Post Production

Red offers a bewildering array of workflow possibilities, from the simple SD options to the most complex high-end 4K finishing.

 
Our in-house facilities include Final Cut and Avid Media Composer edit suites, as well as an Avid DS on-line suite. All are available for dry hire or with our experienced Red editors.
 
Whether you want to use your own facilities or ours, we’ll offer no-nonsense advice to help you create an effective workflow that suits your budget and makes the most of your footage.

 

 

We also offer Backup and Archiving Solutions. Find out more......

 

 

 

Avid

 

Avid's latest version of Media Composer works directly with R3D media, a development that opens up Avid to Redusers, making for a highly efficient off and on-line workflow.

 

For older versions of Media Composer Red rushes can be transcoded with ease to Avid's DNxHD format for fast import into Media Composer. Red's own R3D files also open natively in Avid DS for grading and on-line, making the Avid route highly effective for Red post production.

 

Avid's resources on working with Red footage.

Final Cut

 

Red generates Quicktime proxies which can be edited directly in FCP. These files reference the master R3D, which can themselves be opened natively in FCP and graded in colour. Alternatively you can transcode to Prores for an effective HD workflow.

 

Dowload the FC3 Whitepaper on working with Red Footage

Online and Grading

 

An ever increasing number of high-end on-line systems are able to work directly with Red's 4K R3D format, including Baselight, Avid Media Composer, Avid DS and Da Vinci.

 

For those systems that have yet to embrace R3D you can transcode the RAW media to DPX, Tiff or Targa sequences, at HD, 2K or 4K, for ingesting into pretty much any on-line, colour grading or compositing system.