#Cancel editready transcode how to

Mezzanine FormatsĮven though many modern post production tools can work natively with H.264 from a GoPro or iPhone, there are a variety of downsides to that type of workflow. Just load a basic Log to Video Levels LUT for the batch, and your converted files will more closely resemble graded footage. If your production is being shot in the Log space, you can use the LUT feature in EditReady to give your viewers a more traditional “video levels” daily. Now anyone who needs the footage can easily take the proxies with them on the go, without needing special codecs or players, and regardless of whether they’re working on a PC, a Mac, or even a mobile device. Then, select the H.264 preset and hit convert. Use the filename builder to tag all the footage with the reel name and the file creation date. Do some quick spot-checks on the footage using the built in player to make sure it’s what you expect. Use the “set metadata for all” command to attach a consistent reel name to all of the clips. One common workflow would be to drop all the footage from a given shot into EditReady.

With bulk metadata editing and custom file naming, the management of all the files from the set becomes simpler and more trackable. That can be a problem if you’re shooting ProRes or similar.Ĭonverting ProRes, DNxHD or MPEG2 footage with EditReady to H.264 is fast and easy.

Most of these folks aren’t equipped with editing suites or viewing stations – they want to view footage on their desktop or mobile device. But why do you want to transcode in the first place? DailiesĪfter a day of shooting, there are a lot of people who need to see the footage from the day. The tool I’ve been working on is EditReady, a transcoding app for the Mac.

#Cancel editready transcode how to

Since I’ve been working on a tool in this space recently, I thought I’d write something up in case it helps folks unravel how to think about transcoding these days.