![]() 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. ScopeBox monitors live video signals via a third party capture device, or direct from the timeline within Adobe Premiere Pro CC, and After Effects CC.Before I became a full-time editor, I spent over four years as an assistant editor. It recreates every major video quality assurance tool, including Preview Monitor, Waveform, Vectorscope, Audio Meter, Luminance Histogram, RGB Histogram, and RGB and YUV Parade. ScopeBox is an easy-to-use, low-cost application that transforms users’ Macs into a complete video analysis suite. Built for professional workflows and cameras formats, it sets the new standard for video transcoding performance and simplicity. Designed to be an integral tool for on-set, post-production and finishing workflows, EditReady helps you get from set to suite faster than ever. Learn more: ScopelinkĮditReady is a transcoding application for Mac users. ScopeBox monitors live video signals via a third-party capture device, or direct from the timeline within Adobe Premiere Pro CC, Adobe After Effects CC. ![]() ![]() ScopeLink is an Adobe transmit bundle and Quicktime component that allows you to feed video directly from Creative Cloud applications directly to ScopeBox. In business for over 10 years, we pride ourselves on making well-made tools for video professionals. Divergent Media is a San Francisco, CA based software company, providing flexible tools for video monitoring, acquisition, transcoding, and quality assurance. ![]()
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