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RED Workflow FCPX white paper

The latest 10.0.6 update to FCPX brought sophisticated support for media shot on the RED cameras. This new white paper details different workflows with FCPX and also suggests one very handy tip for changing the resolution of your projects once editing has been finished.

Apple published a White Paper on very basic workaround workflows for FCPX back in June. This new edition replaces that publication completely as the ingest features for RED media have now been built into the application.

Download the new edition RED Workflows with Final Cut Pro X.

"This white paper outlines how best to use the new native RED support in Final Cut Pro X 10.0.6 and how professional production companies are achieving excellent results when recording with RED cameras, editing in Final Cut Pro X, and finishing in applications such as DaVinci Resolve.

This document outlines two complete RED-based post-production workflows. The first method focuses on the functionality in Final Cut Pro X 10.0.6 or later, and the second uses a range of third-party applications for a larger-scale approach."


What caught our eye was the last section 'Strategies for Working with Multiple Frame Sizes' and we think it is worthwhile reproducing here as it will help all users including those who don't handle RED media. 

"Many projects use different cameras during production, which can result in a mix of frame sizes in the same project. If you have multiple final delivery requirements for the project, such as an HD version for broadcast or the web and a 4K version for theatrical release, you may need to track, reposition, and reframe many shots. One of the benefits of working at 4K or 5K frame sizes is that delivery at 2K or 1080 allows the editor to make creative choices for framing.

The process described below can be employed with either of the workflows described earlier. You can use keywords to manage clips of various frame sizes and to create separate projects for different deliverables."


 Strategies for Working with Multiple Frame Sizes

  • As you import clips of a particular frame size, apply a keyword indicating the frame size.
  • When it’s time to create a new master project with a different frame size, duplicate the project by Control-clicking it in the Project Library and choosing Duplicate Project from the shortcut menu.
  • Select the duplicate project in the Project Library, and choose File > Project Properties (or press Command-J).
  • Click the Project Properties button at the bottom of the Inspector.
  • In the window that appears, change the frame size to match your delivery requirements, and click OK.
  • In the Project Library, double-click the project to open it in the Timeline.
  • Click the Timeline Index button in the lower-left corner of the Final Cut Pro main window (or press Command-Shift-2), and click the Tags button at the top of the Timeline Index.
  • To quickly find and select all the shots that need to be repositioned, enter the frame size keyword (that you created in step 1) in the search field at the top of the Timeline Index.You can use the Timeline Index to either select all the clips and adjust them all at once, or jump to each clip in order and adjust it separately.
  • With the clips selected in the Timeline, click the Inspector button in the toolbar, and then click the Video button at the top of the pane that appears.
  • In the Transform section of the Video inspector, use the Scale slider to adjust the frame size of the selected clips as appropriate for the new project frame size.
  • To fine-tune the scaling or positioning of the individual clips in the project,select them one at a time and choose Transform from the pop-up menu in the lower-left corner of the Viewer (or press Shift-T).These kinds of aesthetic changes don’t degrade image quality, because Final Cut Pro X operates on the original 4K or 5K frame, not on the resized 2K or 1080 frame.


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