11/27/2023 0 Comments Editready transcode gh5 footage darker![]() By leveraging the official Apple version, EditReady avoids compatibility issues. ![]() Many other transcoding apps on the market use a reverse engineered implementation of Apple ProRes. EditReady provides a simple player to view your content, even if it's in a legacy format. Mac users know that just viewing clips with QuickTime X isn't always as easy as we'd like. Whether you're working with MXF from a camera like the Samsung NX1 (H.265), Canon C300 or Sony F5 or FS7 (XAVC), an AVCHD camera like a Panasonic HDC-TM900 or Sony NX5U, an HDV camera like a Sony HVR-Z7U, or an MP4 camera like a GoPro HERO4 or Canon 5d Mark III, EditReady has you covered.ĮditReady automatically detects and combines spans from GoPro, AVCHD, M2T (FireStore, Datavideo, Sony, Citidisk), and multi-file MXF (including Panasonic, Canon, Sony, Resolve, XDCam, and XDCamEX) Rather than overwhelming you with hundreds of choices you'll never use, EditReady is tailored to the formats you use every day - convert any MXF, M2T (HDV), MTS (AVCHD), or QuickTime to ProRes, DNxHD/HR and H.264. It can even leverage the power of your graphics card for fast image processing.ħ.5 minute GoPro clip transcoded to ProRes 422, 2013 Macbook ProĮditReady is designed with video professionals in mind. You can even use metadata to automatically rename files.ĮditReady is designed to use all the power available on a modern mac. Or check your previewed clip in ScopeBox via our integrated ScopeLink connection.ĮditReady allows you to view and edit all of the metadata contained within your file - this may include location data, camera settings, and diagnostic information. Apply a LUT to preview your LOG media in video, or with a specific predetermined look. HLG does not require a separate purchased license to use.EditReady allows you to screen your camera original media files before you transcode them. If you want to save on cost, try HLG along with the Leeming LUT (package includes HLG LUT). I've color graded both V-Log L and HLG from the camera and they are extremely close, but use a different workflow. Otherwise lighting, portable soft LED light is available, properly positioned you don't notice but solves the noise in dark areas. Old Hollywood trick of shooting daylight and darkening for "night" scenes for example. However, I've rarely run into situations I couldn't record if I worked hard at expose to the right (ETTR) and watching for Zebra's to avoid over exposure, easier to darken the content during color grading. Reason Panasonic released the GH5s for low light. As to noise in dark patches? V-Log L is designed to expand the dynamic range and doesn't fix problems that the sensor had. ![]() With color grading is fantastic, it's going to provide better dynamic range and greater color grading flexibility. Not sure if others encounter that, so it's my on anecdotal observation.ĪLL-I =/= RAW but it's as close to 4K raw as you'll get without an external recorder. I also notice that I do not use noise reduction as much with the 400Mbps All-I video than I did with the log GOP. The reason is that the editing computer has to replace all the missing data that long GOP removes. Interestingly DaVinci Resolve handles the All-I 400Mbps files smoother (better playback in edit) than long GOP. I used V-Log L with long GOP, but found that the All-I is better. ![]() Turns out the write speed would frequently drop below the required rate for 400Mbps. ![]() I used to be a Sandisk Extreme Pro SD Card fan, but like yourself I could never do more than 150Mbps. I use two of these Sony cards with great results at C4K, 400Mb All-I 10-Bit 4-2-2 24fps with V-Log L. UHS-II cards that are V60 or better handle the 400Mbps just fine. ![]()
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