Apr 8

Conform Red footage for FCP 7

For easy FCP conforming, the rule of thumb is this: the footage that replaces the proxies need to be:
Identical in length.
Identical filename.
Identical reel name.
Identical media start and media end.

With that in mind, here is a way to automate the conform process using Clipfinder, the free app SequenceLiner and non-self contained quicktimes.


  1. Duplicate your FCP sequence and delete everything but the red footage.
  2. Remove all dissolves (in the sequence, ⌘+F → “dissolve” → find all → delete), all speed changes (to check they are all removed you can copy/paste all clips into a temp bin and see if there are any timecodes in italics).
  3. If a green render bar appears over some clips, you can assume they have been repositionedd. We need to make a separate sequence for those because we will want to transcode those at 4K.
  4. Export xml version 2 of each sequence (1080 and 4K) separately.


In Clipfinder

  1. Create a new project
  2. Import clips from FCP XML
  3. Select xml using the following settings:
    Clipfinder settings
  4. Select all clips, tools → replace move with R3D0… Select the drives/folders in which the original RED media is located.
  5. Be patient…
  6. Open Redcine
  7. Back in Clipfinder, select all clips, edit → send to redcine → bin


In Redcine X

  1. Rename the bin to “1080” (or whatever is appropriate).
  2. If there are clips that require different export settings, make a new bin in Redcine, rename it accordingly and with that bin open, go back to Clipfinder to send the clips to that bin.
  3. Apply color grades (if any), select clips and export with proper settings.



  1. Drag all the red transcoded footage into a bin named “all footage”.
  2. String out all clips in a sequence, with “show duplicate frames” enabled.
  3. Important: Make sure there aren’t any duplicate frames. If there are, you will want to place one of the clips on a higher track, then select those guilty clips, cut them and paste them in a bin named “2”. Then select all of the clips from track1 and paste them in a new bin named “1”.
  4. Make a new sequence called intv_stringout (empty).
  5. Select bins 1 and 2 and the intv_stringout sequence. Ctrl+click → export XML (version 5)


In SequenceLiner

  1. Import XML. Do its thang.
  2. Note if there are any overlapping timecodes (save the error log).



    1. Import the newly created XML “blablabla line up
      Original media string-out with correct timeline timecode
    2. Open /duplicate the original string out of the footage (the sequence timecode matching the red footage timecode). Change the sequence settings to match the transcoded red codec, etc. In this case let’s assume it’s prores 444 (10bit!)
    3. Copy paste all “line up” sequence clips into the string out timeline on a higher track than the proxy footage
    4. On the track beneath the red transcodes, place some prores 444 filler. The idea being we don’t want FCP to have to render anything.
    5. “Shift A” the underlying proxy red footage. This will set the perfect in and out point.
    6. ⌘ + 9 the proxy clip and copy its clip name.
    7. ⌘ + E. Save the file in the online folder with the same filename as its proxy counterpart. Make it NON SELF CONTAINED (video will be referenced but the audio will be contained).
    8. Once it’s exported, drag the quicktime into FCP and manually give it the same reel name and timecode as the proxy file.
    9. Repeat steps 5 through 8 for all red footage.
    10. Reconnect media!
    11. Once you’re ready for the online, media manage those clips in order to create clips for each chunk rather than depend on an unstable non self-contained quicktime. I suggest you use “using clips names” (rather than files names). I had less copy/reconnecting issues that way.

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