#Editready proxy 1080p#
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If you have a newer Mac system, it can harness Intel’s Quicksync technology that is featured on newer Intel chipsets like the i3, i5 and i7. EditReady is Mac-only and requires at least OSX 10.9.

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I ran it through Apple’s Compressor, Sorenson Squeeze, Adobe Media Encoder and EditReady (at different times), and I was very surprised at the results.įor these tests I was using an older MacBook Pro boasting a mediocre 2.4GHz Intel Core 2 Duo processor, 4GB of 1067 MHz DDR3 RAM and an Nvidia GeForce 9400M 256MB graphics card. I had an 18GB, 18 minute, 1080p/23.976- H.264 QuickTime from my GoPro Hero 3+ that I wanted to convert to ProRes 422 as well as DNX 175.

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I’ve been told that in a future update this will be changed to allow for the audio to be carried with the video, a very welcome addition - some audio is better than no audio! Plus, it’s nice to have the ability to have a fast way of slowing down high frame rate footage outside of an NLE or After Effects.ĮditReady claimed to be faster than all other transcoders/encoders out there. In addition, at the moment of writing this review I am using EditReady version 1.0.2, and in its current state you can only convert frame rates if you do not convert the audio as well.

#Editready proxy 1080p#

Because EditReady uses low, medium, and high designations instead of a particular DNxHD codec flavor like DNxHD36, you can throw 1080i and 1080p QuickTimes with differing frame rates in the same batch and walk away knowing you will have the appropriate DNxHD flavor codec for your frame rate and desired quality setting. When converting to Avid DNxHD it gives three options: Low, Medium and High. Each level corresponding to the different bit rates within the DNxHD codec for your particular frame rate, i.e. It is important to note that EditReady leverages the official Apple version of ProRes and not a reverse engineered version that can sometimes cause quality control issues when delivering master QuickTime files to a network.

Their mantra is: if the QuickTime player can play the file so can EditReady.ĮditReady can convert to and from Apple ProRes (422, 422 HQ, 422 LT, 422 Proxy, and 4444), Avid DNxHD and H.264-based QuickTimes. On the surface, EditReady is a QuickTime converter and metadata editor. The day I saw Divergent Media ( tweet about EditReady saying it was a “game changer” I was skeptical but intrigued. (As a side note, to this day when I watch shows where I can visibly see at least 10 GoPros on top of the normal three or four production cameras, my agita kicks in a little… but I digress.)

That’s not even talking about when I would need to convert frame rates, I mean when the show onlines in 1080p/23.976, why not shoot two months of GoPro footage (three separate angles) at 1080i/59.94 right?! I would then have a new “master” QuickTime to import into my low-resolution project at DNxHD 36 (maybe even 28:1- AHHH!) or DNxHD 45, depending on the frame rate, storage types and storage capacities available. In the end, I would have to spend many weeks converting H.264 QuickTimes to DNxHD flavored QuickTimes - ironically in Apple’s Compressor or even Sorenson Squeeze. I have personally spent a ton of time trying to figure out a better solution in my predominantly Avid Media Composer-based workflow and found that creating new master QuickTimes at the final output spec - Avid DNxHD for my world - would help speed up the preparation for online editing by embracing the fast-import feature inside of Media Composer. “Why would a file take longer than tape?” was a common inquiry. A lot of supervisors and editors who had no clue how long it took to get footage into the system properly would get upset and frustrated at the prospect of QuickTimes taking longer than real time to import, a constant battle. It caused assistants to go from digitizing tape and importing a few QuickTimes to importing hundreds of hours of QuickTimes. Subsequently this also turned the assistant editor world upside down. Once the GoPro camera came along, the file-based camera workflow really kicked into high gear. While XDCAM had its kinks at first, it’s a pretty proven method these days, at least in reality television production where I work. Sony has a solid solution using file-based and tape-based media with the XDCAM format: simultaneously writing low-resolution proxy files and high-resolution files for mastering. I have also seen the many different workflows people have used to get footage into a system, and most of the time it’s either wrong or overly complicated.

In those various roles, I have seen tons of tape and file formats come and go over the years. Prior to that I spent four years as a post production coordinator/post supervisor. Before I became a full-time editor, I spent over four years as an assistant editor.