There was a time, not too long ago, when the word "workflow" would never have passed a film person's lips; now everybody has one. This is what computers have done to us.

The Red Camera allows for a number of different post workflows, depending upon what the final form of your project is and how much time (and money) you have to spend. From a webcast or SD broadcast right up to the full-fledged, DI-with-film-out, 5.1-surround, special-effects-heavy, all-singing, all-dancing, searchlights-and-limos-at-the-premiere-and-everything (deep breath now) theatrical feature — this camera provides footage that will work for it. You just have to choose the right workflow — and the really great thing is: you can always go back to the original files (the 'negative', so to speak).

Avid, Final Cut, and now Adobe Premier

Final Cut Pro has a number of software "hooks" that work well with Red workflow. At the "faster, cheaper" end of the spectrum you can literally drag-and-drop your footage into FCP and start cutting away. Or you can cut at 2K resolution and take the EDL and footage into a DI suite.

But there are also paths from Red into the Avid editing suite, and soon there will be more. Plus Adobe has announced a workflow for Adobe Premiere, with native support for Red files in After Effects. The number of resources for Red workflow is growing quickly — almost daily it seems.

Contact us for information about how the post workflow can work for your specific project.