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Woklow Gude
Experience breakthrough perormance and a aster, color-rich workow or content createdon RED cameras, with real-time editing and accelerated output thanks to the native 64-bitMercury Playback Engine. Import R3D les directly into Adobe Premiere Pro withouttranscoding or rewrapping, and easily switch among resolutions or playback to meet theperormance and image quality needs o every post-production task. Support or the latestrmware, including FLU Color Science, ensures the highest quality imagery as you editand nish content in all common RED R3D le permutations, including 2K, 3K, 4K, 4.5K,4k HD, 16x9, and 2x1, using a number o dierent rame rates.RED Digital Cinema enables high-resolution tapeless cinematography through cameras thatcapture images with more than our times the resolution o the best HD cameras. Tecombination o RED cameras with Adobe Premiere Pro creates a 4K production andpost-production workow that is within reach o a wide range o digital cinema productions,and robust enough or the most demanding projects.Te ultra-high resolution o the images captured by the camera yield a depth o eldequivalent to that o Super 35mm lm cameras, a distinct benet or cinematography.However, this high resolution also generates very large les—a distinct challenge orpost-production.Adobe Premiere Pro preserves the high resolution and high quality RED R3D images, whileproviding a powerul, exible, and accessible means o editing, grading, and deliveringthose images.
Advantages o usng Adobe Peee Po CS5
Adobe Premiere Pro CS5 provides several specic benets that make editing, nishing, anddelivering RED R3D media easier, more exible, and more ecient.
True RAW cinematography workow
Adobe Premiere Pro supports RED R3D content in its native orm, eliminating time-con-suming le transcoding and rewrapping. By selecting an appropriate RED R3D sequencepreset, users can immediately start editing RED R3D with the real-time and robust AdobePremiere Pro toolset. Adobe Premiere Pro decodes the RAW camera data that is capturedby the RED camera. Editors can change a wide variety o decoding parameters or the
Adobe Systems Incorporated and RED Digital Cinema Camera Company havecollaborated to bring a truly native, color-rich, 4K tapeless workow to AdobeCreative Suite® 5 sotware, allowing flmmakers to harness the ull potential o high-resolution raw digital cinematography on the desktop.
UsngADOBE
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PrEmiErE
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PrO CS5
 
wth rED Dgtal Cnea content
What’s included:
• Adobe Premiere Pro CS5• Adobe Encore CS5• Adobe OnLocation CS5• Adobe Device Central CS5• Adobe Bridge CS5• Professionally designed templates
Adobe Premiere Pro CS5 is also availableas a component o:
• Adobe Creative Suite 5 Production Premium• Adobe Creative Suite 5 Master Collection
 
Workow Guide — Using Adobe Premiere Pro CS4 with RED Digital Cinema content
2
content, including debayering detail, ISO, color balance, and more. Tis gives the ultimateexibility in the workow because it becomes possible to make critical decisions that aecthow content will look on the screen much later during production.
Real time 4K editing
Playback perormance can be dynamically adjusted using controls or decode resolutionthat, or example, allow editors to play back at 1/4 resolution but see the entire rame whilepaused. With such high resolution imagery, this lower resolution playback is easily sucientor editorial work, while enabling real-time perormance even on lower-spec machines,while ull-resolution decoding allows detail work during color correction o keying. Overall,the eatures provide either greater responsiveness or higher quality, depending on the user’sneeds.
Accelerated editing workows with the new Mercury Playback Engine
Work dramatically aster thanks to the revolutionary native 64-bit, GPU-acceleratedMercury Playback Engine. Open projects aster, scrub through HD and higher-resolutionootage more uidly, and play back complex long-ormat and eects-heavy projects morereliably. With the Mercury Playback Engine, you can put 2-hour, multi-thousand clipprojects together as easily as a high-impact trailer:
• Work in real time on complex timelines and long-form projects with thousands of clips
- whether your project is SD, HD, 2K, 4K, or beyond
• Open projects faster• Multi-thousand clip projects load and play uidly • Mix and match formats such as XDCAM, RED, P2, AVCHD, AVC-Intra, and DSLR
cameras reely in the timeline without rendering
• Experiment uidly in real-time with multiple color corrections and eects and see
results in real time even on complex timelines
• Use real-time keying on multiple clips at all resolutions using the new Ultra keyer
Broad RED R3D ormat support
Support or the latest rmware, including FLU Color Science, ensures the highest quality imagery as you edit and nish content in all common RED R3D le permutations, includ-ing 2K, 3K, 4K, 4.5K, 4k HD, 16x9, and 2x1, using a number o dierent rame rates. Aer aquick import into Adobe Premiere Pro CS5, RED R3D les are ready to use in your projectand sequence.
Mixed ormats in sequences
Adobe Premiere Pro users can combine a wide range o sources in a single sequence without
complex format conversions. For example, users can add XDCAM EX, DVCRPO HD, andHDV clips to a RED R3D sequence. And they can add RED R3D clips to a sequence created
with presets or another ormat. Most mixed-ormat timelines can be edited in real time,with ormats that don’t match the sequence settings requiring rendering only at the time o nal output.
DPX fle import and export
New DPX (Digital Picture eXchange) le import and export oers users the ability tonatively edit with 10-bit, uncompressed digital intermediate (DI) les. DPX provides a great
deal o exibility in storing color and other inormation, making it a popular lm output
format. It is also used for sharing projects between production facilities. DPX export gives
you the ability to output 4K content directly rom Adobe Premiere Pro without having to go
through Aer Eects. (Previously, the recommended workow for outputting high-resolu
-tion RED projects was to send Adobe Premiere Pro sequences to Aer Eects where they 
Supported NVIDIA graphics cards or GPUacceleration:
•
Quadro CX (Windows)
•
Quadro FX 3800 (Windows)
• Quadro FX 4800 (Windows and Mac OS)•
Quadro FX 5800 (Windows)
• GeForce GTX 285 (Windows and Mac OS)
Visit the NVIDIA website or systemrequirements and compatibility. The list o graphics cards that are compatible
with Adobe® Premiere® Pro CS5 is updated on a
regular basis. For an up-to-date list o supported cards, please see www.adobe.com/go/64bitsupport.
 
Workow Guide — Using Adobe Premiere Pro CS4 with RED Digital Cinema content
3
could be output as DPX, Cineon, or other 10-bit formats.) e combination of Adobe Media
Encoder and Adobe Premiere Pro, both 64-bit applications in CS5, means that large, highresolution sequences can be outputted quickly and reliably.
Edtng wokfow
Adobe Premiere Pro enables an accessible, powerul, and comprehensive workow orediting, grading, and delivering content created on RED Digital Cinema cameras. For theuser, editing RED R3D content is like editing any other tapeless ormat supported by AdobePremiere Pro. You select an appropriate project preset, quickly import les in their nativeormat, edit and nish those native les with the robust Adobe Premiere Pro toolset, and
then deliver to a wide variety of formats, including DPX and for D.I or Filmout via RED
-CINE, Scratch, or Color.Te essential challenge with editing content created on RED cameras involves making theextremely high-resolution and high-quality RED R3D les easily editable on standardcomputers and workstations. Working together, Adobe Systems and RED Digital CinemaCamera Company have met the technical challenge. Tat leaves users ree to ocus oncraing those images into compelling and visually stunning stories.Adobe Premiere Pro helps enable real-time editing o RED R3D content on computersrunning either Mac OS or Windows operating systems. Both modern high-end notebook computers and mid-range desktop computers can provide enough power to supportrealtime RED R3D editing. Adobe Premiere Pro CS5 and Aer Eects CS5 are only 
available for 64-bit systems. (See “System Requirements” at le.)
Select a sequence peset
Aer you create a new project, Adobe Premiere Pro soware prompts you to select asequence preset. Adobe Premiere Pro provides presets or all common permutations o REDR3D resolutions, aspect ratios, and rame rates.
ipot clps
Use the Media Browser to navigate to and select your RED R3D media. Because AdobePremiere Pro soware natively supports R3D, the les import in a ew seconds.Te Media Browser panel also treats spanned clips as a single clip. I you drag and drop aRED clip rom the Media Browser to the Project panel, you’ll see a single clip representingall the spanned media.
Adobe Premiere Pro oers broad
delivery options, so you can deliveryour RED content virtually everywhere.
D.I. / Filmout
(via REDCINE, Scratch, Color)
 
.DPX
HD or SD Output
(Broadcast or DVD)
 
H.264
FLV
Onlineand ondevice
generate files
Natively openin AdobeProduction Premium4k REDCODE RAW
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