I liked the Red Team Van. (but where are the horny Redgirls in high-heels in charge on the detox?)
Something escapes to my understanding about the recent posts on the Red workflow.
James and Von are both saying that Redrocket is the way. I'm ready to beleive that knowing the both sources are serious when they don't draw GM wild vans.
But there is still a transcoding involved, init?
Why not using the proxy that comes with the camera to cut
then re-link to R3D
and grade primary in the time line with no third-party app using the raw panel?
The implementation of AMA was precisely to avoid the import. But it makes very little sense IMO to trancode to a low DNxHD for editing when there is the possibility to not doing it.
It seems to me that the workflow you're talking about (if I understand it) is very effective but also very brutal in the sense that it needs lots of power.
You use the rocket to go, I imagine, Prores 4:2:2 and stick with it.
Or I'm missing a point there.
Fred, Fred, Fred.
Do yourself a favor. Get an idea and go shoot a 30 second video on your panasonic (good camera) a Sony or Canon, (good cameras) and find some rental house in Spain that'll loan you a full RED system. They'll do it, because the film industry cuts more deals than the still rental companies.
Then also borrow a RED Rocket and quickly color your one light dailies in Cine-x, then color your other files in whatever your latest tools are . . . Edius, Premier, whatever, run a stopwatch and see which one is faster and gives a better first showing result.
Remember, you can put out anything for a proxy and YOU know the difference between the video and finish out, but does your client? Does your client's, client's client's wife know the difference?
You never want that phone call that asks, "why are these video's so dark, or grainy or blue, or red or green or choppy or smooth or . . .