Now that the RED Final Cut Studio 3 Installer has been released....

[Kevin G]

Why should I get the Red Rocket? Here's the rub, I am still actively planning to get the rocket, but my partner, whom I bought the camera with thinks that we don't need to buy it. She says that now that the FCP installer is out, all we need do is upgrade the camera to M-X and use the White paper method. She says that since we work mostly with 1K images anyway, we don't need a rocket. This is driving me nuts already! :banghead: I KNOW we need it, she says No WAY. Can someone please help me present her a convincing argument so that she can come to her senses!?!? :yikes:

 

[Shane Betts]

Are you working long-form or short form? What is your usual delivery format?

 

[Shawn Booth]

Can you tell us why you need it?

I don't need one for what I do with the R1...

 

[Kevin G]

Lately we have been using our camera for very short 30-60 second ads. We usually deliver a 1k master... BUT we are now working with a filmmaker whom is shooting a short which is quickly becomming a feature. :confused5: I say that we need it because we have gotten many requests to shoot and edit feature length films. I believe that the red rocket will give us versatility in editing and cut our rendering time down greatly. She's happy just using the white paper method.

 

[Shawn Booth]

If your clients are willing to pay for the usage of the hardware, ie, they like getting footage faster and you can charge for it, buy it. It should pay for itself after 1 or 2 long term gigs I would think, if the client has budgeted for that aspect of post.

 

[Dan Kanes]

Pardon my ignorance but what is the white paper method?

 

[Shane Betts]

As Shawn says, worth it if your clients will pay for it or... If your facility is busy enough to find your other work being held up waiting for transcodes.

We went with them because we were finding all night transcodes bumping into the next days work, putting everything behind. Nowadays I find we use them mostly for Redcine-X and projecting R3D's without transcoding. Certainly the landscape is changing.

 

[Stephen Pruitt]

I just don't get this at all. . .

I just don't get this at all. . .

Can someone explain to me why editing proxies in Final Cut and then finishing in Scratch isn't the preferred workflow around here? It is so incredibly easy. I just don't get it, and neither did another filmmaker I recently talked to. We both, by chance, used the exact same workflow and had exactly ZERO issues at all. What on earth are we missing here guys?

Stephen

 

[CmunozS]

Can someone explain to me why editing proxies in Final Cut and then finishing in Scratch isn't the preferred workflow around here? It is so incredibly easy. I just don't get it, and neither did another filmmaker I recently talked to. We both, by chance, used the exact same workflow and had exactly ZERO issues at all. What on earth are we missing here guys?

Stephen

Because not everyone can afford the Scratch workflow I guess...

 

[Steve Sherrick]

Can someone explain to me why editing proxies in Final Cut and then finishing in Scratch isn't the preferred workflow around here? It is so incredibly easy. I just don't get it, and neither did another filmmaker I recently talked to. We both, by chance, used the exact same workflow and had exactly ZERO issues at all. What on earth are we missing here guys?

Stephen

There is no Magic Workflow because everyone has different needs and works with different budgets.

I suggest everyone who is still trying to figure out RED workflow, watch Michael Cioni's webcast tomorrow. I'll unfortunately be sitting in a dentist's chair and won't be able to check it out. Steve Freebairn and Chris Parker (very smart guys) will also be involved.
http://createasphere.com/En/webcasts/item/61-redzone.html