![]() ![]() 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. 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. For new customers, these tools give instant access to syncing on every platform and OS until the free PluralEyes 3 for Windows update is available.For 14 years, EditReady has had your back when your NLE didn’t support your camera’s codec or container - transcoding your footage to an editable format, fast. PluralEyes 3 also includes a copy of PluralEyes 2 and DualEyes, which provide support for Mac, Windows and all NLEs. PluralEyes 3 for Mac is available immediately and priced at $199.00 for new customers, and as a $79.00 upgrade for Plural Eyes 2 and DualEyes owners. “A terrific new UI makes syncing sound to video not only a simple task, but it’s also fascinating to watch it at work as it shuffles things around visually.” “PluralEyes 3 is a massive improvement over the previous versions,” he said. With several cameras shooting at once and tons of fast-paced dialog, Worley put PluralEyes 3 through its paces.ĭirector, DP and filmmaker Philip Bloom has been testing the new features in PluralEyes 3. To showcase PluralEyes 3, Webby Award-winning filmmaker Seth Worley has released his third short film for Red Giant, called Form 17 - a high-tension thriller about a bomb technician facing his most hazardous situation yet – Take Your Daughter To Work Day. A new timeline-based interface displays the syncing process for real-time visual feedback, while new ‘test and tweak’ features give quality control and greater confidence in the sync. With this release, Red Giant has integrated features from DualEyes to create a standalone PluralEyes application that supports a broad range of filmmaking workflows including native DSLR, along with other cameras, file formats and codecs. The new version is up to 20 times faster than PluralEyes 2. PluralEyes 3 automates audio/video synchronization, giving videographers and filmmakers edit-ready footage without clappers or timecode. Red Giant announced the release of PluralEyes 3 for Mac OS X, a major upgrade to the company’s audio/video syncing software. ![]()
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