![]() ![]() Once the media has been transcoded, I will use two applications to adjust the file metadata. Others, like the Canon 5D Mark III, might encode a non-standard timecode format, allow duplicated file names, and not add reel IDs. Most professional video cameras will correctly embed that information. I will go to extra lengths to make sure that files have proper names, timecode and source/tape/reel ID metadata. If you want to generate a clean master copy preserving the log gamma profile, as well as a second lower resolution editorial file with a LUT applied, then EditReady is the right application. It also reads formats that MPEG Streamclip doesn’t, such as C300 files (Canon XF codec wrapped as. Both feature easy-to-use batch processing interfaces, but EditReady adds the ability to apply LUTs, change file names and export to multiple targets. My personal choice for a tool to transcode camera media is either MPEG Streamclip (free) or Divergent Media’s EditReady. Of course, there are dedicated batch encoders like Sorenson Squeeze, Apple Compressor, Adobe Media Encoder and Telestream Episode. That’s because the file is relatively malleable at that point and doesn’t require a rigid external folder structure.Īpplications like BulletProof and Catalyst can transcode camera files into another format. My preference is to first convert all files into QuickTime using one of these codecs, if they originated as something else. These are generally readable in most applications running on Mac or PC. mov wrapper and encoded using either Apple ProRes, Panasonic AVC-Intra, Sony XDCAM, or Avid DNxHD codecs. The easiest common media format is QuickTime using the. You also want every file to have unique and consistent metadata, including file names, reel IDs and timecode. To get the maximum advantage for interchanging files between applications, it is ideal to end up in one of several common media formats, if that isn’t how the original footage was recorded. I’m not a big believer in always using native media for the edit, unless you are in a fast turnaround situation. In my testing, most of the aforementioned apps work as advertised however, BulletProof continues to have issues with the proper handling of timecode. Depending on the application, these tools may be used to add color correction, organize the media, transcode file formats, and even prepare simple rough assemblies of selected footage.Īll of these tools add a lot of power, but frankly, I’d prefer that the production company leave these tasks up to the editorial team and allow more time in post. Catalyst Browse in free and designed for all Sony cameras, whereas Catalyst Prepare is a paid application that covers Sony cameras, but also other brands, including Canon and GoPro. Some new applications, specifically designed for field use, include Red Giant’s BulletProof and Catalyst Browse/Prepare from Sony Creative Software. Several applications are available, including DaVinci Resolve, Pomfort Silverstack and Redcine-X Pro. Usually this task falls to a DIT (digital imaging technician). This often involves some on-site color grading to create either a temporary look or even the final look. With the practice of shooting footage with a flat-looking log gamma profile, many productions like to also see the final, adjusted look on location. It has the sole purpose of safely transferring media with no other frills. It uses a dirt simple interface permitting one source and two target locations. A number of applications, such as Imagine Products’ ShotPut Pro and Adobe Prelude let you do this task, but my current favorite is Red Giant’s Offload. This is a process often done on location by the lowly “data wrangler” under less than ideal conditions. It’s preferable to have at least two copies (from the location) and to make the copies using software that verifies the back-up. The first step is to get the media from the camera cards to a reliable hard drive. The applications I mention are for Mac OS, but most of these companies offer Windows versions, too. To keep the process solid, I’ve developed some disciplines in how I like to handle media. In doing so, you have to ensure that editorial decisions aren’t incorrectly translated in the process, because the NLE might handle a native camera format differently than the mixer’s or colorist’s tool. It’s common for an editor to send files to a Pro Tools studio for the final mix and to a colorist running Resolve, Baselight, etc. ![]() While this might work within a closed loop, like a self-contained Avid, Adobe or Apple workflow, it breaks down when you have to move your project across multiple applications. ![]() The modern direction in file-based post production workflows is to keep your camera files native throughout the enter pipeline. ![]()
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