Check out my new tutorial @ digital cinema lessons about how to match slate information with R3D files and to import into FCP.

Date un' occhiata al mio tutorial @ digital cinema lessons su come far coincidere le informazioni del ciak con quelle dei file R3D e come importarle dentro FCP.

This is the first post dedicated to "tech stuff", there's also a new category called Tech where I'll add workflows, tutorials and our best practices to work with digital files. Some people call here in the studio asking how managing the Red files...what we can say...there are a lot of ways to manage R3D files, the workflow I'm going to explain is quite easy and it's a good starting point:

Questo è il primo post dedicato alle questioni prettamente tecniche. C'è anche una nuova categoria nel blog chiamata Tech dove aggiungeremo workflow, tutorial e i nostri migliori metodi per lavorare con i file digitali. Alcune persone chiamano qui in studio chiedendoci come gestire il file Red...che posso dire...ci sono molti modi per lavorare con gli R3D files, il workflow che sto per illustrare è abbastanza semplice ed è un buon punto di partenza:

Thanks to Nick Shaw, Hans-Georg Daun, Rowland and me now the workflow with Apple Color is really easy:

1 Shoot 4k/2k 16:9 or 2:1

2 Drag the RDM folder in CLIPFINDER

3 Choose M proxies for 4k and H proxies for 2k

4 Drag the clips to FCP bin and make your edit with M (for 4k) proxies and with H (for 2k) proxies

5 When you finish your editing duplicate the sequence, put all the clips on the first video track and remove all the effects

6 Send to Color

7 Close Color project

8 Open CLIPFINDER and choose the Color project you want to fix, use the “looping bug” fixer in the Tools menu

9 Reopen Color project

10 Enjoy!

For longer projects with many hours of footage you can first trascode with Clipfinder the r3d files to mov files (choose 1/4 resolution proresSQ, it's quite fast) and then reconnect the mov with the proxies with Clipfinder (read the help of Clipfinder how to do it), then send to Color.

Note: Footage is fed into Color via the equivalent of a “half res high” decode, not quite as good as decoding full 4K and scaling but good enough (really good) for almost any HD finish and TV projects. If you want the maximum quality (full debayer decoding) you can use Clipfinder, Redcine or Redalert but the workflow discussed above is very straight forward, really fast and easy.