Скачать с ютуб Best RED KOMODO Workflow in FCP в хорошем качестве

Best RED KOMODO Workflow in FCP

This RED Komodo workflow can be applied to any RED camera using IPP2 and the part I talk about color grading is actually applicable to not only RED footage but also other raw capable footage or any other format actually. -- ►My favorite LUTs for the RED Komodo : http://shorturl.at/clEF7 -- ►Gear us in this video I recommend: Tilta RED Komodo tactical cage: https://geni.us/TikYI9 Smallrig low profile nato rail: https://geni.us/Av2c Canon 24-70 2.8: https://geni.us/b2ja My gimbal: https://geni.us/DG0uYeA PM VND filter 82mm 2-5 stop: https://geni.us/hN2rg Polar Pro Matte Box System: https://geni.us/WmPBH Heavy-duty 12g SDI cable I highly recommend for the Komodo: https://geni.us/dKHWSW Heavy-duty Moment magsafe Phone mount for the Komodo: https://geni.us/5Dmq1ap (Please consider using these Amazon affiliate links if you are interested in these products. I receive a commission when you purchase them and it doesn't cost you anything. This is a great way of supporting my youtube channel if you enjoy my content! And my promise is, I'll re-invest all the money to bring you more quality content! Thank you :) -- I forgot something important!!! Yes you can grade on proxies and yes it will stay on the original footage when you switch back. You can 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 visual “mirror” of your raw clip including any raw settings applied before you click render but doesn’t contain any raw data, therefore the proxy file is considered as "outdated" you’d have to re-render the proxy for this clip if you change its raw settings. 2- Even though you can color correct and color grade using proxies (except raw settings), I would strongly suggest not to do that if like me you use low-quality prores. This is because you’re applying a grade on a "mirror" clip that doesn’t have any information 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 readjust. In short, unless having rendered high-quality proxies (prores 422 for example), I’d always color correct/grade using the original media view. Let me know if you have any questions! -- 00:00-00:40 - Intro 00:40-01:11 - RED Apple Workflow 01:11-01:42 - Importing the footage 01:42-03:48 - Checking your r3d raw settings, Color space, and Gamma 03:48-04:31 - Apply the RED IPP2 camera LUT 04:31-06:00 - Create Proxies (recommended) 06:00-09:19 - The right way to do any color correction (Most important thing to take away) 09:19-10:23 - Demo footage 10:23-12:01 - Conclusion -- Should you get the RED Komodo video:    • Why you should get the RED Komodo (or...   RED Komodo vs A7sIII comparison video:    • RED Komodo vs Sony A7sIII / The winne...   -- ►Music in this video were all sourced from Artlist, get 2 extra free months using my link :) : https://bit.ly/3g4qygB ► MY LUTs and LIGHTROOM PRESETS: https://www.guillaumecornetfilms.com/... ► PLEASE SUBSCRIBE FOR MORE Check me out on here. Instagram:   / guillaumecornetfilms   Facebook:   / guillaumecornetfilms   Website: https://www.guillaumecornetfilms.com For any inquiries, you can email me here: [email protected] Cinematographer and founder @bluumediahouse (  / bluumediahouse  ) #REDKOMODO #Finalcutpro #REDworkflow