“Accelerate your RED workflow with Premiere Pro” seminar recording and notes
Recently, Adobe and RED presented an hour-long online seminar about using Adobe software with RED Digital Cinema cameras.
Representing RED was Ted Schilowitz (“Leader of the Rebellion”), and representing Adobe was Wes Howell, software quality engineer.
To watch the recording, click this link.
Ted and Wes talked about quite a few things in this seminar. Here’s a quick summary, with links to resources for more information about the subjects that they covered:
- Ted showed two RED cameras, the Scarlet and the EPIC, and explained their similarities and differences. He gave some useful details about the EPIC camera’s ability to record at a greater frame rate at large frame sizes.
To use EPIC or Scarlet footage in Premiere Pro CS5.5 or After Effects CS5.5, you must install the EPIC and Scarlet importer. This importer plug-in does not work with Premiere Pro CS5 or After Effects CS5.
- Ted also showed a RED Rocket card and explained the performance improvements that can be achieved with this card.
Note that users of Premiere Pro CS5 or After Effects CS5 must have the 5.0.2 or 10.0.1 update for these applications to use a RED Rocket card. These are the same updates that are required for the CS5 applications to use RMD (RED metadata) files and the updated color science. The CS5.5 applications have these changes built in.
- Wes showed the Media Browser, which makes browsing and importing media in tapeless formats much more convenient—especially when working with spanned clips.
- Wes showed a few other tips for setting up Premiere Pro and After Effects to best work with RED files:
- decreasing resolution for playback and pause to improve performance
- creating a sequence with the right settings, matching the footage
- using Default Scale To Frame Size versus Scale property in Motion effect for fitting RED footage to the frame size of an HD sequence
- setting color depth to 32bpc in After Effects
- setting working color space to Rec. 709 in After Effects
- Wes also showed the basics of using time-remapping—which can be done in Premiere Pro or After Effects—and discussed the use of the Warp Stabilizer.
- Both Ted and Wes talked about hardware for optimum performance with Premiere Pro and After Effects. For information about hardware decisions that influence performance, see this page.
Some aspects of this seminar were specific to Premiere Pro CS5.5 and After Effects CS5.5, but most of it was also relevant to users of the CS5 versions of these applications. For details of what’s changed with regard to RED features in Premiere Pro CS5.5, see this page.
If you have any questions about working with RED cameras and footage, bring them to the RED User forum, where several member of the Adobe and RED teams hang out. If you have questions about Premiere Pro in general, bring them to the Adobe Premiere Pro user-to-user forum.