PRO RES 4:2:2 codec - New From Apple

In Apple's presentation, they show ProRes side-by-side with uncompressed footage and it is indistinguishable...even with splashing rain drops.
 
I know Apple bought -some months ago- an EU company that is specialized in the MXF format. So the tech and knowhow is there, but the basics in QT remain the same for a long time now, it is the container tech that is making QT so good and understandable...look back. Maybe they can deliver a faster unwrapping/wrapping process in the future...

But FCP 6 with all its new possibilities is a great tool to use, ProRes 422 is great, and the new QT version will enable it. And Color!!
 
Blaine said:
In Apple's presentation, they show ProRes side-by-side with uncompressed footage and it is indistinguishable...even with splashing rain drops.
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In addition to Blaine's Quote, they also said after they showed the footage, that the ProRes422 that was showing next to the uncompressed was on it's 10th Generation of compression! So for anyone that doesn't know, that means the uncompressed footage was compressed using the ProRes422 compression 10 times over iteslef. Most compressions you do that to degrades it quite a bit. And after 10 generations of ProRes422 compression, it still holds up to Full Uncompressed HD!! WOW!
 
robotx21 said:
From the Apple Reps at the NAB booth, I asked if ProRes422 would help me with DVCProHD footage. They said no. It's basically for people who have uncompressed HD footage, want to edit with SD file sizes with no visual quality loss. So it wouldn't help at all really. However, if you have the new Hydra from Reel-streams, which is uncompressed HD or 2k at 4:4:4...then ProRes422 would definately help...
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Exactly. That's what I was thinking. For Hydra and Red this is going to be a really good thing.

Pairing this with Color as well... oi... the sickness is abound.
 
Thanks robox21,
Just got my "aja lhe" last friday and its nice to hear that it still seams to be a good solutions with the dvcpro acceleration. Still waiting for the mac thou...hopefully tomorrow.
 
Prores is 4:2:2, yes? So when you convert uncompressed HD footage in 4:4:4 (from whatever source), aren't you losing some color correction flexibility by going down to 4:2:2? How much?

Also, do the Varicam and HDCAM cameras work in 4:2:2 already, so if you convert their footage to Prores, I assume you're *NOT* losing any color space flexibility. Is that right?

Any guidance appreciated, thanks...
 
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my biggest reason to edit in native mxf is double of storage. by using the import tool, we have a quicktime and mxf versions, it is hard to decide if you should delete the mxf files after importing. editing natively for me would be prefered because the mxf file format is easily transferable where quicktime may not be (i think, but i am probably wrong).

that and itis another step to the post process, i am sure if those that dont mind importing had the option to edit with native mxf format, they would edit with it inistead of importing it.
 
sick boy said:
my biggest reason to edit in native mxf is double of storage. by using the import tool, we have a quicktime and mxf versions, it is hard to decide if you should delete the mxf files after importing. editing natively for me would be prefered because the mxf file format is easily transferable where quicktime may not be (i think, but i am probably wrong).

that and itis another step to the post process, i am sure if those that dont mind importing had the option to edit with native mxf format, they would edit with it inistead of importing it.
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Raylight for Mac should solve this! (lets hope)
 
Correct me if I'm wrong, but in FCP, even if you erase the quicktimes, when you search for the media, it will detect the native mxf files you have stored and automatically convert them back to quicktime, so, basically, if you finish a project and erase the quicktimes, if you save the project file, it will automatically look for the media- and it will interpret the mxf native files back to quicktime. Right?
 
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