Editing Red Footage in premiere help

Hi,
Finally, I decided to edit red footage in Premiere cs6 this is my first edit can any one plz help how to Edit red footage,i mean red is a raw footage,am i first grade(basic color correction) the footages or edit the footage (my confusion) and then finally grade it,i am choosing speedgrade to grade- plz tell me the whole pipeline thanks.

Information FAQ http://forums.adobe.com/message/4200840 questions to answer
Red Camera http://forums.adobe.com/thread/876142
-and http://forums.adobe.com/thread/901142
-laptop http://forums.adobe.com/thread/900733
-Rocket Card http://forums.adobe.com/thread/906227

Similar Messages

Importing red footage with premiere pro trial download

Trial period only gives the standard importing format. How can i import Red footage?

You can't. It's a licensing limitation.
Mylenium

Graphics card and RAM suggestions for editing RED footage?

Hi there,
I'm planning to edit a project shot on RED at 4K in Premiere CS6.
In terms of system requirements I would be interested to hear what the potential is (and what differences I will see between) these two options:
RAM: 8GB vs 12GB
Graphics: 2GB Nvidia GeForce GT 650M 130W (or eqivalent) vs 3GB Nvidia GTX 670MGDDR5 (or equivalent)
Many thanks if you can help and if you require any additonal information please let me know

The starting limitation is the slots. System boards on laptops are not standardized like they are on desktops. What that means is a system board in a laptop is designed specifically for that shell. If that systemboard only has a limited amount of ram slots then that permanently limits the features.
The laptop you linked only has 2 ram slots. The laptop I linked has 4. So you can upgrade the ram further in the laptop I recommended and can be done post sale.
The other factor is bios memory mapping. Many laptops are limited to 4GB sticks as the maximum supported ram because the bios is not programmed to handle 8GB sticks. This can happen on desktops as well but is far less likely.
The Laptop you linked lists 4GB sticks as the maximum supported ram. The laptop I linked includes support for 8GB sticks. Now at some point the manufacturer can update the bios to include support for higher density ram. So Dell could add support for 8GB sticks on the laptop you linked. However don't assume that. Verify before you purchase.
Hope that helps.
Eric
ADK

Which codec should I use to edit HD footage in Premiere Pro?

I am shooting with a Sony NXCAM which gives me AVCHD .MTS files. I am an old FCP user switching to Premiere Pro. I used to transcode the footage to Apple Pro Res 422 and most of my stock footage is now in this codec. I know Premiere Pro accepts all codecs but I need to offline my footage using the Project Manager. Can you tell me which is the best codec in Premiere pro to edit and transcode footage to now? The only one I can see that kind of matches is AVC INTRA - I 100.
Thanks for any suggestions,
Adam

Edit in the codec you shot in ( source file) is good practice
Drag a clip onto the NEW ITEM ICON (bottom of Project Window) and PPRO will match up a sequence.
Good starting point.

Editing EX1 footage with Premiere!

I could not yet get a straight answer on the Adobe forums so I'll try again.
Up until now I used Cineform codec (Aspect) to edit HDV. I would import in Aspect, edit Aspect, and Export Aspect. All my rendered archive footage is in Aspect.
Fine... now here comes the EX1 with its EX1 files. (Let's call it EX1 codec).
I have two options:
(1) Either I use the old technique and stick with my Cineform Codec, make the conversions and edit in Cineform. (The advantage is that I can render AVI files which I can render back and forth from one program to the next or do color correction on it with minimal generation loss). This option would require me to purchase Cineform Prospect HD (for full HD resolution) and convert all my EX1 files prior to editing. It would also require me to edit in CS3 as Cineform is not yet compatible with CS4.
or
(2) I can edit the EX1 footage natively in CS4. This option would allow me to avoid the conversion hassle and having to purchase Prospect codec. However I don't see how I could render AVI files for going from one program to the next. Moreover I don't know what that means in stability or rendering speed and/or general processor handling capacity once I have 10 layers of footage to run. Also I don't know about color correction and the generation loss one can expect when doing it natively.
Does anybody have experience with this? I don't have any feedback and have not been able to make a decision on this yet.
Thank you for any help.

>Also I didn't hear you tell everyone you actually purchased CS4.
The troll actually told everyone that it did not buy a license for PPro and has only purchased upgrades. The troll protests too much.
Cheers
Eddie
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I am trying to edit Camtasia footage and Premiere won't recognize the codec

I downloaded and installed the tscc codec Camtasia uses. The .avi plays back fine from VLC and Media Player but Premiere doesn't recognize it. I have an older version of Premiere on an old work PC and it edits the codec fine but for some reason Premiere CC 2014 won't import it...

Good day,
Sorry to hear you're having trouble. Could you try the solutions outlined in this document: Troubleshooting Common Problems with ExportPDF
Let us know how it goes!
-David

Red Rocket and Premiere Pro CS6

So what I want to know is what exactly does the Red Rocket add to Premiere Pro CS6? I have one installed in my Mac Pro and have found similiar performance with it off and on in terms of playback and rendering. I found this post from Adobe employee Will Renczes in another thread:
To the OP: I think you need to unravel the complexity. You should also be able to get 4K RED files playing back @ 1/4 res without a Rocket - the only thing the Rocket brings to the table is realtime debayering @ full res. There's plenty of people editing 4K footage on macbooks @ 1/4 res...
Is that really the only advantage to this $5000 card in Premiere? I won't see any increase in performance unless the playback resolution is set to full? I just tried a test and my computer definately lags playing it back in full res without the RR, but it still stutters a bit even with the RR activated. I guess I wish it helped the playback at lower resolutions, as well as during the export process.
Do any other Adobe CS6 apps make use of it better (Speedgrade perhaps)? If this card really isn't doing all that much, might just try to sell it. Darn you Adobe for being able to edit RED footage without a crazy expensive card!
-sam

Look at the preview resolution for your Red Timeline in Adobe. If you want to play 4K and 5K out to a monitoring solution able to handle that via Redcine-X then the Red Rocket is the way to go right now. If your transcoding red files constantly via Redcine-X then it also speeds that up. This is the case atleast till you start seeing HDMi 1.4 monitors that support 4K res.
Eric
ADK

Problem with red footage import

I cannot import red footage in premiere pro cs4: error message "file grayed or damaged" Do you know why ?

After quitting CC (I'm not a subscriber kind of user, that's all), I went back to my master suite Cs6.
I did one mistake, updating to the current version. A sign of my problem was that Ae Cs6 didn't worked either (in terms of RED files).
(FCPX and RED Cine X etc worked fine, so I excluded a problem on my system)
The only solution that I found was working was: After I rolled back to Pr Cs6 6.0.2 (I do no updates druing productions, so one MAC was on 6.0.2, I just copied it)
It didn't worked with 6.0.0 nor with any other than the one named above.
The ImporterRedserver.app was 6.0.0 and the Importerred.bundle was the only one in history named ImporterRED 3.38.08 PM.bundle, which was version 6.0.1
Of course that will not work with Dragon. I tested Scarlet and Epic files from the past two years. They open fine.
The problem is, if one mixes the versions (e.g., newest RED Cine X and the Photoshop plug in, the stored information in the .RMD file might shift the color: compare Ps RED plug in v6 and v7, with an RMD setting done in RED Cine X. There is a huge shift in blue)
So, all in all, I hope Adobe delivers a new "bundle" and "app" for Dragon and Pr CS v6.0.x

Red footage with Final cut pro X

I am intersted in going for Red Scarlet so I want to know how well does editing Red footage work on Macs with FCPX with out the Red Rocket card? I have an iMac i7 but will have to switch to a Mac pro and get a Red Rocket card if it doesn't work well on an iMac.

http://www.fcp.co/final-cut-pro/news/611-two-new-colorspace-transformation-plugi ns-for-final-cut-pro-7-and-fcpx

Editing Red Dragon Raw 6k Footage with Premiere CC and/or CC 2014 - Which is better and what issues should I expect?

Hi All
As the title asks;
1. Are there any known issues when Editing Red Dragon raw 6k footage in Premiere Pro CC/CC14 ?
2. Which version of the software would be the best choice ? CC/CC 2014 (I have both)
This is my first Red Dragon 6k Project in premiere CC software and although I have used CC extensively since its release I am working with a tight turnaround so making sure I have as much info as possible to troubleshoot. (if needed)
This question is directly related to the software and any known issues. It is not hardware related as we are setup for that side of things with very fast SSD -> Thunderbolt storage and powerful machines.
Any info or experiences would be greatly appreciated
Thanks
Piers

Hi Piers - did you ever get an answer or figure out a good workflow for editing 6K in premiere?
If so, i'd appreciate you sharing what you've learned.
Thanks!

Premiere - RED Footage - EDL issue

Hey guys,
I have a short film project that was shot in RED. The editing is done and its going to the colorist who is using Resolve. During editing we renamed the files in the Premiere session with the scene and take nos. The original RED files are untouched with their original folder structure. Now, when I export the edl for my colorist some of the clips in the edl are referring to the clip names in the session rather than to the original RED footage name. Others are referring to their original RED name. And those clips are fine when he assembles it in Resolve. I have asked adobe support about this but they are not of being great help. Any ideas? Thanks.
Jithu

Probably because nobody knows.
If I were you, I would be busy re-naming the clips
back to the file names so I can spit out a usable edl
and figure out the kinks later... instead of waiting
(and double-posting).
note:
Instead of re-naming files, I use the 'Comments'
and other columns for scene descriptive information.

I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

I downloaded CS6 Red Plug-In and added to Package Contents, replaced the current files with the new without backing up, now my RED footage thumbnails and color-correction don't WORK! How do I get my old importerRed file back!!?? HELP!

Try asking in the Premiere Pro forum seems to be an Adobe Lab for Premiere Pro

Premiere Elements 11 - Red Footage

What is the best way to get Red (R3d) footage into Elements. Originally when I bought it I thought I was getting the Premiere with the direct import, but of course that was only for Premiere Pro CS5.5 or 6. But now just wondering what anyone has found as better quality than exporting the R3d to a .mov and editting it in Premiere, because that compresses it way to far. Thanks!!

Red is a professional video format that is not supported by Premiere Elements.
Premiere Elements is a consumer video editor designed to work with consumer video formats: miniDV, HDV, AVCHD and Flip video.
To edit Red video, you should use professional software like Premiere Pro CS6.

Need help with compositing DPX red footage and workflow

Hi Guys...sorry to repost this..I've tried in many other forums, but haven;'t gotten a straight answer yet, I'm hoping anyone on this page can give advice...
Recently, I was asked by a friend to help on a low budget project by doing some roto and paint work, and some simple composites in After Effects. The question I have is regarding the specific workflow when it comes to dealing with Red Footage in AE. Currently, the project, which is very small, is getting it’s fine cut done by the editor, and their post supervisor asked how I would like the plates to be delivered for comping…I requested 4k 10 bit DPX files set to Red Gamma/ Red Log Film color space, which I understand to be standard for ingesting.
The question I have is the best workflow setup for this in AE? Because AE has recently upgraded with CC 2014, there are several new plug ins that I am not familiar with regarding importing DPX or Open EXR files, and the precise color space to work in so I can have a “normalized” project to comp in…..basically Log to Lin, and then exporting Lin to Log.
This is what I have gathered, and again, I’m not sure if this is correct, so please let me know your thoughts on the best way to work with this:
Basically I was told to work in sRGB color space in AE in order to work with my VFX comps and elements in the “normalized” sRGB linear colorspace, so go “Log to Lin"
1. Import the red footage as 10 bit DPX sequence into AE (with a RedLog Film color gamma applied)…the project settings should be set at 32 bit depth and the working space set to sRGB
2. Right Click on the DPX footage and select “Interpret Footage” select “Main” and then go to the “Color Management” Tab
3. At the “Assign Profile” Box, select “Universal Camera Film Printing Density”. This should “normalize” the footage in the RGB colorspace of the project, and I should be able to see a Rec709 (sRGB) image instead of flat Log.
For the Rendered Output from AE for the colorist…..
Best to render out two different formats, one in Log space for the colorist, and one in a 1080 QT linear space for approvals from the Director
1. In the AE Render queue, set up two output modules…go to “Output Module Settings” and select “Color Management” tab, then select the “Output Profile”.
2. Set the profile to “Universal Camera Film Printing Density”, and the file format to DPX…or whichever the colorist requests as the file format (png, Tiff, etc)
3. The second module can be set to sRGB in QT for approvals
Does this make sense? Is there a better way? Am I on point? Thanks so much, I really want to have this nailed down before I continue.

Jason talks about merging clips right a the beginning of the video.
http://tv.adobe.com/watch/cs-55-production-premium-feature-tour-/adobe-creative-suite-55-p roduction-premium-feature-tour-overview/

I am using 4K Footages for editing in Premiere pro CC 2014, but its getting crash in between at every 15 to 20 mins. Kindly suggest how can it be solved, does any plugins or settings needed to edit 4K footages? Also would like to mention that footages fra

I am using 4K Footages for editing in Premiere pro CC 2014, but its getting crash in between at every 15 to 20 mins. Kindly suggest how can it be solved, does any plugins or settings needed to edit 4K footages? Also would like to mention that footages frame rates are 29.97 and i have set timeline to 25 FPS is requirement by client. kindly revert. Thanks

Thanks Richarad ..It has solved the problem but still crashes some times .As the programme has the break (bumper)after every five minutes ,i hope it will not compress bumper time too after export.

Editing Red Footage in premiere help

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