9/23/2023 0 Comments Editready v 1That way, everything we do with RAW files is intended to give you an accurate, ready-to-edit media file, that reflects the original shooting intent. To keep things predictable and in control, EditReady’s RAW implementation goes to great lengths to use the camera manufacturer's own RAW decoders, and decode video files using each specific cameras’ own Log format. Treating it as a creative choice can lead to problems downstream in post-production - likely somewhere very near the colourists' reference monitor. Which Log to use is an objective (no pun intended) choice, usually determined by the camera. But that’s because you’ve asked the wrong question. Ask ten DPs about their preferred flavor of Log, and you’ll get ten different answers. Log is a favorite topic among DPs, for sure. There’s no single processing recipe to rule them all, and the same goes for the final step in the process: the Log profile. How to do so exactly, depends on how the camera manufacturers have designed their RAW formats. To make sense of a RAW image, first, it needs debayering, decoding, and probably de-everything else-ing. That’s why we decided it was time for EditReady to enter new territory, with wide support for RAW camera footage. With solid-state drive technology giving a massive speed boost, writing uncompressed in-camera RAW has become feasible for many more vendors than just the upper echelon. EditReady makes this unruly bunch of files play together nicely. But we also end up with a bag of mixed formats that NLEs are not quick to pick up on, or for strategic reasons might even never support.Īs a filmmaker, you’ll quickly find yourself caught between a rock and a hard place - between a camera and an NLE. Of course, it’s a good thing that in today’s world we have way more opportunities to make creative choices. There’s a catch though: it’s also more stuff that's likely to be incompatible with other stuff - like your NLE. More resolutions, more codecs, more bit-depths, more sub-sampling, more frame rates. The same goes for the painter’s brushes: today, there are more video formats than ever. Digital cinema cameras, documentary, action sports shooters, and DSLRs could hardly be less alike. They differ for the same reason that a painter needs multiple paintbrushes: no single tool is perfect for everything. If you’re using ISG, or need to drive EditReady from the command line, with access to EditReady’s wide RAW camera support and robust clip spanning, metadata retrieval, and more, please get in contact with them.For 14 years, EditReady has had your back when your NLE didn’t support your camera’s codec or container - transcoding your footage to an editable format, fast. EditReady Server integrates perfectly with Iconik’s Storage Gateway (ISG), making it the most affordable and easiest-to-use automated ingest solution for iconik. ![]() It’s meant for use in headless workflows like automated ingest, proxy generation for asset managers, and more. Lastly, the team is also pre-releasing a new EditReady Server. PriceĮditReady has a lot more planned for 2023, and they are excited that a Pro tier opens up the possibility of adding some of the recurring feature requests that they have been wanting to build for a long time.Īs with Hedge Pro, upgrading an existing EditReady license is easy and affordable. This allows you to make high-speed proxies quickly and easily. It also supports playback and transcoding of Phantom files to ProRes or DNxHD with the push of a button. ![]() EditReady Pro 22.4 which is available from today will support Phantom CineRAW. The brand-new EditReady Pro will focus on niche camera support and using EditReady as part of multi-app workflows. ![]() RED Anamorphic Support & ARRIRAW Speed ImprovementsĮditReady has also added RED anamorphic support, improved the stability and speed of ARRIRAW playback and transcodes, and added 100p to the retiming tool. This is a pretty cool feature and one that is bound to make a lot of editors’ lives a whole lot easier. If you get footage from a DSLR or mirrorless stills cam that doesn’t write timecode, you can now fake a time of day timecode track by using the file’s creation date. PLUS Phantom CineRAW with the new EditReady ProĮditReady 22.4 adds the often-requested option to map file creation dates to timecode metadata.Improved ARRIRAW playback and transcodes.
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