This is the default and workhorse video format for all optimized media in Final Cut Pro X. It is an excellent balance between image quality and editing efficiency. The trade-off for using ProRes is that the files are large; about 1 GB per minute. This is the best format to use when your camera actually records ProRes HQ. File sizes are bigger, however, about 1.
The difference between the family and the family is how they deal with color. Image resolution is the same between the two. The family is bit. More bits equals a more precise range of colors and grayscale values.
This is the newest member of the ProRes family. It is a very specialized, high-quality format that is designed more for cameras than post. Following these guidelines can decrease your stress and your hard disk requirements, without damaging your image quality. Hi Larry, thank you for the article. That way, you always have the highest possible quality out of DaVinci, in case changes need to be made. So, to what format, for later conversion by compressor to ProRes ?
I chose converting to Mov-4K Video, the highest quality Wondershare offers, but am I wasting time and resources? Its old footage, certainly not 4K! What about exporting? In general, would you recommend compressing down to H. It depends upon what you want to do with the export. If you are done and ready for distribution, h. It you plan to continue editing it want a master for archiving, Prores is a better choice.
But what are the file sizes of the family compared to ? Great article Larry! I want the highest possible quality exports before I combine the various clips in Premiere Pro to make a short film. Would you recommend exporting them as , HQ, or ?
Do a test and see if you can see a difference in the results. ProRes — any version — contains pixel accurate grayscale values for every pixel, but averages color values across 2 pixels. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment.
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If you refuse cookies we will remove all set cookies in our domain. We provide you with a list of stored cookies on your computer in our domain so you can check what we stored. Due to security reasons we are not able to show or modify cookies from other domains. ProRes HQ — Same as above basically without the alpha channel.
Your camera's internal codec will have a compressed data rate of anywhere from 20Mbps to 70mbps usually variable. ProRes LT aims for Mbps, which still looks great if you're getting a sensor readout over HDMI and will serve you much better in post, especially while color grading. ProRes Proxy — I would never shoot directly to this format as it's for cutting dailies or doing offline editing—it's something you generate in your NLE or before the edit to make life easier.
Definitely not recommended as a start-to-finish solution. Podcasting Voiceover. Tips and Tricks. They all share these characteristics: Variable bit rate VBR encoding — This basically means that scenes with less pixel information due to low-light or little motion, for instance will have a lower bitrate than their vivid, high-motion counterparts.
JPEG image compression uses a very similar technique. Intra-frame encoding — Each frame of your video is encoded and decoded independently of the ones around it SD, HD, 2K, 4K and even 5K frame sizes are preserved at full resolution One of the only codecs optimized for multiple processors The only one that differs is the one with the extra digit: ProRes Know Your Gear.
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