check out Pomfort SilverstackSet, itīs not cheap, but def. the best solution out for your whole Data Management needs.
You can copy and checksum the files, generate reports, tag files for FCP / AVID export, play R3D Files back within the app, and soon color grade and save looks files (currently just for Alexa)
This app is well worth itīs money and with the internal playback just so easy to visually check, after you did the copy.
Where R3DDM has really saved me was with card reader originated copy errors. There was a day last season on Louie when we were using CF cards on a lengthy car-rig scene, so I was copying cards over one after the other. After a few cards, I started getting copy errors (corruptions that did NOT exist on the original media). So after letting the card reader cool down a bit (didn't have a backup CF reader on hand...big no-no), I was able to get successful copies. Had I not been using R3DDM, I may have gotten identical byte counts (not likely, but maybe), or I might have even loosely checked footage in RCX, and still not seen the corruptions, and allowed that media to be reformatted. Which would have meant that Louis would have had some extra work to do in the edit.
Either way, I always try to stagger my copies so that I don't have to reformat any media on the day, so that if there's an issue after it's gone to post, there's at least a window of time where I can still check the original media to see if the corruptions or errors are present...if they're not on the camera originated media, we can re-copy and hopefully give post everything that they are expecting.
If your plan is to continually re-use RedMags throughout the day, I would at least give yourself enough breathing room that someone (re: human) can copy everything using MD5 checksums and then visually inspect the footage in its entirety (near impossible, I know) before you are forced to re-format and shoot over previous footage. If a production can't afford to rent additional media to make this possible, then they need to understand the kind of risk they are taking.
It would also be great if Red would release some kind of software, whether or not integrated into the RC-X Pro application, that can alert users that there has been a corruption detected on camera originated media. In the days of the Red One, it was always good to know *during* a shot that dropped frames were encountered, and it would be nice if something similar could be implemented with Epic, both in-camera and at the DIT station. We may not encounter dropped frames due to shock and vibration anymore, but if a frame is corrupted, I'd really like to be able to tell the director/DP/producer where/when it happened so he/she can decide if they need to go again. If it helps me to figure out why a frame corruption may have occurred, that's extraordinarily useful, too.
Perhaps Red already has this in the works...if so, bravo, I can't wait. If not, please make it a higher priority than lenses and modules, as it sits at the core of Red's reputation for being a reliable capture medium.
All over the world cross-filesystem work is done on a daily basis (think Macs working on a NAS, most often no HFS format available). Same with Linux boxes.
Reality is, reparing an original source media is the single most dumbest advice I ever heard.
Never touch your source media - not without cause RED made the Auto-mounter read-only by default as do other [software] vendors too.
Never touch your source media unless there is no other chance to catch media, like the media was accidentally erased, e.g. in-camera.
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