Newsmeldung von slashCAM: Uncompressed or ProRes 422? Of rob - 5 Mar 2009 09:50:00
Gary Adcock - Long Final Cut Pro users - has been detailed with the workflow and the quality of Apple's ProRes 422 codec employed. The result is a "hymn" to ProRes.
This is an auto-generated entry
Antwort von curtis:
Has anyone here already its workflow completely converted to ProRes and experience with it?
Antwort von WoWu:
The article expects that 10-bit material from a camera on the (very good, but external) koja (Hardware)-Codec in 10-bit after introduces ProRes. This mutated ProRess to pure Schnittfile.
What the article does not mention is the fact that only one effect (cross Dissolve) in HQ, as 10bit is supported. For all other effects, leads the ProRes (without warning) in 8 bits.
(Unless you carry it on from koja external codec)
To use 8 bits of material (HDV) in ProRes is only to cut advantages over the GOP structure in the cut out.
Besides, I really do not know how to build a 10 bit recording koja with an 8-bit recording DVCProHD face and can then surprised that the 10-bit version looks better ... About Roundtrip 8-10-8 problematic bit is nothing has been said.
So, if the workflow is 10 bit camera signal (without compression) starts on ProRes 422 and goes to the closing date from the disk array ends, certainly a nice, if not synonymous new post.
Antwort von Axel:
What the article does not mention is the fact that only one effect (cross Dissolve) in HQ, as 10bit is supported. For all other effects, leads the ProRes (without warning) in 8 bits. Even the simple crossfade manual, I would do anyway. The people who use ProResHQ make the unlikely marriage of movies, this is about "right" Postpro. Trying it out, HDV with a correction to make in Color. Does not. Mach compositing in After Effects, then you get what you always warn: banding (Posterisierung I have previously mentioned, was probably the wrong term).
To use 8 bits of material (HDV) in ProRes is only to cut advantages over the GOP structure in the cut out.
... About Roundtrip 8-10-8 problematic bit is nothing has been said. In times when nothing costs more space, it's useful if you completely synonymous in Final Cut Pro remains HDV ProRes instead be used. Even with securities, whether they happen to be in 8-bit rendering. It is synonymous with no capture card and the material carefully Needed as a batch of Compressor can convert. The advantage is then: More real-time.
Roundtrip? When editing ProRes codec, it can very well firstly the presentation of its codec. Secondly, if it would be
problematic, of a master ProRes Mpeg2 or H.264 to export, how's then that the result looks better?
Antwort von WoWu:
Sure, you could of course do everything possible ...
Roundtrip? When editing ProRes codec, it can very well firstly the presentation of its codec. .... synonymous with ProRes422 on the laptop to his friends for showing drive.
But we have to be honest ... ProRess is safe only in a few exceptional cases of Endcodec.
The advantage is then: More real-time. As for the real-time advantage in the processing concerns .... Apple writes itself:
When real-time playback in Final Cut Pro is set to medium quality, ProRes 422 is decoded to half of the horizontal resolution and half of the vertical resolution. This produces more real-time performance for effects, transitions, and multi-stream playback. 1 / 2 (H) x 1 / 2 (V) = 1 / 4 resolution. If this is the real advantage is ... create the other codecs, even with complicated GOP structures with only one quarter resolution all male synonymous. Only these programs also provide good image resolution and are therefore slow. ProRes 422 just makes the picture quality with reduced ... let everyone decide for themselves what solution he prefers.
And to the Probelematic 8-10-8 bit synonymous None comes around (here in the forum so often with the problems has been criticized)
And 10 bit is using as little as you like the nocturnal cough, if you come from 8 bits.
And it looks better, is a subjective impression, if he agrees and not just wishful thinking is. Or, out of which (contrast, shepherds, etc.) in any case it can not substantiate.
Apart from the fact that we all too often between 10 and 8 bits to work, because we are now mostly 10-bit processing material (sometimes to get a variety of reasons not around with 8 bit mix) ... but the material has 8bit behind that which have never been better.
And if an 8-bit rendered Effect p.10-bit addresses and can not recognize the difference, it should monitor its check.
Quite aside from that quick movements in ProRess slight blur in and get a transfer back to MPEG then block artifacts in the land.
Even the simple crossfade manual, I would do anyway. How do you do for a manual crossfade and in a self-selected depth? Or other effects?
Trying it out, HDV with a correction to make in Color. Does not. However, it is just if you get the HDV material in 10-bit to dub it.
Quite apart from the time that the author ever to Apple's own codec has bypassed and only the (much better) AJA hardware codec used ... So much had already not to do with ProRes.
The people who use ProResHQ make the unlikely marriage of movies, this is about "right" Postpro. Uuups ... Postpro for real? ... ProRes times does not support an alpha channel ... not synonymous and 4:4:4 .. as much relating to "correct" Postpro. Perhaps you would prefer ProRes 222nd
But I think we agree that the colleague is a transparent and then discontinued 10-bit workflow has described, with precious little of the consumer class in common.
Especially since he did not even touch on the question of off and the accompanying decrease in signal to noise ratio is received. The only real advantage of ProRes is the larger signal to noise ratio and the related multi-generation behavior better ....
That's it then, but already synonymous and this advantage disappears when the material is on tape plays on, or the footage of a tape has not D5, AVCCAM or HDCAMSR hot.
