Although I still personally prefer CineForm for a number of reasons, video interchange across platforms just got a lot simpler with officially licensed ProRes encoding in the Adobe ecosystem on Windows.
I’m curious: any would-be switchers ready to jump to Windows now that delivering the industry’s favorite format is no longer an issue?
Personally, I couldn’t care less, long using powerful Windows boxes and not being forced to deliver in Prores. But for many in the industry this is big news and I suspect a cause for lot of celebration at places like Puget Systems.
It’s long been known that Adobe has wanted to license Prores but Apple wasn’t interested in giving it to them. I wonder what turned the tide?
Perhaps this is related to Apple’s “legacy” codec decision. It was to their benefit to allow Windows NLEs to encode to ProRes if they were to keep Apple viable in the Post market. If Windows users couldn’t deliver to people doing post work on Macs, then even more people would stop using Macs.
[Craig Seeman]“Perhaps this is related to Apple’s “legacy” codec decision. It was to their benefit to allow Windows NLEs to encode to ProRes if they were to keep Apple viable in the Post market. If Windows users couldn’t deliver to people doing post work on Macs, then even more people would stop using Macs.”
Could well be….of course it can go the other way, too….that more people will switch to powerful Windows boxes….people who are running Adobe and not FCPX.
Apple has long relied on Adobe to make “killer apps” that help market Macs to creatives. That was certainly true of the original Photoshop along with Adobe’s early desktop publishing tools. That relationship has appeared rocky at times from the outside, but probably less so on the inside. Regardless, right now Apple needs vendors to step up and develop “killer apps” for the iPad Pro. You see that in Adobe’s Rush and soon, full Photoshop. Maybe this new ProRes arrangement is part of the encouragement to support Adobe’s interest.
[Craig Seeman]“Given the situation with ProRes Raw vs Braw I think Apple felt they needed to make ProRes encoding more accessible or lose the codec war in the long run.”
Well BRAW is an acquisition codec like ProresRaw only tied (so far, and probably indefinitely) to BM cameras. Not being a delivery codec like Prores, I don’t see how it might factor in A’s decision to license Prores to Adobe.