![]() Thus the on-chip GPU must normally be disabled in the BIOS which also disables Quick Sync.ĪVCHD is a form of H264 and without Quick Sync all encode/decode must be done in software. This is because Hackintoshes can normally not switch dynamically from the on-chip GPU (where Quick Sync is implemented) to the external GPU. (2) You are using a Hackintosh which usually do not have Quick Sync capability - regardless of CPU. The performance issue scales upward with library size so with small libraries it might not be noticed but with increasing size it rapidly becomes apparent. If all you have left are the bare MTS files I'd suggest re-wrapping them externally before import using EditReady: If you have already imported bare MTS files with "leave files in place" those must be removed and properly re-imported, otherwise it will always be slow, even if the MTS files are only a small % of the overall content. Usually performance is good when using that method, although it takes more space due to the file copy. When importing that way, it will not allow "leave files in place" but will copy and re-wrap (not transcode) those those files to the library. (1) If you are dealing with bare MTS files, IOW files which have been removed from the AVCHD package and imported with "leave files in place", that may cause severe performance problems due to how FCPX handles the I/O.ĪVCHD material should *always* be imported from the folder tree, in which case you normally don't see the bare. Head over to Divergent Media website for more information.Can you work on projects with native AVCHD MTS files to create 1-hour videos without converting to pro-res?. If you already have the previous iteration of the software installed on your Mac, you can upgrade to EditReady 2 for $19.99 or you can get the latest version for $49. I’m sure that many of you would prefer to work with the 10-bit GH5 natively in Premiere Pro CC as you’d normally do with an 8-bit material, but for now, transcoding seems to be the only viable option. Plus, you can run multiple batches within the EditReady interface, allowing you to simultaneously generate proxy media and online material, or convert footage from different cameras. The software supports a wide variety of formats available on cameras like the Canon C300, Sony F5, FS7 (XAVC), Panasonic HDC-TM900 or Sony NX5U (AVCHD), GoPro HERO5, DJI Phantom 4, Panasonic GH5, or Canon 5d Mark IV (MP4) and more. You can output QuickTime movies for Adobe Premiere Pro and Apple Final Cut Pro, FCPX or write DNxHD/HR OPAtom or OP1a MXFs for Avid Media Composer. The app also comes with a neat built-in player that can be utilized to preview your camera original media files before you transcode them. ![]() ![]() In addition, EditReady 2 allows users to re-size, rotate, re-time, and apply LUTs to their media as well as burn-in timecode, metadata, custom text and even images. The transcoding/rewrapping software is a fantastic tool that can not only handle GH5’s 10-bit files with ease but also can speed up transcoding of your media immensely over time. Until Adobe releases the imminent update of Premiere Pro CC that should permanently fix this incompatibility issue, you can use the latest version of EditReady app as an alternative solution. If you are predominantly using Premiere Pro CC as your main video editor and you still haven’t found an effective solution to transcode the tedious GH5 10-bit files to be able to edit them natively in your favorite Adobe NLE, seasoned professional Erik Naso has a simple and effective workaround in mind. ![]()
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