![]() ![]() Perhaps naturally, editors seem somewhat more unaware of their need to do this than vfx/audio/color staffers. Audio people with a ton of VSTs need to create replacement audio tracks for the sequences also.Īnd editors using plugins will also have to create replacement media. Like vfx people finishing their plates, then exporting out a full video clip to replace the comp or other placeholder/original media on the working sequences. Realistically, either they have to be ‘shared’ by all computers accessing the joint project, or … the users of them need to finish their work and create replacement media so that other users can do their work. One of the generally accepted (in practice, though not always public discussed) “rules” for large team working is the proper care and feeding of the plugins through the project. Plus, other “deeper features,” which Larry includes in his overall impressions of a focused, flexible, capable program.This issue is a huge thing in the major workflows with Premiere also. Read more over at, including how Edit Share handles Metadata, Blackmagic Raw support, and a feature called “clip trimming,” which enables Edit Share to encode only portion of a clip. If there’s a naming conflict, the system will notify you, as well. However, like a young puppy, it just hangs around forever. NOTE: It would be helpful if there was a way to dismiss this notification once it appears. When transcoding is complete, the system notifies you. The conversion process is indicated by these three bars: When you are ready to convert, click Convert All, or Convert Flagged if you are just converting favorites. This allows you to standardize names as well as formats. In all cases, you are transcoding clips into the single, selected preset.Īs you would expect, you can select a destination folder, including one stored on a server which I’ve done here, and apply a file naming template to all the clips. NOTE: You can either batch convert all the clips you imported to this one preset, or flag some clips as favorites and just transcode those. The panel on the right contains settings for how you want to convert (transcode) your media.Īt the top are a collection of presets that allow you to quickly apply settings to all selected clips. (You could also type Cmd-O, but that’s pretty boring.) Um, you’ll never guess where to drag a clip, or group of clips, that you want to transcode. The program is stored in the Applications folder of your Mac. Installation is straight-forward using a Mac standard installer that you’ve used dozens of time. Aside from the time to download, installation takes less than five minutes. The software is purchased directly from divergent media’s website. ![]() The software has a very nicely written 35-page manual which covers all operations in an accessible manner. Key new features in Edit Ready 2.5 are support for transcoding only a portion of a clip (which saves storage space) and support for the new Blackmagic RAW video codec. ![]() It also supports watermarking, timecode burn-in, image scaling, LUT assignments and frame rate adjustments to support extreme slow motion. NOTE: With Apple discontinuing legacy 32-bit codecs in the next version of the macOS operating system, Edit Ready provides a fast, yet comprehensive way to convert older media and preserve your assets.Įdit Ready is published by divergent media, an independent software company focused on providing flexible tools for monitoring, quality assurance, and acquisition for the video production industry.Įdit Ready supports single or batch transcoding of media files into common formats for editing in Avid, Adobe or Apple software. While our editing software can handle all these options, it is often far better to standardize your media into a single format prior to editing. Edit Ready is a utility designed exactly for this purpose. In today’s world of digital media, dealing with multiple codecs, frame sizes, even frame rates is a sad fact of life. ![]()
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