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Not that I want to push you away from this lovely forum, but note that there is a RED user forum, and it has a specific subforum for Adobe workflows. I spend some time there, as do the engineers that develop the RED parts of our software.
I am a member over there already and was aware of it.
Thought I would cast my query into the fray here as well.
I am never sure exactly what sort of projects the guys on this forum actually do edit because no one actually says much about them and RED in particular does not seem to get much mention by users here
I'm still waiting to get my own RED. (Scarlet...if they ever come out!) The snippets of test footage I have work fine in CS4. (Though I do need to downscale the playback a bit. Even an i7 can't keep up with 4K.)
One thing I love is the post production freedom you have working with RAW files.
The test footage in 4k had no problems running properly in my system.
I even had it multi layered in with footage from P2 and DSLR sources. ( all mixed sizes and formats).
I added grafix and keys (ultra) and motion fx ..... it was all running realtime.
I did knock back the playback run and pause rez though.
The material I shot yesterday I will be able to access and play with once they get the show to air in a couple of weeks. (TVC)
Should be interesting because I shot some 4k then some at 3k to enable slo mo. Red does a weird re crop for 3k. ( different to what you would expect actually.
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I just finished editing an entire feature film that was shot on Red, using PrPro CS5, editing on a Mac. I didn't know about the Red forum, glad to find out about that. We shot 4K HD, which is exactly double the size of 1920x1080 (3840 x 2160). Additional footage was shot on a Canon 5D, though not a lot.
Overall the experience was terrific. We used the NVIDA card with Mercury playback, but even so I tended to edit at 1/4 resolution with 1/2 paused resolution. Even though technically you can edit at higher resolutions, there tends to be a lag after hitting play which was too annoying. Even so, 1/4 resolution is all I needed most of the time.
The camera guys where superstitious about running sound to the camera, so we did the entire film double system. Since there is as of yet no way to make double system subclips in Prepro (other than making nested clips) I cut sequence to sequence, lifting clips from one sequence and pasting it the edit sequence. This is a technique I prefer anyway and use it even with other NLE that can make double system subclips. I wrote up a little example of that workflow here, 4th post down: http://forums.adobe.com/thread/659109
We broke the film down into manageable 20 minute chunks. After some clean up of the PrPro sequences, they opened up in AE without a hitch. We are now adding effects and doing color correction, keeping all the visual work in CS5. We will output the finish product in either DPX or Prores 444 1080.
That gives me the confidence to push on with a RED workflow and know it wont bite me too hard.
Actually, late yesterday, three TVCs came in that will be ideal for me to shoot and post produce in RED
Its amazing just how large a 4K frame is compared to 720 , 1080 etc isnt it? I overlayed them all in my test , and the 720 is like a postage stamp.
I am getting my hands on a red kit this weekend, and will see how my PC will perform.
the quality is just awesome.
Enjoy your self Baz and report back please.
It's true about 4K, though I should say my only working experience has been with 4K HD, which to me is an ideal format for most projects. What is a TVC?
TVC = TeleVision Commercial