![]() ![]() This is my preferred workflow just because CPU time is pretty cheap, and in a pinch you can always pull in old clips in their original H.264. This will take much less space than your present process but would mean you'll likely need to transcode the same clips more than once, depending on how you work. Your project file won't know the difference between old ProRes and new ProRes - since they're both from the same source, they will be identical. If you ever need to re-edit, you'll need to re-transcode fresh ProRes from your original footage. It's not as responsive, but it's a shorter and simpler workflow that will take less space.īurning processor time would mean transcoding into ProRes, editing and exporting, then deleting the ProRes. You can reduce the storage space that you need by spending more of your time or your computer's time.īurning YOUR time means editing from originals. Presently storage space is where you're hitting a wall. To learn more about EditReady 2 and other software from Divergent Media, check their site out.Others have mentioned bits of this, but think of it as a balance of three assets If you just don’t want to wait for Adobe to add GH5 10bit support, EditReady 2 is a good option and for me will be my go to for transcoding any of those pesky camera formats. EditReady 2: final thoughtsĪll in all a very handy piece of software that is super easy to use. It has LUT support to preview Log media, or to check what you’ve shot and see how it would look with a specific treatment in post. Nice to actually be able to edit the footage from your fancy new camera…ĮditReady can also be used as a player. Useful if you’re handing off footage to other members of the team who will all need consistent reference points if they’re reviewing footage. This means you can use the overlay tool to burn-in timecode, reelnames, shoot dates and media names. You can import images with alpha channels to add bugs or watermarks or layout custom formatted text, including metadata values from the source media. Burn (in), babyĪnother new feature is the adding overlays to the media on top of your video. Write DNxHD/HR OPAtom or OP1a MXFs for Avid Media Composer. You should output QuickTime movies for Adobe Premiere Pro and Apple Final Cut Pro, FCPX, and iMovie. QuickTime and MP4 cameras, DSLRs, and phones.It’s worth considering transcoding if you’re using footage from: Transcoding will make editing easier with less rendering. Some codecs from cameras are heavily compressed and are just hard on your computer to edit. Burn-in timecode, metadata, custom text and imagesĮditReady works with more than just GH5 footage.Super Powerful Noise Reducer, Dark Energy, is Now Just 89 for a Limited Time. This adds up if you have an hour of media. Worlds Fastest Transcoding App, EditReady, Has a Host of New Features. ![]() EditReady shaved off a minute over Media Encoder, tested with a 7.5 minute clip. It’s the single most time consuming thing if you have a big shoot with lots of media. No-one wants to wait for long transcodes. The new 2.0 version transcodes those pesky GH5 10bit files with ease so you can get to editing. You will need to upgrade to the newest version. Unfortunately the V1 of the software doesn’t work with the 10bit GH5 files. It does a great job doing what it does: transcoding. EditReady 2 to the rescueĮditReady is a transcoding/rewrapping software I’ve owned for a while now. I’ve tried Adobe Media Encoder as well to transcode to another format with no luck. When imported, Premiere Pro sees them as audio files. Us Premiere Pro editors can’t edit any of the 10bit files at all. Here is where you FCP X editors can gloat! You folks can edit GH5 footage with no issues. 10bit internal recording is a great option to have but, those 10bit files are not user friendly yet on a Mac computer using Premiere Pro. The GH5 is proving to be a very nice camera with a lot of horsepower. ![]()
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