We presented our 3rd Red demo in Denver on December 12th that discussed two distinct workflow options when using Final Cut Pro 7 to work with the new Epic and Scarlet cameras. The video below is a recording of the live stream that went out across the world and had viewers from several countries as well as across the US!
There are a few challenges that using FCP 7 for Red footage presents us with today:
1) FCP 7 will only work at up to 2k. FCP was designed as an “offline” tool and only recently have compressed camera formats allowed us to work “online” with our files.
2) There are a number of NLE’s that allow for working with R3D files online…FCP 7 is not one of them. The evolving R3D files and because FCP 7 is no longer being developed by Apple, we have to bring our R3D into the post supervisor’s favorite editing codec… Prores.
The first workflow we discuss is using an AJA Kipro Mini straight out of the Epic’s HD-SDI to get a 1080/24 Prores file. We can immediately eject the compact flash from the Kipro mini and bring it into to Final Cut to start editing. The R3D files can then be linked through a number of files later for finishing at higher resolutions.
The second workflow is a bit slower but much more flexible. We demonstrate the process of shooting onto the SSD card, bringing it into RCX, setting your options correctly, then transcoding and bringing that file into RCX.
We also demonstrate using XML to get to a finishing program (in this case Resolve).
Enjoy, and feel free to leave comments below!