11/21/2023 0 Comments Editready clear cacheAll new MagStor purchases now come with a Canister license included. More and more people are starting to use MagStor for their LTO needs, so Hedge has teamed up with MagStor to bring you full driver detection and support for their devices. If you don’t specify an output colorspace or apply a LUT EditReady will continue to read the RAW file’s metadata and apply any embedded LUTs and color transforms specified on-set. For example, if you choose ARRI LogC/Wide Gamut as your output format and then select the ARRI LUT, you will get the correct result.ĮditReady will convert any RAW footage from ARRI, Sony, RED, or Blackmagic, into your chosen colorspace before applying the LUT. The way to avoid this is to let EditReady convert the original LUT-free video and apply the appropriate LUT after the conversion. When the video is converted, any previously-applied LUT won’t be correct. You don’t need to find the correct output LUTs for each camera make and model, because EditReady will automatically do that for you.Ī LUT will only be valid as long as the video remains in the same color space. EditReady converts any RAW format into these video standards automatically, without you having to worry about camera gamma or gamut settings. The new color conversions options (available through the color conversion panel) let you quickly choose between Rec709 (SDR) and PQ or HLG (HDR). The new Color Conversion panel lets you pick a destination colorspace and LUT, and then EditReady does the conversion for you. X-OCN saves between 30% and 60% compared to the original RAW media.ĮditReady also receives new Color Awareness technology that allows you to shoot in all flavors of RAW without having any headaches in post. EditReady can now take both the original Sony RAW and the much newer X-OCN codecs and converts them into more manageable files. Sony’s X-OCN codec is a compressed RAW format. EditReady- Color AwarenessĮditReady now offers full Sony support and it will work with both Sony RAW and X-OCN files. You can also generate sidecars containing all your custom elements, which will be processed automatically by iconik’s Storage Gateway app. In Hedge, you can now automatically add metadata to all your iconik assets. Hedge now integrates with iconik, and EditReady features a new color pipeline as well as Sony RAW and X-OCN support. The issue is very highly most likely the app and changes during the last build or two released.New versions of Hedge and EditReady have been released. The really condescending tone is not cool. The problem is delays switching TL's which had not been a problem before in R15 or earlier R16 builds. There is no DSLR material, some of it _is_ ProRes from Atomos recorder. I've got at least 6 camera formats and that is NOT the problem. Playback is NOT the issue which is actually fine 24fps most of the time. the rest are graphics - PSD, TIFF, JPG, TXT generator. its only 1 or at most 2 live video layers thru a transition. Producerguy wrote:From what I can tell you've got 2 real issues here.īoost your external data setup and, preconvert all your working files to ProRes and you should have an entirely better edit performance. Attachments speed test RAID.jpg (370.45 KiB) Viewed 923 times You've got less than half that, so you should expect a bottleneck in your performance.īoost your external data setup and, preconvert all your working files to ProRes and you should have an entirely better edit performance. Clearly not enough to work in multiple, deep TL's as proven by the BlackMagic Speed Test (see pic). I have a paltry TB2 SSD external RAID-0 that's 8TB, and I'm only mustering around 1100 MB/s. 500MB/s is not enough for what you're doing, you need an external RAID that has greater than 3 HDD's to span the work out or, convert to an SSD RAID-0 array to get things moving. The other issue is lack of bandwidth for the deep-track editing you seem to be doing. Sometimes Compressor if it's a wonky output from the camera, (XDCAM-HD is notorious for that). If I'm given non-ProRes footage I use EditReady to do the pre-conversions. Cut in ProRes and your system can breathe easier and work smoother. Short version: Cut in long-GOP expect delays, spinning wheels etc. What comes straight out of the camera is not designed to be edited directly, although all the NLE's support the function. It's always best to pre-convert your camera files to ProRes, DNxHD or Cineform which are *edit* formats. Canon, Sony, GoPro and all DSLR's shoot long-GOP formats which require heavy computer resources to cut in an NLE. From what I can tell you've got 2 real issues here.įirst, you're mixing 2 kinds of camera files one is long-GOP and the other is i-frame.
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