EDITREADY LOG FOOTAGE FULL

I typically shoot with a shutter speed slower than 1/50 in order that editors can increase playback speed to 120-150% without excessive sharp-shutter motion cadence. Often drone footage could do with being a little bit faster, whether due to editing style or the physical speed limitations of the drone itself. I recommend EditReady, which can output ProRes and Avid DNxHD formats in batches. The files will likely need to be transcoded into your preferred intermediary codec before editing. However, it can be taxing on editing systems with slow/choppy playback. This is because the H.265 option allows for 100Mb/s 10-bit colour encoding and much greater usable dynamic range. These files will typically be shot in UHD 3840x2160 25p, in H.265 HEVC ‘.mov’ format. Typically this is done to speed the editing process whenever there is a black frame, it signals either the end of a certain scene/location/setup, or that the previous shot was particularly noteworthy. This is where I deliberately shoot a few seconds of black with the iris closed. I will often ‘black frame’ during a shoot.

Add contrast and saturation to taste, beware of +/- CC Green shift with footage from older cameras. Alternatively the standard Arri Alexa Log-C to 709 LUT produces similar results should you need a quick reference.įor shoots that involve matching with original C300 Mark 1 cameras shot in original C-Log, I will have shot in C-Log3 using the BT709-CanonLog3-to-BT709-WideDR 33x33x33 LUT, which is almost identical but has one extra stop of highlight headroom.

EDITREADY LOG FOOTAGE FULL

These LUTS are full range to full range, please compensate accordingly for legal range broadcast. As a base LUT I will typically have shot with the CinemaGamut-CanonLog2-to-BT709-WideDR 33x33x33 option, downloadable here. Often I will have duplicated Channel 1 onto Channel 2 but at a lower level, so that in dynamic situations you have 2 versions of the important microphone recorded at different gain levels, ensuring usable sound.įor most shoots I will have used C-Log 2, which offers the widest dynamic range. However, when any mic ports are left unused, the camera simply fills in the relevant audio track with the internal scratch mic, so that editors always have 4 tracks on their timeline regardless. The camera records 4 tracks of 24 bit audio, 1+2 are XLR channels, 3 is a 3.5mm microphone jack, and 4 is an internal scratch mic. For example in certain situations I may shoot undercranked at 1fps for a 25x speed timelapse, which needs to be interpreted correctly for smooth playback and motion interpolation on a 25p timeline. Please conform all shots to 25p playback before placing on timeline. For most projects, files will be shot for a 25p PAL delivery.

Editready log footage