![]() ![]() EditReady's unique color pipeline make this a breeze, translating everything to what you need it to be, without compromises. When a shoot mixes camera formats, you'll end up with a variety of color spaces, Log types, HDR formats, and LUTs. ![]() The end result? A high quality proxy that's easy to edit with, with all the flexibility a non-RAW format carries. EditReady uses each vendor's specific RAW decoder, using the vendor preferred Log format to reflect the original shooting intent. Use metadata to automatically rename files, or burn data into overlays. Review and edit metadataĮditReady lets you view and edit all of the metadata associated with your file, including location data, camera settings, and diagnostic information. Every codec gets transcoded as its makers intended it to. No unofficial frameworks, and zero hacks. Using each manufacturers' original SDK wherever possible to ensure the best quality transcodes. And now, we're turning it up a notch with EditReady Pro! Download for Mac EditReady 22.4 - Phantom CineRAW, timecode generation, RED anamorphic desqueeze and more. Since 2008, EditReady has had your back when your NLE doesn’t support your camera’s file format. ScopeBox Quality video scopes, without hardware.Postlab Remote collab for Media Composer.Postlab for Final Cut Pro and Premiere Pro.MHL Tools Spotlight and Quicklook plugins.Connect Live status updates and push notifications.Canister Archiving to LTO, without hassle.Guessing it's not the end of the world, though. That said, if 422 standard is 8 bit and you shot Canon Log you might be getting a bit too flat for an 8 bit finishing codec. If you're concerned about super whites, definitely choose extended range to flatten the image and bring them back in legal range. Maybe 6TB would be better? Where's your scratch disk? I agree no need for 422 HQ. Otherwise you'd be in David Fincher territory. In the project I'm building, I already have XDCam, H264 and Prores and I agree with you that I haven't see that big a difference working with that material except maybe in simple things like scrubbing. Maybe there is a fix but everything I've tried over time never worked so it's been OpenCL all the way. I don't use the Mercury Playback Engine GPU as it has been nothing but trouble since I switched from FCP7 to PPro in 2013. I remember seeing your post when it first appeared. Good to hear that one will not lose the super whites as I see that there is often detail hiding up there. My plan was to to transcode the 1.25TB to a 4TB HGST drive., converting to ProRes (standard) it should just about fit. It's a feature doc for theatrical and broadcast. 02 but it's a very robust and versatile workflow. I don't return the cards to the cameras until the next day, after my backup has run, so I have the raw card and the ProRes on my system and my backup drives. My workflow is "get back from the shoot, copy the raw card, transcode with Editready while I unpack or do invoicing or snort coke off a hooker's." well, you get the idea. EditReady is well worth the fifty bucks and it will handle about anything you can throw at it, it's a robust piece of pro software, not like Rocky Mountains at all. (FCP 6 and 7 also do a good job transcoding HVAC with their log and transfer windows). You can also resize and conform frame rates at the same time. And you can recompress ProRes all day with no artifacts or visible loss.ĮditReady does a killer job with AVCHD, just drag the folder in, set your output folder, and make some coffee or whatever. it's designed to run like a champ on a decent Mac. it's a good format for shooting but I don't like it for post.ĭon't know about FilmConvert, but you can edit ProRes 1080 on a pre-2000 mac all day, full screen, full rez, no slowdowns unless you add a lot of filters or stack a bunch of titles and graphics. I really dislike AVCHD since I can't go to the folder, see the clip I want, and grab it, insert it, trim it, effect it, whatever. And if your system doesn't have a lot of oomph, editing native will slow you down, where ProRes will crank through like melting butter on toast. So again, Prores is much more universal on a mac. trimming in AE, and I tend to do that daily. I also very much prefer to trim files in MPEG Streamclip for effects or motion graphics vs. Makes it easier to share footage, and more seamless to jump from after effects, etc. Opinions are various and often heated, but I'm a prores shop and transcode from the start. Some NLEs will let you edit right from AVCHD (but they're basically rendering it in the background as I understand it).
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