Final Cut Pro X starts all of these clips at 00:00:00:00, while Premiere Pro and Resolve read something that is interpreted as timecode, which ascends sequentially on successive clips. There is a signal interpreted as timecode by some tools, but not by others. mp4 files from within the clutter of media card folders and take these files straight into an NLE, you will get varying results. In some cases, there is no proper timebase within the files, so time itself is “rubbery” – meaning, a frame of time varies slightly in true duration from one frame to the next. The reason is that these systems record long-GOP media without valid timecode. It is not fine when coming from a Canon 5D, DJI, iPhone, Sony A7S, etc. Native media is fine when you are talking about ARRI ALEXA, Canon C300 or even RED files. As an editor you are most likely to receive a drive with organized copies of the camera media cards, but still with the media in its native form. Granted a DIT could do all of this, but in my experience, the person being called a DIT is generally just someone who copies/backs-up the camera cards onto hard drives to bring back from the shoot. The norm these days is for the production team to use a whole potpourri of professional and prosumer cameras, so it’s really up to the editor to straighten this out before the edit begins. Head over to Divergent Media website for more information.Although most editing application manufacturers like to tout how you can just go from camera to edit with native media, most editors know that’s a pretty frustrating way to work. If you already have the previous iteration of the software installed on your Mac, you can upgrade to EditReady 2 for $19.99 or you can get the latest version for $49. I’m sure that many of you would prefer to work with the 10-bit GH5 natively in Premiere Pro CC as you’d normally do with an 8-bit material, but for now, transcoding seems to be the only viable option. Plus, you can run multiple batches within the EditReady interface, allowing you to simultaneously generate proxy media and online material, or convert footage from different cameras. The software supports a wide variety of formats available on cameras like the Canon C300, Sony F5, FS7 (XAVC), Panasonic HDC-TM900 or Sony NX5U (AVCHD), GoPro HERO5, DJI Phantom 4, Panasonic GH5, or Canon 5d Mark IV (MP4) and more. You can output QuickTime movies for Adobe Premiere Pro and Apple Final Cut Pro, FCPX or write DNxHD/HR OPAtom or OP1a MXFs for Avid Media Composer. The app also comes with a neat built-in player that can be utilized to preview your camera original media files before you transcode them. In addition, EditReady 2 allows users to re-size, rotate, re-time, and apply LUTs to their media as well as burn-in timecode, metadata, custom text and even images. The transcoding/rewrapping software is a fantastic tool that can not only handle GH5’s 10-bit files with ease but also can speed up transcoding of your media immensely over time. Until Adobe releases the imminent update of Premiere Pro CC that should permanently fix this incompatibility issue, you can use the latest version of EditReady app as an alternative solution. If you are predominantly using Premiere Pro CC as your main video editor and you still haven’t found an effective solution to transcode the tedious GH5 10-bit files to be able to edit them natively in your favorite Adobe NLE, seasoned professional Erik Naso has a simple and effective workaround in mind.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |