Editready conform frame rate 1080p#
Editready conform frame rate pro#

Step 5 – At this point, you should verify that the files have conformed correctly by comparing against a self-contained reference file. Pick the correct one and that will correct the conflict. If there’s a clip conflict, you’ll be presented with several choices. The timeline may have a few clip conflicts, so look for the little indicator on the clip corner in the Edit window timeline. The FCPXML file will load and will relink to the RED files without issue if everything has gone correctly. Import the FCPXML (1.4), but disable the setting to automatically load the media files in the import dialogue box. Locate all of your camera original source media (RED camera files in this example) and add them to your media bin in the Media page. Resolve defaults to a frame rate of 24.0fps and that won’t work. If it’s supposed to be 1920×1080 at 23.976 (23.98) fps, then make sure that’s set correctly. Step 4 – Launch Resolve and make sure that the master project settings match that of your FCP X sequence. You should also export a self-contained reference version of the sequence, which can be used to check the conform in Resolve. Export an FCPXML (version 1.4 “previous”) list. Audition clips should be finalized, but multicam clips are OK. Compound clips should be broken apart, effects should be removed, and titles removed. Flatten the timeline down to the Primary Storyline where ever possible, so that Resolve only sees this as one track of video. As an option, you can create a mix-down track for reference and attach it as a connected clip. In that sequence, strip off (detach and remove) all audio. Prepare a duplicate sequence (Project) for grading. Step 3 – Edit in FCP X until you lock the cut. Slates should also be used as a fall-back measure. Ideally all cameras should record reference audio and timecode should match between the cameras and the sound recorder. Step 2 – Import the proxies and double-system audio (if used) into FCP X and sync within the application or use Sync-N-Link X.

Editready conform frame rate pro#

Use either REDCINE-X Pro or DaVinci Resolve for the transcode.

Editready conform frame rate 1080p#

Step 1 – For the edit, transcode the RED files into 1080p Apple ProRes Proxy QuickTime movies baking in camera color metadata and added burn-in data for clip name and timecode. Here are some workflow steps that I’ve found to be successful. During the course of grading the film in DaVinci Resolve 11, I’ve encountered a number of issues in the roundtrip process.

This month I’ve been color grading a small, indie feature film shot with RED One cameras at 4K resolution. Last October I wrote about the roundtrip workflow surrounding Final Cut Pro X and Resolve, particularly as it relates to working with RED camera files.