![]() ![]() 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 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. ![]()
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