Edius 6 Audio Plugin

Editing software manufacturers continue to expand features by adding native support for a variety of new camera codecs. Advances this endeavor. EDIUS 6 is exclusively a Windows-based NLE, running under a wide range of configurations. I was able to test it on a new with the Windows 7 64-bit Professional OS installed.

Audio effects via the vst plug-in bridge or direct to the edius 6 vst folder *Bundled with EDIUS 6 full version ** Control GUI of both Ozone and Nectar are not resizable in EDIUS.

This is a robust, top-of-the-line mobile workstation with more horsepower than most desktop units. I was operating in a software-only configuration, but EDIUS 6 can also be integrated with Grass Valley’s line of STORM and SPARK i/o cards when you use a tower instead of a mobile system. The EDIUS 6 mantra – “Edit Anything” Grass Valley promotes EDIUS 6 around the ability to throw nearly any codec or format at it and being immediately ready to edit – in real-time without the need to render.

This is of particular interest to P2 and XDCAM shooters. My system natively supported a wide range of the professional acquisition codecs, including the newly added Canon XF MPEG2 4:2:2 codec. Possibly even more important – you can also drag-and-drop Canon H.264 files from a Canon EOS 5D or 7D and start editing right away. The “sweet spot” in my tests was Panasonic’s AVC-Intra codec.

This is supposed to be very computationally intensive, but both 50 and 100 Mb/s files were a breeze to work with inside EDIUS 6 and on this workstation. With many prosumer and even professional cameras adopting some form of AVCHD, EDIUS 6 users will be happy to know that it can also handle real-time, multi-stream editing of AVCHD content. It’s important to stress the “native” part. A lot of manufacturers claim native support, but in actual practice, transcode the media to another format upon ingest; or at the very least, rewrap the file container to a different type of file.

EDIUS 6 does neither. If you ingest media from an OHCI device (FireWire), such as an HDV camcorder, the media stays native. Do you shoot P2 or XDCAM-HD? Simply edit straight from the media files or copy them to your local storage and access the media directly from the native folder and file structure of that format. Other than the time it takes to copy the files, the media is immediately accessible to EDIUS 6 and ready to edit. This difference becomes critical in time-sensitive workflows, like broadcast news.

The EDIUS 6 user interface sports four color bars in the timeline to indicate CPU stress: blue (no rendering), green (rendered), orange (may or may not need rendering) and red (needs rendering). When you edit a sequence, EDIUS 6 estimates where rendering is needed, so a lot of the timeline is highlighted with an orange bar.

It is only when you actually play the timeline that EDIUS 6 updates this estimate with accurate information. Unfortunately, this may mean you have to play the sequence at least once all the way through. When clips are rendered, EDIUS 6 uses the codec defined by the project setting, which could be Grass Valley HQ (an 8-bit intermediate codec), HQX (10-bit) or uncompressed.

Grass Valley HQ/HQX is equivalent to Apple ProRes 422 or Avid DNxHD and includes several selectable quality/data rate settings. EDIUS 6 uses a buffer system that preloads up to 15 frames and 512MB, so as long as you don’t go below a user-defined threshold in the buffer, no rendering is required. The usual culprits tax the CPU: compute-intensive codecs, 3D DVE effects and many video layers.

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The user preferences offer a degree of render control that’s better than most, so you can choose to render the whole timeline, part of it or only the overloaded (red) areas. In a typical timeline consisting of some mixed-format media, color-correction, transitions and a few titles, the required rendering was very minimal. EDIUS 6 now features the ability to work at standards up to 4K digital cinema (4096 x 2160).

Unfortunately EDIUS 6 does not natively support RED’s.r3d camera raw format. That’s about the only format most users would encounter, which is larger than HD at 1920 x 1080. RED users considering EDIUS 6 will want to first transcode/render/export the camera’s media files into an editable format using RED’s free Redcine-X. Then EDIUS 6 becomes a very viable editing solution for RED projects. I did render one of my RED files at 2K (2048 x 1024) as an uncompressed QuickTime movie. This worked fine in an EDIUS 6 HD timeline – displaying with a slight letterbox.