User manual

Choosing the Appropriate Timecode Track for Each Magazine
The timecode recorded by the RED camera is always non-drop. The timecode that is
recorded for each clip depends on what the RED cameraʼs Display menu is set to when
the clips are recorded. There are two choices in the RED cameraʼs Display menu:
•
Time Code — This is the default, which is set to record timecode matching the
cameraʼs “time of day.” However, if an external timecode source is connected to the
cameraʼs SMPTE timecode input and the camera is put into Jam Sync mode, the
external timecode will be recorded to each clip instead. In either case, the timecode of
subsequently recorded clips will likely be discontinuous.
•
Edge Code — If this option is selected, the first clip recorded onto a blank magazine
starts at 01:00:00:00, and the timecode of each subsequent clip is recorded
sequentially and continuously as more and more clips are recorded.
Important —You should never change timecode tracks in the middle of a magazine. If
you find it necessary to change the type of timecode youʼre recording, make sure you
only change the display timecode when you change magazines.
In offline/online workflows, the reel name, clip ID, and timecode of transcoded
QuickTime files are matched with the enclosing folder name, filename, and timecode of
their R3D counterparts. For more information, see “Tracking Ingested Media to the
Original R3D Media.”
Archiving RED Media in Preparation for
Final Cut Pro Ingest
No matter what your workflow is, itʼs highly recommended that you archive all of the
original RED media for your project onto one or more backed-up hard drive volumes,
even if youʼre planning on transcoding the media to another format. This ensures that
you always have the option to retransfer RED QuickTime clips from the original R3D
media. It also makes it easier to use the Log and Transfer window in Final Cut Pro to
ingest media for your project.
Regardless of whether youʼre shooting with CompactFlash (CF) cards or a RED Drive,
you should always copy the entire contents of each CF card or drive that youʼve finished
recording with to an individually named folder on your archive volume. For example, if
youʼve shot a project using 12 CF cards, the contents of each card should be copied
into separate directories. At the end of the process you should have 12 different
directories (perhaps named “MyGreatProject_01” through “MyGreatProject_12”), each
of which contains the entire contents of the CF card to which it corresponds.
Using Native REDCODE Media with Final Cut Studio – Jun 15, 2009! 3