Apple Final Cut Studio Bedienungsanleitung

Using RED Media withFinal Cut StudioThis document describes the best practices for following a digital cinema post-production workflow with Final Cut S

Optionally, you can export your own color preprocessing preset using the RED ALERT! application (available for free from www.red.com) and use it to pr

compatible applications. This is faster than transcoding to any of the Apple ProRes codecs, and provides the highest quality along with access to the

•The name of the RDM directory that encloses each set of archived RDC directories (that contain the source R3D files) is used as the reel name of inges

Note — When you automatically adjust a sequenceʼs settings in this way, the Video Processing tab of the Sequence Settings is automatically set to “Ren

Recommended sequence preset settings for RED media edited in Final Cut Pro5. If you decide to use Apple ProRes 422 (HQ), then click the Advanced butto

Note — This option is only available when the sequence is set to use one of the Apple ProRes 422 codecs.6. Lastly, open the Video Processing tab, and

Real-Time Performance in Final Cut Pro Using RED QuickTime MediaBecause native RED QuickTime media is extremely processor-intensive to work with, youʼ

•Donʼt use the Motion tab to create animated pan and scan effects. Instead, use the Pan & Scan tab in the Geometry room of Color, which lets you s

can work in Color at higher quality with access to all of the raw linear light image data in the R3D file, as Color can bypass QuickTime and use the RE

Recommended Media Manager settings for native RED QuickTime reingest4. Click OK.5. When the Save Project dialog appears, choose a location to save the

•The image data of 3K REDCODE media is also kept intact during ingest, but this resolution is not supported by the real-time effects architecture of F

8.1. Click the Add Volume button in the upper-left corner of the Log and Transfer window.8.2. Choose the folder or disk image that contains your archi

As a result, all 4K clips that match the resolution you chose have their scale parameter reset to 1.000000, which is the native resolution of your med

•Advantage —Using an EDL and Cinema Tools database to move your sequence into Color and relink it directly to the native REDCODE media eliminates the

8. Click OK.The Cinema Tools database is automatically saved. When youʼre finished adding REDCODE media, quit Cinema Tools.Important – Cinema Tools der

Recommended EDL Export Options settings for Color3. Click OK to accept the EDL Export Options settings.4. When the Save dialog appears, choose a locat

5. When the Source Directory dialog appears, locate the Cinema Tools database you created in Stage 2 (it will have a .ctdb file extension), and click C

Workflow 4: Work and Finish Using REDCODEThis workflow consists of working in Final Cut Pro with transferred RED QuickTime clips from the very beginning

Primary In Room Parameters for RED Media in ColorWhen RED QuickTime media is sent to or imported into Color, a RED tab appears in the Primary In room,

For clips that were imported with native color metadata, the RED tab provides access to the clip Color, Color Temp, and View metadata originally writt

boosts or lowers the maximum value of the corresponding color channel, and scales the midtones while pinning the bottom of the channel to 0 percent. L

Choosing the Appropriate Timecode Track for Each MagazineThe timecode recorded by the RED camera is always non-drop. The timecode that is recorded for

Important — Changing the ISO setting of your RED camera does not alter the recorded data. However, since it changes the lightness of the image youʼre

Important — Whenever you work with proxies, itʼs a good idea to review your grades at Full Resolution at least once before rendering your final output.

Example of four archived directories of RED media. The name of each RDM folder is used as the reel name for all the media it contains.If youʼre using

Archiving RED Media Using Disk ImagesFor additional protection, consider copying the contents of each CF card or RED Drive into a disk image thatʼs si

For your reference, each RDC folder contains media files with the following extensions:•.R3D — This is the high-quality REDCODE raw image data itself.

Method 1: Transcoding to One of the Apple ProRes CodecsYou can transcode R3D media to any one of the Apple ProRes codecs. The one you should choose de

Choosing an Apple ProRes codec for transcoding REDCODE media4. Optionally, you can choose a color option from the RED FCP Log and Transfer plugin subm

If necessary, you can choose other color preprocessing options from the RED FCP Log and Transfer plugin submenu of the Action pop-up menu. The image p