The way to avoid this is to let EditReady convert the original LUT-free video and apply the appropriate LUT after the conversion. When the video is converted, any previously-applied LUT won’t be correct. You don’t need to find the correct output LUTs for each camera make and model, because EditReady will automatically do that for you.Ī LUT will only be valid as long as the video remains in the same color space. EditReady converts any RAW format into these video standards automatically, without you having to worry about camera gamma or gamut settings. The new color conversions options (available through the color conversion panel) let you quickly choose between Rec709 (SDR) and PQ or HLG (HDR). The new Color Conversion panel lets you pick a destination colorspace and LUT, and then EditReady does the conversion for you. X-OCN saves between 30% and 60% compared to the original RAW media.ĮditReady also receives new Color Awareness technology that allows you to shoot in all flavors of RAW without having any headaches in post. EditReady can now take both the original Sony RAW and the much newer X-OCN codecs and converts them into more manageable files. Sony’s X-OCN codec is a compressed RAW format. EditReady- Color AwarenessĮditReady now offers full Sony support and it will work with both Sony RAW and X-OCN files. You can also generate sidecars containing all your custom elements, which will be processed automatically by iconik’s Storage Gateway app. In Hedge, you can now automatically add metadata to all your iconik assets. Hedge now integrates with iconik, and EditReady features a new color pipeline as well as Sony RAW and X-OCN support. EditReady takes pretty much any format video (if it will play in Quicktime then it’s likely to be compatible – so no REDCODE RAW) and transcodes it to ProRes, DNxHD or H.264.Ī bit of software that promises to transcode rushes for your NLE faster than the competition sounds like a Good Thing – we all spend too much of our lives watching that little blue progress bar inch, glacially, towards its destination.ĮditReady, from Divergent Media, is just such a solution.New versions of Hedge and EditReady have been released. It takes pretty much any format video (if it will play in Quicktime then it’s likely to be compatible – so no REDCODE RAW) and transcodes it to ProRes, DNxHD or H.264. It does this with a simple, batch interface – just drag-and-drop the files – and it does it very fast.ĮditReady leverages your Mac’s hardware to perform various bits of its transcoding – Intel’s QuickSync (built into most chip-sets since 2011) accelerates H.264 encoding and decoding, and the GPU is used to convert between colour spaces and sampling schemes, freeing the CPU to do what it’s good at, and saving power in the process. Of course, if your Mac was built before 2011, or if it’s a new Mac Pro (which uses Intel’s server chipset and so doesn’t have QuickSync) then you won’t see quite the transcoding acceleration that newer MacBooks Pros, Airs and iMacs will bring. The user interface provides (editable) presets for the encoding format and you can burn in a LUT if required. There is a great deal of flexibility in the output filename, with auto-incrementing file numbers, creation date and so on, but you can also use any of the input files’ metadata in the output filename – for example camera name, reel name or shot/take information. The UI also allows you to edit metadata – either for individual files or as a batch.Īs a simple way of converting your camera files, EditReady is an attractive package, but it sells itself on its speed – and it is really fast. Quicktime, Compressor and Adobe’s Media Encoder were nowhere close – EditReady isn’t just a few percent faster, in our tests it was nearly twice as fast as Media Encoder and three times as fast as Compressor (single node) and Quicktime. #EDITREADY FOR PC MAC#ĮditReady was faster than the others even on a 2008 Mac Pro, which has none of the hardware acceleration of newer machines, though I presume that some of the calculations were still off-loaded to the GPU. It’s worth noting that the results from EditReady were different to the results from the other packages, but only in a few least significant bits. I used Quicktime as the reference, producing ProRes 422 files, as I reckoned that Apple software using an Apple CODEC was a sensible starting place. Although there was no visible difference between these files and the ones generated by EditReady, the picture data in the files were different – not wrong, just different.
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