RED EPIC W - R3D RAW & Proxy Workflow

A quick little tut all about how we work with our Red Epic W footage.

[@micdaviz08]

you have no idea of how much i have learnt from this video.....thank you

[@angelicaamora11]

I never really get how Red, Arri, or all other cinema cameras. This helped a lot with the i formations THANK YOU

[@SalCincotta1]

SERIOUSLY!!! Great video. I have the Epic-W and have been banging my head against a wall trying to figure out this EXACT workflow and information is half-ass at best. This bring it together perfectly my man. THANK YOU!

[@Travizeo]

You are so very welcome @SalCincotta I know how hard it was to figure this stuff out for myself in the beginning. Super stoked it helped you out. Best of luck with the edits :)

[@THEALAMO100]

Thank you man. This video was perfectly presented and spot on with info

[@studiomonitor82]

This just saved my sanity. Thank you.

[@KazSivz]

why tf are people commenting that it is too long? this is not a 5 Min Crafts video

[@BLACKHUSKY701]

Instant subscribe. Thank you !

[@Travizeo]

Thanks @BLACKHUSKY701 🙏 Awesome biking videos on your channel 👏

[@smcsilva]

Awesome!

[@creativelab1409]

thank you! its really helpful

[@gamesonsix2179]

Wow. Great pointers! Would be great to get some links to the LUTs and maybe more Grading info

[@Travizeo]

Hi @abviews, Thanks for watching. The LUT's I use mostly are the IPP2 luts from Red.com, Phil Holland's Philm Colour LUT's and sometimes a bit of Lutify.me LUT's. I am still learning DaVinci Resolve so maybe ill put out another Tut there once im more comfortable with that.

[@sharchik916]

How did you get the extension on the clip in the timeline to change to R3D. This workflow is so frustrating I have to do each clip one at a time ugh

[@Travizeo]

I believe there is a setting on the import preferences or the import dialogue box, but TBH, it really doesn't matter. To confirm if you are working with the mov proxies or the R3D files just select a clip and show in finder. When the toggle proxy is on, it will navigate to the mov, when proxy mode is off, it will navigate to the R3D file. The clip label extension shouldn't effect the R3D features. You will still have the master controls panel options when working with the R3D files.

[@PhotoMe99]

new subscriber! great tut

[@segatronmedia]

So there is pretty much no way around individually reconnecting the clips. We didnt record proxies but I just imported them into premiere pro and made proxies the same way I would do it for HD footage and it worked! But I did have to connect each file individually once the proxies were made. Sucked but I got into a groove and did it faster and faster

[@Travizeo]

Hi Segatron Media, Yeah I've found that when you create proxies through Premiere, it ads the word Proxy into the file name, which actually messes up the reconnecting, unless you do it automatically in Premiere (Right click - create proxies) so I tend to use Mpeg Streamclip so that I can get the exact same file name. When re-copnnecting there are a few options in the window like ignoring extensions etc that can help Premiere find the right clips. Also keeping the proxies on a seperate drive might help find the correct clips when re-connecting.

[@Artkidtek]

Whats the cpu specs and gpu specs?

[@segatronmedia]

Honestly though with files being so large, if you have set notes and know what clips you want its almost more efficient to only make proxies for the clips you plan using

[@Travizeo]

Yes, good point, I sometimes find myself wanting to make last minute adjustments to the cut, so having all the clips connected to proxies does make life a bit easier for me.

[@usmankhan6635]

Segatron Media

[@reddragonsstudio5630]

Hi Travizeo my Red files doesn't comes with a proxy , how can I fix that??? please help.....

[@Yyuiop]

Great video. Btw, the Red cameras don’t really have a base iso- I used to only shoot 800 iso as a base until I found out you use iso to shift the dynamic range to protect highlights etc, then manual- never auto- black shade

[@Travizeo]

Thanks Ali, and yes you are quite right. Being metadata ISO is all about protecting those highlights. I’ve still got a lot to learn about putting into practice in the field, but everyday is an adventure with Red 😋 Thanks for watching

[@dm.b7560]

Isn't it AVCHD even lighter and easier to handle as proxi?

[@MichaelWahbaM]

Very helpful man, wow! You answer a lot of my questions however I still have one more: At the point where you ended the video, is that then when you would apply the creative lut? So you apply output transform lut to the RWG/Log3g10 image, and then on TOP of that, you apply the creative lut, I.e. philmcolor?

[@Travizeo]

Yes that's exactly correct, we always do that as one of the last steps as it can get pretty render intensive after this point. Sorry for the slow reply, been away for the last week.

[@airfilm_it]

i'm a Davinci user, any idea how to do same process?

[@mudwolff]

I have a rough edit of my film ready for export but when i try to attach the proxies using the method you show here, i get an error that reads "Proxy Media and Full Resolution Media must have matching audio channels." How do I resolve this issue? thanks

[@scowlian9514]

没问题的 你是用PR以外的东西转换的吧 试试用DAVINCI做代理把，如果你已经剪辑只要在序列上连接就好 音频的数量有影响 但不影响剪辑及序列上的链接

[@allybattye626]

Great video. I have a question, my master panel looks completely different when looking at my R3d footage. For example no FLUT or DEB option. Any idea why this might be? Thanks.

[@allybattye626]

Footage is from a RED Dragon and RED Scarlet Weapon.

[@Travizeo]

Are you on the latest version of Premiere? Maybe it’s changed with the new updates, I’ll look into that and let you know.

[@Travizeo]

Ah yes that might be the issue. As far as I know, only the new DSMC2 line offers ipp2 so you probably won’t see some of those controls in your master panel

[@allybattye626]

Could be. I tried it with some Helium footage as well and it still has the same results. There is a drop down option for IPP2 on all of the footage DSMC2 or otherwise but still doesn't show the options that you have.

[@Travizeo]

Hmmm, that’s interesting. Are you on the latest version of premiere 2018?

[@ryanhovland6203]

Where in the RED settings can you set it to record proxies?

[@Travizeo]

It’s only available in the DSMC2 line of camera’s, but you would set it up in the advanced tab of your resolution settings.

[@stephanes.]

Is it cropped when you record hd proxy?

[@Travizeo]

Not at all, the proxy is exactly the same as the original, but in a different codec and file size. So whatever you see in your R3D footage, you will see in your proxy.

[@dosomethingintrersting3697]

Got it~

[@gregorhutz]

Thank you!

[@bloodinthewater]

Seems like if you are baking a LUT onto the proxy, knowing that it will slow down your timeline, story must not be as important as the camera. If you're cutting a DP reel, that's fine, but if you're trying to tell a story, with regard to pacing and timing, this is not acceptable. That's a disconnect between cam dept and post that I've seen before.

[@ohthefuture7618]

Why is H264 a horrible codec? I'm no tech pro, but thought H264 was like a great codec(?) **Note: I use Premiere on Windows 10 all juiced up with RAM and 2 graphics cards.

[@gunnerking5]

Its got a very high compression going on in its. A lot of processing needs to happen before an image is produced which is not the case with movie files. Thats why movie files are larger in size than h.264 files