FCP X Archive

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How to Color Grade S-Log 3 Footage in FCP X

Despite its flat color and contrast aesthetic, Sony’s proprietary picture profile S-Log 3 is well known for its flexibility when it comes to color grading. While the profile definitely has certain advantages, its main difficulty is that it may be tricky to actually work with, especially for

Three Ways to Sync Audio and Video in FCP X

Syncing audio and video in post is a common practice and a mandatory step when utilizing a double system for recording dialogue for your production. The workflow in most popular NLEs in these terms hasn’t changed a lot over the years besides one essential exception. Currently, Premiere Pro

Editing Tip: Creating Alternate Storylines In FCP-X

The editing suite is not only the place where every film is crafted, but this is where the emotional truth in an actor’s performance comes to live and the pace of how the audience feels emotional throughout the entire film is set. Editing is often referred to as the

How to Manage Clips with Different Frame Rates in FCP-X

Occasionally, editors and filmmakers have to deal with clips that come not only in various frame sizes but also with different frame rates while being part of the same project. Most NLEs manage project settings automatically which means that you can work with multiple media types with differing parameters in the same project. For instance,

Red Raw Workflow Inside FCP-X

Working with Raw inside the different NLEs requires a certain approach that varies from application to application. For instance, in Premiere Pro, you can work directly with Raw files by taking advantage of the GPU-based debayering and CUDA cores acceleration while editing the native files in real-time. However,

Anamorphic Workflow For Premiere Pro, FCP 7 & FCP X

Shooting in anamorphic or Scope (as it’s sometimes referred to), has been mostly used on the set of big Hollywood productions by big-name filmmakers such as Steven Spielberg, Quentin Tarantino, Christopher Nolan, J.J Abrams, Wes Craven and many others,  slowly turns into an accessible cinematic technique for indie filmmakers