Blackmagic RAW is now natively supported in Premiere Pro and Media Composer but remains off the list of supported codecs in Final Cut Pro, so that’s where EditReady can help, by converting Blackmagic RAW into ProRes. Blackmagic Designīlackmagic RAW was already included in previous versions of EditReady, but now supports the latest iteration and color science, used by URSA Mini Pro 12K digital film camera, the Pocket Cinema cameras and the URSA Broadcast camera. Natively supported in Final Cut Pro, you can now use EditReady for working with ProRes RAW in all other NLEs. Apple’s format makes the built-in flexibility of RAW much easier to manage. So, which flavors are there? A whole bunch: Appleīrought to the market with a stellar hardware implementation by Atomos, Apple ProRes RAW is widely supported across a growing wide range of cameras and devices. We also choose sensible defaults for transcoding to HDR files. The aim is to make a high quality working derivative of the RAW file that is easy to edit while offering as much flexibility as we can carry across to a non-RAW format. That way, everything we do with RAW files is intended to give you an accurate, ready-to-edit media file, that reflects the original shooting intent. To keep things predictable and in control, EditReady’s RAW implementation goes to great lengths to use the camera manufacturer's own RAW decoders, and decode video files using each specific cameras’ own Log format. Treating it as a creative choice can lead to problems downstream in post-production - likely somewhere very near the colourists' reference monitor. Which Log to use is an objective (no pun intended) choice, usually determined by the camera. But that’s because you’ve asked the wrong question. Ask ten DPs about their preferred flavor of Log, and you’ll get ten different answers. Log is a favorite topic among DPs, for sure. There’s no single processing recipe to rule them all, and the same goes for the final step in the process: the Log profile.
#Editready clear cache how to
How to do so exactly, depends on how the camera manufacturers have designed their RAW formats. To make sense of a RAW image, first, it needs debayering, decoding, and probably de-everything else-ing. That’s why we decided it was time for EditReady to enter new territory, with wide support for RAW camera footage. With solid-state drive technology giving a massive speed boost, writing uncompressed in-camera RAW has become feasible for many more vendors than just the upper echelon. EditReady makes this unruly bunch of files play together nicely.
But we also end up with a bag of mixed formats that NLEs are not quick to pick up on, or for strategic reasons might even never support.Īs a filmmaker, you’ll quickly find yourself caught between a rock and a hard place - between a camera and an NLE. Of course, it’s a good thing that in today’s world we have way more opportunities to make creative choices. There’s a catch though: it’s also more stuff that's likely to be incompatible with other stuff - like your NLE. More resolutions, more codecs, more bit-depths, more sub-sampling, more frame rates. The same goes for the painter’s brushes: today, there are more video formats than ever. Digital cinema cameras, documentary, action sports shooters, and DSLRs could hardly be less alike.
They differ for the same reason that a painter needs multiple paintbrushes: no single tool is perfect for everything.
#Editready clear cache android
On your Android phone or tablet, open the Chrome app.Clearing them fixes certain problems, like loading or formatting issues on sites. When you use a browser, like Chrome, it saves some information from websites in its cache and cookies.
0 kommentar(er)
