![]() ![]() The original 30p Wirecast file had 93387 frames and the conformed 29.97p version had less, as expected, 93294. The number of frames is different between the two files.In my case both were 51 min and 53 sec (using regular QuickTime Player X to verify). The duration of the clips are the same (otherwise there will be audio sync issues).Pro tip: check the 30p to 29.97p conforming worked correctly by ensuring: The solution? Use Compressor again for a second ProRes to ProRes render, this time from fixed 30p file to fixed 29.97p. However, now the footage I have also needs to change framerates from 30p to 29.97p. The easiest way to solve this would have been to change Wirecast’s ProRes preset to actually record at 29.97 fps. This means for the same exact duration, the Wirecast file has less frames, which throws off frame precise edit lists. The Sony AX100s however record to 29.97p, our good ol’ drop frame rate. Wirecast’s default ProRes settings actually record to 30p. The ProRes to ProRes conversion is virtually lossless. So the first step is to conform the variable frame rate footage into fixed frame rate footage using Compressor. What Wirecast does is adjust frame duration so timing remains constant. I was already anticipating conforming the livestream footage before pulling it into the timeline, since Wirecast uses variable frame rates. Use the EDL to cut between the HD/4K footage, using the livestream angle for reference.Multicam sync the SD card footage along with the livestream MP4.Use DaVinci Resolve to detect the cuts and output an EDL (edit document list) with the timestamps 1 2.Cut between two cameras using a wireless MIDI controller and Keyboard Maestro (pretty sweet).Record to Disk at 480p ProRes 422 to an external USB 3.0 hard drive.Assign Wirecast keyboard shortcuts to both cameras.Feed the HDMI output of both cameras into Wirecast on a MacBook Pro.Two cameras, each recording to SD cards.That way I can speed up turnaround times for multicam edits, especially for 2+ hour events like typical Indian classical dances and concerts. There will also be a Windows version of Canister available very soon.I’ve recently been experimenting with realtime editing of live events. 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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