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#Editready batch process multiple files pdf
#Editready batch process multiple files pro

Video Bitrate (How much data is given to each frame, higher = better quality).

This is because the ProRes codec is easy for computers to work with and it can deliver high quality looking files at a fraction of the storage space.Īll video and audio files also have other important parameters that can also be changed during the transcoding process to better suit the intended purpose these parameters all affect the final file size and media quality.

#Editready batch process multiple files pro

mov file for easier editing in software like Adobe Premiere Pro or DaVinci Resolve. But these can be transcoded to another format, such as a ProRes. MXF files take up a lot of storage space and require a lot of computer power to handle.

And then either putting it back into the same wrapper or changing the file format too.įor example, camera original files such as.

Making a copy of the file from one video and audio codec to another,.

#Editready batch process multiple files pdf

A PDF version of the user manual available to download here.ĭetails from Divergent on the latest 1.1.2 update:ĮditReady 1.1.2 contains a number of fixes and enhancements and is recommended for all users.Video Transcoding is the process then of: You can find out more about EditReady on the Divergent media website. Be aware that the application of a LUT will slow down the conversion process. This is useful if you want to shoot S-log2 but hand off rushes that have a more graded look to clients for inspection. Divergent claim EditReady performs faster conversions than major rivalsĮditReady also has a useful H.264 conversion option that allows you to quickly generate files for web.Īnother nice feature is the ability to batch apply a lookup table (LUT) in 3DL and Cube formats to the images. In practice it was fast enough for my needs.

Divergent claim the conversion to be faster than many of their rivals but I haven’t had a chance to test this scientifically. The conversion process is pretty speedy although for large batches you will still have plenty of time to go and get a cup of tea while converting.

ProRes flavours include ProRes 422 LT, 422 Proxy, 422, 422 HQ and 4444. It offers batch conversion of XAVC-S and many other popular codecs (including Canon C300 MXF and GoPro files) into Apple ProRes or DNxHD and importantly keeps the a7S time codes intact.

At $49.99 it is considerably cheaper than Catalyst Prepare and has a simple and intuitive interface that allows you to browse entire folders and make selections quickly. Obviously you can import the footage into a newer edit package like Premiere and then export it with a new timecode as a ProRes file, but this takes time and is a real pain with large amounts of footage.Įnter EditReady from the nice folks at Divergent media. The more expensive Catalyst Prepare does offer batch conversions as well as some very nice image control options, but costs $199.95. Sony’s own low cost Catalyst Browse software will convert files but only one at a time. This might not matter to the casual user but in broadcast or long form documentary this can be critical. There are several programs out there that will batch convert XAVC-S to Apple ProRes or DNxHD, but until now I haven’t found an inexpensive way to do so and preserve timecode. The conventional solution in such cases is to convert the footage into something more editable. If you shoot with a Sony a7S on a regular basis and hand off your material to be edited by someone else, then you have probably come across this problem: The wonderful internal XAVC-S codec doesn’t play nice with older editing systems – especially Final Cut Pro 7 and older versions of AVID.