Spilling the Beans on Red One

Spilling the Beans on the RED ONE

Well, if you haven’t been living under a rock for the past few years you would know that a 10 pound 4K camera has been lurking around for under $18,000. This camera, RED has been stirring up frenzy. Low budget features are either blowing the budget on shooting with the RED or they are still skeptical on whether or not to use it. The most daunting question is, “What the hell am I suppose to do with .r3d files?” Sure Indie features are afraid of the new technology, but how do you think the Post-Production team and more importantly the Assistant Editors feel about it. After all, the Assistant Editor is the one that needs to know the workflow and create a nice cozy environment for the Editor to work on creative brilliance. As an Assistant Editor I have worked with the RED, it’s footage and it’s workflow for both The Avid Media Composer 3.0 and Final Cut Studio 2.

Before you start you may want to download a few programs that are cheap (free) and will help the process greatly:

All RED Post Production workflows:

RED Operations Guide (Release Build)
RED Camera Operations Guide, this is a good thing to have laying around and I have personally used it to troubleshoot post problems
RED Quicktime Codec
REDCODE RAW codec for Intel Macs. This allows you to play REDCODE RAW files directly through quicktime and will also help with final output.
RED ALERT! (BETA)
This also allows you to read REDCODE RAW files, but it can do a bit more too. With this you can perform on the spot white balance, color correction and contrast then export to DPX, TIFF or Quicktime
REDCINE (BETA)
Open .R3D files and export to a bunch of different settings
SCRATCH
Enables Native Processing at full 4k resolution for dailies, Conform, Color Grading and Finishing

For Final Cut/ ProRes Workflows:

RED Log and Transfer Plugin
Provides Log and Transfer mode to import REDCODE RAW files and transcode them directly to Apple’s ProRes Codec in Final Cut Pro Studio 2.

For Avid Media Composer Workflows:

MetaCheater RED16 Avid EDL Template
Helps track entire name of .R3D file and works hand in hand with Avid’s EDL Manager.

Lets Begin:

Final Cut Studio 2 Instructions will be highlighted in BLUE
Avid Media Composer 3.0 Instructions will be highlighted in PURPLE

So, first things first…Lets start at the beginning of the chain:

After the footage is shot and the digital negative is copied to three different hard drives (two of which should be directly put in storage). We connect the hard drive pack or firewire storage device to the computer and we can Begin.

In either case I can start by explaining the .R3D files and show you how they need to be read:

Example #1
RED Raw footage file

A001_C001_071206_001.R3D

A(black): Camera ID (this can be from A to Z, but mostly for an A team and B team)

001(orange): CF Card Number, this increases with every card inserted

C001(brown): Shot or Take Number on CF Card, this increases by 1 for every new shot

071206(green): Creation or Shoot Date, This is in Military Style (YYMMDD)

001(red): Number Indicates Sequence Order

.R3D(yellow): File Type

Avid Media Composer Adrenaline 3.0:

Okay, the workflow between Avid and RED is not hard to master, but not that easy as well.

1. Copy All Media to the hard drive you intend on editing with
2. Using one of the Free Downloadable programs listed above to create a nice Quicktime Reference file at the size and resolution you prefer to work with. Place these all in a single directory.
3. Next, Download and use the MetaCheater Program listed above to read all-important information from the RED files and create an Avid Log Exchange File (ALE) of all the data.
4. Setup your new Avid Project file and import your Avid ALE. Now, you have all your clips/takes in the bin found in your Avid Project. Keep in mind the media in not linked yet.
5. Select all the clips and Choose Batch Import. Point it at the QT Reference movies your created. So, now all the media is connected but you have no sound. Don’t freak out. Use the DNxHD36 through DNxHD175 (new online codec) for import
6. The last trick and your ready to cut. Take the Quicktime proxy from each RED clip and use Apple’s Compressor to extract a 48KHz/16bit AIFF file.
7. Once the files are done being extracted you then have to sync the sound file with the appropriate clip. This sounds hard, but just use the Avid AutoSync tool.

This sounds hard right? But if your not such a neophyte at the Avid and a decent Assistant Editor this doesn’t actually take that long. My advice is to practice before the job. I hit up a RED Camera owner on Craigslist.com just to grab his old RED files to practice my workflow before a gig. It was a sleepless night, but it ultimately gave me three more RED editing jobs within a 50mile radius.

Final Cut Studio 2 w/ProRes:

1. Copy all RED-FLASH CF Card or RED-DRIVE data to the hard drive you intend on editing with. I would recommend a firewire 800 drive or Express Card Drive (What I use), but of course it you have the money RAID works the best.
2. Locate the Quicktime Reference Movies
3. Create a new Final Cut Pro Project
4. Import the Quicktime References into the new Final Cut Pro project. Here you can use either 2k or 1K sized reference files. If I were using my Laptop on site, I would probably select 1K. Select 2K if on a decent postproduction setup Mac.
5. Select the ProRes HQ 1080p easy setup in Final Cut Pro Studio 2 to render files and ultimately create an online quality project.

Final Cut Pro Looks to be the faster route, but like most things that look too good to be true…there are some downfalls to using it.

Final Cut Pro Cons:
1. Render Times will kill you. These are “Take a Lunch break” render times. It takes 3 hours for every one hour of footage in ProRes, just to give you an idea.
2. Also there seems to be a problem with Full Quality playback in real time.

So, there you have it. Everything I have learned about the RED ONE 4k Camera on site and on the job at these past three RED post production jobs I have worked on. Though the resolution is beautiful I would stick with the P2 cards for now. We need to give the NLE (Non-Linear Editing) Systems a chance to make our lives a bit easier. Avid is in the testing stages of making a new codec that will solve a lot of problems. Apple is already on it’s way with Final Cut 6.0.2. Welcome to the future.

Enjoy,
Robert J. Williams
Assistant Editor

Avid RED Resources:

Red Workflow Diagrams

RED Workflow with Avid Video Tutorial

CreativeCow.net Avid RED Tutorial

Studio Monthly Tutorial

Avid Workflow (Reduser.net)

Red Camera Post Demo 5-13-08 ACE (Audio Files)

Final Cut Pro Resources:

Red WorkFlow Diagrams

RED Workflow with FCP

Apple Workflow (Reduser.com)

CreativeCow.net Tutorial

Red Camera Post Demo 5-13-08 ACE (Audio Files)

A Lesson in Sitcom

So, not too long ago I had the pleasure to cut a spec pilot called Dodgeville. This was my first real adventure into the sitcom world and I had my hands full. When you watch them on TV most people would think, “Oh, thats easy to edit.” This is wrong. It takes skill and loads of comedic timing. It was fun, but there were a few questions that I had about the art of cutting “The Sitcom”. So, I emailed Robert Bramwell, an A.C.E. Member and the current Editor on Always Sunny in Philadelphia’s Season 4. Since he may as well be the king of editing Sitcoms, why not? It’s not like he won a Primetime Emmy for Cheers, right?

Here is the question and the response:

Me:

R. Bramwell,

I was actually hired to edit a pilot sitcom that will be sent to FX Networks in a week. I am finalizing edits, color correcting and audio sweetening right now. Since you have a lot of experience editing sitcom type projects I was just wondering if you could lend me any general knowledge that may help me in the finalizing process, such as: The best ways to play up jokes, but the most confusing thing to me is how to incorporate music into a sitcom. Because it’s very dialog oriented.

Just to let you know, I am cutting it on Avid Media Composer using Script Sync. I seem to be the only Chicago based Avid editor using it. Makes things go quicker!

Robert J. Williams

Assistant Editor

Robert Bramwell:

Hi Robert,

That’s awesome! I’m presently editing ‘Sunny’ season 4. Please let me know what I can do for you if it’s not too late. Timing of dialog jokes is the most important thing in comedy. You should be able to sense when people should say the punch line just by closing your eyes and feeling it. Even though we are editing a visual medium, when you are dealing with dialog jokes it’s like a radio show or listening to a comedy CD. If you close your eyes you will sense where the dialog should start. As for music in a dialog comedy, I find that it usually fights the comedy. I like to use music as a transition into scenes and to punctuate the end of scenes, but playing music through scene usually ruins it. Most producers that I’ve worked with will play music very low in comedy scenes because the most important thing is the spoken word and as you know that is where the comedy comes from.

I’m glad that you are using ScriptSync and Script based editing, just about all comedy shows in Los Angeles use the Script. It’s the fastest way for Producers and Directors to compare different line readings. Your Producer and Director if not familiar with Script based editing will think that you are a genius and the fastest editor in town. The trailer looks pretty funny and uses music very well. I would check your show out.

Thanks Rob

Here are a few Avid ScriptSync

Resources:

Accelerating Your Editing with ScriptSync
by Robert Bramwell

Edit More Efficiently in Media Composer with Avid ScriptSync
Studio Monthly

Avid.com Video Tours of ScriptSync

Dodgeville Avid Media Composer 3.0/ ScriptSync Screen Shots:

Avid Media Composer 3.0 Red Workflow

I recently was on a job working with the Red on Avid Media Composer 3.0 (Short Horror Film) and I just found a quick tutorial of the stuff I had to go through. This is the best explanation on camera I have found so far. The screen is hard to see, but just listen to the instructor. If your not new to Avid you should get it.

Quickeys and KB Covers (one’s water proof, the other just useful)

Well, when it comes to assistant editing or editing at all in most cases every second counts. One way an editor speeds up his work is by using “Hot Keys”. There are billions of these key combinations and they change for every program you use in the process of cutting a project. I have recently came across two other very great ways to cut time on your projects. These two products will definitely help an assistant editor on a rough work day.

1. First, we have the KB Covers. The KB Covers are very thin silicone covers that cover your keyboard with the key layouts for your favorite and most used programs. This includes everything from Photoshop to Avid Media Composer to Final Cut Pro. They are extremely durable, long-lasting and KB Covers guarantees the paint will not chip after a hard day of work.

KB Covers Website

Editors Guild KB Covers Article

2. Second is a wonderful and time cutting program called QuicKeys. This is a great program for assistant editors who have to do a lot of repeated tasks. This is a favorite of mine and I am definitely not alone. Both Robert Bramwell, A.C.E and Harry Miller A.C.E like this program as well. With QuicKeys you can create your own hot keys for any program. You can even set it to monitor your key strokes while you are editing. Then you can just go back and see what pattens you are using the most frequently and program it into one hot key.

America Cinema Editors QuicKeys Tutorial

QuicKeys Website

Welcome to “The Working Assistant Editor”

Robert J. Williams “The Working Assistant Editor”

Hello, and welcome to my Blog Spot, “The Working Assistant Editor”. Not too long ago I was cutting wedding videos and cable television commercials to pay for food, gas and water (well, actually Belgian Wheat Beer) and that was okay, but got a little boring after awhile. Now, being a working assistant editor. I get paid better. I get to work on Feature Films, Trailers and the occasional sitcom. I get asked if I can turn a file into another format. I get asked to fix or find the right codecs. I get asked if the fat guy smiles in scene 81 take 5. I get asked to put 14 TB’s of data into an order in which the Senior Editor can search for a particular take by date, time, time code, or color. I get asked if it is possible to take a whole tree out of the foreground of a shot. I get asked…Well, you get the point. Being a working assistant editor is hard, challenging and somewhat like being a super hero. Studios, Post Houses, and Production Companies expect the Assistant Editor to have twelve arms and fly. So, because of this and past experiences I have decided to create this Blog Spot, “The Working Assistant Editor”. This is a place where I can create links to Avid, Final Cut Pro, and General Editor Materials for the Assistant Editor. This is because half of the Assistant Editor’s job is to troubleshoot. So, I hope in the coming month I can transform this site into The Ultimate Assistant Editor’s Cheat Sheet, which will have links to troubleshooting articles, Job Search Sites, and other helpful Blog Sites.

Enjoy,
Robert J. Williams
Assistant Editor