With the release of Final Cut Pro X, many were anticipating that there would be NATIVE FULL RED R3D integration in the new software. When that was not part of the release, especially after Apple talked about up to 4K resolution at the Supermeet, it left many people wondering how to integrate RED footage into FCPX projects. The purpose of this tutorial is to help you figure out how you might be able to incorporate footage captured with RED cameras into a project you are editing in FCPX.
Editor's note: FCPX can now handle R3Ds natively.
I have been a big advocate of this workflow which has worked beautifully in the FCS suite. That basically entailed the following.
- Transcode with RCX or RCX with REDROCKET to DVCPRO HD 720.
- Edit the footage in FCP 7
- Lock the Cut
- Export an XML of the Final Sequence
- Open the XML sequence in clipfinder and relink to the R3D media
- Save a new Clipfinder XML
- Open the Clipfinder XML in FCP 7
- send the sequence to Color
- Close the color project
- Open Clipfinder and run the "fix Color looping bug" with Clipfinder
- Open the Project in Color
- Grade from the R3D data in COLOR
- Export to anything from HD to 4K DPX as the project required.
None of these steps are going to happen with the first release of FCP X.
Apple has released a version of software that does not allow XML import or export and that cripples many of the best quality professional R3D workflows. To make things worse there is no EDL support in this release making it impossible to use FCP X as on offline edit tool for an R3D finish.
But this article is for someone who is using FCP X version one and wants to use footage shot with RED in their project, and it's not impossible. I am going to provide a couple of different possibilities which you can use for your projects which require some or all RED footage.
Basically FCP X is a closed system in the sense that it assumes you are finishing within the software. That means you are grading, doing your sound work and exporting to a file format for delivery. So this article will give you a few ways to deal with that new reality.
Red's free software REDCINE X is available for download at RED.com
. You will need this software if you are going to be doing the transcoding on your own.
WORKFLOW ONE: EDIT the R3D in the FCP X timeline
I do not recommend this workflow and for the record I did not recommend this workflow in FCP 7 either. If you really want to edit R3D then I suggest you try Premiere Pro. FCP uses a quicktime wrapper file to translate the r3d media into Quicktime, a format that FCP understands.
To use this workflow do the following:
- Open RCX
- Load all of your RED material in a bin
- In the export tab of RCX chose EXPORT QT wrappers. (this places the Qt wrapper files in the R3D folder and makes them importable into FCP X
- Open FCP X
- Chose import files in FCP X
- Navigate to the folder containing the R3D media and QT wrappers.
I know how much the import iMovie offends people.
Then you will see this dialog box where your QT wrappers reside:
Notice I leave all of the auto analysis unchecked and this is an option with any media you create.
Click import and rock and roll.
You will get this error message because FCP does not recognize R3D files as media, just the QT Wrapper files.
Go ahead and continue Import. And then you will see four versions of each shot:
|F_PROXY - Full resolution of the r3d file
||4K r3d= 4K QT file.
|H_PROXY- HALF the frame size of the r3d file
||4K r3d = 2K QT files
|M_PROXY - QUARTER of the frame size r3d file
||4K r3d =1K QT files
|P_Proxy - EIGHT the frame size r3d file
||4K r3d = .5K QT files
To edit you want to pick one version of the proxy file.
For 4K material I suggest the H proxy and for 2K material I suggest the F proxy. In the 64 bit architecture you will find that M proxies playback best to edit with.
If you insist on going this route then I suggest you edit with H proxies. You might be able to pull it off for a short spot but not likely for longer pieces.
For this lesson I have suggested the H proxy file. Here is a nice feature in FCP X.
—Select all of the files that are not _H.
—Once selected hit the delete key to reject the files.
—Then sift your viewer to hide rejected.
—you now work with the media you want.
WORKFLOW TWO: The one I recommend
If you are going to use FCP X and RED footage and know that you are not going to be accessing your r3d RAW media files, then I recommend this workflow.
I'd like to state very clearly that the whole purpose of capturing RAW media with RED is to have the POWER and Flexibility to manipulate RAW image files at the final polish stage of color grading.
We do live in the world of post and that requires some people to compromise, but my advice is to compromise in the best possible way.
Here is what to do.
Open all of your files in REDCINE X
(the program I mentioned at the start of the article.
Set the Color, ISO and GAMMA settings.
Exporting with these settings will give you a flatter image without clipped highlights or crushed blacks that will be easier to grade. I like to use a 5600K balance for daylight footage but it is recommended to white balance the footage prior to exporting.
Select the Clips in the bin and select the Prores 4444 Render Preset
and click export.
After the renders are complete you are now ready to import into FCP X. So follow the same guides as before to navigate to your rendered footage to hit import.
What you will find is that the footage is quite milky. We like this milky look for grading. Here is an example with the color correction off.
And here is a quick S CURVE style correction with the NEW Color board. Here, I dropped the blacks and raised the whites in a quick primary luminance correction. See how the waveform filled out and the image is punchier.
In this method you are free to edit and to intercut the footage with other material but you will never be going back to the R3D file, you are limited to the twelve bit data you burnt into the Prores 4444 file.
Just to close.
These are the two ways to incorporate RED footage in your FCPX projects. I do not feel that either of them is by any means ideal, but until updates are announced these are the ways to use RED footage inside FCP X.
To view the movie that these samples were pulled from, watch Calcio Storico Fiorentino
, the thrilling game that has been played in Firenze, Italia for centuries.
|Related Articles / Tutorials:|
Apple FCPX - Final Cut Pro X
FCPX: Ready or Not, Here it Comes...
We knew that Gary Adcock was the perfect person to deal with an app that aspires to meet the needs of the hardest-core, highest-end pros. Or does it? What if Apple told you that Final Cut Pro X wasn't meant for you? Gary goes beyond his own knee-jerk reaction to the release to get under the hood of FCPX, and he likes a lot of what he sees. In Part 1 of his look at FCP X, he starts with an area FCP has historically struggled most, yet that matters most to editing professionals: media management. For an additional look at the subject of this article, see FCPX: Hardware changes - PART Two.
Apple FCPX - Final Cut Pro X
FCPX - First Cut with the new Final Cut Pro X
David Battistella, ever willing to engage in new adventures in film and digital capture, has taken the leap toward editing his latest work with the new Final Cut Pro X. When you watch the clip from Calcio Storico Fiorentino, you will feel drawn in to the action, taste the dust in your mouth, feel the strength and violence of the game, and be washed away by the sheer power of this centuries-old sport. That's how well FCPX worked for David.
Apple FCPX - Final Cut Pro X
FCPX: Three Camps - The Pro vs. Non-Pro Debate
Three camps of thought seem to be quickly emerging in the forums and the excitement surrounding the release of FCPX. Step back and take a broad look at all of the information in the mighty deluge that has flooded the Final Cut Pro X Forum. Which category do you fall into? Use this to help make the critical decisions for the future at hand right now.
Apple FCPX Techniques
FCPX - Using Match EQ in Final Cut Pro X
Match EQ is a welcome addition to the audio functionality in Final Cut Pro X. Adopted from Logic Pro, this tool is as easy to use as it is powerful. While Soundtrack Pro provided a similar function, this new implementation in FCPX has more options. If you aren't obtaining your desired results using the automated match, you can delve in deeper to get the custom results you are looking for.
Tutorial, Video Tutorial
|Recent Articles / Tutorials:|
TV & Movie Appreciation
Star Wars: How Much Is Too Much?
When Disney announced that they would be making a new Star Wars movie every year for at least 10 years I was both excited and a bit skeptical. In 2012 when Lucas sold his company to Disney for $4billion, he included his outlines of Episodes VII, VIII and IX. But Disney and Co. decided to discard these stories and start over, also discarding the extended universe of comics and books that millions of SW fans had grown to love. Adding JJ Abrams to the mix was icing on the cake for SW fans who have become critical of SW. But Lawrence Kasdan was the saving grace, who wrote a script for VII that the original actors could get behind. So, how much Star Wars is too much?
Review, Editorial, Feature
Art of the Edit
Editing Marvel's Black Panther: Debbie Berman ACE
This is an epic tale spanning two decades, three countries, 12,000 miles -- and that's just the story of Debbie Berman, ACE, starting in reality TV and indie film in South Africa, making her way to Canada and then the US to edit Marvel's Spider-man: Homecoming and, most recently, Black Panther, already one of the most popular films of all time. In this exclusive interview with Creative COW Managing Editor Kylee Peña, Debbie talks about struggling toward US citizenship, a serendipitous meeting with an ambitious young director, helping to bring representation to the big screen and pride to her home country.
People / Interview
Westdoc Online interview with National Geographic Channel's VP of Development, Charlie Parsons
Charlie Parsons is Vice President of Development for the National Geographic Channel, responsible for developing new projects, discovering new talent and serving as one of the network’s main points of contact for the global production community. Since joining the Channel in 2010, Parsons has developed popular series “Doomsday Preppers”, “Inside Combat Rescue”, “Mars” and “One Strange Rock”, as well as the global natural history event “Earth Live”. He developed the Emmy Award winning Special “Space Dive”,as well as the Emmy Award winning feature doc “LA 92”. He also served as an Executive Producer on the network’s most watched program in history, the Emmy nominated three-hour movie event “Killing Jesus”, as well as the second and third most watched programs, “Killing Kennedy”??"also Emmy nominated for Outstanding Television Movie??"and “Killing Lincoln”, respectively.
Editorial, Feature, People / Interview
Avid, Adobe, Blackmagic: Talking With Titans at NAB 2018
As much as each year's NAB Show is about what's completely new, it's about hearing what's new from the industry's most enduring companies. Creative COW Contributing Editor Hillary Lewis sat down with representatives from three of the biggest titan companies in production and post -- Avid's David Colantuoni, Adobe's Laura Williams Argilla, and Blackmagic Design's Dan May -- to discuss the thought process behind their releases, what people might overlook, and their outlooks on the future of the industry.
Adobe After Effects
Fancy Title Animations In Adobe After Effects -- FAST!
Follow along as VFX guru Tobias Gleissenberger shows you how how to quickly create professional-looking animated text elements using the free presets that are included with Adobe After Effects, customizing them to suit your needs. Tobias will also show you how to apply masks to your text layers to have them appear from behind other elements.
Get The Shot Without Getting Shot: Adventures in Stock Video
Rick Ray of DVArchive has traveled the world, lived in a Buddhist monastery in Thailand, played ragtime piano for money in Australian bars, and both been arrested in Ethiopa and recruited those same police to be in his videos the very next day. In his NAB Show presentation for Adobe Stock, Rick gets specific about how to make real money in stock video following your passion around the world, what kind of equipment to choose and avoid, and yes, some advice about talking your way out of trouble.