Telestream Episode Pro 6.5 For Mac
By Brady Betzel Over the last few years, transcoding has been a hot topic of discussion. With the line between offline and online editing becoming more blurred than ever, it’s crucial to implement a proper workflow that will erase any bottlenecks in production and post production from the very beginning. Whether you are ingesting 1080p footage from a DSLR or 6K from a Red Dragon, it’s critical that all transcoding is fast, invisible (at least as invisible as possible) and able to run across multiple systems if you have them.
When I was an assistant editor I remember months of 24 hour-a-day transcoding. Typically, it was because of GoPro footage. Don’t get me wrong, I love GoPro from a size and usability standpoint, but when getting that footage prepped for offline and online editing it takes a huge chunk of time to transcode (not to mention checking for errors). Depending on the choice of the director of post or post supervisor, typically we would pick a “mezzanine” codec to transcode the footage to. A mezzanine codec is one that is high enough quality for your master outputs but also workable within your NLE to not cause hiccups. Apple’s ProRes, Avid’ DNxHD and DNxHR, as well as Cineform’s codecs are all considered mezzanine. Codecs such as H.264 or AVCHD are not easy on a processor and are typically converted to the mezzanine format of choice if you want to work efficiently.
Episodes transcoding engine is designed for the entire production workflow maintaining high quality files from the camera to edit and all the way to final delivery. Episode also provides built-in collaboration and clustering to easily join multiple Mac and PC machines together to provide affordable transcoding scalability. Telestream Episode Pro 7.5.0.7885 Categories: Software » Windows Encoding for Post Production and New Media workflows The highest quality video transcoding for the entire digital post-production workflow – from camera to delivery with remarkable speed, powerful controls and cross-platform scalability at an affordable price.
Now that I’m an online editor and on the other side of the fence, so to speak, I see just how important it is for assistant editors to transcode to a proper codec while maintaining viability in the offline edit, as well as keeping image integrity for the online process. So what I’m really getting to is, what program will allow the fastest transcode time while offering the highest image quality for “dailies” and even outputting masters and sometimes with multi-channel audio? That’s a very loaded question, but hopefully I can give some testing results that will give guidance in your decision. Episode Pro 6.5 There are many different programs that are stand alone transcoding solutions — Adobe’s Media Encoder, Apple’s Compressor, Divergent Media’s EditReady, Sorenson’s Squeeze, MPEG Streamclip. It’s also offered via the NLEs themselves, and color correction apps like Blackmagic’s DaVinci Resolve 12. However, in this review I am just focusing on Telestream’s Episode Pro 6.5. Some of the latest features in Episode 6.5 are Closed Caption support; updated codec support including HEVC, XAVC, VP9, and MXF AS-11; multi-bitrate streaming support, which includes MPEG-DASH; improved multitrack audio support and reassignment; and image sequence support.
While I won’t be running through all the new features, be sure they are all very big additions. Immediately when opening Episode Pro 6.5 I noticed how cleanly my options were presented. There are four main categories: Workflows, Sources, Encoders and Deployments. I then had to activate Episode Pro 6.5, which didn’t go as smoothly as I had hoped, but I will get to that later. You can use Episode’s preset workflows or create your own; it’s dead simple. Up to the Test To run a few test I used an older MacBook Pro laptop (2.4 Intel Core Duo, 4GB of DDR3, Nvidia GeForce 9400M 256MB and SSD boot drive).
Telestream Episode Pro 6.5 For Mac Free
It’s slow compared to today’s barn-burner mobile workstations, but it is something that could be used in a production that wants to set a standalone transcode station up without purchasing new equipment. Plus, I can run comparisons with a few different transcoders. I used two QuickTimes that I created to run a few speed tests. The first is a one-minute H.264 QuickTime from a GoPro Hero 3+ Black Edition and the other is a 20-second ProRes QuickTime from a Blackmagic Pocket Cinema Camera, both are 1920×1080 running at 23.976fps. The Academy of Motion Picture Arts and Sciences will be celebrating nine scientific and technical achievements represented by 27 individual. Boxx Technologies is offering a new line of Apexx S-class workstations featuring the company’s flagship Apexx S3.
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Purpose-built for 3D. Walter Volpatto, a colorist with 15 years under his belt, has joined LA's Efilm. His long list of credits includes Dunkirk,. Technicolor in Los Angeles will be beefing up its color department in January with the addition of colorists Andrew Francis.