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Choosing a ProRes format in Compressor

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Brian Globus
Choosing a ProRes format in Compressor
on Oct 6, 2011 at 4:42:30 am

Hi Cows,

Could anyone tell me the correct ProRes format to choose when converting footage from a Canon 5D MarkII (H267 I believe) to be edited in Final Cut for broadcast quality?

I'm not sure whether to choose ProRes 422, ProRes422(HQ), or ProRes422 for Progressive Material (HQ), or otherwise.

The final output may be broadcast or screened as a film.

Thanks for your help. I am just setting out on the seemingly long road to editing.

Brian
JunctionFilm


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David Roth Weiss
Re: Choosing a ProRes format in Compressor
on Oct 6, 2011 at 5:27:32 am

When in doubt always choose ProRes 422. It's the perfect high-performance codec with reasonable files sizes for just about everything. Those who choose HQ are essentially only achieving larger files, and those who choose LT are chucking away color information that is visible in some cases. ProRes however is the perfect fit for almost everything. Kinda like the three bears, you know, the middle bed was just right...

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
http://www.drwfilms.com

Don't miss my new Creative Cow Podcast: Bringing "The Whale" to the Big Screen:
http://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfit...

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™


Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.


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Brian Globus
Re: Choosing a ProRes format in Compressor
on Oct 6, 2011 at 1:55:39 pm

Hi David,

Thank you that was very helpful. I am definitely feeling like a bit of a goldie locks on this issue.

How about ProRes 422 for Progressive Material? I'm not sure how that differs from the standard 422. I've been told Canon 5D shoots in 8 bit though so I'm assuming the 10 bit with progressive is not needed. My Director's main concern is having the best broadcast format possible.

Thanks again, I will definitely check out your forum.

Brian Globus
Junction Film


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David Roth Weiss
Re: Choosing a ProRes format in Compressor
on Oct 6, 2011 at 3:58:34 pm

[Brian Globus] "My Director's main concern is having the best broadcast format possible. "

Of course, no director wants anything but the best, and we often hear about people being forced to edit in ProRes HQ because their bosses believe it's better. And, it is better, but not if you're transcoding to it from highly compressed sources such as h.264 from a DSLR. In that case you're just getting bigger, not better.

ProRes 422 is a 10-bit codec - there's simply no need to think about the 8-bits of the original vs. the 10-bits of the transcoded material.

Your DSLR material is indeed progressive, and so long as you choose that ProRes 422 for progressive material you'll be fine.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
http://www.drwfilms.com

Don't miss my new Creative Cow Podcast: Bringing "The Whale" to the Big Screen:
http://library.creativecow.net/weiss_roth_david/Podcast-Series-2-MikeParfit...

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™


Creative COW contributing editor and a forum host of the Business & Marketing and Apple Final Cut Pro forums.


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Brian Globus
Re: Choosing a ProRes format in Compressor
on Oct 6, 2011 at 10:19:14 pm

Thank you so much David. I'm sure Goldie Locks will enjoy her bed and oatmeal now. ProRes 422 for Progressive Material it is thanks to your expert advice.

Bye for now,

Brian


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