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.
#Editready 2 manual software#
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.
#Editready 2 manual pro#
I'll tweak my workflow to match what Lightworks needs.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. I can then import the converted 25fps footage and that plays fine - on this first project thankfully the only audio is coming from my Canon at 25 fps so nothing to worry about there either. I'm now dong as you suggested with Handbrake - not used it for many many years. I can then set playback speed to 50% and get the nice slow motion I wanted. It appears to play at regular speed not slowed down. In Lightworks I create a 25 fps project and import the media recorded at 50 fps. This might be something to do with my camera.
I then set the speed on the timeline for the relevant clips to 50% and got nice smooth slow motion. Drag in the media which was set to 50fps record on the Canon M50 for the sections I wanted to slow down. In final cut pro x I would create a 25fps timeline. I already much prefer the way it works, much more logical and editing workflow makes more sense. That said I am keen to understand Lightworks and make it my editor of choice. I cannot avoid using the iphones right now.Īppears final cut pro x is more forgiving of media input. 90% of media is from Canon at 50 fps or 25 fps. i can import all the media however 50% reduced playback speed on the canon 50 fps footage is choppy which is bad for what i want to create. If i choose mixed rates for the project I get a project created at 24 fps. Cannot import the iphone 30fps media into the project. It lightworks I can create timeline at 25 fps and the 50fps media comes in fine and slows down nicely at 25 fps.
Create 25 fps timeline and drag all the media in and get to work. In final cut pro x it was pretty straightforward. I have a project that needs input from both my camera at 50fps that will be slowed down 50% to 25fps for playback, and also I also to use footage from iphones at 30 fps in the same project. I am wanting to move away from final cut pro x to Lightroom to increase editing speed amongst other things.
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