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Old March 27th, 2009, 12:49 AM   #1
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Are you editing RED in FCP? What's your set-up/workflow?

I'm looking at the prospect of editing a side project shot with a RED ONE cam and am wondering what I need to think about in terms of technical needs as well as workflows. This would be an @ home project, which means I don't have the supa' fly RAID, etc. I have my Mac Pro with 4 GB RAM running FCS2. I know I meet (or exceed) the technical requirements from the standpoint of supporting the REDCODE codec, but as far as practical real-life editing, what else do I need? In terms of storage, can a 2-disc eSATA RAID0 handle the workload?
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Old March 27th, 2009, 01:17 AM   #2
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The easiest workflow is cutting the proxies. Throw Clipfinder and integration with RedAlert into the mix, and it is pretty fast and easy.

The new Log and Transfer integration with Color is working well, too.

Your workflow depends on your plans for delivery, really.
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Old March 27th, 2009, 08:01 AM   #3
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Thanks for the reply Meryem. I'm still waiting on the details about their plan for the finished product. What is working with the proxies like compared to working with ProRes 422 (HQ) in terms of horsepower needs. Would a 2-disk eSATA array in RAID 0 be able to hack it (with backups on another drive, of course) or would I really need to look at upgrading to a 4 or 5 disk RAID?
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Old March 27th, 2009, 09:28 AM   #4
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I guess the answer to your question depends on how long your project is, and what size your disks are. I just edited a 5-minute project at home on a 2.6ghz Core 2 Duo Macbook Pro with 4 gb RAM and a 400gb portable G-tech hard drive. But I did most of my transcoding on an 8 core at work...transcoding on the Macbook Pro is pretty slow, unless you're talking about short clips.

Speed should not be an issue if you are editing with proxies, with the system that you are describing, and if decide to convert your files to Pro Res, it's just like any other Pro Res file. Your transcodes with only 4 gb of RAM may take awhile, if you decide to go that route. The big block to transcoding to Pro Res is if you have things like long interviews to transcode, those can be beastly. I've been pushing the start/stop button during interviews more frequently than I did before I started shooting them with RED cameras, just to break things up a bit in-camera.
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