![]() ![]() While it’s extremely rare to find errors with timecode syncing (unless of course your timecode has drifted), Premiere can have a hard time with audio waveform syncing if your scratch track quality is poor or the sync sound has a low volume. It’s also fast and easy, so let’s get started! Set Yourself Up for Success While not nearly as robust as Resolve, I’ve found that Premiere almost always gives me better results than third-party plugins, without the hassle of having to pay an additional fee or switch between software. There are some pretty significant reasons that may change your outlook if you’re muli-cam proponent. Personally, I prefer to take the syncing process one step further and create merged clips. I realize this may come across as a bold statement to many Premiere editors, and I’ll explain in detail why I prefer merged clips over multi-camera clips. Many seasoned Premiere editors choose to edit with multi-camera clips. Many people don’t realize that Premiere actually has its own batch sync tool hidden in a feature you’ve likely used many times already-Multi-Camera Source Sequences. So, what do I do in these scenarios… Sync in Premiere. On the feature I’m currently cutting, the DIT transcodes proxies as he offloads camera cards, but he doesn’t receive the day’s production audio until after wrap, which makes syncing on set impossible. Or, in some scenarios, you may be shooting in an edit-ready codec like ProRes or DNxHR and simply don’t need to create proxies. If you’re planning to use Premiere’s built-in proxy workflow, which requires that proxy and full resolution media have a matching number of audio tracks, then creating synced proxies in Resolve flies out the window. Yet syncing in Resolve isn’t always the best option for your overall workflow. I’ve already written about my preferred method-using DaVinci Resolve’s auto-sync feature-which allows you to batch sync an entire day’s worth of footage in one click. There will also be a Windows version of Canister available very soon.Syncing production audio is one of the most tedious and time-consuming post-production tasks. You can also get a MagStor unit through Hedge where you will receive a $500 USD Hedge Fund credit on top of that. All new MagStor purchases now come with a Canister license included. More and more people are starting to use MagStor for their LTO needs, so Hedge has teamed up with MagStor to bring you full driver detection and support for their devices. If you don’t specify an output colorspace or apply a LUT EditReady will continue to read the RAW file’s metadata and apply any embedded LUTs and color transforms specified on-set. For example, if you choose ARRI LogC/Wide Gamut as your output format and then select the ARRI LUT, you will get the correct result.ĮditReady will convert any RAW footage from ARRI, Sony, RED, or Blackmagic, into your chosen colorspace before applying the LUT. The way to avoid this is to let EditReady convert the original LUT-free video and apply the appropriate LUT after the conversion. When the video is converted, any previously-applied LUT won’t be correct. You don’t need to find the correct output LUTs for each camera make and model, because EditReady will automatically do that for you.Ī LUT will only be valid as long as the video remains in the same color space. ![]() EditReady converts any RAW format into these video standards automatically, without you having to worry about camera gamma or gamut settings. The new color conversions options (available through the color conversion panel) let you quickly choose between Rec709 (SDR) and PQ or HLG (HDR). The new Color Conversion panel lets you pick a destination colorspace and LUT, and then EditReady does the conversion for you. X-OCN saves between 30% and 60% compared to the original RAW media.ĮditReady also receives new Color Awareness technology that allows you to shoot in all flavors of RAW without having any headaches in post. EditReady can now take both the original Sony RAW and the much newer X-OCN codecs and converts them into more manageable files. Sony’s X-OCN codec is a compressed RAW format. EditReady- Color AwarenessĮditReady now offers full Sony support and it will work with both Sony RAW and X-OCN files. You can also generate sidecars containing all your custom elements, which will be processed automatically by iconik’s Storage Gateway app. In Hedge, you can now automatically add metadata to all your iconik assets. ![]() ![]() Hedge now integrates with iconik, and EditReady features a new color pipeline as well as Sony RAW and X-OCN support. New versions of Hedge and EditReady have been released. ![]()
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