![]() Then, select the H.264 preset and hit convert. Use the filename builder to tag all the footage with the reel name and the file creation date. Do some quick spot-checks on the footage using the built in player to make sure it’s what you expect. Use the “set metadata for all” command to attach a consistent reel name to all of the clips. One common workflow would be to drop all the footage from a given shot into EditReady. With bulk metadata editing and custom file naming, the management of all the files from the set becomes simpler and more trackable. That can be a problem if you’re shooting ProRes or similar.Ĭonverting ProRes, DNxHD or MPEG2 footage with EditReady to H.264 is fast and easy. Most of these folks aren’t equipped with editing suites or viewing stations – they want to view footage on their desktop or mobile device. But why do you want to transcode in the first place? DailiesĪfter a day of shooting, there are a lot of people who need to see the footage from the day. The tool I’ve been working on is EditReady, a transcoding app for the Mac. 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).Since I’ve been working on a tool in this space recently, I thought I’d write something up in case it helps folks unravel how to think about transcoding these days. 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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