Brief Tutorial on Working with RED Files in Adobe Premiere Pro CS6

If you just got in on a RED camera for a tremendous price, and you aren't familiar to the RED workflow, it can be a little confusing at first, especially since RAW files offer a tremendous amount of flexbility. If you've got Adobe Premiere Pro CS6, RED has put together a little video showing exactly what you need to do to get started working with RED RAW files and manipulating them within the program. Check out the video below:

I'm not as familiar with the older Premieres, so if someone could confirm for me that this workflow is similar in older versions (at least 5 and above), that would be great. With RED now native to Final Cut Pro X, there are a lot more options for users who may want to begin working immediately with the RAW files without having to transcode them first. One of the advantage to the REDCODE RAW format is that you don't have to play back the files at full resolution, so if you're running on an older machine (confession: this guy), you can still play back these files without too much issue.

Color correcting/grading is a whole other issue, but if you just want to get started working with the files, it's now as simple as dragging and dropping for some the most popular non-linear editing applications.

You can learn more about RED's workflow and download a guide for Premiere using the links below.

If you are a Premiere CS6 user, how has has you experience been so far working with RED files? How about Final Cut Pro X users, what has it been like being able to natively work with RED RAW?


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Thanks for the post joe but i must ask do you get any sleep?

November 16, 2012 at 8:39PM, Edited September 4, 7:54AM


Haha, the amount and time of day varies, but usually over the span of a week it adds up to a somewhat standard number of hours.

November 16, 2012 at 9:46PM, Edited September 4, 7:54AM

Joe Marine
Camera Department

Premiere CS6 has been amazing to work with, but still learning all the keys and shortcuts as a former (and still somewhat current) FCP7 user, despite assigning the FCP keyboard layout in Adobe. 5.5 had a different way of altering the RMD data in Premiere, but since RED posted the video showing how to alter RMD info in CS6, I've been happy. Overall, CS6 has been awesome. If I could figure out my way around FCPX, I'd give it a shot since they just updated...but I need some sort of familiarity among all this newness, and CS6 resembles FCP7 more than anything else.

November 16, 2012 at 11:16PM, Edited September 4, 7:54AM


Hi Joe yes this workflow is similar.

So easy editing RED with Premiere that I could scarce believe it after all the warnings and misinformation I had come across. And if your a RED user and you use AE, it just can't make much more sense. Really looking forward to Speedgrades growth too.

November 17, 2012 at 12:38AM, Edited September 4, 7:54AM


I agree. The workflow is actually just as easy as my previous DSLR/1080p workflow. LOTS of misinformation out there.

November 17, 2012 at 9:38AM, Edited September 4, 7:54AM


it´s really easy and fast to edit with ppcs6. no transcoding anymore. that is a huge win of time and harddrive space. it´s hard for me to imagine going back to fcp7. i did a long project this summer with 400 hours of avchd and if i had to transcode all this stuff i would have had no sleep these days. i also edited red 5k stuff from the epic and it worked quite well. but one thing i recognised was that premiere is using nearly no grafik engine with r3d files. the cpu is doing all the playback, which means depending on the editing machine it´s up to 100% usage!!! this is strange because with other material the cuda engine works much more. anybody else has the same experience?

November 17, 2012 at 1:24AM, Edited September 4, 7:54AM


Will this "richt-click>source-settings" work with Cineform RAW too? Does it open that very nice window that allows you to change all the metadata from the file? (WB, gain, curves, saturation, etc)

November 17, 2012 at 2:47AM, Edited September 4, 7:54AM


To reply to my own question: no, it doesn't work with CineForm RAW. But Firstlight works in a very similar way: it allows you to add a simple primary color grade (WB, exposure, lift-gamma-gain, contrast, saturation, etc) which only affects the metadata of the files and which gets automatically updated in your editor. No curves, though, unless you import them as a fully fledged .look LUT.

November 18, 2012 at 1:27AM, Edited September 4, 7:54AM


I've switch to Premier after using Final Cut for many years because of the advantage it has with dealing with large codec (R3D). However when I shoot 4k verses 3k I am not happy with the performance I am getting with my Mac Pro (8 core with 14g ram and the upgraded graphics card from apple) I do lower the resolution sometimes less then 1/2. I was thinking of buying a Red Rocket card (Battle tested $3000) but was wondering if the Red Rocket card works with other Codecs or does it work only with Red files? Also how many monitors will it support? (I use three) or can I save money by buying another powerful graphic card? and will that card play Red footage at full resolution?

November 17, 2012 at 10:01PM, Edited September 4, 7:54AM


Only redcode, AFAIK

November 18, 2012 at 1:28AM, Edited September 4, 7:54AM


What about the rendering time? I see on Reduser 20X to 40X without a Red rocket card.

November 19, 2012 at 4:00AM, Edited September 4, 7:54AM


Premiere uploads my r3d files as if they all are 25fps when they´re not. Also can´t get some of the 25fps files in sync with the audio that has been recorded separatelly in 48000hz.
Does someone know why? I´m desperate

January 8, 2015 at 10:16AM, Edited January 8, 10:16AM