R3D originals or proxies? Design editorial around traceability
Proxy workflows are useful when they make the edit faster without making the conform fragile.
There is no virtue in making the edit suffer
Some systems can edit R3D comfortably from camera originals; others become more responsive with proxies or optimised media. The professional choice is the one that preserves creative speed while keeping a reliable path back to the R3D source.
Protect relink identity
- Preserve original filenames.
- Preserve timecode and roll/reel identity.
- Keep camera originals immutable.
- Generate proxies into a clearly separate media location.
- Test relink/conform before the edit becomes large and expensive.
Do not flatten your only path
A proxy or editorial transcode can be an excellent working file, but it should not accidentally become the only surviving “master source.” If the project is intended for serious finishing, keep the original R3D media and project metadata traceable until final delivery and archive are complete.
Actingwood field rule
Editorial media can be disposable. Camera-original identity cannot.
This Field Lab note is written independently by Actingwood and cross-checked against RED’s published documentation. Camera firmware, supported media and software behaviour can change; verify critical settings against the current RED guide before a production.
RED KOMODO File Format Guide →Actingwood is independent and is not affiliated with or endorsed by RED Digital Cinema. RED, REDCODE, R3D, KOMODO and related marks belong to their respective owners.