Shooting With RED ONE^TM
Before shooting with the RED ONE^TM camera use
the following settings:

Format
Autodesk applications will accept 4K, 3K, and 2K projects.
Time code

Select TOD as the primary timecode track. Timecode
generated by the RED ONE^TM camera is non-drop frame.

Reel numbers
Make sure that the Incremental Reel option is
checked and properly configured so that each reel
has a unique name. Set the reel number to 001 at
the start of every new project.

Other camera settings
Use the default exposure and color temperature settings.

The RED ONE^TM converts RAW image data to
various color spaces in order to support previewing
on set, however, unmodified RAW data is recorded
to storage. Standard settings on the camera are ISO
320 and a 5000K color temperature. These settings
are stored as metadata and serve as a starting point
for later color space and format conversion using
the RED software tools, or for post-production work
using Smoke, Flame, or Lustre.

Backup your digital media
Optionally back up your files to separate physical
media, keeping the same folder hierarchy as the
magazine. It's much easier to keep track of your
media by placing each day's magazines in a separate
folder. Consider keeping several copies of your data
(preferably in separate physical locations).

Working In Final Cut Pro
Import QuickTime proxies into Final Cut Pro
There are several methods of editing your
content in FCP. One reliable method is to use the
QuickTime proxies generated by the camera. These
proxies contain the synced audio from the shoot.
Make sure that you do not modify your proxy
filenames or the R3D^TM filenames. Instead, use the
various comment columns to identify your clips.
Import the proxies directly into FCP, either by
drag-and-dropping them into a bin, or by using the
File > Import Option.

Selecting a proxy resolution before import
depends on the speed of your editing system. The

medium-resolution proxies (ending in _M.mov)

work best under most circumstances.

Edit
When inserting a proxy clip into a new sequence,
FCP will prompt you to change the resolution of
the sequence to match that of the footage.
Click Yes, then, in the RT menu, select a low quality to
avoid as much playback stutter as possible.
While real-time debayering is very processor-intensive,
it is still a simple way to edit footage with synchronized
sound from the original camera recording.
For another editorial approach in Final Cut Pro,
see Appendix C.

A Flame or Smoke workflow involves exporting
only an XML file. For a Lustre workflow, you also
need to export one or more EDLs, so limit your
edit to one video track. If you must edit using
several tracks, you will have to make as many
duplicates of your sequence as you have video
tracks and remove any additional video from the
duplicates. You will end up with several EDL files,
one per video track.

**FOR MORE INFO SEE THE SHARED FILES SECTION FOR PDF

 "Preparing" footage for keying is rarely beneficial. Only if DV-compression blocks or bad noise contaminates the footage blurring the blue channel may help a bit.

It has always been the best way not to manipulate footage PRIOR the keying process. In the old film days you never pushed saturation or anything else in the telecine process that may introduce noise and other video artifacts to footage. Such green screen scans looked very flat, often with a distinct orange tint. Pulling a key off such flat scans was much, much better than off saturated "right" looking footage.

There is a reason why Red supplies RedlogFilm. For pulling keys we use RedColor2 or Camera RGB (the latter one has a slight more magenta tint) and RedlogFilm. No OLPF compensation, no sharpening, no raised saturation, no curves, nothing. We mainly use MasterPrimes or sometimes SuperSpeeds, the old M sensor and daylight light. But I also once achieved very good results with a Cook 18-100 and tungsten lighting. File format after debayering is DPX. We use Autodesk's Modular Keyer but the offerings by The Foundry will do it adequately well.