Apple Color 1.5 - Manual (Page 59)

Stage 1: Archiving the Original RED Media
It’s always recommended that you archive all of the original RED media for your project
onto one or more backed-up volumes. Whether you’re shooting with CF cards or a RED
drive, you should always copy the entire contents of each CF card or drive that you’ve
finished recording with to an individually named folder on your archive volume.
• If you’re using CF cards: The contents of each card should be copied into separate
directories. For example, if you’ve shot a project using 12 CF cards, 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.
• If you’re using RED drives: You should copy the entire contents of the drive to a new
folder every time you fill it up or are finished with a particular part of your shoot. For
example, if you’re archiving the contents of the drive after every day’s shoot, then after
four days you should have four directories (perhaps named “MyGreatProject _Day01”
through “MyGreatProject_Day04”).
Each folder or disk image you copy RED media into must have a unique name; preferably
one that clearly identifies the contents. After you copy the RED media into these folders,
they will contain one or more sub-folders with an .RDM extension that contain the actual
RED media. The name of the enclosing RDM folder will be used as the reel name for each
clip that’s ingested by Final Cut Pro during the log and transfer process.
After you initially copy the RED media, you may elect to change the name of the RDM
folders to something more readable (the .RDM extension itself is optional). If you make
such changes, make sure that the name of each folder is unique, and do not under any
circumstances change the names of any folders or files that appear within.
After you've ingested the media using the Log and Transfer window, do not change the
name of the RDM folder again. Doing so will jeopardize your ability to later reconform
offline sequences to the original RED source media.
Important: It's not recommended to enter new reel names for RED media that you ingest
using the Reel field of the Log and Transfer window.
Stage 2: Ingesting Media Using Apple ProRes to Perform the Offline-Quality Edit
If it’s necessary to edit your program at offline quality for efficiency, transcode the archived
RED media to one of the Apple ProRes codecs using the Log and Transfer window in
Final Cut Pro.
See the Final Cut Pro 7 User Manual for more information about transcoding on ingest,
and which codec to choose for offline work.
59 Chapter 2 Color Correction Workflows