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5d and 7d prores transcode format, what flavor are you using?
Just though I would poll the forum to see what flavor of ProRes people are transcoding their 5d and 7d footage.
Personally, I can’t see a difference between pain old ProRes and ProRes (LT), so I’ve been working with (LT) to save some space. ProRes (HQ) is definitely overkill.
Thoughts?
-Graham
OSX 10.6.3
AE CS5, Nuke 5.1.3
FC Studio 3
Octo 2.26GB MacPro, 16 GB RAM -
9 Replies
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Alway ProRes for me. Maybe just force of habit.
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ProRes 422 when going to tape for network delivery.
ProRes LT when going to web or DVD.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Your codec choice should entirely based on you final delivery. But keep this in mind, ProRes422 runs around 110 mbits whereas ProRes422 LT runs around 50 mbits. Of course the higher the bitrate, the better the final quality. So, if this is going to DVD, standard ProRes422 would be overkill and waste space. Think about it?
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Wayne Carey] “Of course the higher the bitrate, the better the final quality.”
But isn’t the Canon h264 codec running at around 12-13Mbps? If that is the case, then wouldn’t the maximum quality that file will ever be is limited to that bitrate?
It would be like taking VHS to Digibeta, it’s only going to look as good as it’s lowest quality format, which in the Canon’s case is the acquisition format.
-Jason
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Exactly! You’ve got it. But… When you add graphics and backgrounds, you really need to work with a bitrate of 50 mbit and higher to get maximum quality for output. Your video that has already been shot will not look any better but you graphics won’t look highly compressed either.
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Wayne Carey
Schazam Productions
https://web.mac.com/schazamproductions
schazamproductions@mac.com -
[Jason Brown] “But isn’t the Canon h264 codec running at around 12-13Mbps?”
Not according to this –
https://en.wikipedia.org/wiki/Canon_EOS_5D_Mark_II
Which says 38Mbps. Personally I always use ProRes422 as all my work ends up for broadcast.
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The Canons run at around 40Mbps.
And that’s not how compression works. When you recompress video it must be decompressed in the process, meaning every cycle will add its own batch of compression artefacts. Uncompressed would be the only way to ensure the image is perfectly maintained (not strictly true in this case as there’s no uncompressed codec, as far as I’m aware, that matches the 4:2:0 full-range Rec.601 video the 5D spits out). In practical terms ProRes loses nothing until you hit double-figure reencodes.
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I’ve noticed in Compressor that there are a couple of different alternatives for ProRes422 (not HQ, just plain old original recipe 422). There’s one setting that just says ProRes 422, then there are 2 others in a different folder that are, respectively “for progressive material” and “for interlaced material.” I’m doing 24p all the way down the line. Any real difference between the generic “ProRes 422” and “ProRes 422 for progressive?”
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One is designed for Interlaced, the other for Progressive. If your footage is progressive, use the Progressive one.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def
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