The company offers a series of tools to make life in post easier. Here’s where Hedge’s mission of automating and simplifying modern post-production workflows comes in. This is especially true when working with mixed footage from multiple camera brands. However, today’s jungle of different color gamuts and gamma curves can cause quite a few headaches to post-production professionals. The world of high-resolution RAW and HDR video is making us experience true-to-life images like never before. EditReady 22.2 now comes with a new color conversion panel, improved precision, and added support for Sony Uncompressed RAW and X-OCN formats.
EDITREADY WINDOWS UPDATE
Hedge has recently introduced an update for their transcoding software with a focus on simplifying color management workflows.
keyboard_arrow_rightGear Guides by Type.Larry’s article is well worth a read, especially if you have both sets of applications installed on your machine. The real test of image quality during compression is how good an image looks at lower bit rates. And with much better image quality at lower bit rates – Any image will look good at higher bit rates. Larry notes that:Īdobe Media Encoder is significantly faster than Apple Compressor. Helpfully, he specifies the time taken to create each file and the final file sizes too, which can be especially important to know when the client dictates a specific limit.
EDITREADY WINDOWS PDF
Larry’s post is very detailed and full of handy charts, images and even a pdf download. Interestingly enough editor and trainer, Larry Jordan, shares his insights when comparing Apple Compressor 4 and Adobe Media Encoder CC Version 8 and comes to a very different conclusion.
EDITREADY WINDOWS PRO
If you’re in the habit of exporting your final files for the web through Premiere Pro or Adobe Media Encoder you might want to check if this these problems are also an issue for you. On a recent project of mine though, I noticed that when using my standard H.264 settings in Adobe Premiere Pro the result of the final product didn’t look quite right. It was blocky, over compressed, and even the colors seemed a bit off. I even went back and re-exported the file to make sure that all my settings were in place – including checking off ‘Use Maximum Render Quality’, but still I had the same poor results. So I went back to FCP X and did an output using the exact same settings and there was absolutely no question that the FCP X output looked far better. I ran this same test again using Compressor and Adobe Media Encoder and had the exact same results. Of course, the test was created by Divergent to showcase the superior speed of their software, but it does give a good comparison on how popular encoding/transcoding apps stack up.įilmmaker and fellow Premiumbeat blogger Noam Kroll shares his findings when comparing a H.264 exports from FCPX and Premiere Pro CC, which also sparked an interesting conversation on Twitter. If you click through to Noam’s blog you’ll be able to see some close up images to compare the exports for yourself, but as Noam summarizes: In the opening video above you can see for yourself how Divergent Media’s Edit Ready is compared to Compressor, Episode and Media Encoder when transcoding the same file on a 2013 Retina Macbook Pro. Thankfully some studious editors have been comparing the differences in video compression and transcoding when using a variety of post-production apps and sharing their results online. But our current process might not be the best one. More often than not, as editors we tend to follow familiar routines because they’re, well, familiar.
What are the differences when compressing your videos with a variety of different applications?
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