If you’re shooting with RED and don’t need/want a traditional conform to the 4K RAW files, you can follow Oliver Peters’ excellent tutorial found here. He explains best practices for importing RED media for the offline edit and how to re-import and create a high-quality DNxHD 175X output.
I’m in the middle of doing this for Hotel Noir and wanted to mention a few things related to Oliver’s post.
As described in Step 8 we had to relink the sequence clips, not just the sequence. Change the bin display to show all clips/elements and relink from there. In some cases you may need to relink by repeating the Link to AMA command.
It’s best that you change the Source Settings for every clip to achieve the flat color space of the RAW footage. The quickest method is selecting all of the RECCODE clips then change Source Settings. Yes, you can select groups of clips and the settings will be applied to all of them. It’s recommended to select the Default color settings then change RED color science (ie: REDcolor, REDlog) as needed.
Although you’ve changed the color settings for all clips used in the sequence, you must force Avid to update the clips in the timeline. Select your sequence then Clip > Refresh Sequence > Source Settings. You may be tempted to choose “All” but we experienced undesired changes to the clips by doing so.
Without a RED Rocket, our 3.2 GHz 8-core Mac Pro performed the conversion to 175X – for each reel – in about 5-7 hours. This equates to approximately 36 hours of render time for six reels and six hours per. This excludes any prep time.