



	Avid Shows New Thinking at Editors Lounge

	Transcendent Man Gets Panasonic P2 Treatment

	The Ins and Outs of RedCine

	Avid Comes Out Swinging

	Avid - Red Workflow




	06\|30\|08		Top Spot of the Week: Galp "Autocarro"
	06\|26\|08		The Ins and Outs of RedCine
	06\|26\|08		K 5600's New 1200W BlackJack HMI
	06\|23\|08		Create Shiny Metallic Surfaces in Maya
	06\|19\|08		Iridas Broadens Its Reach

• Film Set Designer Beleza Productions
• Makeup Artisit AFI (American Film Institute)
• ADOBE PREMIERE AND FINAL CUT PRO EDITOR DreamStaffing
• Camera Operator/Editor Media - News
• DP & Department Heads media-match
• PA's needed for Feature Film Dean Production Group
• Online Editors, Content Editor Obsessed With Film
• Crew Needed for Super 16 Film HOLE

Expert Training on After Effects, Final Cut Pro, Avid Media Composer, Premiere, Boris, Lightwave, Flash, Trapcode Form and Particular, Sony XDCAM and much more!. All DVDs are 10% off!!!!

Final Cut Pro - Red Workflow

Matt Armstrong

April 4, 2008 Source: Studio Daily

Post your comments below

At the AlphaDogs Editors' Lounge Red's "Leader of the Rebellion" Ted Schilowitz demonstrated the Red Camera workflow with Apple Final Cut Pro. He gives a nice overview of the Final Cut Pro native integration of Red files, explains different types of workflows and drops a few hints about Red's plans for the future.

Watch The Video Download Flash 8 Player

More RED Video...

Red – Avid Workflow

Assimilate Scratch & Red

Maintaining Red Metadata to Avid with XMiL Sequencer

Red Alert

Shooting Red Digital with James Mathers

Also check out the Studio/monthly tutorial on Editing Red Footage in Avid Media Composer

Comments (5) for "Final Cut Pro - Red Workflow"

excellent run through. Very informative.

Posted by Norris Hall on Friday, April 4, 2008 @ 04:33 PM

Always nice to see more info on Red and FCP. My thanks also to Ted,"the leader of the rebellion!284"
Thanks!!!

Posted by Cal Lundgren on Friday, April 4, 2008 @ 07:13 PM

SSeems to be a lot of hoops to jump through. Why is it not managed in the same way as P2, the RED code should be running natively, no Reference Movies. That surely must be a temporary step until FCP has the native RED codec. Then we could put out our DPX files as we do now using Glue Tools. So the question is- using RED's workflow with the QT linking back to the camera, data can we generate DPX files as we do now with our P2 material that can then go to Lustre for grading?

Posted by IAN WILSON on Friday, April 4, 2008 @ 07:53 PM

I am the V.P. Film Development, SimplyMe TV, a National Cable/Internet Television Network (simplyme.tv). Red is the flavor of the future. Our network will shoot in Red. Were "Up Next" so we must use "What's Next", and thats "Red" Very informative and futuristic! Tell me more.....

Posted by Anthony Andre Jones on Friday, April 4, 2008 @ 08:06 PM

Good to see that kind of video. Thanks Matt. Ted kinda brushed over the biggest bottleneck which is the conform from FCP to anything other than scratch. He made it seems so easy and it's just not that easy yet..... it's getting there but that was one thing the RED team totally didn't address.

Posted by Scott Simmons on Saturday, April 5, 2008 @ 11:13 AM