![]() So the transcoded projects of clips 1,4,5 and 9 now have the TC in H265. So clips 1,4,5 and 9 have this problem, the way I could solve it in order to to pass the TC to Compressor is creating a new project for each of this clips and copy paste the TC in the dialog. I was doing this test with the 2 shorter clips of the 12 I'm working with, and I found out those clips dont pass the TC to compressor (well, they do, but nto in the transcoded file, what is even more weird), and there are 2 other clips that dont do that, I dont know why because is same camera and specs, but they do though FCPX to h264/prores. ❤︎ thank you all so much for your time and help ❤︎Īll this suggestion works with some of the clips, but not for all. Rename the new setting as you wish and make the changes mentioned above. You can then go through the settings in the Inspector and make appropriate changes.Ī bit easier approach would be to right-click on the "HEVC Proxy half size" setting under the Proxy category in the left sidebar and choose "Duplicate". In the resulting dialog window, choose QuickTime movie for the Format and provide a descriptive Name, plus any description, and click OK. In the main Compressor window, click the "+" icon at the lower left corner and choose "New Setting.". If you need to process a bunch of files, what you should probably do is create a new preset in Compressor, which will make it easier to apply to a bunch of files at once. You can change other encoder settings there, as well. You just need to go into the Video tab and change the frame size to "Automatic" (as Tom suggests). I just recorded a clip with the Mavis app (with timecode turned on) and the half size HEVC Proxy preset in Compressor does pass through the timecode to the ouput file. Tom's suggestion of using one of the Proxy presets will work. ![]() Head over to Divergent Media website for more information.Basically, what you want to do is choose a format (setting) in Compressor that is "QuickTime" (it will preserve the timecode - QuickTime-based settings should show a file extension of ".mov"). 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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