RED Workflow Redux

I might be just winging it, but darned if it don't work!
Art Adams
By Art Adams 09.14.08

I haven't yet found a manual for working with RED footage. The methods that I've discovered have been cobbled together by searching through thousands of posts on (which has a very low signal-to-noise ratio), hundreds of posts on the Cinematography Mailing List, and just making stuff up.

I recently shot two very low budget political spots on the RED, and as our editor was tied up with another project for a week I took a stab at doing the rough cuts. It wasn't nearly as painful an experience as the first time I tried to cut RED footage, but there are still some basic bugs that have to be worked out of the workflow.

The biggest annoyance is that RedCine, RED's earliest batch-processing color correction and conversion program, doesn't do anything with sound. I cut in Final Cut Pro, and Apple has decided that they only want to support RED footage by forcing us to convert it into ProRes. That means using a tool like RedCine to do basic color correction on each clip and then render those clips into ProRes, a process that usually takes several hours.

Unfortunately, RedCine is not completely bug-free. The most annoying bug is one where you discover, after several hours of rendering, that your first clip rendered fine but all your other clips were rendered out as still frames from the first clip. This is a bug that I've run into numerous times, and the only apparent solution is to trash that RedCine project file and start again. Not very time effective.

RedAlert is much more stable but only handles one file at a time.

How I solved the batch processing dilemma on the next page...

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