(You could also type Cmd-O, but that’s pretty boring.) Um, you’ll never guess where to drag a clip, or group of clips, that you want to transcode. The program is stored in the Applications folder of your Mac.
Editready pc mac#
Installation is straight-forward using a Mac standard installer that you’ve used dozens of time.Īside from the time to download, installation takes less than five minutes.
Editready pc software#
The software is purchased directly from divergent media’s website.
Editready pc manual#
The software has a very nicely written 35-page manual which covers all operations in an accessible manner.
Key new features in EditReady 2.5 are support for transcoding only a portion of a clip (which saves storage space) and support for the new Blackmagic RAW video codec. It also supports watermarking, timecode burn-in, image scaling, LUT assignments and frame rate adjustments to support extreme slow motion. NOTE: With Apple discontinuing legacy 32-bit codecs in the next version of the Mac operating system, EditReady provides a fast, yet comprehensive way to convert older media and preserve your assets.ĮditReady is published by divergent media, an independent software company focused on providing flexible tools for monitoring, quality assurance, and acquisition for the video production industry.ĮditReady supports single or batch transcoding of media files into common formats for editing in Avid, Adobe or Apple software. While our editing software can handle all these options, it is often far better to standardize your media into a single format prior to editing.ĮditReady is a utility designed exactly for this purpose. 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).In today’s world of digital media, dealing with multiple codecs, frame sizes, even frame rates is a sad fact of life.
Editready pc Offline#
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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