REDUSER.net - Apple Workflow

Bit depth of R3D files in FCPX?

Chris Santucci — Sun, 16 Jun 2013 21:56:39 GMT

Are 12 bits per channel still available when using R3D in FCPX, or..?

Thanks for any info.

DAM "Get Info" & Disk Image Inconsistencies

PC Greene — Sun, 16 Jun 2013 20:14:00 GMT

When doing "manual" (non software driven) data asset management, we have alternately a) manually copied the entire contents of the red mag to a directory on an HFS+ drive, or created a disk image of the red mag.

Neither method seems 100% reliable as I'd prefer and input is welcome. When copying manually, and checking file size via finder "get info", occasionally find that the directory holding all the r3ds is a tiny amount bigger in size and file count than the mag.
When writing a disk image via disk utility, sometimes the image errors out before finishing the image.

I believe I've seen this consistently across 10.6 through 10.8. I agree there are superior software solutions for DAM but feel basic manual file management should be solid before looking at more complex solutions.

Thanks,

PCG

red plug in fcpx...why not all adjustments?

paul schefz — Sat, 15 Jun 2013 23:14:53 GMT

i love the red plug in in fcpx....amazing....but WHY, WHY, WHY not all adjustments?
i would pay for that....
alchemy, curves!....is apple not allowing this to happen? or does red not want to step on toes? or something else? i don't think it would take away from redcine x and i don't see why apple would have a problem....

FCP-X to RCX EDL import problem

Andre W. — Wed, 12 Jun 2013 00:37:58 GMT

Quick question....

Shot a project, handed off files for editorial, edit is done (was done on FCP-X), go to load the EDL XML that was given to me so that I can start to work on the color.... Relink files that pop up saying relink is needed.... However there are some files that show up in the timeline as just black spaces... can't pull any information from them, and not sure what's going on here.... any ideas???

***EDIT***

looking at the status tab, I see:
"warnings when parsing FCP-X XML file (location): Unexpected element ref-clip within the element spine"

FCPX TO AFTER EFFECTS

Matthew Thompson — Tue, 11 Jun 2013 20:47:05 GMT

Hey guys, I'm editing 5k FCPX generated proxies in final cut, and I'm about at picture lock and looking to head over to AE. I'd like to come back to FCPX or REDCINE first and then back to FCPX, in order to color with RAW. I'm new to the FCPX workflow, so any help at all would be great.

Thanks guys!!

FCPX Event Browser Folder Structure, anyway around 1-clip-per-folder nonsense?

Milan S. — Tue, 11 Jun 2013 15:46:32 GMT

Fairly new to FCPX here, editing from a plethora of different formats and the event browser is giving me a headache.
All the other formats sit nicely there, with multiple clips per folder, except for RED footage that contains individual folders for each clip.

Is there a way to have a REEL event folder containing all clips without being wrapped in yet another folder?

It maybe be super simple to organize RED clips better this but Google search didn't return anything. (help)

Cheers!

FCP X 4K Workflow Training Day - Saturday June 22nd 2013 - West Hollywood

Neil W. Smith — Tue, 11 Jun 2013 15:36:45 GMT

OK, so now that the dust has settled on Apple's very cool announcements at WWDC, let's get back to business ... the business of shooting, posting and delivering great looking EPIC 4K projects.

Some of you attended our 4K MADE EASY Training Day last month and were pleasantly surprised at how powerful FCP X is in the hands of a skilled practitioner, like Sam Mestman.

Sam has written extensively about the professional features in FCP X and how to get the most out of the latest version of this incredible piece of software ... see his three part article already posted on RedUser:

http://www.reduser.net/forum/showthr...nd-at-NAB-too)

On Saturday, June 22nd, we'll be running another of our 4K MADE EASY Training Days. As well as covering what the new Apple hardware means for editors and RED shooters, Sam will also cover:

Using Redcine X, FCP X and DaVinci Resolve to capture, edit and deliver 4k RED projects

Morning Session – BASIC 4K WORKFLOW - 10am to 12 noon:

- New Mac Pro and its implications for editors
- Basics of FCP X and other software tools
- Basics of DaVinci Resolve
- Setting up a 4K FCP X project
- Round-tripping between RedCine X, FCP X and DaVinci Resolve
- Delivery options for 4K material

Afternoon Session – ADVANCED 4K WORKFLOW - 1pm to 3pm:

- Setting up XSAN
- Setting up multiple FCP X editors on XSAN
- Advanced FCP X
- Advanced FCP X to DaVinci Resolve round-tripping
- Advanced 4K delivery

Obviously, we wont have the new hardware on hand at this time, but as soon as the new Mac Pros are shipping we'll run another event to demonstrate the incredible creativity and efficiencies to be gained by using this amazing combination of hardware and software.

The goalposts for 4K post and delivery were moved yesterday. If you're an editor or filmmaker involved in 4K production, you won't want to miss this 4K MADE EASY Training Day,

Details on the LumaForge website:

http://www.lumaforge.com/styled-2/index.html

MAC PRO NOT 1, Not 2 but 3 Simultaneous 4K Displays from a MAC PRO. See what you did

BigLu — Mon, 10 Jun 2013 21:29:09 GMT

3 Simultaneous 4K Displays,
If you shoot it. They will Display it.

http://www.apple.com/mac-pro/

I feel FUqing good for shooting 4K and delivering 4k.

DID RED have anything to do with that??

* Unified Thermal Core
* Next Gen Intel 12-core Xeon
* PCI Express Gen 3
* 1866MHz DDR3 RAM
* PCIe Flash Storage
* All Expansion External via Storage Arrays or Expansion Chassis
* Dual AMD FirePro Workstation 4096 Stream Graphics Processors
* Support for 3 Simultaneous 4K Displays
* Audio / Headphone jacks
* 4 USB 3 ports
* 6 Thunderbolt 2 ports
* 3 Thunderbolt Controllers
* 2 Gig Ethernet ports
* HDMI port
* Motion Sensor for Port Illumination
* Top is Handle
* 1/8th the Size of Previous Gen
* Designed and Assembled in USA
* Shipping Late 2013

http://www.engadget.com/2013/06/10/a...2013-redesign/

Shaping the Future.

Mac Pro! 2013

Daniel Meador — Mon, 10 Jun 2013 19:27:49 GMT

Back from the brink. Cylindrical. Never would've guessed that. Up to three 4K monitors. Thunderbolt 2. Anyone want to buy my 2010 Mac Pro? For that matter, anyone want to buy my Maingear Shift?

FCP 7 prores proxies w/ effects--looking for best workflow to finish for online

Sharif El Neklawy — Tue, 04 Jun 2013 17:57:12 GMT

Hey guys,

I'm working with a director who started his commercial edit in FCP 7 which is his preferred NLE and he is using some effects, both standard and plug-ins. The DP has given us LUTs to be used with DaVinci Resolve for the final grade which will be done at a. I want to figure out the best way to keep my director editing in FCP 7, grade in Resolve and get the best looking final .mov for online streaming.

My first thought was that he could do what he does in FCP 7, export an XML to Resolve, relink to the .R3Ds for best grading and export an XML or DMX to be compressed/encoded elsewhere.

Any suggestions for a workflow that will work best while keeping all his editing and effects editing in FCP7, while also utilizing the .R3Ds since proxies are such low quality, to have an uncompressed 1080p file at the end?

thanks.

New Mac Pro on the way? (Really, this time...)

Stephen Webb — Sat, 01 Jun 2013 15:50:39 GMT

I know how much people here love to discuss this, and it seems like something may really actually be about to happen:

Earlier this month, we reported that Apple resellers were seeing dwindling numbers of MacBook Airs, and it appears that many outlets are also experiencing low supplies of Apple's Mac Pro.

According to MacTrast, the entry level quad-core 3.2GHz Mac Pro is backordered or out of stock at a number of online stores, including MacMall, B&H Photo, CDW, PowerMax, Adorama, and J&R Electronics.

Read the rest here:

http://www.macrumors.com/2013/05/31/...dc-approaches/

My experience with FCP X. Need help to improve.

Sergio Perez — Mon, 27 May 2013 16:17:53 GMT

Hi all,

Just finished a project where I had to go direct to projection to a house with an audience of 3000+ spectators in the local Arts Festival. Video was projected through a Panasonic 16K Lumens 1080p projector (looked great)

The entire video was edited on a Macbook Pro Retina.

The Editing

This video was entirely shot on a Red Epic. What I decided to do was not to use raw but prores 1080p files converted by Redcine-X. The reason was because of speed of editing, the heavy Color correction I was going to do through plugins- no resolve but using Magic Bullet Looks- as well as some compositing with Keyer and some animations.

After a previous experience with a TVC, I was more confortable with the editing in FCPX this time. Understanding the "storyline" concept I actually had a very smooth video editing experience. However, a new unknown and lots of issues where presented to me this time: the audio. The truth is, with the change of "tracks" to "story lines" it was a big mess to arrange everything and make it look sort of "arranged", or organised. Another aspect that I wasn't expecting was the audio levels bar now went beyond 0 to 6db. A bit idiotic but took me some time to understand the new "clipping monitoring" of this sound bar.

I was used to get my dialogue "normalised" on Soundtrack Pro, but it seems like there's a new option called "loudness" that basically is doing this. Working with dialogue, there's an option to "Vocal enhance". I have to do a disclaimer here: Normally I don't do audio . I send it to a professional audio technician that does it for me. I was crazy attempting to do this all alone. It somehow worked but I DO NOT RECOMMEND anyone doing what I did.

Back to audio. One thing I didn't like was the constant need to have to " expand audio components" to see the different tracks of my recording. I had to manually select "dual mono tracks" to have an expanded view of my audio. But it worked.

A very, very important aspect for Apple should be to get the audio exportable to audio software. Any tips on this?

Tomorrow I'll have a mastering session in a big post house and I plan to see how this integrates with Resolve visually.

Just to say the showing was a success, rave reviews in the local press. I was nuts on doing this without much experience on the software but things somehow worked out- audio included. But it could have been better, specially on the audio part, if it was done by someone on protools. Would love to know your experiences with audio in FCPX

Cheers, will keep this thread open as I improve with the software. Am starting to like it more. Had another big problem yesterday with corrupted preview files (I think). I couldn't "share" a master file from a duplicate project. But the original was fine. In old FCP, you could erase render files. What do we do here?

Thanks and do share your experiences,

Sergio

4K Unplugged - Monthly Apple FCP X Workflow Meet Up

Neil W. Smith — Fri, 24 May 2013 03:53:49 GMT

Things are changing rapidly in the world of 4K workflow and Apple technology. If you want to come along and catch up on the latest developments, ask questions and generally talk things over with one of the world's leading experts on FCP X workflow, come along to one of our 4K Unplugged Meet Ups and spend two hours in the company of Sam Mestman.

Sam is a working editor and workflow architect with a deep knowledge of Apple FCP X and file-based workflows. He regularly writes for Movie Magazine and We Make Movies.com as well as presenting at LACPUG, Moviola and REDucation events.

Check out Sam's latest articles and presentations covering FCP X and RED workflow:

FCP.co - Sam Mestman talks FCP X and RED Workflow

Our monthly 4K Unplugged sessions are held on the third Saturday of each month in the Fairbanks Theater on The Lot in West Hollywood from 10 AM to 12 NOON.

Admission to the meet-up is free but attendance is limited to 30 attendees only, plus you MUST be pre-registered for the event in order to gain access to the the Fairbanks Theater. The Lot is a working movie lot and walk-ons will not be allowed by Security. If your name is not on the attendee list for that particular Saturday by 8am, you will not gain access to the meeting.

Sign up now on EventBrite to guarantee a seat.

Offline editing in fcpx then reconnecting to redcine-x workflow questions

Nawaf Alsabhan — Thu, 23 May 2013 07:48:15 GMT

Hi guys,
My friend is editing a short I shot with the Epic in 5K, I transcoded the footage in Adobe Media Encoder Cs6 to prores 1080p, after he finishes offline editing, we should export XML to redcine-x and reconnect the r3d files to color correct.

I did a test of this and all worked so far, but after I color correct in redcine-x, there are a lot of options from redcine-x, which one should I use?

Export (shallow) to Fcp-x xml: this seems to work easily, but the audio gets deleted when I import the XML to fcpx, is that normal? Also, the clips seems to be 5K in fcpx, but Modify RED RAW Settings is disabled, I'm wondering why, are they a copy of r3d files? or transcoded to prores?

Export : there are a lot of options here, such as R3D Trim, Quicktime, and Quicktime Wrapper, which one should I use?

FYI: I want to send the color corrected r3d files back to fcpx, to add titles and export a h264 1080p.

2 questions with Red Epic footage and Adobe Premiere CS6

CaseydeFremery — Wed, 22 May 2013 20:19:43 GMT

Hey everyone,

I"ve been editing a short together that was shot on the Red Epic and have 2 main questions I haven't gotten a good answer to lately. One is regarding aspect ratios and the other is for color correction. Warning: probably dumb questions.

1) The short I'm editing was 5k, 2:35 or 2:40 (I don't remember which) but in the short, there is footage used from another project that was shot at 2:35 with thick widescreen bars. When exporting the project, the widescreen bars don't match as the other file was fully exported as widescreen. I'm used to fixing this in Final Cut where I could manually adjust the bars with the widescreen tool but haven't found a workable solution in this one. My aim is to match the red footage with the other footage but how do I get the two consistent?

2) I've been looking to color correct it now that the cut is locked but am looking for ideas on which color correction programs to use. I've been told Red Cine and Da Vinci Resolve mainly but I had a weird experience with Cine a few years ago and don't have Da Vinci. I was told you'd mainly use red cine before editing but I started editing the R3D file on the timeline without going through it. I have the Adobe suite so I have access to speedgrade but what's the best workflow and program to use for CC'ing?