- #Editready conform frame rate how to
- #Editready conform frame rate full
- #Editready conform frame rate pro
The one exception is the 2K-LT codec found in the Varicam LT, which is used for high-speed (slow-mo) recording.
#Editready conform frame rate full
Adobe Premiere Workflow Adobe has supported the full range of Panasonic AVC-Ultra codecs for some time now, so working with VariCam 35 or LT material is pretty straight-forward. I've downloaded the HD and Proxy material to an editing drive, and the 4K material on a separate drive for matching back to later.
#Editready conform frame rate pro
Download the footage using your preferred media management utility - ShotPut Pro or Pomfort SilverStack are my favorites. The main recording (ExpressP2 card) has the name of the camera and reel number, while the sub recording gets a unique name. Proxy material is stored in the Proxy folder. On the VariCam LT the ExpressP2 card will contain both 4K material as well as Proxy material.Īs you can see in the image above, the main recording and sub recording files all have the same name and are located in the same folder structure. When you go to download the media from the VariCam 35, you'll find the 4K material on your ExpressP2 card, and HD & Proxy material on your MicroP2 card. Now that the camera is set up correctly, you'll be recording three streams on the 35 and two streams on the LT simultaneously. Here is an example of the result of both 4K and HD recording, note that the LUT and burn-ins are applied to the HD material, while the 4K main recording remains in V-Log with no burn-ins.
Then I've added some burn-in text to the bottom including camera index, reel count, and timecode info. You can then enable a Frame Mark and burn in text.Īs you can see in the picture above, I set the frame mark to 2:35:1, which at 50% will gray out anything outside of that area in my frame. To do this go back to the System menu and then scroll up to Dailies. This will add lines and text to each recording that can help the post process. Lastly, let's add some additional burn-ins to our HD and Proxy recordings. The proxy recording always get the same color as the sub recording. This gives us Log on the main and a baked-in Rec709 LUT on the sub. Under the Color menu, set the main recording to V-Log, and the sub recording to V-709. Now let's set up the color options for each recording. You cannot select ProRes as a sub recording option at this time, only AVC-Intra and an H.264 encoded MOV proxy. In the VariCam LT, you can only enable proxy recording here. I'll set the main recording to 4K 422, and the sub recording to 2K422 /Pxy this enables both 2K recording, as well as a proxy recording. The next step is to set up your main and sub recordings. To enable this, go to the Menu → Rec Settings pages, and set File Name Style to CINE. So for camera index A, reel 1, clip 1 the file would look something like A001C001_.mxf. This gives your files the standard naming convention found in ARRI, Sony, and RED cameras, which is camera index, reel count, and clip number. The first step is to set up the camera for recording with simple 'Cine' style file names. I'll also outline a basic finishing workflow with DaVinci Resolve and 4K V-log content.
#Editready conform frame rate how to
Below is an outline of how to set up both cameras for action, and steps for importing footage into Avid, Final Cut Pro X, and Premiere. This greatly simplifies the whole process and truly makes these cameras unique and powerful. In the latest firmware updates for both of these cameras, Panasonic has greatly improved the file naming conventions, allowing both the main (master) recording and sub (HD/Proxy) recording to have the same file name.
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