Adobe and RED collaborate to create next-generations raw workflows


Native support of RED R3D files in Adobe Premiere Pro CS4, Encore CS4 and After Effects CS4 – beta now available

Last Updated: November 13, 2008 7:28 pm GMT
(San Jose, California--November 13, 2008) Adobe Systems Incorporated and RED Digital Cinema Camera Company are partnering together to bring a truly native, color-rich, 4K tapeless workflow to desktop tools, allowing filmmakers to harness the full potential of high-resolution raw digital cinematography.

RED and Adobe share the goal of developing a native raw workflow that keeps filmmakers close to the lens, so that you’re always working with the sensor data the camera captured. By always working close to the lens, without proxies or other restrictions, editors can adjust the look and feel of their work all the way through the production process, knowing that their changes are completely accurate.

The first step of this long-term partnership is the importer plug-in bringing native support for RED R3D files to Adobe Premiere Pro CS4, Adobe Encore CS4 and Adobe After Effects CS4, allowing 4K resolution native R3D files to be dropped straight onto the timeline without transcoding or rewrapping. It is now in beta and available for download at

RED is making the beta plug-in available as early as possible to provide customers a more flexible workflow immediately, and in order to obtain feedback from the community on how best to develop this workflow. Over the coming months, you can expect to see new developments that move both companies closer towards our shared vision for advanced raw workflows.

Adobe Creative Suite 4 Production Premium software is an indispensable part of a film and video professional’s toolkit and leads the way in tapeless and raw workflows. The alliance with RED underscores Adobe’s commitment to integrate tapeless camera formats into its line of professional video products, and will enable advanced post-production workflows to be faster and more flexible.
  • Hollywood-caliber digital cinematography made more affordable: RED cameras have taken the digital filmmaking world by storm, making high-resolution digital cinematography accessible to many more productions. RED cameras capture extremely high resolution raw files, opening up the possibility of a digital production workflow that allows filmmakers to make image processing decisions throughout the post production process because raw files keep the image sensor data directly. Until now, a truly native, nondestructive workflow has not been possible in desktop video tools

  • A native, raw workflow today: Importing R3D files directly into Adobe Premiere Pro, Adobe Encore and Adobe After Effects without conversion delivers a faster, color-rich workflow that gives users control of the look when they edit. Filmmakers can dynamically change the resolution; applying color correction to the footage in full resolution for example, and then lowering the resolution on the fly to gain better performance from their hardware as they scrub through edits.

  • A more powerful, streamlined workflow tomorrow: Because Adobe Premiere Pro works directly with the sensor data, editors can work with footage as close to what the lens saw as possible, opening up much richer, more powerful ways of working non-destructively on the color and look of their work.

Customers who want to get started with the RED and Adobe workflow today can download the free Adobe Premiere Pro CS4 and After Effects CS4 trials for Mac OS X or Windows at and the RED importer plug-in at


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