Times have officially changed. If it is… well, things just got really interesting. More to come on all this. BTW, if anyone out there is reliably using Thunderbolt Bridging in your day to day editing workflow… can I talk to you?
Email me at sam fcpworks. Would love to hear what your experience has been. The size and speed of some of these Thunderbolt 2 boxes is pretty staggering. September 24, Tags: Regular HD monitors started this way too… the good ones were really overpriced and complicated at first… so this is nothing new. Anyway, for more info on the monitor, go here: September 23, Tags: It seems like every day some crazy new camera comes out that changes the whole game.
September 22, Tags: They only know how to cut and trim. I will admit that one of the primary advantages of being an Avid editor is that once you figure it out, you get to do the Wizard of Oz thing a little bit because there is such a steep learning curve with the app. Rates stay higher for Avid editors on many jobs as scarcity persists, and the status quo stays enabled.
The main problem with all of this is that directors are figuring out how to edit, and so are grandmothers. I could bring the media in, put it together, edit it, color it, do some GFX, and even a basic mix… and if there was a hardware problem, I could even replace the RAM in my Mac Pro if I had to… I was able to be a one stop shop where I could reasonably deliver an entire piece for a client from beginning to end, and do each of the parts of the job as a reasonably high enough level where they could just let me do the whole thing.
It was a win-win. That was a few years ago, where that type of service was a bit of a bonus. The tools are that good now.
The era of the specialist is coming to a close. For most projects in the future, I think the average editor is going to be expected to know how to do a little bit of everything. September 18, Tags: Anyone out there know of anything that can do this? Anyway, if anyone knows a good way to do this on a non-extinct piece of software, please let me know in the comments. September 17, Tags: Anyway, they finally gave the Element Mapping a once over and some much needed love with the Some of my major gripes have been addressed, like being able to now quickly switch from the Primary to Log tabs right from the Element.
While I still really wish Resolve allowed for custom mapping… the latest update fills in a ton of holes and was much needed. More details on that custom mapping over at FCP. Anyway, thanks Blackmagic. The September 16, Tags: Synchronized and multicam clips came in without issue.
Sync N Link clips came through fine once I added the media into the media pool directly. Even the Speed changes that I was having difficulty with previously imported without issue although I did need to fix a few things on roundtrip.
This is a pretty huge accomplishment by the Resolve team. A couple quick workarounds that may help you if you run into problems: When you have a locked FCPX cut, duplicate your project you should already be doing this anyway , then in the one set to go to Resolve, select all your video clips, detach audio, and then delete all the audio out of your timeline you can also just disable all the audio from your clips in the patch panel from the inspector.
Speed Change Roundtripping — If you see a speed change roundtrip into FCPX as a still frame… something weird happened, but your clip should actually be fine. In your roundtripped FCPX timeline, simply select the clip that is appearing as a still image and matchframe it. Your ins and outs should still be correct for the overall clips. Cut it back into your sequence, and just reapply your speed change, and things should be fine now at least they were for me.
Double check spatial conform settings on roundtrip — If you did some spatial conform work, double check stuff, especially when it comes to Sync and Multicam clips when you roundtrip. You may find that a clip may come back in incorrectly on roundtrip, but if you adjust the spatial conform setting, it will fix the problem. September 15, Tags: Hold your shots.
Video compression is a necessary evil; very few people understand it and even fewer enjoy doing it. However, compression is a necessary and vital part of video production today. EditReady is designed to convert files prior to editing into a single, high-quality video format. While you can use it at the end of the process to create files for YouTube et al, that is not how it was designed. When first downloaded, it runs in Trial mode, allowing you to compress the first minute of a file.
Purchasing the software provides a serial number which is used to unlock the software. Installation was straight-forward and took me about a minute and a half. You can display the footage as either a list or thumbnails. These images courtesy of Joe Centeno and his backyard.
This is the list view. The default transcode settings are set to ProRes , with uncompressed audio. However, there are eleven preset output options. Remember, EditReady is designed for prepping files prior to editing, not final compression before distribution.
For this reason, the presets are optimized for editing. I really like that the default setting for audio is uncompressed. This is a very smart choice. Clicking the additional options Edit button allows you to apply a LUT to the footage prior to conversion, retime footage, scale footage, adjust H. You can learn more about a clip by clicking the triangle icon in the top right corner. EditReady was finished in exactly three minutes. Importing these files in Adobe Media Encoder generated this error message.
Installing the Dolby codec took seconds… Then this error message appeared. This can be especially irksome if you had the wrong setting applied when the clips were imported. It took me longer to reset all these compression settings and repoint the destination than it did for Edit Ready to transcode these files. Final results: Edit Ready: Could not open the files AME: Why should we consider using EditReady? You do, if you have an assistant who can prep files for you without tying up your editing system.
You do, if speed is important to you. By off-loading the transcoding process to a separate computer or assistant, the editor is able to focus on editing while files are being prepped for the edit.
Keep in mind that LUTs can be compute-intensive, particularly on 4K files. Slower computers or computers with slower graphics cards may have trouble with realtime playback. For example, a Reel name or even the folder the file is stored in. You can easily monitor the conversion status of each clip — green is done, blue is in-process. EditReady includes a metadata editor which allows you to change metadata associated with each clip or globally for all clips.
A HUGE benefit of this is that you are able to change the starting timecode for a clip before converting it! Metadata may include camera settings like F-Stop, Iris, and Shutter, as well as items like Location if your camera has GPS , media serial numbers, or even diagnostic data.
You can open multiple EditReady windows so you can compress files from different sources using different settings all at the same time. EditReady is not a resource hog. This section of the chip does not report its usage in Activity Monitor. Because of this EditReady is able to maximize performance, while the general purpose sections of the CPU are still idle for use by other processes.
Edit Ready is very RAM efficient, leaving plenty of overhead for other software. Here is his response. We already have a number of video compression utilities, why did you create EditReady? We surveyed the market and found the compression tools that existed focus on general purpose transcoding. From the popularity of ClipWrap, we knew there was a market for tools tailor made for workflow specific use cases. More and more cameras are shooting in heavily compressed interframe codecs that are poorly suited for editorial.
We wanted to make a tool for quickly converting a pile of disparate footage into a single clean, organized, well named, edit-ready format.
Who do you see as the principle market for the software? We target professional and prosumer video creators. People who plan to edit their content, produce dailies, make H. Does this replace ClipWrap? Add in thumbnails, preview, metadata editing, and LUT-based color correction, and we think its an excellent replacement for ClipWrap. The advantage of making such a laser-focused product is how simple we can make the process. The UI is designed to make it super easy to take disparate source media and transcode everything into a single format for editing.
This can save users a ton of time and frustration fiddling with settings. For people who refuse to read manuals, what secret tip about the software should they know about? I think the features people are most surprised by are the things EditReady does for you automatically. Compression software has traditionally barraged users with settings and options they have to properly configure given their source media to achieve a quality output. Because we do all of that automatically based on the metadata we parse within the source media — without user intervention — its common for customers to assume we are somehow more basic than other apps.
In a similar vein, many users are not aware of our camera file parsing. If you drop a folder of camera original clips onto the app, EditReady will automatically join spanned clips into a single seamless movie. Is there a quality difference, or just a speed difference, when using EditReady compared to other compression software? It depends which apps you are comparing us to. Many of the other transcoding solutions have subpar color science or unlicensed ProRes implementation. And by choosing the newest foundation to build upon, we are able to achieve this while also being the fastest tool on the market.
Can EditReady be automated; i. So users can roll their own workflow automations. Users are always amazed how fast EditReady is. Both the speed of actual file transcodes, and how quickly they can launch the app and setup a batch to transcode. We really pride ourselves on how painless we make the process. It is ideally suited for organizing the mess of video formats that every editor faces on a daily basis into something manageable for their video editing software.
EditReady is a fast, flexible, simple to use video converter, created by the same folks that created ClipWrap. If you are looking for a tool to help speed your editing, provide greater flexibility with clip naming, change the timecode of a source clip, or simplify media management, you need to take a long look at EditReady. The renaming feature enables me to identify each camera position easily after the shoot instead of asking my camera people to change their naming within their cameras.
The renaming function is also helpful when you are giving the footage to the client. In FCPX imported footage goes into a hidden folder within the library not hard to get to but using EditReady puts the footage wherever you want. EditReady gives me the ability to fuse the clips together into one file.
I rarely transcode to ProRes before editing, instead I just re-wrap and if you want to see speed, try that. As a disclaimer, many years ago I met Mike Woodworth at a trade show and became a beta tester for the wonderful ScopeBox program I believe I was helpful in figuring out how to talk to JVC cameras and decks despite their poorly programmed FireWire protocol and later a beta tester for ClipWrap.
EditReady is a very, very useful program and I recommend that all editors look into it and at least try it.