This is the best tutorial I found on editing komodo footage from fcp, merci beaucoup! I have a question: do you grade directly on the proxies of the timeline or on the raw footage? I'm not sure if fcp does apply the grade automatically on the raw clips even if the timeline is converted in proxies
Ahhh I knew I forgot something important!!! So yes you can grade on proxies and yes it will stay on the original footage when you switch back. See the proxies as just a preview option HOWEVER, 2 things: 1-if you have created proxies and you change any raw setting, fcpx will delete the proxy version of that clip you’re trying to modify. This is because the proxy rendered is only a “mirror” of your raw clip but doesn’t contain any raw data, therefore you’d have to re render the proxy for this clip if you change it’s raw settings. 2- even though you can colour correct and colour grade using proxies (except raw settings), I would strongly suggest not to do that if like me you use low quality pro res. This is because you’re applying a grade on a clip that doesn’t have any data or “depth” and when you switch back to the original media, the adjustment you have done will be slightly off and in lots of cases you’ll have to re adjust. In short, unless having rendered high quality proxies (prores 422 for example), I’d always colour correct/grade using the original media view.
@@GuillaumeCornetfilms wow that's a great explanation, now I have everything clear in mind on how it works, thank you very very much for the infos, as I said, great video and great knowledge, so much helpful! Merci!🤩
Yep, this is good advice. You can also do basic setting changes to the RAW footage in REDCINE-X PRO and save a side car file, then those changes to WB, ISO etc will automatically show up on your clips in FCPX.
100%, and you actually have more options as well in RCX like noise reduction. I had actually film that part but decided to keep it off and focus on final cut in this one to keep it very simple :)
Excellent video - great job explaining the order of corrections and more importantly WHY it’s done that way. Thank you Guillaume. And man you did this so clearly in English, which is clearly not your first language. Very impressive. Subscribed.
Great information. Thanks! I used the node based Apple Shake and loved it so was disappointed when FCP went with a table, your concise demonstration of ranking the order of the info table operations, its nodes in a linear table. Excellent video!
Glad it was helpful! And yea 100%, I wished there was an option to switch to a node editing mode in FCP, this would make the staking of effects much more efficient.
fcpx + r3d = 💙 I can playback and edit 6K RED raw on fcp without the need to creating proxies, it's so well optimised. In comparison, I can't play back the 4K 10bit from the A7s3 without proxies
@@GuillaumeCornetfilms That's nice to hear. Will definitely test FCP then ;) Most of my work are big projects though, but that is nice to be able to go back and forth between R3D and proxies.
@@SczMotionDesign I've edited a documentary and some large projects mostly filmed on Gemini and Komodo on FCP, obviously had to create proxies at some point but I confirm that the last versions of FCP are pretty stable yep
@@GuillaumeCornetfilms Nice to hear that ! I'll probably test it on my next project then ! Always a risk to start a new project with a new NLE though, but there is always the possibility to transfer the project when it's not too advanced ;) Will definitely have a look to your other videos :)
@Guillaume Cornet This is a great video! I have a question, what are the last steps to all of this? Once you've color-corrected things and you're ready to export, what do you do exactly?
This was awesome thank you! I only have one question, what if you have the camera LUT to convert it properly, then can you apply a creative LUT on top of that? How would that process work?
Salut Guillaume ! Vraiment top ta vidéo merci beaucoup! Je me suis acheté la Red Gemini et j’apprends à tourner avec. Quand tu importes tes fichiers dans Final cut t’es fichiers sont déjà en LOG. T’as fait comment ça ? T’as filmer en R3D pourtant. Moi quand je filme en R3D mes fichiers sont pas en LOG. Il faut que je clique dans modifier les réglages RAW et cliquer sur Cinéma LOG. Merci beaucoup
Merci! Ca depend, et c'est ce que j'explique a 2:54 Ma Komodo est generalement en log et j'ai besoin de toucher a rien, tandis que ma Gemini ne l'est pas et je dois changer manuellement les reglages.
A huge thank you for your work, I've been watching multiple times this video in order to really learn a maximum about your method. I was wondering could you do a video about the decision you make before and during a shooting? Ideally with the Komodo 😁 When you use 24 fps (only gimbal and a slider) when you use 40 fps? I always heard about 40 fps by the Daniel Schiffer & company... I would love to learn more, I like your style of videos! Thanks again!
I appreciate the kind words, thank you so much mate! I'm working on a youtuve video explaining how I shoot documentaries and I'll make sure to answer your questions :)
Just found your channel! Any update to this workflow now in 2023-2024? Also, What denoise plug in do you normally use if or when you need to use? The one built in the Final Cut (The latest version) kept crashing during rendering. Thanks😊
Im confused about this workflow. Is the LUT you are using a Correction Lut or a Creative Lut? Correction Luts usually go on first thing. Creative Luts go on at the end.
Also, how do you export your files? Do you use the pro res option or H264? I get a warning when trying to export from h264 but the apple pro res option makes the file huge!
Thanks for watching. As long as you shoot raw and 6K, there is not much more you need to do in-camera. I made a video comparing the LQ, MQ and HQ modes, showing that for most cases, people won't notice the difference. If you want you can look up my channel, I have a playlist with a few videos about the Komodo covering settings and other features :)
@@GuillaumeCornetfilms Hi Guillaume. Thank you for responding. Since my question, I made sure the camera was set to output 6K (MQ) REDWideGamutRGB. Then I imported some RED LUTs that looked good to me into the camera. I selected and enabled a 3D LUT similar to the one you mentioned in your video (Medium Contrast, Very Soft for me). Then I made sure the camera LCD and SDI were set to "Image/LUT." Now I can output the flat REDWideGamutRGB content but see the look I like on the LCD and SDI monitor, then reapply the same LUT in FCP if I wish. I think I am set now. Thank you for pointing out the quirky thing that needs to be done in FCP regarding proper sequence of the LUT and FCP adjustments like color board. I look forward to seeing more from you regarding Komodo and/or FCP. Great work!
Question when I proxy Red Komodo footage and toggle back and fourth between original and proxy Im no longer allowed to use the Red RAW Tab … FCPX prompts me to delete my proxy footage in order to use the RAW Tab… Any advice on this?
Hey mate, if you scroll down in the comments I believe I already answered this. In short, the proxy you created is NOT a raw video anymore, it's a mirror of the R3D containing whatever raw settings you had at the moment you clicked on render proxies. There is no workaround because if you want to change the raw settings again, it can only be done on the original R3D. Ideally when editing you want to set your raw settings at the beginning. Doesn't have to be the exact final settings but roughly what you think will work for the whole project. I usually select all my raw clips and change all at once if needed to what I want. I then do all my editing using proxies and then I only do the colour grading over the whole project at the end. This will eventually delete the proxies. But at this stage it doesn't matter because I would strongly recommend NOT color grading on proxies as they are much lower quality and don't contain all the information you need to properly colour grade. Hope that makes sense :)
Why is my footage already looking so saturated and not flat. What am I missing? I know it should be somewhere in the meta data, but can I reset it project wide, to be able to color correct and grade every clip? I badly need to add some mood to the footage and that is barely possible with everything being so saturated already. 🙂
Thank you @@GuillaumeCornetfilms , yes I actually did. And I understand. And I was pretty sure I answered my question myself here, but the answer must have been disppeared somehow. Or maybe I just didn't really post it. I am sorry. I changed the R3D RAW settings (Color Space and Gamma) of my entire library and the clips in the timeline appeared flat as I expected. Now I am still cutting but will add an adjustment layer for the LUT later, and then color correct and grade the clips in the timeline. Got it! Thank you so so so much Guillaume! - Unfortunately I sold my Komodo in the meantime... 🙂
Bonjour Guillaume. Merci pour tes vidéos. Tu me fais rêver en attendant de me décider à commander ma Komodo. Est il possible d'avoir ta vidéo en Français ?
Bonjour Fred, les sous titres français ne marchent pas? Malheureusement 95% de mon audience est anglophone, raison pour laquelle toutes mes videos sont en anglais...
Bonjour Fred, les sous titres français ne marchent pas? Malheureusement 95% de mon audience est anglophone, raison pour laquelle toutes mes videos sont en anglais...
@@flg8100 j’ai fais une vidéo à ce sujet 😉 regarde Komodo vs A7s3 et ne pas oublier que comparer le r5 qui est un appareil pour faire de la photo pro et la Komodo une cinema caméra qui est supposé avoir une équipe autour. L’auto focus n’est pas la priorité pour RED
Quick question: I followed the steps and when I try to preview the footage from the timeline it seems to skip frames. I have an M1 Mac, so it should handle the footage just fine, I am not transcoding or using proxy media, just tryng to see the clip I created, but misses frames and skips some ... any recommendations? Seems to do the same in DaVinci.
Indeed it's odd, even a 13 inch M1 is able to play back the komodo footage like butter. Where are you footage files located? Could it be that they are on an external drive that is slow?
@@akcine even with transcoding on, it should automatically pause when playing back, unless you maybe have a very short time set in fcp. Glad you found out
Love it. Thank you. But I downloaded the Red Plugin, did restart on my computer... and I can't get that 'modify red settings' on the info tab as you have? Nothing appears? How did you get that? Thanks. Actually in a huge rush to get this thing done... if possible would be grateful to hear from you. :)
@@GuillaumeCornetfilms thank you for getting back to me... Shit. It looks like he shot Apple Pro res 422 HQ. Would you have advice on how I can color correct it. We shot on Komodo.
Not having success importing RED files into FCPX. I downloaded the RED Apple Workflow, and it said it has successfully installed. Started FCP, tried importing but most of the RED files are grayed out, so nothing is imported. I then tried to find if I really did have the workflow plug-in installed, and can't find it anywhere on my Mac. I've tried do this on both my brand new Mac Studio, M1Max chip, and my older Intel iMac. Any advice? Have no idea what the problem is.
I believe the computer needs to be re started for it to work. Also making sure that both your fcp and mac os are operating on the latest firmware. A way to see if it's installed is to check "system preference" on your mac and look for REDcode (it should be a the bottom). If it's not there, it's not installed. If it is, you can click on it and play with the 2nd tab called FCP X Hardware accelaration (only on box to tick or untick) Mine is ticked but in the past before the M1 max I had to untick it for some reasons. Good luck
How are you getting your RED footage to start in video being so flat? My footage donated come flat. Is there a setting I should be changing in camera or is that a setting in final cut.
so what's happening is that the proxy file is basically a prores mirror of your video clip taken at the moment you create the proxy. This means any raw setting is kinda engraved in the prores version thus not raw anymore. If you change the raw settings, and yes you can still change them whenever then FCP deletes the created proxy as it's no longer "correct", however, once you've done your raw changes, you can create the proxy again. What I do and I think what FCP thinks people are doing is that I first set some raw settings that I think are good to all my clips, then create proxies and do all my major editing. Then at the very end when I do the whole color grading, I adjust the raw settings. It may delete the proxies but I usually don't need them anymore. Moreover, proxies are not good to work with when color grading as they are only compressed versions. Hope that helps
@@GuillaumeCornetfilms ohh! Thank u so mucho! New sub here! Fan of your content! My komodo has just arrived days ago, hope you can upload more videos with the komodo
Too bad the RED Apple Workflow Installer off of RED's website does not work at all - it has you click install, then it tells you to restart your Mac - you restart and then nothing has changed - nothing gets installed .. its an infinite loop. This is why I hate editing, I just wasted an hour of my life and didn't learn a thing or accomplish a thing. Maybe its not compatible with M1MAX? Who knows, Google has no answers for me
It's a plugin. It won't start anything, it will just let your Final Cut Pro edit R3D footage. And yes I use it on M1Max and it works. Not sure to understand what issue you're having. Is your footage not working in FCP after installing it?
@@GuillaumeCornetfilms No the download never installs .. you attempt to unzip the download, and when you hit install it makes you restart the MacBook .. after the MacBook restarts nothing has been installed, it does not work. There's no way to use a plug-in if it won't install. Red Cine X Pro installed just fine, RED Apple Workflow currently will not install
This is the best tutorial I found on editing komodo footage from fcp, merci beaucoup! I have a question: do you grade directly on the proxies of the timeline or on the raw footage? I'm not sure if fcp does apply the grade automatically on the raw clips even if the timeline is converted in proxies
Ahhh I knew I forgot something important!!! So yes you can grade on proxies and yes it will stay on the original footage when you switch back. See the proxies as just a preview option HOWEVER, 2 things:
1-if you have created proxies and you change any raw setting, fcpx will delete the proxy version of that clip you’re trying to modify. This is because the proxy rendered is only a “mirror” of your raw clip but doesn’t contain any raw data, therefore you’d have to re render the proxy for this clip if you change it’s raw settings.
2- even though you can colour correct and colour grade using proxies (except raw settings), I would strongly suggest not to do that if like me you use low quality pro res. This is because you’re applying a grade on a clip that doesn’t have any data or “depth” and when you switch back to the original media, the adjustment you have done will be slightly off and in lots of cases you’ll have to re adjust.
In short, unless having rendered high quality proxies (prores 422 for example), I’d always colour correct/grade using the original media view.
@@GuillaumeCornetfilms wow that's a great explanation, now I have everything clear in mind on how it works, thank you very very much for the infos, as I said, great video and great knowledge, so much helpful! Merci!🤩
anytime!
Yep, this is good advice. You can also do basic setting changes to the RAW footage in REDCINE-X PRO and save a side car file, then those changes to WB, ISO etc will automatically show up on your clips in FCPX.
100%, and you actually have more options as well in RCX like noise reduction. I had actually film that part but decided to keep it off and focus on final cut in this one to keep it very simple :)
Excellent video - great job explaining the order of corrections and more importantly WHY it’s done that way. Thank you Guillaume. And man you did this so clearly in English, which is clearly not your first language. Very impressive. Subscribed.
Thanks mate, I appreciate the kind words!
Great information. Thanks! I used the node based Apple Shake and loved it so was disappointed when FCP went with a table, your concise demonstration of ranking the order of the info table operations, its nodes in a linear table. Excellent video!
Glad it was helpful! And yea 100%, I wished there was an option to switch to a node editing mode in FCP, this would make the staking of effects much more efficient.
Hey, thanks Guillaume. I have recently got a project to edit from Red and I was struggling a little bit but this has made it somehow a but mire clear.
Glad I could help!
Awesome content!! Been watching all of the Komodo vids! As I patiently wait for mine!! 🤩🙏🏽
Looks like you're not the only one waiting for yours, all the best! :D
man putting the colour board up top!!! like hack and that applies to probes raw to just found out
thanks so much!!!!
right, I will have a color checker next time for the shots
Nice video, happy to discover your channel as I am thinking of switching to FCPX and was wondering about r3d capabilities.
fcpx + r3d = 💙
I can playback and edit 6K RED raw on fcp without the need to creating proxies, it's so well optimised. In comparison, I can't play back the 4K 10bit from the A7s3 without proxies
@@GuillaumeCornetfilms That's nice to hear. Will definitely test FCP then ;) Most of my work are big projects though, but that is nice to be able to go back and forth between R3D and proxies.
@@SczMotionDesign I've edited a documentary and some large projects mostly filmed on Gemini and Komodo on FCP, obviously had to create proxies at some point but I confirm that the last versions of FCP are pretty stable yep
@@GuillaumeCornetfilms Nice to hear that ! I'll probably test it on my next project then ! Always a risk to start a new project with a new NLE though, but there is always the possibility to transfer the project when it's not too advanced ;) Will definitely have a look to your other videos :)
I’ll continue watching your videos while I wait for my camera to arrive lol great stuff
thanks for watching ahah and stay strong!
Incredible video! Thank you for making this! Subscribed!
Awesome, thank you!
Great tutorial! I was curious where you got your Red conversion luts? The ones I saw on the Red website are different. I didn't see any Rec 709 luts.
@Guillaume Cornet This is a great video! I have a question, what are the last steps to all of this? Once you've color-corrected things and you're ready to export, what do you do exactly?
This was awesome thank you! I only have one question, what if you have the camera LUT to convert it properly, then can you apply a creative LUT on top of that? How would that process work?
Yes Please do a low light situation
working on it! :)
@@GuillaumeCornetfilms also if possible kindly give us the file size limits on LQ/ProRes on 1080p
Salut Guillaume !
Vraiment top ta vidéo merci beaucoup!
Je me suis acheté la Red Gemini et j’apprends à tourner avec.
Quand tu importes tes fichiers dans Final cut t’es fichiers sont déjà en LOG.
T’as fait comment ça ? T’as filmer en R3D pourtant.
Moi quand je filme en R3D mes fichiers sont pas en LOG. Il faut que je clique dans modifier les réglages RAW et cliquer sur Cinéma LOG.
Merci beaucoup
Merci!
Ca depend, et c'est ce que j'explique a 2:54
Ma Komodo est generalement en log et j'ai besoin de toucher a rien, tandis que ma Gemini ne l'est pas et je dois changer manuellement les reglages.
A huge thank you for your work, I've been watching multiple times this video in order to really learn a maximum about your method.
I was wondering could you do a video about the decision you make before and during a shooting? Ideally with the Komodo 😁
When you use 24 fps (only gimbal and a slider) when you use 40 fps? I always heard about 40 fps by the Daniel Schiffer & company...
I would love to learn more, I like your style of videos!
Thanks again!
I appreciate the kind words, thank you so much mate! I'm working on a youtuve video explaining how I shoot documentaries and I'll make sure to answer your questions :)
Just found your channel! Any update to this workflow now in 2023-2024? Also, What denoise plug in do you normally use if or when you need to use? The one built in the Final Cut (The latest version) kept crashing during rendering. Thanks😊
Thank you, very informative
Glad it was helpful!
Thank you for that video buddy!
No problem 👍
Im confused about this workflow. Is the LUT you are using a Correction Lut or a Creative Lut?
Correction Luts usually go on first thing. Creative Luts go on at the end.
Super nice Video 💪🏻💪🏻
Glad you liked it!
Also, how do you export your files? Do you use the pro res option or H264? I get a warning when trying to export from h264 but the apple pro res option makes the file huge!
Thank you for posting this. Well done. Question. What are the best Komodo in-camera settings to get the best results?
Thanks for watching. As long as you shoot raw and 6K, there is not much more you need to do in-camera. I made a video comparing the LQ, MQ and HQ modes, showing that for most cases, people won't notice the difference. If you want you can look up my channel, I have a playlist with a few videos about the Komodo covering settings and other features :)
@@GuillaumeCornetfilms Hi Guillaume. Thank you for responding. Since my question, I made sure the camera was set to output 6K (MQ) REDWideGamutRGB. Then I imported some RED LUTs that looked good to me into the camera. I selected and enabled a 3D LUT similar to the one you mentioned in your video (Medium Contrast, Very Soft for me). Then I made sure the camera LCD and SDI were set to "Image/LUT." Now I can output the flat REDWideGamutRGB content but see the look I like on the LCD and SDI monitor, then reapply the same LUT in FCP if I wish. I think I am set now. Thank you for pointing out the quirky thing that needs to be done in FCP regarding proper sequence of the LUT and FCP adjustments like color board. I look forward to seeing more from you regarding Komodo and/or FCP. Great work!
Superb!
Thank you! Cheers!
Question when I proxy Red Komodo footage and toggle back and fourth between original and proxy Im no longer allowed to use the Red RAW Tab … FCPX prompts me to delete my proxy footage in order to use the RAW Tab… Any advice on this?
Hey mate, if you scroll down in the comments I believe I already answered this. In short, the proxy you created is NOT a raw video anymore, it's a mirror of the R3D containing whatever raw settings you had at the moment you clicked on render proxies. There is no workaround because if you want to change the raw settings again, it can only be done on the original R3D.
Ideally when editing you want to set your raw settings at the beginning. Doesn't have to be the exact final settings but roughly what you think will work for the whole project. I usually select all my raw clips and change all at once if needed to what I want.
I then do all my editing using proxies and then I only do the colour grading over the whole project at the end. This will eventually delete the proxies. But at this stage it doesn't matter because I would strongly recommend NOT color grading on proxies as they are much lower quality and don't contain all the information you need to properly colour grade.
Hope that makes sense :)
Awesome!
Thank you! Cheers!
I installed RED apple workflow. My footage is all glitchy when I upload in FCP. Can you let me know what I could be missing?
Why is my footage already looking so saturated and not flat. What am I missing? I know it should be somewhere in the meta data, but can I reset it project wide, to be able to color correct and grade every clip? I badly need to add some mood to the footage and that is barely possible with everything being so saturated already. 🙂
Did you follow every step? The footage without any lut should be in a log profile
Thank you @@GuillaumeCornetfilms , yes I actually did. And I understand. And I was pretty sure I answered my question myself here, but the answer must have been disppeared somehow. Or maybe I just didn't really post it. I am sorry. I changed the R3D RAW settings (Color Space and Gamma) of my entire library and the clips in the timeline appeared flat as I expected. Now I am still cutting but will add an adjustment layer for the LUT later, and then color correct and grade the clips in the timeline. Got it! Thank you so so so much Guillaume! - Unfortunately I sold my Komodo in the meantime... 🙂
Bonjour Guillaume. Merci pour tes vidéos. Tu me fais rêver en attendant de me décider à commander ma Komodo.
Est il possible d'avoir ta vidéo en Français ?
Bonjour Fred, les sous titres français ne marchent pas? Malheureusement 95% de mon audience est anglophone, raison pour laquelle toutes mes videos sont en anglais...
Bonjour Fred, les sous titres français ne marchent pas? Malheureusement 95% de mon audience est anglophone, raison pour laquelle toutes mes videos sont en anglais...
@@GuillaumeCornetfilms merci pour ta réponse. Je n'avais pas pensé aux sous titres.... 🙏
Qu'est-ce que tu penses de l'auto-focus. J'ai vu d'autres tutos qui disent qu'il est pas top (comparé par exemple au R5) ça me fait hésiter...
@@flg8100 j’ai fais une vidéo à ce sujet 😉 regarde Komodo vs A7s3 et ne pas oublier que comparer le r5 qui est un appareil pour faire de la photo pro et la Komodo une cinema caméra qui est supposé avoir une équipe autour. L’auto focus n’est pas la priorité pour RED
Thank You
You're welcome
What lens did you use for the surfboard scene?
Canon 24-70 F2.8 for all the shots in this video
@@GuillaumeCornetfilms awesome! Great work! Thanks for the fast reply.
Quick question: I followed the steps and when I try to preview the footage from the timeline it seems to skip frames. I have an M1 Mac, so it should handle the footage just fine, I am not transcoding or using proxy media, just tryng to see the clip I created, but misses frames and skips some ... any recommendations? Seems to do the same in DaVinci.
Indeed it's odd, even a 13 inch M1 is able to play back the komodo footage like butter. Where are you footage files located? Could it be that they are on an external drive that is slow?
@@GuillaumeCornetfilms looks like the transcoding was ON. I turned it off and voila !
@@akcine even with transcoding on, it should automatically pause when playing back, unless you maybe have a very short time set in fcp. Glad you found out
Love it. Thank you. But I downloaded the Red Plugin, did restart on my computer... and I can't get that 'modify red settings' on the info tab as you have? Nothing appears? How did you get that? Thanks. Actually in a huge rush to get this thing done... if possible would be grateful to hear from you. :)
are you sure you are working with raw footage (R3D)? No prores or anything else?
@@GuillaumeCornetfilms thank you for getting back to me... Shit. It looks like he shot Apple Pro res 422 HQ. Would you have advice on how I can color correct it. We shot on Komodo.
@@boundless1972 sorry mate, I never shoot prores, good luck 🤞🏽
@@GuillaumeCornetfilms I won't ever again. Pro res raw. Damn. Thanks for your response and helpful site.
Not having success importing RED files into FCPX. I downloaded the RED Apple Workflow, and it said it has successfully installed. Started FCP, tried importing but most of the RED files are grayed out, so nothing is imported. I then tried to find if I really did have the workflow plug-in installed, and can't find it anywhere on my Mac. I've tried do this on both my brand new Mac Studio, M1Max chip, and my older Intel iMac. Any advice? Have no idea what the problem is.
I believe the computer needs to be re started for it to work. Also making sure that both your fcp and mac os are operating on the latest firmware.
A way to see if it's installed is to check "system preference" on your mac and look for REDcode (it should be a the bottom). If it's not there, it's not installed. If it is, you can click on it and play with the 2nd tab called FCP X Hardware accelaration (only on box to tick or untick) Mine is ticked but in the past before the M1 max I had to untick it for some reasons. Good luck
@@GuillaumeCornetfilms Thank you! I never would have known to look in system preferences, and now I see REDcode is installed.
WHAT settings are you using in final cut to export the red footage to youtube to get the best quality????
4K H264 master or "Apple device" 4K for faster youtube encoding. It's basically the same quality wise
How are you getting your RED footage to start in video being so flat? My footage donated come flat. Is there a setting I should be changing in camera or is that a setting in final cut.
Have you followed every steps from my video?
Guillaume Cornet I was missing a step thank you 🙏🏾
FCPX tell me that to edit R3D Raw footage, I need to deleat proxy. Did you do that and color grade after delete it?
so what's happening is that the proxy file is basically a prores mirror of your video clip taken at the moment you create the proxy. This means any raw setting is kinda engraved in the prores version thus not raw anymore. If you change the raw settings, and yes you can still change them whenever then FCP deletes the created proxy as it's no longer "correct", however, once you've done your raw changes, you can create the proxy again. What I do and I think what FCP thinks people are doing is that I first set some raw settings that I think are good to all my clips, then create proxies and do all my major editing. Then at the very end when I do the whole color grading, I adjust the raw settings. It may delete the proxies but I usually don't need them anymore. Moreover, proxies are not good to work with when color grading as they are only compressed versions. Hope that helps
@@GuillaumeCornetfilms ohh! Thank u so mucho! New sub here! Fan of your content! My komodo has just arrived days ago, hope you can upload more videos with the komodo
Have fun with it!!
first you said add it last then went back and put transform lut on top
Last and on top is the same
Too bad the RED Apple Workflow Installer off of RED's website does not work at all - it has you click install, then it tells you to restart your Mac - you restart and then nothing has changed - nothing gets installed .. its an infinite loop. This is why I hate editing, I just wasted an hour of my life and didn't learn a thing or accomplish a thing. Maybe its not compatible with M1MAX? Who knows, Google has no answers for me
It's a plugin. It won't start anything, it will just let your Final Cut Pro edit R3D footage. And yes I use it on M1Max and it works. Not sure to understand what issue you're having. Is your footage not working in FCP after installing it?
@@GuillaumeCornetfilms No the download never installs .. you attempt to unzip the download, and when you hit install it makes you restart the MacBook .. after the MacBook restarts nothing has been installed, it does not work. There's no way to use a plug-in if it won't install. Red Cine X Pro installed just fine, RED Apple Workflow currently will not install
Do you have a link to? RWG_log3G10 to REC709_BT1886 with HIGH_CONTRAST and R_4VerySoft size_33v1.13?
You’ll find it with a quick google search on the RED website alongside all the other variations