It's great to see a window into the decision-making process behind software support, and that it's customer demand (driven by the popularity of Sony VENICE) that has led to them implementing the tech. The refreshing honesty is that some of their reluctance was the high price of licensing Sony RAW software technology. Right now it's supported for Apple, improved for Blackmagic RAW (which was already supported), and RED and Codex, with Sony coming soon.
#EDITREADY MULTIPLE LICENSES UPDATE#
One nice thing about this update is that the EditReady team is honest about the technical but also commercial limitations of implementing RAW.
But having the ability to manipulate proprietary RAW files as you see fit is just the cherry on top. Just for the ability to deal with dailies from ProRes RAW alone, it's worth the price of admission. You have to use their internal dailies tools to make your proxy files, and depending on your setup, you might not love those tools. Sure, you can currently work with ProRes RAW files natively in FCPX, Premiere, and Media Encoder, but you are doing that on their terms. This is why the newest update for EditReady, adding full RAW support to a host of camera native RAW formats but best of all ProRes RAW, is huge. But Resolve currently doesn't support ProRes RAW, and isn't likely into the future, though we can keep hoping the support will come.
The biggest competition is of course Resolve, since it's the fastest, and it's free. If you have to get footage from your camera format to ProRes or DNxHD for editing, it offers a really compelling option with speeds that can be 2x Resolve, 3x Premiere, and 5x Media Encoder.īecause all it does is transcode, that's where the devs put all their effort, and depending on hard drives and source format, it can scream. We finally have an affordable way to manage ProRes RAW, and a host of other formats, from our favorite little transcode tool, EditReady.ĮditReady has long been one of our favorite transcoding tools for not only its simplicity, but also its speed.
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