HDCAM SR vs ProRes 4444

[Erik Lindahl] "Regarding ProRes vs HDCAM SR - If I'm not misstaken, HDCAM SR is 440 or 880 Mbit 10-bit where ProRes 4444 is 330 mbit 12-bit. Given ProRes is a new:er codec I guess it could beat HDCAM but you're at a higher bit-depth and much lower bitrate. "

DATA RATE/COMPRESSION @ 60i 4:4:4
HDCAM SR 440Mb/sec or 4.2:1 compression
ProRes 4444 330Mb/sec or 5.6:1 compression

NOTE: While HDCAM SR is 10-bit and ProRes 4444 is 12-bit, ProRes compression ratios are most likely somewhat incorrect. But since there isn't a common uncompressed 12-bit codec, I'm not sure how to me more accruate.

Bit Depth
HDCAM SR 10-bit
ProRes 4444 12-bit

NOTE: HDCAM SR supports LOG which, if used, essentially increases the bit depth to somewhere between 12 to 16-bits in the LIN equivalent.


FRAME SIZE
HDCAM SR 1920x1080 or 1280x720
ProRes 4444 Any frame size. Real-Time 2K playback supported in Final Cut Pro.

COST
HDCAM SR $100,000 Plus
ProRes 4444 $1000+Hardware

Now I know that this comparison is kind of silly on some levels. HDCAM SR is an industry standard delivery format. ProRes is an editing codec.

If talking about FX/Color work, then HDCAM SR has less compression. ProRes 4444, though more compressed, has 12-bit colors, variable frame sizes (SD through 2K+), supports alpha channels, very manageable data rates, and is a much less expensive workflow.

For broadcast distribution, HDCAM SR is great. Otherwise, if you've finished to ProRes 4444, you'd be better off archiving/mastering at a QT file backed up to LTO or a drive.

I'd love to hear peoples opinions on this, especially if I have any facts wrong! Gary, maybe you can add some more to the conversation.

-Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
www.colormill.net