It wasn’t easy, but it shows just how powerful the EditReady technology is. It is just that the OpenCL driver specifically, that is part of the GeForce driver, is not optimized to perform as fast as it could/as the hardware allows.
EDITREADY OPENCL DRIVERS
The result is that we were able to ship EditReady 1.1.3 relatively quickly after deciding on this approach. The Nvidia drivers are the best when it comes to GPUs. Fortunately the EditReady OpenCL backend can handle these types of conversions very efficiently.
In addition, the FFmpeg project uses a completely different format for storing decompressed images, which isn’t supported by the Apple technologies. Adding another decoder to the mix means testing all the possible combinations of formats – for example, going from XAVC-L to DNxHD versus XAVC-L to ProRes will exercise the technology in very different ways. Behind the scenes, EditReady incorporates different encoder and decoder backends via a technology called XPC. This isn’t a project we undertook casually. We took the step of incorporating a new H.264 decoder, thanks to the open source FFmpeg project. However, we really wanted to support the PXW-X70 and PXW-FS7, and we didn’t want to wait for Apple. Number of platforms 1 Platform Name Portable Computing Language Platform Vendor The pocl project Platform Version OpenCL 1.2 pocl 1.3 Release, LLVM 6.0. Up until now, EditReady has been dependent on the same Apple frameworks used by Final Cut Pro X and many other tools. The intraframe codecs can’t do interframe, and the interframe codecs can’t do 10bit 4:2:2.
EDITREADY OPENCL MAC OS X
If an editor already supports XAVC-I (the intraframe version) and an editor already supports other long GOP formats like AVCHD, why wouldn’t it support this new format? It turns out that the Mac OS X video framework has one set of codecs for intraframe H.264, and a separate set for interframe H.264. The quality from these cameras is pretty impressive, but early adopters quickly found that the files didn’t work with their existing editing applications like Final Cut Pro X.
This efficient compression means these cameras can record 4:2:2 10-bit H.264 in the MXF format. The L in this case stands for “long GOP,” a compression technique that allows Sony to more efficiently encode the signal. Late last year, Sony released a set of cameras (The PXW-X70 and PXW-FS7) which record in a new format, XAVC-L.
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