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ProresHD ready for primetime?
We are getting ready to online 26 shows shot on HDCAM and we need to pick a codec.
Is anybody out there using ProresHD on a regular basis? Any bugs we need to know about?
We would like to stay away from uncompressed HD for obvious reasons. The shows will be mastered back to HDCAM. Using the latest and greatest MAC with FCP studio 2, Kona 3 and a fibrechannel terrablock for storage. -
4 Replies
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[Editguy69] “We would like to stay away from uncompressed HD for obvious reasons.”
What obvious reasons? The storage? With the low cost of RAID 5 SATA arrays, this really shouldn’t be an issue.
We have played with ProRes a bit here, but have not committed to it for broadcast work yet. All of our work is shot on DVCPro HD, though if I had HDCAM material coming in, we would probably go uncompressed HD.
If you want to try ProRes, do a QC test with the network and get their feedback. If QC approves it, then you’re good to go.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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Hi Walter
We are trying to fit this job into our existing facility storage. We have many rooms (both Avid and FCP) working on many different jobs sharing the same Terrablock so file sizes and bandwith is an issue. If we can edit in a codec that is one 7th (or whatever it is exactly) the size of uncompressed without being able to see the difference then we would like to try it.
We have been using Avids DNXHD codecs for a while with good results. I’m pretty sure the quality of ProresHD is good enough for the network, I was more interested in the stability of the codec and workflow issues. -
[Editguy69] “We are getting ready to online 26 shows shot on HDCAM and we need to pick a codec.
Is anybody out there using ProresHD on a regular basis? Any bugs we need to know about?
We would like to stay away from uncompressed HD for obvious reasons. The shows will be mastered back to HDCAM. Using the latest and greatest MAC with FCP studio 2, Kona 3 and a fibrechannel terrablock for storage.”I just finished a Barenaked Ladies concert that was shot on HDCam. Captured and finished using ProRes (HQ).
Everything was fine. The only issue is that I couldn’t effectively use multicam, because 9 streams of HD ProRes was too much for my Quad Mac Pro to handle. “Dynamic RT” apparently didn’t do what it was supposed to.
ProRes is great. It’s a vastly superior codec when compared to the actual HDCam codec.
There aren’t any bugs I know of. But, be careful if you are using a Kona 3 with NTSC (I know you’re not). The NTSC ProRes (HQ) Easy Setup is wrong (it’s mistakenly set for non-HQ).
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[Editguy69] “I was more interested in the stability of the codec and workflow issues.”
I’ve been working on a 1/2 hour doco in ProRes 422 (HQ) and I’m quite satisfied so far. I especially like the way it seems to handle animated high resolution B&W stills, with none of the mosquito noise of the compressed codecs. Adding a vertical blur to prevent judder seems to be a thing of the past. Renders are a bit slow, but then I’m editing on a dual 2.3ghz G5.
David
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY
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