![]() ![]() This will clone your existing project, so in case you make mistakes and need to revert back to the original, that will always be there.Ĭ. ![]() Select the default option Duplicate Project Only. Now, you’re going to duplicate your finished project by right-clicking on the project in the Project Library, then selecting Duplicate Project. (NOTE: If you’ve been rejecting your R3D’s, make sure your Event Browser filter setting is set to “All Clips,” or they won’t show up.)ī. Simply grade directly from your R3D Keyword Collection if you want to go through and just grade all your RAW clips and have them be in one place. R3D into the search setting, and now grade all your RAW from scene to scene as opposed to doing it from the Timeline.į. Simply change the Event Browser filter setting to “Rejected,” and only your rejected, non-synced audio and video clips will appear. Using your Scene bins to grade your RAW: Another way to get around the sync clip issue is to grade your RAW directly from your scene bins from the native R3D’s that have been “rejected” (see Part 1) to make room for your sync clips. Just throwing it out there if you’re reading this and it’s actually possible.Į. Basically, it would mean being able to drop your clips into FCPX, and completely eliminate the intermediary sync steps in FCPX. A NOTE TO OUR FRIENDS AT RED: If there was some way to do all of the syncing of audio directly to the R3D in Redcine-X (using the awesome timecode sync feature in the app)-maybe through the RMD file-this would make me really happy. ![]() Once you’ve added these destinations, click “Import” on the bottom of the dialog box.ĭ. You can also just tell it to link to wherever you stored your RED files outside of FCPX. Even if you’re using sym links to footage that lives elsewhere, RCX should still be able to find your R3D files this way. In this case, all you should need to do is select your FCPX Original Media folder. You’ll see a dialog box that’s going to ask you what directories all of your RED footage lives in. Open Redcine-X Pro and choose File > Import. In FCPX, with your timeline open, choose File > Export XML. For everything else, use Redcine-X Pro.ī. FCPX is the best place to globally modify your color/gamma spaces. Click “Modify RED RAW settings” in the Inspector, and set your color and gamma spaces however you’d like them to appear in Redcine-X. In FCPX, go to your Keyword Collection that you labeled “R3D” (See Part 1 of this series) that contains all of your RED media, and select all of your R3D files. The idea of working with R3D’s was so daunting to producers that they’d often just finish on their original transcoded dailies, either because they were lazy, or didn’t have any idea how to do it properly.Ī. The bottom line was just that in order to finish a RED film properly, it required a ton of time and highly specialized skill set, and eventually, shooting RED and going back to the original R3D’s was all too often an overlooked step. ![]() You either had to transcode initially to ProRes and do a giant re-conform dance using Redcine-X, Clipfinder, and Color, or you had to work with 2K versions of your RED media to varying degrees of success. In Final Cut Pro 7 (FCP7), My biggest frustration with using RED footage was how hard it was to switch back to your original R3D media and take advantage of the RAW and full 4K resolution. This final installment is going to be all about how to finish your RED movie at the highest quality, whether you’re delivering in SD, HD, or even 4K. In Parts 1 and 2, I showed you how to properly set up your project, as well as some ways Final Cut Pro X (FCPX) can make your editing life a little bit easier. Finishing your RED movie using Final Cut Pro X, Redcine-X, and DaVinci Resolve ![]()
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