> There is no option in PrPro or AE to output to R3D... it seems to me a smart idea to render VFX shots into the same format.
Since you mentioned After Effects, I won't hesitate to speak from an After Effects perspective, even though we're on the Premiere Pro forum:
Though it's always dangerous to generalize, I'd say that the "normal" workflow for doing digital-cinema-sized VFX work is to work with image sequences, such as DPX or OpenEXR. I see a lot of folks going from R3D to DPX by way of their post-production tools.
There are lots of reasons for working with image sequences in After Effects, not the least of which is safety. If a render fails, you can pick up on the frame where you left off rather than having to render and export from the beginning to get a good movie file. (Another reason is that multi-machine renders work better with image sequence output.)
Working in a 4K HD
As a point of interest, 4K and HD are two different things. One shouldn't confuse them.
On the issue at hand, there are lossless codecs available that are resolution and frame rate independent, and can be used as intermediate files. Lagarith and UT are both 64 bit and available to Premiere. (But you will lose the aforementioned advantage of an image sequence if a render fails).
Thanks. To clarify the HD 4K note, that is what Adobe calls it in PR, and I believe is what the setting is called on Red Cams: 3840 x 2160, exactly double of 1920 x 1080.
This is what I got back from Reduser.net, which should be of interest, gets into de-bayering and RGB:
Essentially, the R3D codec is a one way street. Looks like I will be exporting and re-importing DPX or DPX/Cineon, which is more than good enough.
Well how about that. Sort of in-between 3k and 4k. Never saw that before.
It's a good format because it renders faster. the math is easier on the processors, and of course there's less pixels to begin with than 4k. I think it's becoming a standard of sorts for TV & cable shooting Red.