About the author

Khoa D. Le

It's not about what you know or what you can do; it's about doing it and executing it successfully Founder of Kvibe Productions, LLC, Khoa D. Le is also a Producer, Director, Cinematographer, and Writer.

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  1. 1

    fabrizio palmieri

    my name is Fabrizio your video on Vimeo is great!!!
    i like the colours and the focus was good even if as you said
    it was a challenge because the lack of the EVF.
    I got my Scarlet two days ago, i just started to get to know the camera, the menu etc..
    can you please let me know when you said:
    The 48fps looks really good for slow motion and I also shot 2k 60fps in slow motion.
    What is the setting for slow motion with 2K or 3K or do you use a software in post to do the slow motion,
    i know that Epic is the camera for slow motion but i really like what you have done on your video
    can you write me how you achieved that?
    also do you use a Tokina 11/16 2.8 is it better to get the Canon or Nikon mount with the adapter
    thank you and sorry for all those question just like to learn as i am new with RED cameras
    i am tryng my workflow using Premier than exporting the XML file to RESOLVE from there to After effects
    for last effects and transcoding i found it to be faster than RED cine XPRO.


    1. 1.1

      Khoa D. Le

      Fabrizio, thank you for taking the time to read the post and comment. I shot mostly 48fps at 1/96 shutter. I did nothing in post. For red, once you bring it in a 24 fps timeline, it will do the automatic slow motion. The 60fps is cool, but I do find it a bit blocky. It all depends on what you’re trying to achieve.

      The lens I use are Zeiss Canon Mount Lenses. I shot mostly with 85mm.

      That’s an interesting workflow you have there. How much faster is it?

      1. 1.1.1

        fabrizio palmieri

        Hi Khoa,

        thank you for your reply,
        the workflow i mentioned was found in this tutorial: http://www.presynkt.com/red-workflow-easy-goings/
        i have tried it and i use Resolve Lite free version wich is very fast on rendering, i use a Mac Pro with
        a Quadro 4000 so i can use the GPU and the mercury engine using Premiere pro and i can almost
        see my footage in real time straight from the camera as Premiere supports RED files natively
        also i do my final sharpening in Resolve,i think in my opinion is the best software for grading.
        i can’t wait now to try to shoot slow motion with my Scarlet so; i will set my camera at 3K resolution,
        then set the shutter at 1/96 from the menu and then open the timeline at 24fps and thats it right?
        there so much learn with my new camera i only used the 5d before..
        thanks again very nice to meet you

      2. 1.1.2

        fabrizio palmieri

        Hello Khoa,
        just wanted to ask you this: i tried and i managed to convert a 3K 48 fps clip into a slow motion 24fps using
        Apple Cinema tool app, but when i try the 60 fps 2K when i imported into RED cine and after effects
        it was 48 fps and not 60fps in the medatata of RED cine software it has 48 fps and recorded 60
        i don’t understand why its not 60
        is that normally like that or do i have a bug in my camera?
        thank you


          Khoa D. Le

          Hi fabrizio, not sure why you are bringing it in Cinema tools? If you bring your footage into the 23.976 timeline, it will automatically give you slow motion. About the 60fps via 2k footage. I’m not sure exactly what is going on, but to be sure, bring it into the application you’re cutting on which is Premiere and see if you are seeing the same thing.

  2. 2


    I am using your workflow, and thus far, it seems to be working flawlessly. Thanks!

    Quick question for you though about the “Center Crop” step. When I click on a clip in REDCINE-X PRO and go to the Framing tab, I click on “Center Crop”, but I am not sure it is actually doing the crop. When I import the AAF files into Media Composer, it is doing a slight letterbox on the frame, so the clip is not filling the entire frame from top to bottom. I am imagining this has something to do with the Framing function. Any ideas on how I can fix this, or know whether or not the “Center Crop” function is working?


    1. 2.1

      Khoa D. Le

      Hi Julia,

      Sorry for getting back to you so late. The reason why you’re getting those crop marks is because you’re shooting on 4k instead of 4K HD and you’re final output is 1920 x 1080. I hope that helps.

  3. 3


    Hi. I have a question here. I got some R3D clips crushed during the transcoding – – – they were black when I check them in AVID. What should I do? Retranscode ALL the clips I did together with that one, since the ALE probably got screwed up? Or just delete bad MXF and AAF and retranscode only that one?

    1. 3.1

      Khoa D. Le

      Hi Nina,

      To save time, I would just transcode the clip that has the issue. It would be crazy having to redo all of it.

  4. 4


    Hi Khoa,

    I’ve been playing with this workflow, and it really does work well. The only problem I’m running into is when my edited timeline uses a take several times. Say I shot a 2-minute clip of a band performance for a music video, and I use 3 different parts of it in my Avid sequence. I want to now online my edit using your method, but there’s a problem. In step 12, those 3 edits from one clip appear as 3 new clips: clip.new.01, clip.new.02, and clip.new.03. This is fine, and they make it into RedCine just fine. But on step 19, RedCine puts the first use of the clip in the AAF and MXF folders, and subsequent uses of that clip in folders outside the AAF and MXF folders with S000 and S001 added to the folder names.

    Therefore, I can get the first use of the clip (clip.new.o1) back into my edit just fine. But…

    How do I get these separate files, formerly part of one clip out of the camera, back into an online edit?


    1. 4.1

      Khoa D. Le

      Hi James,

      Hrmm, so once you get the first clip online, the other clips doesn’t follow up? I find that strange. What Redcine is going to do is re-transcode those other clips from that one clip into new clips.

      Avid is a pain in the ass to work with via Red footages. We actually converted this tedious task to using Adobe CS6 where it’s an import / Cut / Scale solution. No 30 steps.

      We’ve become so frustrated with Avid’s red workflow especially when we are looking for flexiblity and getting the most out of our 4k resolution.

  5. 5


    Hey Khoa, thanks for taking the time to provide so much valuable info. I am about to start my forst RED/Avid (MC6) project but was planning on using an AMA workflow and just use RCX for an initial color grade. What do think the drawbacks might be?

    1. 5.1

      Khoa D. Le

      I’m glad I can help. The drawbacks with AMA is that it’s simply not ready for real-time cutting. It’s really made for news or broadcasters who quickly wants to get material out. It’s almost like how FCP7, Premiere, and other editing systems do it, except that it’s the Avid way. There are massively a lot of bugs and it’s not reliable at all. On export, you’ll need to transcode your timeline rather than transcode all your clips before hand.

      I hope that helps.


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