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andrea victoria calderon
prores 422 LT transcode to prores 422
on Oct 3, 2016 at 12:01:18 am

Hello FCP masters! technical question here... Can I transcode/ export my master to apple prores 422, when the compositing file is prores LT transcoded from h264 canon t3i? Does it actually increase image quality. it's for a project we are sending to festivals, and from which we also plan to do a DCP.


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Shane Ross
Re: prores 422 LT transcode to prores 422
on Oct 3, 2016 at 3:10:09 am

[andrea victoria calderon] "Can I transcode/ export my master to apple prores 422, when the compositing file is prores LT transcoded from h264 canon t3i?"

Yes. Instead of Exporting a Quicktime Movie, self contained, you can export a Quicktime Conversion....or change your sequence settings, COMPRESSOR to ProRes 422, render, and then export.

[andrea victoria calderon] "Does it actually increase image quality."

No. You'll be compressing ProRes LT... to ProRes 422. It's already compressed ProRes LT...it won't UNCOMPRESS from that. To get it to ProRes 422 direct...you'll have to convert from the raw footage. The workflow for that all depends on how you originally compressed the footage.

Shane
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Read my blog, Little Frog in High Def


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andrea victoria calderon
Re: prores 422 LT transcode to prores 422
on Oct 3, 2016 at 4:11:38 pm

Shane you are an angel! Thanks.

One more question, I've read that HQ is a standard in Hollywood for color correction because of the color information.
With this in mind, is ProRes LT good for color correction as well? The reason why I'm using ProRes LT is to not compromise space on my hard drive, the file sizes are great for that, and also the data rate of the files.

I know I can always reconnect and up the ProRes, but for this project in particular, we are missing half of the raw footage... technical issue when the files were being copied from the card on location.

THANKS a lot!


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Shane Ross
Re: prores 422 LT transcode to prores 422
on Oct 3, 2016 at 5:20:23 pm

[andrea victoria calderon] "I've read that HQ is a standard in Hollywood for color correction because of the color information. With this in mind, is ProRes LT good for color correction as well?"

Yes. Both are 10-bit, 422 codecs. LT is just compressed a little more for space savings. Now, just because Hollywood does something or has a certain workflow doesn't mean that you need to follow it exactly. ProRes LT editing, and grading, is perfectly fine for web and DVD and BluRay. PERFECTLY fine. And ProRes HQ is overkill given your source footage...H.264. You will see zero benefit in converting that to HQ. ProRes 422 would be the highest I'd go with that, but even LT is fine. HQ is really meant for 10-bit camera sources...like Alexa or RED. And HQ is a delivery standard, so even if I have MANY sources that are 8-bit (and I do, let me tell you), I work at ProRes 422, and export HQ, as that is what they want. But zero quality is gained. BUT NOTE...I do export shows for TV, thus why I need ProRes 422 and HQ. WHen I do web stuff, I use LT or the Avid equivalent (DNx115)

[andrea victoria calderon] "he reason why I'm using ProRes LT is to not compromise space on my hard drive, the file sizes are great for that, and also the data rate of the files. "

Yes, it's a great codec and perfect for many many projects.

Just stick with LT for this and you'll be fine.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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andrea victoria calderon
Re: prores 422 LT transcode to prores 422
on Oct 3, 2016 at 10:23:08 pm

You the man! all clear now. Just one last question ? could a decent DCP still come out of it? even though I should be fine with DVDs and Blue-Ray for screenings and festivals...

Also, is it true that considering data rate, h264 could be considered the equivalent of DVC PRO HD (been coming across information and codec comparisons, and wanted to clarify that.


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Shane Ross
Re: prores 422 LT transcode to prores 422
on Oct 3, 2016 at 10:45:42 pm

[andrea victoria calderon] "Just one last question ? could a decent DCP still come out of it?"

Yoiks... blowing it up for the big screen? Personally, I wouldn't do that. LT is best for smaller screens. I'd want ProRes 422, at least. But again, how difficult it would be getting to that depends on what your initial workflow was. How was the footage encoded and imported? There are several methods that would prevent being able to bring it in higher quality...

[andrea victoria calderon] "even though I should be fine with DVDs and Blue-Ray for screenings and festivals... "

Yeah, you can get decent encodes for BluRay. And REALLY? Some play SD DVDs on a big screen? wow...OK then.

[andrea victoria calderon] "is it true that considering data rate, h264 could be considered the equivalent of DVC PRO HD (been coming across information and codec comparisons, and wanted to clarify that."

Not really...but they are pretty different, in many respects. They really aren't comparable at all. They both are 8-bit, but then the similarities stop there. DVCPRO HD is anamorphic...1280x1080, 960x720. Cameras that make H.264 are full raster 1920x1080, 1280x720. H.264 is 4:2:0 chroma subsampling....DVCPRO HD is 4:2:2.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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andrea victoria calderon
Re: prores 422 LT transcode to prores 422
on Oct 4, 2016 at 2:34:03 am

Cannes pre-selection conditions:

• 35mm film print
• HDCAM / HDCAM-SR
• DCP (Digital Cinema Package): Server JPEG 2000 (model DOREMI DCP 2K4)
The server reads only JPEG 2000 files. Available connections: CRU bay, e-Sata, USB.
Once your submission is complete, contact the Film Department for the server certificate and for details of how to send your KDM.
• Beta SP (Pal, NTSC) or Digital Beta (Pal, NTSC)
• Blu-ray Disc + 1 standard DVD (if you send a Blu-ray you must also send us a standard DVD of the film).
• DVD (Standard)

The footage was encoded H264 (canon t3i) , trans-coded to ProRes LT, half of the raw footage lost on location... sadly...

wow there really isn't one last question. it's a sea of information. I've read Apple's white paper so many times and I still have doubts. Sort of of new to a lot of technical issues.

Thanks!


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Shane Ross
Re: prores 422 LT transcode to prores 422
on Oct 4, 2016 at 4:12:37 pm

If you lost most of the footage, then there's not much to do. ProRes LT should be fine. it's 10 bit, it's 4:2:2. it's just slightly more compressed than ProRes, but to be honest, most of the compression you'll see will be due to the original format, H.264. So you should be fine.

As for the deliverable for Cannes...you need to find a person or company skilled in making deliveries such as this. People who know what to do.

Shane
Little Frog Post
Read my blog, Little Frog in High Def


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