8/30/2023 0 Comments Editready log footage![]() ![]() Maybe i'm not using the right input LUTS though? The LUTS I'm using on the camera footage is the "Alexa Default LOG to REC 709" and the "Alexa V3 K1S1 LOG to VIDEO DCIP3 EE" I've tried adding input LUTs that do REC709 to LOG to the graphics and solids, but it doesn't really work. My experience is AE compositing algorithms are usually much better the PPRO. The same holds true in After Effects, but it is a bit easier to fix there. And it seems that sometimes in fixing it, reducing the contrast etc, it I also introducing artifacts, like banding and noise, into the image. Its rarely just an issue of increasing the opacity by 20% or something. Screen or Add modes behave very differently with a LUT over them. In particular cross dissolves, or any layering of color solids with opacity changes, especially if blending modes are set to something other than "normal". Which I anticipated, but I'm finding it pretty hard to correct. The contrast and color curves added by the LUT on the adjustment layer is now messing with the effects. I'm doing this so I can make my entire sequence, footage and the effects applied, translated into the flat LOG color. To get there I have disabled the input LUTs that were applied as master clips effects, and applied the same input LUT to an adjustment layer over all the footage, as a top layer in my sequence. I want to deliver a flattened LOG Quicktime. I'm now preparing the footage for the colorist, and finishing VFX work. Ive gone about cutting and adding various effects and transitions and some compositing, both in Premiere and AE. I've been working with an input LUT applied as a master clip effect to each clip to give me rough idea of what the footage will look like. Simple, predictable pricing.Īn EditReady license is perpetual, works on Mac, and includes a year of updates and support.I'm working with ARRI LOG footage with intention sending the footage to a colorist to apply color adjustments. Use the overlay tool to burn-in timecode, reel names, shoot dates, media names, and other metadata. ![]() Layout custom formatted text, including metadata values from the source media. Import images with alpha channels to apply complex bugs or watermarks. Use the overlay editor to position graphical elements for compositing on top of your video. Play back, trim, add LUTsĪnd there's more: screen your camera's original media files before you transcode them, apply a LUT to preview your Log media with or without a specific predetermined look, check your previewed clip in ScopeBox via our integrated ScopeLink connection, and set In and Out points to avoid transcoding unwanted parts of your clips. EditReady's unique color pipeline make this a breeze, translating everything to what you need it to be, without compromises. ![]() When a shoot mixes camera formats, you'll end up with a variety of color spaces, Log types, HDR formats, and LUTs. The end result? A high quality proxy that's easy to edit with, with all the flexibility a non-RAW format carries. EditReady uses each vendor's specific RAW decoder, using the vendor preferred Log format to reflect the original shooting intent. Use metadata to automatically rename files, or burn data into overlays. Review and edit metadataĮditReady lets you view and edit all of the metadata associated with your file, including location data, camera settings, and diagnostic information. Every codec gets transcoded as its makers intended it to. No unofficial frameworks, and zero hacks. Using each manufacturers' original SDK wherever possible to ensure the best quality transcodes. ![]()
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