Using RED Media with Final Cut Studio
Contents
1. Grading Proxy Quarter Resolution Playback Proxy Quarter Resolution The Render Grading and Playback Proxy menus are found in the User Preferences tab of the Setup room of Color The lower proxy setting of Quarter Resolution provides faster performance as you work in Color at the expense of slightly lower visual quality Of course this quality reduction is relative since you re starting out with 2K media to begin with 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 clip beyond 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 affect on the image However restricting the broadcast safe range by lowering the Ceiling IRE below 100 or raising the Floor IR2. from the support page at http Awww red com Using RED Media with Final Cut Studio Nov 11 2008 9 Volumes File Cabinet Test Footage RED Clips New Red Footage 4K 2to1 A007_11107L RDM A007_C001_1110RM RDC A007_C001_1110RM_001 R3D Color Space Output LUT Gamma Space Chroma Denoise De Moir Debayer Detail OLPF Compensation Exposure s i 0 00 Contrast o Phe R M Brightness 8 GROE R M DRX e o R E4 Matrix ___ elu R M 0 00 1 00 ENE R M 1 00 1 00 R M SAVE 2K DPX SAVE 2K TIFF BA el 03107 17 46 56 22 To export image processing presets from RED ALERT to use in Final Cut Pro 1 Open RED ALERT and choose File gt Open R3D to open a REDcode media file to use to create your preset 2 Use the controls at the left of the RED ALERT window to adjust the image in order to create the look you want 3 When you re finished choose File gt Save Preset 4 Open the following directory to save the rlx file into Library Application Support REDAlert Presets 5 Click Save The next time you open Final Cut Pro you ll be able to choose your custom image processing preference from the Action pop up menu of the Log and Transfer window Note The Curves Gamma Space Color Space OLPF Compensation and Denoise settings in RED ALERT are ignored when exporting image processing presets Method 2 Ingesting RED QuickTime Files You may instead choose to ingest t
3. 23 98 24 e Timecode Non drop Which Applications Are Compatible with RED QuickTime Media RED QuickTime files are read only compatible with Final Cut Pro Color and Compressor These applications can import RED QuickTime files for use in a project but can neither render nor export clips using the REDCode compressor RED QuickTime files have not been tested extensively with Motion LiveType or Shake If you want to send RED QuickTime files to any of these applications you should perform workflow tests first If in doubt you can always transcode the media you need to work on using another codec such as ProRes 422 or Uncompressed Using RED QuickTime Media in Final Cut Pro This section covers important information about using RED QuickTime media in a Final Cut Pro project Creating a RED Using ProRes Sequence Preset in Final Cut Pro If you plan to edit RED QuickTime files in Final Cut Pro it s best to create a sequence preset that s designed to accommodate RED QuickTime media 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 either ProRes 422 or ProRes 422 HQ in order to properly render and play back 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 Sequence Presets tab select one of the
4. are rendered by Color when you use the Gather Rendered Media command to assemble the final consecutively numbered image sequence for film output e Option 2 If you re planning to output to SD or HD video for example if you re rendering a second version of your program for video mastering set the Render File Type to QuickTime and set the QuickTime Export Codec to either ProRes 422 HQ or Uncompressed 10 bit 4 2 2 After you ve rendered the project send it back to Final Cut Pro Using RED Media with Final Cut Studio Nov 11 2008 18 Workflow 3 Work and Finish Using REDcode This workflow consists of working in Final Cut Pro with transferred RED QuickTime clips from the very beginning 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 form and spots e Disadvantage RED QuickTime media is processor intensive when editing 1 Import all of your RED media using the Native option in the Log and Transfer window For more information see Ingesting RED QuickTime Files 2 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
5. 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 e 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 timecode of each subsequent clip is recorded sequentially and continuously as more and more clips are recorded Using RED Media with Final Cut Studio Nov 11 2008 2 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 file name and timecode of their R3D counterparts Archiving RED Media in Preparation for Final Cut Pro Ingest No matter what your workflow is it s highly recommended that you archive all of the original RED media for your project ont
6. tab has the following parameters and controls e 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 compensate for cool lighting such as noon day sun or overcast days Two user selectable options set Kelvin to predetermined values Tungsten 3 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 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
7. 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 Using RED Media with Final Cut Studio Nov 11 2008 3 four days you should have four directories perhaps named MyGreatProject _Day01 through MyGreatProject_Day04 Use sensible folder names as the name of each enclosing directory is used by the Log and Transfer process to determine the reel name for each clip that s ingested by Final Cut Pro Furthermore after you copy the media from each CF card or drive do not under any circumstances change the directory names file names or otherwise modify the files that you ve copied Doing so may jeopardize your ability to later reconform offline sequences to the original source media 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
8. with High Definition and Broadcast Formats documentation found in the Final Cut Pro Help menu Tracking Ingested Media to the Original R3D Media Whether you choose to transcode or ingest RED media 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 e The name of the top level directory that encloses each set of archived RED media is used as the reel name of ingested clips The name of each RSD file is used to create the universally unique ID number UUID which is also referred to as the Clip ID for each ingested clip This ID number which is not user accessible is used to track the correspondence between ingested clips and the original source media from which it came This means you can rename clips as you ingest them or afterward without losing the correspondence between a clip s UUID tag and the name of the original RSD file e Each ingested clip s non drop frame timecode matches that of its corresponding archived R3D file Using RED Media with Final Cut Studio Nov 11 2008 Specifications for RED QuickTime Media Once ingested RED QuickTime files have the following characteristics e Color space RGB e Chroma subsampling 4 4 4 e Bit Depth 12 bit e Supported resolution 2048 x 1024 2 1 aspect ratio e Pixel aspect ratio Square e Field dominance None e Supported progressive frame rates
9. wrapped RED QuickTime files provide Also transcoding RED media to ProRes 422 can be time consuming 1 Transcode your archived RED media to ProRes 422 HQ using the Log and Transfer window For more information see Transcoding to ProRes 422 2 Edit finish and output using ProRes 422 HQ as you would any other project Workflow 2 Work Offline Using ProRes Finish Using RED QuickTime Media This workflow describes transcoding to ProRes for efficient offline editing then reconforming your edited sequence to reingested RED QuickTime media for final mastering and color correction using Color Advantage Editing with ProRes 422 media is less processor intensive than editing using RED QuickTime files After you reconform you can work in Color at higher quality with access to all of the raw image data in the RSD file as Color can bypass QuickTime and use the RED framework directly Disadvantage Reconforming is an extra step that requires good organization 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 ProRes 422 or ProRes 422 HQ using the Log and Transfer window in Final Cut Pro For more information see Transcoding to ProRes 422 2 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 l
10. CameraRGB Identified on the camera as RAW this mode bypasses the RED camera matrix and represents the original uncorrected sensor data 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 e Rec 709 Fits the raw RED image data into the standard color space specified by the REC 709 standard for high definition video Appropriate for HD video mastering ISO pop up menu A gain 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 range is 100 2000 320 is the default unity gain setting no change is made Raising the signal too much can result in clipping Important Changing the ISO setting of your RED camera does not alter the Using RED Media with Final Cut Studio Nov 11 2008 22 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 Nov 11 2008 23 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 Render Proxy Full Resolution
11. E above 0 will clip image values at 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 Nov 11 2008 24
12. Preferences RED FCP Log and Transfer plugin Ua y Native Tungsten Daylight Warm Sepia The image preprocessing options found in the RED FCP Log and Transfer plugin submenu By default there are five options Native The Default 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 e Tungsten Preprocesses each clip with a color temperature correction that assumes warmer more orange Tungsten lighting to achieve a neutral result e 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 with a sepia tone result Important The color preprocessing option you choose is applied to every clip shown in the browser area of the Log and Transfer window As you place a selected clip into the ingest queue the current color processing options are applied Changing the color preprocessing option will not affect clips currently in the ingest queue Optionally you can export your own color processing preset from RED ALERT and use it to preprocess transferred clips in different ways RED ALERT is available for free
13. Presets in the list the Apple ProRes 422 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 4 Adjust the settings of the General tab in the following order e Aspect Ratio pop up menu Custom Using RED Media with Final Cut Studio Nov 11 2008 12 e Frame Size 2048 x 1024 Field Dominance None Editing Timebase 23 98 or 24 e Timecode Rate Same As Editing Timebase e Compressor Apple ProRes 422 HQ Rate 48 kHz e Depth 16 bit e Config Channel Grouped Using RED Media with Final Cut Studio Nov 11 2008 5 For maximum image quality when rendering the final output of your program 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 m QuickTime Video Settings Compressor Apple ProRes 422 HQ H Quality a gt 100 Advanced 6 When the Compression Settings window appears turn on Enable 4 4 4 chroma filtering and click OK Since RED media uses 4 4 4 chroma subsampling this option will result in a higher quality conversion to the 4 2 2 chroma subsampling employed by ProRes 422 Compressor Interlaced M Enable 4 4 4 chroma filtering 7 Lastly open the Video Proces
14. Using RED Media with Final Cut Studio This document describes the best practices for following a digital cinema postproduction workflow with Final Cut Studio using media recorded with the RED camera Minimum processor requirements for using the RED plugin with Final Cut Studio 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 Minimum software requirements for using the RED plugin with Final Cut Studio e Mac OS X v10 4 11 or Mac OS X v10 5 5 or later e QuickTime 7 5 5 or later e Final Cut Pro 6 0 5 Color 1 0 3 and Compressor 3 0 5 e The RED Final Cut Studio Installer version 1 0 available at http Awww red com Shooting RED Media to Use With Final Cut Studio Final Cut Pro and Color have been tested with a specific subset of the resolutions and frame rates supported by the RED camera that are intended for digital cinema production This section outlines how to choose a resolution timebase and timecode track to use with Final Cut Pro and Color Choosing a Resolution to Use with Final Cut Studio When picking a resolution to shoot with you should keep in mind that although the RED camera can shoot media at 4K 3K and 2K resolution there are plusses and minuses to each resolution if you re planning on doing your postproduction using Final Cut Studio 4K media is always resized to 2K during the Log and Transfer proces
15. d as Cross Dissolves if they re present in your project Keyframes are not sent from Final Cut Pro to Color so 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 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 filters or multi cam clips unless you re planning on prerendering these clips exporting each as a self contained QuickTime clip and reediting into the Timeline to replace the original effect as ProRes 422 or Uncompressed media before you send to Color Color does not render these effects Using RED Media with Final Cut Studio Nov 11 2008 15 Color Workflows Using RED Media This section covers the three supported postproduction workflows for using RED media when using Final Cut Pro and Color together Workflow 1 Work and Finish Using ProRes 422 HQ This workflow describes transcoding your media from RED to 2K resolution ProRes clips and then mastering using ProRes Advantage This is a straightforward workflow with no reconforming necessary Editing ProRes 422 media is fast and efficient Disadvantage You lose the quality advantage of being able to grade and finish using the raw RGB 4 4 4 data that
16. eferred method of ingesting RED media into Final Cut Pro When using the Log and Transfer window the R3D media recorded by the RED camera is converted to QuickTime media using one of two methods Method 1 Transcoding to ProRes 422 You may choose to transcode R3D media to ProRes 422 or ProRes 422 HQ compressed QuickTime files ProRes 422 is suitable for creating lower quality files for offline editing but ProRes 422 HQ is recommended for higher quality mastering You can set this up by opening the Log and Transfer window s Import Preferences dialog To transcode RED media to ProRes 422 or ProRes 422 HQ clips 1 Mount the volumes that contain your archived RED media 2 Open the Log and Transfer window and choose Preferences from the Action pop up menu the menu with the gear icon Log and Transfer fem 3 asa Media Duratior 4d Custom Path Using RED Media with Final Cut Studio Nov 11 2008 7 3 When the Import Preferences sheet appears choose either Apple ProRes 422 or Apple ProRes 422 HQ from the Transcode to column corresponding to the RED Log and Transfer Import Preferences M Remove Advanced Pulldown and Duplicate Frames Clear Logging Autofill Cache Source Transcode to RED FCP Log and Transfer plugin Apple ProRes 422 RED Digital Cinema REDCODER Sree NNe Y AVCHD Plugin Native N AVCHD Apple ProRes 422 ja AC 3 Audio Matrix Stereo hi Digital C
17. he R3D media as RED QuickTime files When you do so you re actually wrapping the original R3D data within a QuickTime wrapper The resulting media file appears as any other QuickTime file in the Finder but provides direct access to the original RAW camera data for specifically compatible applications This provides the highest quality and is faster than transcoding to ProRes 422 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 Nov 11 2008 10 2 Open the Log and Transfer window and choose Preferences from the Action pop up menu the menu with the gear icon Log and Transfer EI fs Media Duratiot Add Custom Path 3 When the Import Preferences sheet appears choose Native from the Transcode to Log and Transfer Import Preferences M Remove Advanced Pulldown and Duplicate Frames Clear Logging Autofill Cache Source Apple ProRes 422 RED FCP Log and Transfer plugin Apple ProRes 422 HQ RED Digital Cinema REDCO AVCHD Plugin _ _ _ _ AVCHD Apple ProRes 422 Ae i AC 3 Audio Matrix Stereo Y column corresponding to the RED Digital Cinema REDCODE item of the list 4 To proceed with ingesting your RED media follow the instructions in the Using the Log and Transfer Window section of the Working
18. inema REDCODE item of the list 4 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 Native but you can choose any other option from this submenu with which to preprocess the ingested clips More information about this option appears below 5 To proceed with ingesting RED media follow the instructions in the Using the Log and Transfer Window section of the Working with High Definition and Broadcast Formats documentation found in the Final Cut Pro Help menu The Color Color Temp and View RED camera settings in use while shooting are stored as metadata within each recorded R3D file When you transcode R3D media to ProRes 422 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 Native which is the default setting The result is that 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 processing options from the RED FCP Log and Transfer plugin submenu of the Action pop up menu Using RED Media with Final Cut Studio Nov 11 2008 8 Log and Transfer Oo t Add Custom Path
19. k 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 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 You can also initiate this process from directly within 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 HD and Broadcast Formats document 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 a RDM folder that contains a series of RDC folders Red Digital Clip There s one RDC folder for each clip that was recorded Alongside the RDM folder are a few other files log and profile files that contain camera data that while not used by the workflows described in this document should be retained When archiving RED media you should always copy the entire directory structure of every volume you record to For your reference each RDC folder contains the following media files R3D This is the high quality REDcode raw image data itself Since there s a 2 GB limitation o
20. n file sizes longer clips may consist of multiple spanned R3D 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 window 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 Nov 11 2008 5 v My_Project_Reel_01 102 463 CA7M log vy A009_1110EJ RDM v 3 A009_C001_1110TN RDC A009_C001_1110TN_001 R3D A009_C001_1110TN_F mov A009_C001_1110TN_H mov A009_C001_1110TN_M mov AO009_CO01_1110TN_P mov digital magazine profile digital magdynamic profile 2 2 Example of a single RED media directory containing log and profile files as well as the RDM folder which contains the actual RDC folders that contain the recorded media The media stored in each RDM 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 Nov 11 2008 6 Ingesting RED Media with Final Cut Pro The Log and Transfer window in Final Cut Pro is the pr
21. n to O the image is compressed rather then clipped 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 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 e Linear No gamma adjustment is applied at all linear to light as captured by the Mysterium sensor e Rec 709 The standard gamma curve as specified by the Rec 709 standard for video gamma REDspace Similar to Rec 709 but tweaked to be perceptually more appealing with higher contrast and lighter midtones 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 over abundance of precision 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 e 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 e
22. nce s settings in this way you still need to manually open the sequence settings and set the Video Processing tab to Render 10 bit material in high precision YUV for the highest quality output Real Time Performance in Final Cut Pro Using RED QuickTime Media Because native RED 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 Exporting Sequences Using RED Media from Final Cut Pro For the best quality when you export out of Final Cut Pro directly set the Video Processing option in the Sequence Settings to Render 10 bit material in high precision YUV Remember RED media is read only you cannot export media using the REDcode codec When exporting a QuickTime file from a sequence using RED QuickTime media its best to use either ProRes 422 HQ or Uncompressed 10 bit 4 2 2 Editing for Film Output from Color Using RED QuickTime Media Keep the following guidelines in mind when you re editing a project that you want to grade in Color and output 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 automatically processes all Cross Dissolves in your program Other transitions are not supported and will instead be processe
23. o one or more backed up 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 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 project 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 1 gt f A007_10100S RDM B A007_C001_1010W4 RDC_ E Mag 2 digital magazine profile 3 A007_C002_10104F RDC gt E 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 Each folder that contains a group of RED media folders such as the Mag 1 through Mag 4 folders shown here is treated as a reel by the Log and Transfer window If you re using a RED Drive you should copy
24. ocked 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 needing to be reconformed Using RED Media with Final Cut Studio Nov 11 2008 16 2 If you haven t already create a RED Using ProRes sequence preset in Final Cut 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 3 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 Include master clips outside selection off e Delete unused media from duplicated off e Use Handles off e Include affiliate clips outside selection off Base media file names on pop up menu existing file names e Duplicate selected items and place into a new project on e Include nonactive multiclip angles off Media Manager Summary Create a new project containing the items you have selected Include ac
25. 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 Exposure Available in the RED camera s Color menu Increases and lowers image lightness in increments calibrated to f stops When raising the signal up to 100 or lowering it down to 0 the image is clipped at the boundaries of broadcast legality The overall range is 7 to 7 where 0 is unity Using RED Media with Final Cut Studio Nov 11 2008 21 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 The overall range is 0 to 10 where 1 is unity 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 As the video signal reaches the boundaries of 100 and O percent its compressed rather than clipped 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 When raising the signal close to 100 or lowering it dow
26. ports two variants of each resolution a 2 1 aspect ratio for projects intended for film output and a 16 9 aspect ratio for projects intended for video Color has only been tested with the 2 1 variant of the 2K resolution Whether you shoot 4K 2 1 and downconvert during Log and Transfer or simply shoot 2K 2 1 your working resolution in Final Cut Pro and Color will be 2048 x 1024 which is suitable for projects being printed to film Although the 2 1 aspect ratio is a bit wider than the 1 85 1 standard you can easily crop a bit off the sides in preparation for printing to film Important The 2048 x 1152 resolution that corresponds to a 16 9 aspect ratio has not been tested with Color If you plan on using this resolution you should do your own workflow tests before committing to shooting your project at this resolution Choosing a Frame Rate to Use with Final Cut Studio 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 You Record To Every frame rate for RED media is recorded as progressive frame so the timecode recorded by the RED camera is always non drop The timecode that is
27. rectories Stage 3 Grade Your Program Using Color 1 Prepare the sequence for sending to Color Clips with effects or using media that is incompatible with Color including clips with speed effects still images freeze frames and multicam clips should be prerendered as described in the Moving Projects Between Final Cut Pro and Color chapter of the Color User Manual Export each clip that needs to be prerendered as either ProRes 422 HQ or Uncompressed 10 bit 4 2 2 and edit the resulting mov file into your Timeline to replace the original unsupported clip When you re finished right click on your sequence in the Browser and choose Send To gt Color to send the prepared sequence to Color for grading Once in Color you ll find that 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 Please note clips that have been transcoded to ProRes 422 HQ lose the ability to access these camera settings as they no longer contain the native RED raw image data Stage 4 Render Out of Color 1 When you re ready to render the color corrected project you have two choices e Option 1 Render to DPX for film printing 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
28. rimary In room whenever a RED QuickTime clip is selected as the current shot and provides access to RED specific parameters The RED camera writes raw 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 image data is written within each R3D file Instead whatever settings were chosen at the time are stored within each recorded clip as metadata similar to a LUT that Using RED Media with Final Cut Studio Nov 11 2008 20 determines how these media files are displayed by compatible software This metadata can be overridden during the Log and Transfer process For clips that were imported with native color metadata 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 RED Image Controls The RED
29. s 3K media is not resized during ingest but this resolution is not supported by Final Cut Pro s realtime effects architecture so it may be an inconvenient format with which to edit Furthermore although Color can read 3K media it will resize it by half when rendering resulting in 1 5K media 2K media is imported as is with no resizing Since only 2K resolution is supported by Final Cut Pro s realtime effects architecture and 2K is the maximum resolution that can be output by Color you might think that shooting 2K is the easiest way to go While 2K is well suited for slow motion cinematography RED does not recommend 2K as a primary shooting mode for principal photography Using RED Media with Final Cut Studio Nov 11 2008 1 Keep in mind that the RED camera records smaller resolutions by using less of the sensor s area If your goal is to shoot with a shallow depth of field this may not be ideal Depending on the combination of lens and exposure you re using 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 during Log and Transfer It s also worth noting that shooting 4K will result in higher image quality even after the eventual downconversion in Final Cut Pro Choosing an Aspect Ratio The RED camera sup
30. sing 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 gt Video Processing Timeline Options Render Control Audio Outputs M Always Render in RGB Codecs which do not support YCbCr also known as YUV can only use RGB Y 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 Q Render 10 bit material in high precision YUV High precision YUV rendering provides higher quality results when f applying multiple effects or when the original material had more than 8 6 Render all YUV material in high precision YUV bits of precision but takes longer to render Process Maximum White av White ka 8 Click OK Warning 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 ProRes 422 as the compressor Using RED Media with Final Cut Studio Nov 11 2008 14 To quickly change a new sequence to support RED QuickTime media 1 Ingest a 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 Important When you automatically adjust a seque
31. tive Multiclip angles only Make duplicated items offline Items without a ree name will mot be made offline Modified n a move your cursor over bar graph for more information Media Create offline B media referenced by duplicated items Set sequences to RED Using ProRes B M Include master clips outside selection M Delete unused media from duplicated items Base media file names on existing file names A Project v M Include nonactive multiclip angles Media Destination Cancel 0K Using RED Media with Final Cut Studio Nov 11 2008 17 4 an Next click the Browse button in the Media Destination area and choose a location to save the media and the new offline sequence you re creating then click OK When the Media Manager operation finishes you need to change the ingest options of the Log and Transfer window before you begin to actually ingest media 5 1 Open the Log and Transfer window and choose Preferences from the Action pop up menu the menu with the gear icon 5 2 When the Import Preferences sheet appears choose Native from the Transcode to column corresponding to the RED Plugin 5 3 Close the Log and Transfer window when you ve finished 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 di
32. to use Unlimited RT 3 When you re finished editing send the sequence to Color and then grade and output as described in Stage 4 Render Out of Color in the previous section Use Unlimited RT When Editing RED QuickTime 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 menu set Playback Video Quality to Low or Medium and set Playback Frame Rate to Full X Play Base Layer Only C RT Safe RT Fa y Scrub High Quality L Dynamic High Mecium Low Dynamic Full Half Quarter lt T lt E Multiclip Playback 4 L Use Playback Settings y Full Quality SSS Using RED Media with Final Cut Studio Nov 11 2008 19 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 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 4 Enabled Saturation Kelvin Mint Exposure Red Gain Green Gain Blue Gain Contrast Brightness C Gama Color Space Camer aR GB iso 320 The RED tab appears in the P
33. 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 Archiving RED Media Using Disk Images For additional protection 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 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 Using RED Media with Final Cut Studio Nov 11 2008 4 5 Enter a unique name for the Dis
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