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Field Audio Workflow for RED cameras : LocationSound
https://www.reddit.com/r/LocationSound/comments/3bvgwc/field_audio_workflow_for_red_cameras/
The audio on the main body of a RED epic is pretty abysmal, so often you will record audio separately using an audio recorder. This however brings up the issue of sync, on professional shoots you would sync your recorder and camera with timecode, the "Ambient Lockit" products are pretty standard.
Complete Guide to RED Workflows: Premiere, FCP X and …
https://blog.frame.io/2018/04/30/red-workflows/
If you’re recording in-camera proxies, then Premiere Pro’s proxy workflow is a match made in heaven for a high-resolution RED workflow. You can either import the in-camera proxies and start editing right away. Or you can link the proxies to their matching high-resolution RAW files. This will let you switch between the two for a combined offline/online workflow. …
RED.com
https://www.red.com/workflow
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Avid Workflows for Digital Cinema Cameras
http://www.digitalcinemasociety.org/downloads/digital_camera_workflow_whitepaper.pdf
Audio Workflow Considerations Regardless of camera type, the decision between using a single or double-system audio workflow is based on a variety of factors, including crew size and budget. Single-system workflows can be considered more convenient,
New colour workflow and processing pipeline for RED cameras
https://www.redsharknews.com/production/item/4478-new-colour-workflow-and-processing-pipeline-for-red-cameras
Installing IPP2 is not irreversible and RED’s original colour science will be available by toggling between IPP2 and the older workflow both in-camera and in REDCINE-X Pro. Here’s Jarred Land’s announcement of the new build, which also includes the welcome news that UDF file format is now supported, which means an end to 4GB file segmentation; you’ll be able to record ProRes …
Frame.io: The Complete Guide to RED Workflows: …
https://sofimarshall.com/complete-guide-to-red-workflows/
Frame.io: The Complete Guide to RED Workflows: Premiere, FCP X, and Resolve. Shooting at a 4K or higher resolution can be a life-saver in the edit. The ability to adjust a shot’s framing or create coverage that wasn’t recorded on set can sometimes save a scene from landing on the cutting room floor. But shooting at high resolutions can create large and processor …
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