The brand-new EditReady Pro will focus on niche camera support and using EditReady as part of multi-app workflows. We've also added RED anamorphic support, improved the stability and speed of ARRIRAW playback and transcodes, and added 100p to the retiming tool. If you get footage from a DSLR or mirrorless stills cam that doesn't write timecode, you can now fake a time of day timecode track by using the file’s creation date. To this end, we focused our last release of the year on quality-of-life improvements.ĮditReady 22.4 adds the often-requested option to map file creation dates to timecode metadata. This is why we've decided to make three versions of EditReady, each tailor-made for different needs.ĮditReady will continue to be the world’s fastest, easiest-to-use transcoder for video pros. We want to be able to focus on both ease of use, speed, and help our pro users with complex workflow needs. Adding those features to EditReady would only add complexity and cost for those not needing it. Many of those upcoming features however, are for the 20%. ![]() Per the Hedge philosophy, features should always cater to 80% of its user base. As we looked at our roadmap for the coming year, it became clear that many of the remaining feature requests are starting to create a bit of tension - while making a lot of sense, they are only useful to a subset of the EditReady customer base. Heaps of features and improvements were added that were useful to about anyone, plus all those RAW formats this year. Over the last decade, we’ve done a lot to make EditReady the go-to transcoder for video professionals. You seem to notice our renewed efforts, as we’ve seen an inpouring of feedback since 🙏 Through it all, we've made sure to keep the simple interface and blazing-fast speed you've come to expect from EditReady. Since the EditReady team joined Hedge just over a year ago, we’ve added lots of new RAW formats - RED, ARRI, CanonRAW, Sony X-OCN, and ProRes RAW.Īt the same time, we've added Color Awareness - our log color science engine that makes working with RAW just as easy as any other format. Some MXF files previously transcoded with EditReady wouldn't load properly in EditReadyįix for an issue that truncated the last frame of some MXF files (thanks, David!)Īs the year ends, we're excited to ship our fourth major update to EditReady. You are trying to add encoding "quality" that is not there in the source file to begin with.Recreate the source folder hierarchy on the destinationįaster transcoding when also scaling, on Apple Silicon (Thanks, Michael!)įix for a potential crash transcoding R3D footage on Intel Macs (Thanks, Dorian!)įix for playing back rewrapped HEVC files in FCPįixes a crash when opening new BRAW media with accelerometer metadata (Thanks, Akio!) going from original H264 to other codecs such as ProRes/DNxHR adds zero value. If you simply want to "archive" your footage. conversely higher settings will naturally result in a larger file size but provide you less added artefacts. it's like taking a photocopy of a photocopy. If you really must transcode, avoid lower settings like the plague. It all depends on what you are trying to do. If you are trying to save space, stick with the original H264 and if you are doing something more taxing, then optimized media 1/2 Cineform is the way to go. if you simply want to do basic edits, there is no point in transcoding. I myself have an i7 6700K with a GTX-1080 and do 4K real-time plenty fine. If you need to do some heavy editing, better to invest in more RAM. With that in mind, your i7 6700 is fine even for real-time 4K. Your GPU will handle most of the encoding/decoding/transcoding. You don't need the latest and greatest CPU/Mobo combo unless you have money to burn. There appears to be some misinformation here.
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