Appendix A. Working with RED Footage

More and more projects are being produced using RED cameras, and although the RED/Final Cut Pro workflow isn’t complicated or difficult, there are a few specific settings and procedures of which you should be aware. This appendix covers the essentials to get you cutting your RED footage with a minimum of hassle.

There are two primary workflows commonly employed with RED footage: editing the native RED media directly (as QuickTime files), or transcoding the files to Apple ProRes during ingest. The only solid reason to stick with the original RED files is if you were planning to make a 4k digital master to print onto 35mm film. For the vast majority of users finishing on video or exhibiting digitally, transcoding ...

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