Is there really a benefit using ProRes?

C

carlone

Well-known member
I scoured as many posts as I could read but I was hoping someone could provide a real reason/benefit for converting to Apple's ProRes codec for 7d users.

I understand the reasons to convert to an edit friendly codec but why Prores considering the extra time and storage?

We had to edit some footage shot with the HVX and a 7d so we went with DVCPROhd codec. It looked fine - didn't add to the file size - converts quick and is very easy on the CPU. I didn't see a noticeable difference in the look of the footage.

What am I missing?
 
ProRes makes both editing and CC easer.

You don't want to edit the original h.264 files.

If you are concerned about file size, then convert it to ProRes LT
 
Richard J. Johnson said:
I thought you HAD to convert it Prores. I learn something new everyday around here.
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You can convert it to anything you want! ProRes is just one of many codecs.

The reason I've always used ProRes LT, as mentioned above, is that it works very well with all of Apple's Final Cut Studio. I've heard mention before that DVCPRO HD does not always work well (or as well) with programs like Color. Never tested it myself, because ProRes LT works.
 
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DVCproHD will under sample your 1920x1080 footage to 1280x1080 to fit its specifications.

(not that the 7D resolves that much anyway)
 
I don't get it...

The 7D shoots at 48Mbps. DVCProHD is 100 Mbps. ProRes is 145Mbps, ProResLT is 115Mbps.

DVCProHD is 1280x1080 and 8-bit. All the ProRes versions are 1920x1080 and 10bit. Why on Earth would anyone want to convert 7D footage to DVCProHD when they have ProRes at their disposal?
 
forgive this possible dumb question...but is prores only for Final cut users? If so ..what is the pc equivalent (meaning 10 bit)...cineform neo scene avi ? (more specifically for editing in Premeir pro)

I still shoot dvx...but hope to get a 7d sometime this year (def keeping my dvx though)
 
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I'm sorry I still don't understand this...I CC raw files from the 7D and don't seem to have any issue. Can someone please tell me what I am missing here?
 
boulder said:
I'm sorry I still don't understand this...I CC raw files from the 7D and don't seem to have any issue. Can someone please tell me what I am missing here?
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The 7D records its files in the H.264 codec, which requires significant resources for editing and may not support playback without rendering in some NLEs.

To get around these problems, many people recommend using an intermediary codec such as ProRes LT or Cineform. These are lighter codecs which make editing easier at virtually no expense to quality.
 
PerroneFord said:
I don't get it...

The 7D shoots at 48Mbps. DVCProHD is 100 Mbps. ProRes is 145Mbps, ProResLT is 115Mbps.

DVCProHD is 1280x1080 and 8-bit. All the ProRes versions are 1920x1080 and 10bit. Why on Earth would anyone want to convert 7D footage to DVCProHD when they have ProRes at their disposal?
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To keep file sizes smaller, to use less resources of the computer when editing - when you are going to web or DVD - sometimes it prores isn't necessary.
 
soarprod said:
To keep file sizes smaller, to use less resources of the computer when editing - when you are going to web or DVD - sometimes it prores isn't necessary.
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Umm, did you read what I wrote? I am not talking about native editing. The difference between ProResLT and DVCProHD is a few MB per hour. Hardly enough to make a difference. Both are about twice the size of the native footage.
 
boulder said:
I'm sorry I still don't understand this...I CC raw files from the 7D and don't seem to have any issue. Can someone please tell me what I am missing here?
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Define color correcting?

You can import (7D) H.264 directly into FCP and use the three way color corrector. However, this is incredibly inefficient compared to editing ProRes. I don't believe that you can "Send to" Color from an H.264 sequence.

This debate gets really old. For all of those that want to edit 7D footage natively go for it. Your computer must be so much better than mine.

But for those who shoot a lot of 7D footage and need a workflow that can keep up, use ProRes, Cineform, or Avid DNxHD. As Perrone mentioned DVCProHD is kind of a thing of the past. The only reason I can think to continue using it is if you have other camera's using that codec and you just need to stay compatible with them.
 
PerroneFord said:
I don't get it...

The 7D shoots at 48Mbps. DVCProHD is 100 Mbps. ProRes is 145Mbps, ProResLT is 115Mbps.

DVCProHD is 1280x1080 and 8-bit. All the ProRes versions are 1920x1080 and 10bit. Why on Earth would anyone want to convert 7D footage to DVCProHD when they have ProRes at their disposal?
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To cut with a whole bunch of HPX 500 footage?.. Nah, wouldn't even do it then (just did a project like that). Prores plays back fine in dvcpro timeline (needs render for full quality, but renders pretty fast).
 
Thanks for the great answers/information.

It sounds like the real benefit is for color correction but I still don't get how converting a file to 10 bit 4:2:2 when the camera writes the file as 8 bit 4:2:0 does anything more than just create a larger file. The only new data being added is 1's and 0's, no new information that pertains to color space.
 
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