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Re: prores 422 hq vs prores 422 vs prores 444

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Richard HarringtonRe: prores 422 hq vs prores 422 vs prores 444
by on Nov 5, 2010 at 2:44:15 pm

Let me regurgitate then (http://images.apple.com/finalcutstudio/docs/Apple_ProRes_White_Paper_July_2...)

"Apple ProRes 422 (HQ): Boasting widespread adoption across the video postproduction
industry, Apple ProRes 422 (HQ) offers visually lossless preservation of the
highest-quality professional HD video that a (single-link) HD-SDI signal can carry.
This
codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while retaining its
visually lossless characteristic through many generations of decoding and re-encoding.
Apple ProRes 422 (HQ) can be used both as an intermediate codec to accelerate
workflows for complex, compressed video sources and as an affordable, highperformance
alternative to uncompressed 4:2:2 video."

"Apple ProRes 422: Apple ProRes 422 offers nearly all the benefits of its big brother,
Apple ProRes 422 (HQ), but at a significantly lower data rate. It provides visually
lossless coding performance for the same full-width, 10-bit, 4:2:2 sequences as
Apple ProRes 422 (HQ) with even better multistream RT editing performance."

http://images.apple.com/finalcutstudio/docs/Apple_ProRes_White_Paper_July_2...

also see

http://images.apple.com/finalcutstudio/resources/white_papers/L342568A_ProR...


As far as the rest... Lance. I choose not to work in Hollywood. I have no interest in it. The world of video is much bigger than IMDB. I've had the joy of working on PSAs for many top tier folks. I also get to work on other projects folks in the advocacy, health, and education space (that get watched much more than 5 million views). With all of that said... this is NOT about you or me. I am Not attacking your professional credibility.... this is about helping people... Not "toss yours on the table." Find it odd that you feel the need to attack another leaders credibility.

But I'm done trolling....

Omar... do what you feel is best for you. Personally, I stick to native editing as long as possible until I've narrowed down which clips are going to be used. Use any of the methods I suggested to do this.

When that's done, go ahead and transcode if working in Final Cut Studio. Go right to the source and read the white paper from Apple I mentioned above.

The simplest way I can say it is that Robust codecs are great if you capture to them to begin with or are at lest using the same bit depth and

Follow this advice from Apple

Apple ProRes Codec Visible differences (1st gen.) Quality headroom
ProRes 4444 Virtually never Very high, excellent for multi-gen. finishing
ProRes 422 (HQ) Virtually never Very high, excellent for multi-gen. finishing
ProRes 422 Very rare High, very good for most multi-gen. workflows

So if you plan to swap your shots around between multiple workstations and users because you are doing heavy VFX or Color Grading work outside of color.... or you're going to be doing things like output for digital cinema go for it.

of course if you were doing those things, I'd encourage you to use a Alexa or a Red.

Just my opinions... let the personal attacks on credibility commence

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


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