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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

RED QuickTime Reference files in FCP?

Matt Reyer

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I've read the white paper on FCP workflow and I still seem to be missing something, so please bear with me. If this is covered in another thread then just redirect me.

I understand that the QuickTime reference files are not ACTUALLY QuickTime movies, but just refer to the .R3D and ignore a certain amount of pixels.

So I can import these reference files into Final Cut and edit them, but when it comes time to export my movie, then will the size be 1k (if i use the 1k ref. files), 2k (if i use the 2k ref files), and so on?

I edit with the ref. files because my computer cannot handle full blown 4k. Right? Editing 1k just makes the process quicker. How can I edit 1k ref. files and export the timeline to a full quality 4k movie?
 
Send to Color and export, yes it's that easy if edited off Proxies
 
you could replace the proxies with the full proxies or expert an edl and conform the project on a online system like Scratch, Smoke, Clipster, etc.
 
I've read the white paper on FCP workflow and I still seem to be missing something, so please bear with me. If this is covered in another thread then just redirect me.

I understand that the QuickTime reference files are not ACTUALLY QuickTime movies, but just refer to the .R3D and ignore a certain amount of pixels.

So I can import these reference files into Final Cut and edit them, but when it comes time to export my movie, then will the size be 1k (if i use the 1k ref. files), 2k (if i use the 2k ref files), and so on?

I edit with the ref. files because my computer cannot handle full blown 4k. Right? Editing 1k just makes the process quicker. How can I edit 1k ref. files and export the timeline to a full quality 4k movie?

Log and transfer to proxy ProRes
Edit in FCP
reconform with cinema tools or clipfinder
open in Color 4K
Grade in Color 4K
Export to 4K dpx, cineon or anything
 
In FCP, how exactly do I "reconform" or replace the proxies with the HQ clips with the edits in place? What is the menu option?

What is "clipfinder"? Never heard of it.
 
In FCP, how exactly do I "reconform" or replace the proxies with the HQ clips with the edits in place? What is the menu option?

What is "clipfinder"? Never heard of it.

Ok Matt, this is the best way to kill a thread.
It looks like you should do a little more research. If you are a visual learner (like most of the filmmakers) you can take a look at some helpful videos:

this is a general explanation of the entire workflow: http://blip.tv/file/582829

here something more specific for your case (click on video links):
http://www.michaelcinquin.com/tools/red

here is some concise explanations of Clipfinder: http://www.daun.ch/software/ClipfinderHelp/conformingafinal.html
 
In FCP, how exactly do I "reconform" or replace the proxies with the HQ clips with the edits in place? What is the menu option?

It's all laid out in the Whitepaper. In the FCP 7 version of the Whitepaper go through Workflow 2.

The first few times you'll need that Whitepaper open while following the step-by-step process.

Essentially you need to Media Manage your locked picture to a target RED preset you need to build following the White Papers instructions. You'll be creating an OFFLINE sequence that references nothing.

Then you go back into Log and Transfer, set it up as laid out in the White Paper, add all the volumes on which your source R3Ds reside, and then Batch Capture the OFFLINE sequence you created with the Media Manager.

Your R3D files will now be copied, wrapped in a QT wrapper, and then you'll have a sequence referencing the R3D files and ready to be sent to Color.

That's it!

No one said it'd be simple. But follow the White Paper, step-by-step, and all is good.

HTH

- pi
 
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