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    Home / Blog / Red Giant

    MTV Voices and CrumplePop

    October 9, 2013 by Patrick

    Web series MTV Voices focuses on MTV’s global network of millennial journalists reporting on the subjects and issues that affect their everyday lives. MTV Voices editor Thomas Arnold took time to talk with us about his experiences with MTV Voices, Final Cut Pro X, and CrumplePop.

    With content delivered from all over the world how does everything come together for MTV Voices? What does your average workflow look like?

    MTV Voices is based in New York and London. I am based in NY. The interviews are done by correspondents all over the world. Most of them are volunteering and they have friends or shoot the interviews themselves.

    Getting footage from the UK or NY is pretty easy but Ghana, China, The Middle East, South Africa, etc. proves to be more difficult. All of the corespondents upload the footage to us. At times this is an organizational nightmare. We have files coming in from everywhere and in every different way. Sometimes correspondents will send all of their files together, sometimes its one file at time. The footage comes in in all forms: highly compressed mp4, avi, any codec you can think of or never heard of. The files also come in every flavor of sizes and frame rates.

    My first step after getting the footage is usually to convert the videos using MPEG Streamclip. This helps me get the footage in the same codec and size and makes editing a lot faster and smoother. On other projects I would let FCPX do this for me, but for this one the files are just so random it makes things easier if they all are uniform.

    At this point I would start the edit. I use Vimeo to show rough cuts to the producers and creative director in NY and London. Once the cut is pretty solid, I start layering the grafx. All of which is done in FCPX.

    What made you choose Final Cut Pro X for this project?

    When MTV contacted me to do the Newscasts FCP X was out for about 6 months. I didn’t want to do the job in FCP 7. I knew that the program was on its way out and I needed to jump on to another platform. This was the perfect opportunity. I was trained on Avid, but most of my career I’ve been on FCP 7. I am not a huge Avid guy and despite all of the bad press I was intrigued by what FCP X seemed to offer. In my freelance work-life I am a one man band, shooting, grafx, directing, sound design and editing all fall on me. FCP X was designed for that work flow. I didn’t actually realize until I started working in it how true that really is. I was really excited by the fact that Motion was built into FCPX. I knew that these projects needed grafx, another thing that can be added to spice up the footage, and I know that they were going to be done by me. I know After Effects, use it a lot, but I am by no means an animator. I also don’t have the time to jump back and forth between programs so I wanted to stay in the editor. So to make my long story even longer I just jumped in and cut the first episode in FCP X. Honestly I was like, I can always jump back to 7 if I have to, or maybe i will do some of the effects in X and the cut in 7, or if doesn’t work out maybe I jump over to Premiere. After a few bumps on the way, the program is just SOOO INTUITIVE and FAST things just started clicking for me.

    It’s funny when it comes to editing, there are all of these battles as to what is the better NLE. To me it’s the one that works the best with your brain, how you think. My whole career has basically been spent in the short form content: commercials, promos, mini documentary. Often the workflow is a producer providing me with a lot of material saying come up with something. So I often don’t have a script to work with. So when I edit I spend a lot of time brainstorming, I brainstorm on the timeline. I need the NLE to stay out of my way, move fast, let me just throw files around so I can see what is happening. I need to figure out what seems to be working then I build from that. FCP 7 was always that NLE for me. Also since the Motion is integrated into the editor I can do this on the grafx side as well all in the same app.

    When I’m working I don’t want to think too much about technical issues. I just want to start editing. I often don’t even watch all the footage, I just start throwing clips down. I do eventually go through all of the footage though…that’s kind of important. FCP X really helps here. It does so much under the hood, it key-wording makes organizing my footage happen in matter of minutes. So to me a lot of the dead time of organization, trans-coding, rendering are all gone.

    Even the “dreaded” magnetic timeline, when you get a handle on it is be pretty awesome tool. If you’re like me and constantly clicking and dragging clips around, the ability to move stuff and have the timeline repair itself and open up automatically really makes you move faster. Well for me it does.

    It’s funny to me because the launch of FCP X reminds me a lot of the FCP Classic launch. Everybody called FCP Classic unprofessional, viewed it ore as a toy and it basically took over a huge part of the industry.

    What made you think of using Red Giant Carousel, co-produced by CrumplePop, for the videos?

    I started these videos right when Carousel was released. Seriously like the same day. When I saw the footage I realized I needed something to blend this stuff together. The camera work is not done by professionals, which I wanted to embrace (my producers will probably remember me bitching more then embracing, but I came around) but I also wanted to give the pieces a distinct look. To me Carousel made me think more of camera phone images than a slide projector. At the time everybody was using those hipstamatic effects on all of their pictures. I thought the idea of all of these people all over the world doing these interviews on their phones was kind of cool and was a way to embrace the range of production value. Then the look just kind of evolved as we started doing more newscasts.

    The other big thing on choosing Carousel is that I was looking for a solution that I could do within the NLE. That was a huge factor in why I decided to do these projects in FCP X and use Carousel. I work full time as a writer, producer, editor at a Network during the day so all of MTV work for Voices is done in the mornings, evening and weekends and the turnaround time is usually pretty quick. FCPX and CrumplePop have helped me do that.

    You said you’ve used SkinTone with this project? How did SkinTone help out?

    To be honest, I just got it. For me it makes something that is rather difficult to achieve super easy. Especially on a lot of my work I am not going out to resolve very often. I really need it to be done in the editor. I also love the little box with the samples. Its a great way to really dial your tones in, which raises your production value so much with very little effort. It really goes along with the mantra of FCP X. The app and the plugins…we’ll take care of the technical stuff…you just be creative. Well thats how I feel about it.



    Thanks so much to Tom for sitting down with us. You can check out Tom’s work at http://www.thomascarnold.com/ or his vimeo page.


    Filed Under: FCP X, Featured, Interviews Tagged With: After Effects, Carousel, Editing, FCP Classic, FCPX, grafx, Hipstimatic, Instagram, Interview, Looks, MPEG Streamclip, MTV, MTV Voices, Red Giant, Resolve, SkinTone, Tom Arnold, Workflow

    Introducing Red Giant Retrograde

    October 22, 2012 by Patrick

    For the past few months, we’ve been working with the incredible team at Red Giant to help create new tools and effects for Final Cut Pro X. Today we’re excited to announce Red Giant Retrograde.

    Retrograde features 12 different 8mm and 16mm film looks. Created from real analog source material, Retrograde emulates the color, grain and dammage from 60s and 70s era films and home movies. Retrograde allows you to completely customize your look, from the amount of individual film artifacts to the style of grain. Simply drag and drop Retrograde on to your clip to see the results.

    We hope you enjoy Red Giant Retrograde.

    You can download a free trial version of Red Giant Retrograde here.

    Filed Under: Releases & Deals Tagged With: Artifacts, Effects, Film Grain, Grain, Looks, Red Giant, Retro, Retrograde

    Introducing Carousel for FCP X, our first co-production with Red Giant

    July 18, 2012 by Patrick

    Big news today: We’re releasing Red Giant Carousel, a new vintage camera effects package for Final Cut Pro X. Here it is:



    You can download a free trial version of Carousel here.

    Carousel is our first collaboration with the awesome team at Red Giant – the guys who make Magic Bullet Looks, Mojo, and many other extremely useful tools for Final Cut. We’re super excited to be working with them, and we think you will be very interested in what we have coming for FCP X.

    We had of course watched many tutorials by Red Giant’s Aharon Rabinowitz over the years, so the experience of skyping with the actual Aharon Rabinowitz was a bit surreal. Maybe like watching one of his tutorials while you are very tired or have food poisoning, because you can talk to the screen and Aharon Rabinowitz will talk back. Eventually it became normal (sort of), and we were able to work with Aharon and Harry Frank, who developed the cross-processing and film fading, and sent us a series of unexpected and increasingly disturbing .gifs that did not relate to the project directly.

    We hope you enjoy Carousel. Here’s the official press release.

    Filed Under: FCP X, Releases & Deals, Using Crumplepop Tagged With: CrumplePop., Press Release, Red Giant, Red Giant Carousel

    CrumplePop Launches Vintage Camera Looks for Final Cut Pro X, Announces Partnership with Red Giant

    July 18, 2012 by Patrick



    Minneapolis, MN (July 18, 2012) – CrumplePop today announced Red Giant Carousel, a beautiful vintage camera film process that can be instantly applied to any Final Cut Pro X project. For creative editors who want to harness the emotive power of plastic cameras and 120 film, Carousel creates uniquely striking images that are useful in a wide variety of films. Carousel is the first product for Final Cut Pro X co-produced by CrumplePop in a new collaboration with Red Giant.

    Carousel combines optical imperfections, vignettes, and color grades from a plastic camera to create a sophisticated effect that can be dropped onto any clip. Once applied, Carousel can be easily fine-tuned to create the perfect mix of film fade, light leaks, and color cross-processing.

    “Working with the team at CrumplePop has been fantastic,” said Aharon Rabinowitz, Red Giant’s director of Communities. “As an artist, I’ve long admired their aesthetic, so when we decided to create something that really captured the feel of footage shot on a vintage camera, we knew we had to work with them. We’re really proud of the end result of both our efforts.”

    “We’re extremely excited to be teaming up with Red Giant,” said Gabriel Cheifetz, co-founder of CrumplePop. “Working with Aharon Rabinowitz and Harry Frank has been a genuine pleasure – they have a big reputation in this industry, and their creativity and nimbleness says a lot about Red Giant as a company. We’ve got some truly extraordinary tools for filmmakers on the way, starting with Red Giant Carousel.”

    A fast, easy way to create strikingly beautiful vintage camera looks in Final Cut Pro X

    – Rich, compelling vintage effects.
    – Drag and drop ease of use in Final Cut Pro X
    – Powerful controls that allow you to fine-tune each effect
    – Powerful film fading and color cross-processing
    – Color treatments, vignettes, and optical imperfections captured from a real plastic camera

    Pricing and Availability

    Carousel for Final Cut Pro X is available immediately from the CrumplePop web site (pop.local–all-tables) and is priced at $49.00.

    For more information or to purchase Carousel, please visit:
    https://www.crumplepop.com/carousel

    About Red Giant
    Founded in 2002, Red Giant (www.redgiant.com) creates an ever-expanding universe of effects tools ranging from plug-in suites, applications and mobile apps to Guru Presets, free products and sharing communities. We provide software for motion design, photography and color correction that is used for everything from major motion pictures to worldwide television programming to web production. Red Giant offers the industry-leading Trapcode tools for broadcast design; Magic Bullet Suite for color correction; and over 60 products that run in After Effects, Final Cut Pro, Motion, Premiere Pro, Photoshop, Lightroom, Aperture, Avid, Vegas, Nuke, and Avid Studio. Our effects have enhanced dozens of feature films such as Angels & Demons and The Social Network, and added sparkle to networks like NBC Universal, ESPN, Disney, CNN, Comedy Central, MTV, and TNT. Join us on Facebook (RedGiantSoftware), follow us on Twitter (@RedGiantNews) and get free content at Redgiantpeople.com.

    About CrumplePop
    CrumplePop (pop.local–all-tables) is a leading provider of film and broadcast effects for Final Cut Pro X. Founded in 2009, CrumplePop developed a popular suite of third-party effects for Final Cut Pro 6/7 before moving to Final Cut Pro X in June of 2011. CrumplePop effects have been used by the BBC, USA Today, and smaller studios around the world. You can find us on Facebook (CrumplePop) and Twitter (@crumplepop).

    Filed Under: Featured, Using Crumplepop Tagged With: CrumplePop., Press Release, Red Giant, Red Giant Carousel

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