Myriad is an audio batch processor. It has been for some time, but version 4 has been totally redesigned. It has beautiful looks and processes files at blazing speeds. Myriad has a large number of processing actions you can combine and save into workflows. It will simultaneously export to multiple formats, sample rates and frequencies giving you advanced configuration options and dithering algorithms.
Shooting in ProRes or DNxHD has several benefits if you’re working with Final Cut Pro X or Avid Media Composer. Of course you can always encode or transcode from a different codec to either of these in post-production, but that costs time — which may be valuable. There may be other reasons why you don’t want to wait until post, as I found out. I spent three days experimenting with a GoPro HERO4, four encoding apps for the Mac, the Final Cut Pro X timeline and an Atomos Ninja Assassin. Thanks to the newest version of Telestream’s Switch QC app, I came across some strange results that I didn’t know about before, and which changed my views on post-production video encoding versus shooting straight to ProRes with a Ninja monitor/recorder.
The new version of Sorenson Media’s Squeeze has new features and improved codecs. It also allows you to output footage at higher frame rates than the source clips you’re importing. However, and just like any other transcoding app currently available, there’s no support for creating footage from DNG files such as the ones your Blackmagic Design camera will output. The best news of the day is that Squeeze Desktop 11 does create movies from still images and is again a bit faster than its predecessor.
ScopeBox displays video scopes, regardless of whether your clip is processed with EditReady — before you transcode them — or Final Cut Pro X, Premiere Pro and other apps. It does so via ScopeLink, a clever system that allows ScopeBox to integrate with a slew of supported applications, including SpeedGrade, various versions of After Effects, Prelude and Pomfort Silverstack. In addition, ScopeBox provides scopes for live sources such as BlackMagic Design and Aja input equipment, and for movie clips stored on your disk(s).
It’s been a while since EditReady was first released. Since then I’ve only used Squeeze and Episode. I have them on my machine and they’re industrial workhorses so why would I choose something else? Speed could be a significant factor and quality of output of course. I decided to try them all with a GoPro HERO4 UHD clip and the results sort of surprised me.
Transcoding app Episode 7 has been released a couple of weeks ago. I’ve been testing it with a large number of various clips and it’s faster, can now handle 4K footage and supports a larger number of formats, including DNxHD, DNxHR, DVCPro HD and JPEG2000. Naming a storage device was previously only possible via the Command Line Interface. In Episode 7 you can do this through the GUI as well. Finally, you can now map audio channels in one area of the UI.
Telestream has upgraded Episode, their transcoding application, to version 6.5. The upgrade includes support for formats such as HEVC, XAVC, VP9 and MXF AS-11, caption insertion with encoding and pass-through of formats such as MCC, SCC and CEA-608/708, multi-bitrate streaming support, support for multi-track audio, and image sequence support directly from the GUI. Some jobs using the new codecs turned out to be too memory intensive and crashed.
The software used to transcode or encode video footage can make or break the end-result. Sorenson Media has been an industry leader for many years in this market and the latest version of their latest flagship product, Squeeze 10, does not disappoint.
Divergent Media recently released its EditReady tool, a fast transcoding utility for video production pros. EditReady transcodes media from any QuickTime compatible format to one of the ProRes or DNxHD formats, as well as to H.264. It supports metadata and custom file naming. EditReady looks simple but is pretty powerful — but that’s not why you will want to have a copy.
You are often required to transcode from one format to another. When shooting in consumer AVCHD or professional XDCAM you will need to transcode to a format your NLE understands and can work with smoothly. But just as often you’ll need to transcode from your NLE’s format to another for optimised delivery. There are a couple of applications that are specifically developed for this task, and each has its own merits.