Re: prores 422 hq vs prores 422 vs prores 444

To further explain Native Editing

1. In FCP... can import H.264 straight and do a cut down to determine which soundbites you need, b-Roll, etc. Assembly sequences. You can then use media manager on this.

2. In Premiere Pro, Avid MC5, Sony Vegas – You can import and edit material WITHOUT transcoding. You can work with the material in a more robust color space, add effects, etc.

Personally, I do #2... working in Premiere Pro for DSPr material. I then send out an FCP sequence with media (via XML export) and go to Apple Color at 422 if needed. Sometimes we just Color Correct with Premiere Pro or Color Finesse in AE.

As of this writing... the ability to record out the HDMI port is not really there, so writing 4:2:0 then trying to bump it up to a beefier format is really not going to go very far.

If you were shooting a photo as a JPEG, then you converted to a Photoshop or DNG, you just wouldn't get the same flexibility as shooting in a camera raw format. I'm not saying to master back to H.264 (which would be like opening a JPEG and saving a JPEGH out – more compression than wanted).

I hope this gives clarity... Lance feel free to start insulting me again.

Richard M. Harrington, PMP

Author: From Still to Motion, Video Made on a Mac, Photoshop for Video, Understanding Adobe Photoshop, Final Cut Studio On the Spot and Motion Graphics with Adobe Creative Suite 5 Studio Techniques