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Editready pc9/23/2023 ![]() Moreover, you can also set a specific camera manufacturer’s color model as your target colorspace, so there’s no compromise on dynamic range. Then, the software takes care of the rest by properly handling the colorspace conversion. Image credit: HedgeĪll you have to do is choose between an SDR (Rec.709) or an HDR workflow (PQ or HLG). Hence, users don’t need to worry about diving into the technicalities of colorspaces, gamuts, and gamma curves. With this new panel, the software takes the original, bulky RAW footage and automatically converts it into a more manageable format (such as ProRes or DNx). ![]() The latest version of EditReady introduces a new Color Conversion Panel that aims at improving efficiency and automating color management workflows, while still providing manual control and full flexibility if needed. Image credit: Hedge EditReady 22.2: new Color Conversion Panel These also include EditReady, a transcoding tool that is now receiving an update fully focused on preserving the look of your original footage, while providing more editable files. The company offers a series of tools to make life in post easier. Here’s where Hedge’s mission of automating and simplifying modern post-production workflows comes in. This is especially true when working with mixed footage from multiple camera brands. However, today’s jungle of different color gamuts and gamma curves can cause quite a few headaches to post-production professionals. The world of high-resolution RAW and HDR video is making us experience true-to-life images like never before. EditReady 22.2 now comes with a new color conversion panel, improved precision, and added support for Sony Uncompressed RAW and X-OCN formats. Hedge has recently introduced an update for their transcoding software with a focus on simplifying color management workflows. keyboard_arrow_rightCameras of the Year.keyboard_arrow_rightGear Guides by Type.keyboard_arrow_rightGear Guides by Budget.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). 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.
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