Film and video productions are often based on fast turn arounds. Nothing can slow you down more than a rocky workflow. Luckily if you’re editing\u00a0in Premiere you can natively work with RAW footage file types<\/strong> to help bring flexibility and\u00a0stability to your workflow.<\/p>\n Many filmmakers (myself included) delayed making the move from DSLRs to RED cameras because of the R3D RAW<\/strong> file type. There was a large amount of misinformation out there in regards to working with RED footage. However since\u00a0the release of Premiere Pro CS6<\/i>\u00a0Adobe has given filmmakers the ability to import and work natively with R3D RAW.<\/p>\n In the past, working natively with RED footage would have been a challenge to say the least, but with the flexibility of Premiere Pro the days of transcoding are gone. The following resources should\u00a0help all those wanting to make the move to RED cameras but are feeling weary about the workflow. Also we’ll share a few tips on shooting\u00a0with RED cameras to save you time in post.<\/p>\n Importing R3D RAW footage into Premiere is actually a simple process. To help your learn this process Dan with RED.com<\/strong><\/em><\/a> has posted a quick tutorial on this very topic. He runs through the simple import process, editing the Source Settings<\/strong><\/em><\/a> as well as working with RED Meta Data (RMD)<\/strong><\/em><\/a> processing between Premiere and REDCine-X Pro<\/a><\/strong><\/em>.<\/p>\nIMPORT FOOTAGE USING PREMIERE PRO and REDCINE-X PRO<\/h2>\n