• Apple Final Cut Pro Legacy

  HDCAM-SR 444 Masters& ProRes 444

  Posted by Andrew Dietz on September 11, 2009 at 12:08 am

  My normal workflow with 4:2:2 HDCAM masters involves using ProRes HQ. I pretty much use ProRes HQ for nearly everything I do. It’s great, and I’ve never had a complaint except for a PC user who couldn’t open a file (long time ago).

  Recently, a client has given us HDCAM-SR 444 masters. Is there any reason to not use ProRes 444 for this (capture & output)? Capturing these Uncompressed requires a faster fibre array than what I currently possess. I can handle about 200MB/s currently which isn’t enough. Thoughts?

  Andrew Dietz replied 16 years, 10 months ago 2 Members · 2 Replies
• 2 Replies

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  Gary Adcock

  September 11, 2009 at 5:11 am

  [Duke Bishop] “My normal workflow with 4:2:2 HDCAM masters involves using ProRes HQ. “

  HDcam tapes are recorded at 8 bit 3:1:1, not 4:2:2.

  While ProRes4444 will do fine for this, unless you are planning for keying/ or heavy compositing the HQ format you are using offers as much as can be recorded on SR tape.

  Try for yourself to see if there is a difference, but unless you have scopes out I doubt you will see a difference.

  gary adcock
  Studio37
  HD & Film Consultation
  Post and Production Workflows for the Digitally Inclined
  Chicago, IL

  https://library.creativecow.net/articles/adcock_gary/AJAIOHD.php
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  Andrew Dietz

  September 11, 2009 at 6:42 am

  Sorry I meant HDCAM-SR. I was referring to HD workflows in general, whatever their color space may be. I guess I could compare a couple still frames in Photoshop or something. I was just curious if anyone had any opinions or is using ProRes 444 in a broadcast environment. I have used ProRes HQ for a while now, but this is the first time I’ve had to deal with 444 material.

  I am not doing any keying or compositing. Minor edits, then laying back to tape.

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