Using RED Media with Final Cut Studio Aug 25 2010 32 2 Export an EDL using these settings e EDL Title Defaults to the name of your sequence Format CMX 3600 e Target Video Track Only On e Reel conflicts Generic edits e EDL Notes All off e Master Start Time Defaults to the first timecode value in your sequence e Audio Mapping Audio events are ignored but you can set all tracks to None to simplify the resulting EDL Recommended EDL Export O
35. inning eliminating the reconform step completely Advantage This is an efficient workflow that skips the need for reconforming and gives you access to high quality image data when you grade in Color Ingesting RED QuickTime media is fast when compared to transcoding This is a good workflow for projects such as short forms and spots Disadvantage RED QuickTime media is processor intensive when editing To work and finish using REDCODE 1 2 Using RED Media with Final Cut Studio Aug 25 2010 Import all of your RED media using the Native option in the Log and Transfer window For more information see Ingesting RED QuickTime Files While editing in Final Cut Pro set your sequence to use the RED using ProRes sequence preset you created earlier Also for maximum responsiveness while you edit set Final Cut Pro to use Unlimited RT When you finish editing send the sequence to Color and then grade and output as described in Stage 4 Render Out of Color in the previous section 35 Using Unlimited RT When Editing RED Media As mentioned previously RED QuickTime media is processor intensive to work with in Final Cut Pro For the smoothest editing experience choose Unlimited RT from the Timeline RT pop up menu set Playback Video Quality to Low or Medium and set Playback Frame Rate to Full Play Base Layer Only Scrub High Quality Dynamic High Medium Low Dynamic Full
36. ip image values to the narrower limits The default Printing Density for RED media is Linear 0 Black 1023 White This means that when rendering RED QuickTime media as DPX files for film printing the minimum and maximum values of 0 and 100 percent in Color correspond to the digital values of 0 and 1023 in the rendered DPX files The Printing Density setting for each shot is located in the Settings 2 tab to the right of the Timeline Using RED Media with Final Cut Studio Aug 25 2010 43
37. is simple and efficient especially for programs that are destined for output to a Y CaCr based tape format Optionally transcoding to Apple ProRes 4444 lets you retain the advantage of working with the 4 4 4 chroma sampled media which provides additional latitude for color correction e Disadvantage You lose the quality advantage of being able to grade and finish using the original raw linear light image data that native RED QuickTime files provide Also transcoding RED media to one of the Apple ProRes codecs can be time consuming Transcoded media is always resized to 2K resolution by Final Cut Pro To Ingest and Finish Using Apple ProRes 1 Transcode your archived RED media to a suitable online quality Apple ProRes codec using the Log and Transfer window For more information see Transcoding to One of the Apple ProRes Codecs 2 Edit finish and output using the Apple ProRes codec you selected as you would any other project Using RED Media with Final Cut Studio Aug 25 2010 26 Workflow 2 Work Offline Using ProRes Then Reconform to Native RED QuickTime Media This workflow describes transcoding to Apple ProRes for efficient offline editing then reconforming your edited sequence to reingested RED QuickTime media for final mastering and color correction using Color e Advantage Editing media that s been transcoded using one of the lower bandwidth Apple ProRes codecs makes working in Final Cut Pro much f
38. lt Important The color preprocessing option you choose is applied to every clip that you ingest in the current queue it s not possible to specify different color preprocessing options for individual clips in advance However after one queue has finished ingesting you can change the color preprocessing option before queuing up more clips and it will be applied to all clips ingested from that point forward Method 2 Ingesting Native RED QuickTime Files You can instead ingest the R3D media as native RED QuickTime files When you do so you re actually embedding the native R3D data within a QuickTime wrapper The resulting media file appears to be like any other QuickTime file to the Finder but provides direct access to the original native R3D camera data for specifically compatible applications This is faster than transcoding to any of the Apple ProRes codecs and provides the highest quality along with access to the native REDCODE settings when using Color but the resulting media is more processor intensive to work with To ingest RED media as RED QuickTime files 1 Mount the volumes that contain your archived RED media Using RED Media with Final Cut Studio Aug 25 2010 17 Open the Log and Transfer window and choose Preferences from the Action pop up menu the menu with the gear icon Log and Transfer fed Ov Not Set E tion Add Custom Path Preferences RED FCP Log and Transfer plugin
39. mage data Stage 4 Choose a Resolution At Which to Render Your Project By default projects using native RED QuickTime media are sent from Final Cut Pro to Color with the Resolution Preset set to match whichever resolution the originating Final Cut Pro sequence was set to Typically this will be the 2K resolution corresponding to the RED media that was ingested However since Color reads the full 4K image data from native RED QuickTime files or REDCODE media the default Scale parameter in the Pan amp Scan tab of the Geometry room reads 2 000000 for all 4K clips in your project which is the scaling value necessary to fit the 4K source media into the current 2K project Tip If you re rendering your program for finishing at 2K resolution you can use the Pan amp Scan settings in Color to zoom in and reframe your shots This accesses the 4K image data for extremely clean blow ups If you want to render your final graded media at its full 4K resolution you need to change the Resolution Preset after you send your program to Color When you do Using RED Media with Final Cut Studio Aug 25 2010 29 so a dialog appears asking if you want to automatically resize each clip in your program to match the new resolution 1 Open the Project Settings tab of the Setup room 2 Set the Resolution Preset pop up menu to the resolution you want to render at 3 When the Resolution Change dialog appears click Yes to change the resolution
40. mage sequence for film output If you re outputting to a Y CsCr 4 2 2 videotape format this includes DVCPRO HD HDCAM D 5 etc Set the Render File Type to QuickTime and set the QuickTime Export Codec to either Apple ProRes 422 HQ or Uncompressed 10 bit 4 2 2 After you render the project send it back to Final Cut Pro If you re outputting to an RGB 4 4 4 videotape format this includes HDCAM SR and 2K D 5 Set the Render File Type to QuickTime and set the QuickTime Export Codec to ProRes 4444 After you render the project send it back to Final Cut Pro Using RED Media with Final Cut Studio Aug 25 2010 30 Workflow 3 Offline Using ProRes Reconform to R3D Media Using Cinema Tools and Color This workflow describes transcoding to one of the Apple ProRes codecs for efficient offline editing then exporting your edited sequence to Color via an Edit Decision List EDL and relinking it to the original archived REDCODE media using a Cinema Tools database This workflow is ideal for programs that are not effects intensive Advantage Using an EDL and Cinema Tools database to move your sequence into Color and relink it directly to the native REDCODE media eliminates the added step of reingesting using the Log and Transfer window Relinking using a Cinema Tools database is fast you can relink to media on multiple hard drives in one step Working with REDCODE media provides all the same advantages as working with na
41. ng workflow using Color you ll need to transcode your clips using REDcine Using RED Media with Final Cut Studio Aug 25 2010 6 Choosing Camera Settings for Final Cut Studio Compatibility This section outlines how to choose a resolution timebase and timecode track to use in postproduction workflows using Final Cut Pro and Color Choosing a Camera Resolution The best resolution to shoot with depends on how you plan on finishing in Final Cut Studio Native RED QuickTime media always contains the full resolution of the media as it was shot in the field 2K 4 5K However the RED QuickTime codec has been designed to output the most suitable resolution for a particular application based on that application s resolution limitations Using 4 5K REDCODE Media in Final Cut Studio When you ingest 4 5K REDCODE media as native RED QuickTime files the native 4 5K image data is kept intact However 2K is the maximum supported resolution of the real time effects architecture of Final Cut Pro so all 4 5K RED QuickTime files will be resized to 2240 x 960 on the fly while you work in Final Cut Pro e When you transcode 4 5K REDCODE media in Final Cut Pro all transcoded clips are permanently resized to 2240 x 960 QuickTime media using the selected Apple ProRes codec e The maximum resolution supported by Color 1 5 is 4096 x 2304 As a result the rendered output of a Color project using 4 5K native RED QuickTime files is limited to 2240
42. og appears select the Enable chroma filtering for 4 4 4 sources checkbox and click OK Since RED media uses 4 4 4 chroma sampling this option results in a higher quality conversion to the 4 2 2 chroma subsampling employed by ProRes 422 Compressor Gamma Correction Automatic KH C Interlaced W Enable chroma filtering for 4 4 4 sources Note This option is only available when the sequence is set to use one of the Apple ProRes 422 codecs Using RED Media with Final Cut Studio Aug 25 2010 22 6 Lastly open the Video Processing tab and select Render 10 bit material in high precision YUV This is the highest quality setting for rendering and exporting RED QuickTime media General Video Processing Timeline Options Render Control Audio Outputs R Codecs which do not support YCbCr also known as YUV can only use RGB O Monje Render in RUN rendering RGB rendering may be chosen for YUV capable codecs but may O Render in 8 bit YUV cause intensity or color shifts in rendered material Render 10 bit material in high precision YUV High precision YUV rendering provides higher quality results when ares im applying multiple effects or when the original material had more than 8 Render all YUV material in high precision YUV bits of precision but takes longer to render Process Maximum White as White kad Setting the sequence to the highest available bit depth 7 Click OK Warning
43. or native RED media the RED tab provides access to the clip Color Color Temp and View metadata originally written by the RED camera However this metadata can also be overwritten during ingest using a custom color processing option in the Log and Transfer window These parameters are provided so that you can begin grading each clip in the state at which it was originally monitored during the shoot or at which it was ingested using the Log and Transfer window Note Although there is functional overlap between the controls found in this tab and those found elsewhere in Color the Kelvin and Tint controls are specially calibrated to provide the most photometrically accurate white balance adjustments for RED QuickTime media About the Gamma and Color Space Controls The Gamma and Color Space settings determine how the RAW sensor data is converted into a useful color space when transcoding or grading native RED QuickTime media They re intended to define a baseline rendition rendition of your RED media in order to let you choose the best possible starting point for grading None of the available presets either dictate or limit your project s display or output compatibility and any of the available settings can be monitored on a Rec 709 calibrated display although each will require different adjustments depending on the stylistic look you re trying to accomplish Assuming you re grading native RED QuickTime media the settings that
44. otection consider copying the contents of each CF card or RED Drive into a disk image that s sized appropriately for the contents using Disk Utility You can use the Disk Image from Folder command to copy the entire contents of a mounted volume into a disk image Archiving each reel of RED media using disk images provides checksum verification when the media is initially copied as well as every time the disk image is mounted which lets you immediately discover data errors should they occur It also gives you the option of creating read only archives preventing unwanted manipulation of the source media later on To archive a RED media volume using a disk image 1 Mount the CF card or RED Drive you re archiving 2 Open Disk Utility 3 Select the CF card or RED Drive from the list of drives at the left of the Disk Utility window 4 Choose File gt New gt Disk Image from volume name where volume name is the name of the CF card or drive you selected 5 Enter a unique name for the disk image in the New Image from Folder dialog choose read only from the Image Format pop up menu and leave the Encryption pop up menu set to none Using RED Media with Final Cut Studio Aug 25 2010 11 6 Choose the volume to which you want to save the disk image and click Save After archiving reels of RED media into separate disk images you ll need to mount each disk image you want to log and transfer from Note
45. ptions settings for Color 3 Click OK to accept the EDL Export Options settings 4 When the Save dialog appears choose a location and click Save Using RED Media with Final Cut Studio Aug 25 2010 33 Stage 4 Import the EDL into Color and Relink Using the Cinema Tools Database 1 2 3 Open Color When the Projects dialog appears locate the EDL you exported during Stage 3 and click Open When the EDL Import Settings window appears choose the appropriate EDL Frame Rate Color Project Frame Rate and Source Frame Rate all three should match the frame rate of your edited sequence in Final Cut Pro then choose an appropriate Project Resolution for the REDCODE source media you ll be relinking Click Browse When the Source Directory dialog appears locate the Cinema Tools database you created in Stage 2 it will have a ctdb file extension and click Choose EDL Import Settings _ EDL Frane Rate 24 Color Project Frane Rate 24 Source Frame Rate 24 Use As Cut List Project Resolution 2048 x Width 2048 Height Source Directory Users Editing Desktop RED Test Media RED 6 Click Import in the EDL Import Settings dialog Anew Color project is created from the EDL and the REDCODE media referenced by the Cinema Tools database is automatically relinked to the clips in the Color Timeline Using RED Media with Final Cut Studio Aug 25 2010 34 Stage 5 Render the Color Project ue
46. r science being retroactively applied to your previous grades If you need to downgrade to the v20 0 0 version of the Final Cut Studio RED installer you need to manually remove the following software components prior to opening the v20 0 0 installer e Library QuickTime REDCODE QT component Library PreferencePanes REDcode prefPane e Library Application Support ProApps MIO RAD PlugIns RED RADPlug e Library Frameworks REDCODE Color framework Using RED Media with Final Cut Studio Aug 25 2010 5 Unsupported FLUT Features While the new color science is supported in Final Cut Studio there are some limitations to FLUT Support in Color 1 5 2 Although Mysterium X equipped cameras enable a maximum ISO of 6400 Color does not support ISO settings above 2000 Clips that were shot with an ISO of 2500 6400 will be limited to using an ISO of 2000 in Color As a result the exposure of clips shot using above 2000 ISO settings will be compressed especially in the shadows However shadow detail should be retrievable in these situations by using the Brightness parameter in the RED tab of the Primary In room Also so long as the Internal Pixel Format of Color is set to 12 bit or higher you will have additional latitude for retrieving shadow detail using the ordinary contrast controls found in Color e The FLUT and Shadow controls found in other RED compatible applications are not available in Color For access to these controls in a finishi
47. tems Include render files Set sequences to RED Using ProRes H M Include master clips outside selection Mi Delete unused media from duplicated items Mi Use Handles 00 00 01 00 M Include affiliate clips outside selection Base media file names on existing file names B m Project v Duplicate selected items and place into a new project M Include nonactive multiclip angles m Media Destination none selected Brows rows Cone OD Recommended Media Manager settings for native RED QuickTime reingest Click OK When the Save Project dialog appears choose a location to save the new offline sequence you re creating then click Save When the new media managed project has been created save and close the original project file before continuing It s also a good idea to set the Master Clips bin as the logging bin before proceeding with reingesting the originally archived RED media Next you need to change the ingest options of the Log and Transfer window before you begin to actually ingest media 7 1 Open the Log and Transfer window and choose Preferences from the Action pop up menu the menu with the gear icon Using RED Media with Final Cut Studio Aug 25 2010 28 7 2 When the Import Preferences sheet appears choose As Shot from the Target Format column corresponding to the RED Plugin 8 After you set the Log and Transfer window s preferences you n
48. the correspondence between ingested clips and the original source media from which they came This means you can rename clips in the Log and Transfer window as you ingest them or afterward in the Browser without losing the correspondence between a clip s UUID tag and the name of the original R3D file For this reason do not under any circumstances rename the RSD filenames of your archived media Each ingested clip s non drop frame timecode matches that of the corresponding archived R3D file Specifications for RED QuickTime Media Once ingested RED QuickTime files have the following characteristics e Color space RGB e Chroma sampling 4 4 4 Bit depth 12 bit data is passed to Color e Supported resolutions e 4096 x 2048 4K 2 1 is only supported in Color e 2240 x 960 resized 4 5K 2 1 e 2048 x 1024 2K 2 1 e Pixel aspect ratio Square Field dominance None e Supported progressive frame rates 23 98 24 e Timecode Non drop e Audio 24 bit upconverted to 32 bit at ingest 48 kHz up to 4 channels Important Native RED QuickTime files are read only compatible with Final Cut Studio applications These applications can import RED QuickTime files for use in a project but can neither render nor export clips using the REDCODE compressor Using RED Media with Final Cut Studio Aug 25 2010 19 Using RED QuickTime Media in Final Cut Pro This section covers important informa
49. tion about using RED QuickTime media in a Final Cut Pro project including how to create and use RED compatible sequences Automatically Conforming a Sequence for RED Media You can always change a sequence s settings to accommodate RED media by editing a native RED QuickTime clip into it while it s still empty To quickly change a new sequence to support RED QuickTime media 1 Ingest a native RED QuickTime clip into a Final Cut Pro project 2 Create a new sequence open it and edit the RED QuickTime clip into it 3 When a dialog asks you to Change sequence settings to match the clip settings click Yes Note When you automatically adjust a sequence s settings in this way the Video Processing tab of the Sequence Settings is automatically set to Render 10 bit material in high precision YUV for the highest quality output Creating a RED Using ProRes Sequence Preset in Final Cut Pro If you plan to work on lots of projects that use native RED QuickTime files in Final Cut Pro you may find it convenient to create a custom sequence preset Because RED QuickTime media is read only you need to make sure the Codec pop up menu in the General tab of the Sequence Settings window is set to Apple ProRes 4444 in order to render and play effects such as transitions filters and motion settings To create a sequence preset for RED QuickTime media 1 Choose Final Cut Pro gt Audio Video Settings 2 Open the Sequenc
50. tive RED QuickTime files Disadvantage The edits in your project are limited to those that are supported by the EDL format one video track dissolves only no other effects and no audio Stage 1 Ingest Using ProRes and Perform an Offline Edit 1 If it s necessary to edit your program at offline quality for efficiency transcode the archived RED media to one of the Apple ProRes codecs ProRes 422 Proxy ProRes 422 LT ProRes 422 or ProRes 422 HQ using the Log and Transfer window in Final Cut Pro For more information on each codec see Transcoding to One of the Apple ProRes Codecs 2 Edit your project in Final Cut Pro as you normally would Stage 2 Build a Cinema Tools Database 1 Drag the folder that contains the REDCODE media used by your project onto the Cinema Tools icon in the Applications folder or in your Dock if you put it there 2 When the Create New Database dialog appears click Create Database and Add Clips 3 When the New Database dialog appears ignore the settings and click OK The settings in this dialog have no effect on the creation of the database 4 When the New Database save dialog appears choose a name and location for the Cinema Tools database you re creating and click Save Anew Cinema Tools database is created and all of the media in the folder you dragged including media in all subfolders is automatically added to it When this process is finished a dialog appears
51. urce media It s important to understand that the Proxy mechanism in Color works relative to the original size of the media files on disk not the project resolution If your project uses 4K RED media then the default Render Proxy setting of Half Resolution results in 2K files being rendered Setting the Render Proxy pop up menu to Half Resolution is the fastest way to render 2K media if your project uses 4K REDCODE source media To render 4K source media at 2K resolution choose the appropriate 2K project resolution turn on Enable Proxy Support and set Render Proxy to Half Resolution for the fastest rendering of 2K resolutions Keep in mind that the selected Render Proxy resolution affects whether or not your media is debayered When the render proxy resolution is set to Full all rendered clips are debayered at the native resolution of the source media first and then downsampled to match the project resolution which is a time intensive process If the render proxy is set to Half or Quarter no debayering is done and the source media is simply rendered at half or quarter resolution Using RED Media with Final Cut Studio Aug 25 2010 42 If your project uses 2K RED media or you re intending to render a project using 4K RED media at 4K resolution then you need to either turn off Enable Proxy Support or set the Render Proxy pop up menu to Full Resolution to render your media at the proper resolution Important 4 5K RED media is
52. using an offline quality Apple ProRes codec and later reingest the same media using an online quality Apple ProRes codec Using RED Media with Final Cut Studio Aug 25 2010 14 To transcode RED media to clips using one of the Apple ProRes codecs 1 2 Mount the volumes that contain your archived RED media Open the Log and Transfer window and choose Preferences from the Action pop up menu the menu with the gear icon Log and Transfer Add Custom Path Preferences NS RED FCP Log and Transfer plugin gt When the Import Preferences sheet appears choose one of the Apple ProRes codecs from the Target Format column corresponding to the RED Digital Cinema REDCODE item in the Source Format column og and Transfer Import Preferences V Remove Advanced Pulldown and Duplicate Frames Clear Logging Autofill Cache Source Format Target Format Y RED FCP Log and Transfer plugin _ E Cinema REDCODI Apple ProRes 4444 ID Y AVCHD Plugin Apple ProRes 422 HQ AVCHD Apple ProRes 422 AC 3 Audio Apple ProRes 422 LT g Apple ProRes 422 Proxy Native Choosing an Apple ProRes codec for transcoding REDCODE media Optionally you can choose a color option from the RED FCP Log and Transfer plugin submenu of the Action pop up menu By default this is set to As Shot but you can choose any other option from this submenu with which to preprocess the ingested clips More information about
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