Googling “prores hq bit rate” shows 220. Googling “avc intra 100 bit rate” shows 100.
Opinion: Whenever I’m making broadcast programs, I always disregard the camera’s shooting bitrate and transcode to DNxHD 220x. (I use Avid’s DNx rather than ProRes simply because PBS works with Avid’s DNx codecs.)
The offline/online process died many years ago, because storage is so cheap these days. So, transcoding everything immediately to DNxHD220x at the beginning of a project means that I am now “onlining” all of the time. So all color corrections I make during the offline are not only making it through to the final “online” session, but the Symphony color correction is now able to affect the full 220x gamut, rather than be limited by the low ceiling of lesser codecs.
However, if the goal is not top quality but rather saving storage space, then go with 100.