{"id":43528,"date":"2014-07-23T13:08:16","date_gmt":"2014-07-23T17:08:16","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=43528"},"modified":"2014-07-23T13:08:16","modified_gmt":"2014-07-23T17:08:16","slug":"final-cut-pro-x-tutorial-working-with-red-raw-footage","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/final-cut-pro-x-tutorial-working-with-red-raw-footage\/","title":{"rendered":"Final Cut Pro X Tutorial: Working with RED RAW Footage"},"content":{"rendered":"

Learn the tricks for a smooth RED RAW workflow in Final Cut Pro X.<\/h2>\n

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Over the last few years a RAW workflow has gone from being a feature used exclusively by the pros to a viable option for indie-filmmakers and film enthusiasts alike. With new cameras such as the Blackmagic Pocket Camera<\/a> or the Panasonic GH4<\/a>,\u00a0getting RAW footage is a relatively easy process. However, due to the price point and complex setup, RED cameras are still used almost exclusively by the pros.<\/p>\n

Working with RAW footage has major advantages over using formats that have been compressed. Namely you can adjust parameters such as sharpness, saturation, and clarity,\u00a0nondestructively<\/strong> in post. RAW files also give added bit-depth allowing you to have more control when color correcting.<\/p>\n

So if you happen to be given footage from a RED what is your workflow going to look like? In the following tutorial presented by MacBreak Studio<\/a>, the guys demonstrate\u00a0how to use RED RAW footage in FCPX. The tutorial covers:<\/p>\n