To this end, we focused our last release of the year on quality-of-life improvements.ĮditReady 22.4 adds the often-requested option to map file creation dates to timecode metadata. Timecode and more.ĮditReady will continue to be the world’s fastest, easiest-to-use transcoder for video pros. This is why we've decided to make three versions of EditReady, each tailor-made for different needs. We want to be able to focus on both ease of use, speed, and help our pro users with complex workflow needs. Adding those features to EditReady would only add complexity and cost for those not needing it. Many of those upcoming features however, are for the 20%. Per the Hedge philosophy, features should always cater to 80% of its user base. As we looked at our roadmap for the coming year, it became clear that many of the remaining feature requests are starting to create a bit of tension - while making a lot of sense, they are only useful to a subset of the EditReady customer base. Heaps of features and improvements were added that were useful to about anyone, plus all those RAW formats this year. Over the last decade, we’ve done a lot to make EditReady the go-to transcoder for video professionals. You seem to notice our renewed efforts, as we’ve seen an inpouring of feedback since □ 80/20 Through it all, we've made sure to keep the simple interface and blazing-fast speed you've come to expect from EditReady. Since the EditReady team joined Hedge just over a year ago, we’ve added lots of new RAW formats - RED, ARRI, CanonRAW, Sony X-OCN, and ProRes RAW.Īt the same time, we've added Color Awareness - our log color science engine that makes working with RAW just as easy as any other format. I usually make LUTs for every major setup with this camera and use them for reference when I'm grading (but I don't actually grade with them).As the year ends, we're excited to ship our fourth major update to EditReady. Obviously you wouldn't want to burn the LUT into your new masters, but you might want to for dailies, or to apply the LUT in your offline edit. So I use Catalyst Browse (free, Mac/Windows) which can read the source metadata, apply the appropriate transformations to Rec709, tweak the look using primary colour tools complete with Tangent and Decklink support, and generate a LUT that best represents the image. What I find frustrating with the A7S family is that almost no software can read it's metadata, and there are many possible combinations of log settings. Once you've done this for a mag or two, run a test conform between your edit software and Resolve to ensure that your settings are correct. This software is well worth the price of admission. You can use QTChange (Mac/Windows) to inject unique timecode into each file in a batch, as well as a reel name. ProResHQ or DNxHR HQ are good choices for an intermediate format considering the source format (no need for 444). You will need to transcode into an edit friendly format, Resolve (free or studio) is suitable for this. This will help whoever ultimately conforms the real thing for final color. When the show is locked in the edit, make a reference file that shows visible original clip names and clip timecodes, along with record timecode. I would not rename the files at all - only worry about scene/take in metadata. I would also organize folders by Shoot Date and then by Camera Card #, so you could always figure out the dates and so on. I recently got a project where about 1/3 of the footage was shot in SLog and the rest was in some kind of quasi-Rec709 mode, and it was a bit of a nightmare sorting it out.) ProRes 422HQ should be more than fine for 8-bit cameras like this. (This could be a video/data thing - I'm not sure. BTW, watch out for A7S material: I have seen cases where they come in with dodgy levels and you'll need to drop luma about 5 or so. (All of the Sony A7S material I have seen does have timecode conflicts and it is an issue.)Ĭonsider these transcodes the actual "masters" for the show. This way, there will be far less of a chance of any timecode conflicts. When doing the transcoding, just use Timeline Timecode and put together a whole bunch of takes in a row and just let the first takes of the day all be Hour 1 (up to 1:59:50:00 or something), then start the next group at Hour 2, and so on. I'm with Craig, except I would try to avoid 00:00:00:00 timecode and.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |