- #Editready batch conform mp4
- #Editready batch conform software
- #Editready batch conform professional
#Editready batch conform software
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. And EditReady is designed with the future in mind - it’s ready to adopt new formats and workflows.I'm with Craig, except I would try to avoid 00:00:00:00 timecode and. It leverages hardware accelerated video decoding, OpenCL image processing, and every CPU cycle your system has to spare. Modern, Blazing Fast, Ready for the FutureĮditReady is designed to take advantage of all of the power available on modern Macs.
You can even use metadata to generate filenames for your transcoded files. Manually add location data if your camera didn’t store it, or set a reel name for all of your files.
Modern cameras store GPS data, lens settings, diagnostic data, and more. EditReady also allows you to override the framerate on your converted files, for pristine slow-motion with your 60p or 120p footage.ĮditReady provides a rich metadata viewer and editor. You can apply LUTs to your video during conversion to set a specific look or convert your Log footage into Linear.
#Editready batch conform professional
In addition to transcoding to professional formats like ProRes, DNxHD, and H.264, EditReady makes it easy to prep your footage for screening and editing.
#Editready batch conform mp4
MOV, MP4 and MXF media can all be quickly converted to edit ready quicktime movies in ProRes or DNxHD. EditReady provides easy, fast and powerful transcoding for video professionals, without an overwhelming interface or outdated format choices.
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