pro res

Have many of you been using the Pro Res codec in FCP? I have corresponded with many and there doesn't seem to be a strong conclusion about it. So far I have gathered that it is easier to edit and render HDV with despite that the files are considerably larger. The negative is that once exported the imaging is no better than normal HDV codecs.

Steve B)

Have many of you been using the Pro Res codec in FCP? I have corresponded with many and there doesn't seem to be a strong conclusion about it. So far I have gathered that it is easier to edit and render HDV with despite that the files are considerably larger. The negative is that once exported the imaging is no better than normal HDV codecs.

Steve B)

Hi Steve,

I use and I like much more than HDV. No long render times, no "conforming HDV", much faster encode to H.264. And yes, much bigger...

Jules,

And when it is time to export to DVDSP are you getting a better final image. I assume that you are shooting in HDV 1440x1080i, thus in FC, are you setting your import codec to Pro Res HD? What is your export setting?

Steve B)

Jules,

And when it is time to export to DVDSP are you getting a better final image. I assume that you are shooting in HDV 1440x1080i, thus in FC, are you setting your import codec to Pro Res HD? What is your export setting?

Steve B)

Well, frankly speaking I did not make any comparison, I relyed on the CreativeCow community's reviews and expereiance regarding the pic quality. The processing times were significantly better, 10x times sometimes or more, so I was happy with that.

Yes, I am shooting HDV (now), but I am using an Aja Kona Lhe card for capture. My workflow is the following: V1--HDMI Out--ConvergentDesign HDMI-to-HD-SDI converter--AJA Kona Lhe HD-SDI input--capture wiht ProRes 422 HQ in 1920*1080(p).

The advantage here is the following: I can completely avoid the HDV codec. The camcorder's electronic converts back the 1440*1080 sign from the tape, and give out it via the HDMI as 1920*1080(p), accompanied with the sound. And If I would use the camcorder "live", I mean the CMOS sign could be give out as it is via the HDMI (4.2.2, 1920*1080p), you need the computer to be there, it would be much better.

So Jules what housing do you have for your mac pro?

Hm, a custom-built enclosure A little bit negative, but works well.

Seriously, for some situations it could work, if the HDMI cable is long enough... Whoá, 4:2:2, full size HD in the V1 size... That's the camcorder I wait

Doesn't the Panny 200 work in 4:2:2? That is a great size for shooting topside or uw?

Don't have a Kona card so I am still not sure whether capturing in Pro Res would significantly affect output.

Steve

Doesn't the Panny 200 work in 4:2:2? That is a great size for shooting topside or uw?

Don't have a Kona card so I am still not sure whether capturing in Pro Res would significantly affect output.

Steve

Yes, the Panny works in 4:2:2, but I do not have the Panny... I am waiting for the Scarlet

I think choosing the ProRes not necessarely affect the output, but significantly could improve the speed of the workflow. Since I am using originaly an HDV compression, the 4:2:2 won't come back. However, working in 4:2:2 colorspace can give you more control. But I think Drew is much more competent here...

I've not used ProRes before, but I like working with AIC far more than native HDV. Apart from 4:2:2 in ProRes (which can't be captured anyway from HDV unless like Jules mentioned it is captured live) what are the advantages over AIC?

Just an observation here, slightly off topic I know but I recently exported some AIC footage as XDCAM HD via Compressor. WOW is all I can say. It would have looked amazing if it were not for some horizontal banding going on on vertical movement shots (don't know the technical term for it sorry). I then tried uncompressed 10bit HD, but my MacPro couldn't run it

Cheers, Simon

I've not used ProRes before, but I like working with AIC far more than native HDV. Apart from 4:2:2 in ProRes (which can't be captured anyway from HDV unless like Jules mentioned it is captured live) what are the advantages over AIC?

 

Just an observation here, slightly off topic I know but I recently exported some AIC footage as XDCAM HD via Compressor. WOW is all I can say. It would have looked amazing if it were not for some horizontal banding going on on vertical movement shots (don't know the technical term for it sorry). I then tried uncompressed 10bit HD, but my MacPro couldn't run it

 

Cheers, Simon

For that 10bit HD you would need at least a 5 pieces RAID-0 array...

Not on this thread as well....

Wheres the We speak in normal terms thread...

I use a thingy magiggy codec space suplitterpicker stacker quacker array... With two HDMISPV2GTL inputs and I find its good alot better and quicker than the wimmble dimble bobbler dobbler that came with my software...But if you set it up as a Zippy dee doo daa wup wup timecode in la la land then its easier to transport to tape...

Dive safe

DeanB

Not on this thread as well....

 

Wheres the We speak in normal terms thread...

 

I use a thingy magiggy codec space suplitterpicker stacker quacker array... With two HDMISPV2GTL inputs and I find its good alot better and quicker than the wimmble dimble bobbler dobbler that came with my software...But if you set it up as a Zippy dee doo daa wup wup timecode in la la land then its easier to transport to tape...

 

Dive safe

 

DeanB

For that 10bit HD you would need at least a 5 pieces RAID-0 array...

Or just 183MB/s read/write speed. Which can be achieved with 4 fast 7200 drives up to 70% full.