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Filed under: Cameras •Post Production •Production •

New Red Camera Adobe Support

What about AfterEffects?

The best way to work in AfterEffects with R3D is set the Global Settings to Full so AE will render correctly during Render/Export. You can still work with the various Global settings, just remember to change back to Full before you export. To make this easier in the future, the AE team is already working on several new Red ideas, so stay tuned.

From Red to Blu in a few easy steps

Encore is a breeze to use with Red R3D files. If you want to work at 512x288 to create your Blu-ray disc and test preview in Encore - it’s no problem. All you need to do is save your Encore project and quit, set the Global Settings back to Full and then re-open your Encore project , it will now be at Full Res using the same project. Remember that Encore Blu-ray only supports the HD frame sizes supported by Blu-ray players and therefore has a fixed output size. The key is remembering to go back and set the Global setting to Full.

SNEAK Peek

PLEASE keep in mind that this is the first sneak peek video at the work that’s been going on between Red and Adobe. The Importer plug-in I use in these videos is an early beta and only shows the basic workflow. I don’t discuss Audio in the video because this internal beta currently only supports video as of Aug 11th 2008. The first development hurdle is to get the basic Red Importer plug-in working and then work on adding support for more options like audio.

The longer workflow video was really created as an internal video for our various video/audio teams here at Adobe (Premiere Pro, After Effects, Encore, and Soundbooth). The main idea was to have a way to see the plug-in action and discuss the different workflows and discuss ways to improve the overall Red user experience. There are few places in video where I drag multiple clips from the same folder without discussing Card Spanning. Card Spanning is term that simply means when a clip fills up the first storage card on the camera, it starts filling up the second card and so on.As with most tapeless cameras, a new folder is created with clips and other data every time you start and stop recording.You only need to select the first clip in each folder as the Red Importer tells Premiere that their are more clips that go with the first clip in the subfolder. If you import all of the R3d files in the same folder (as I showed) you will end up with duplicate clips. I also import an entire folder of Red clips to show how fast it reads the files, again, not a real workflow because you will end up with duplicate clips if there is more than 1 R3D file in a subfolder. I was looking at it more from a performance test not real workflow.

The GOOD NEWS is that we have already figured out how to address this card spanning and clip workflow issue. This new method makes reviewing your tapeless clips a snap. I’ll talk more about that at a later time

Several Adobe team members have already commented on better workflows and it has also given them more ideas on where to take our products in the future. To me this was the most important thing to accomplish in making this quick video. Getting the various teams here at Adobe talking about formats is key to having a successful suite of tools for the Red Camera.

This is the first time we are opening the doors to let you take such an early peek. I’m sure these videos will be out dated soon when the first sets of Beta Red Plug-in gets released to the public.

For the High Res H.264 version, you will need Quicktime 7. If you need to download it, you can get it here: http://quicktime.com For an excellent streaming Windows browser experience, try Apple’s Safari for Windows. Download it here: www.apple.com/safari

Special thanks to http://mbsdirect.com for hosting the high res QT versions.

Click here to see the short intro QT7 Video (2 minutes)

Click here to see the longer Workflow QT7 Video (20 minutes)

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