FCPX: Red Workflow – Part 02

Welcome to another We Make Movies U Tutorial. Hope you guys enjoy it, and step by step instructions are available below. Also, you can hire us for your project or for consulting. More info is available at http://www.wemakemoviespost.com. Lastly, for more info about We Make Movies the organization and for more filmmaking resources or our free workshops, check out our main site at http://www.wemakemovies.org.

You can check out all of our FCPX Tutorials here:

FCPX: Red Workflow – Part 2

  1. Create a 1080 (or whatever your desired delivery/offline resolution is) Project at desired FPS (genereally 23.98).
    If you need to perform any modifications to your RAW once you’ve started editing with proxies, you’ll need to switch back to “Original Media” playback in the playback tab of the FCPX preferences, make your modifications to the RAW, and then retranscode the affected clips back to proxy.
  2. Edit all footage in this timeline. Perform resizes, temp color, and effects here. Lock cut. *** if you decide to revise the RAW from an R3D during this process, you will need to retranscode your proxies for those files.
    When your edit is locked, duplicate project.
  3. “Duplicate project and used clips and create a new event”. This will move just the clips you’ve used to a new event, which will save quite a bit of disk space. You can now modify your RAW settings to really fine tune your image.
  4. You have the option of using the “Organize Event Files” (with the event select click the “File” dropdown menu and you’ll see it) command to consolidate your used clips media into your event if you want to consolidate your final edit to one place.
  5. Set your Playback preferences back to “use original or optimized media”.
  6. You can now choose to optimize your selected footage to its native settings at prores444, or you can work with and modify your R3D footage natively in the timeline. Now is a good time to fine tune your RAW settings, as you’ll only be modifying the clips you’ve used in your edit.
  7. Make final color/framing/effects adjustments. Use the timeline index and spatial conform settings in inspector to select your keyworded resolution settings to quickly adjust the framing for your clips based on their native resolution.
  8. Adjust your Project and Render settings according to the needs of your VFX and GFX people and then export your clips for VFX and compositing in applications such as Nuke and After Effects, then use auditions to bring your versions back into FCPX.
  9. Duplicate your projects and adjust timeline settings to reflect your other delivery options. Then, use your timeline index and spatial conform again to do global reframes to adjust for your timeline to the new delivery settings. You will now have multiple masters for your desired deliverables.
  10. Take your sequence and turn it into a Compound Clip and then add the “Letterbox Filter” if you want to apply the same aspect ratio across your entire timeline.
  11. You can choose to master internally from FCPX or send your XML’s to Resolve (which can maintain your RAW, transform and Color settings for each of your timelines) if you want to for fine tuning. Render out XML’s for each project and send to resolve. If you open them all within the same project in Resolve, each XML can access the same grades for your footage, although you will have to do the renders individually from Resolve.
  12. Render each of your finished timelines from Resolve, and import your new XML’s into FCPX.
  13. Export your final masters and distribute accordingly.