FCP mp4 full pathway for an mp4 output

[Jeremy Garchow]

Anytime you export out of any program you will have to compress a new file. There is no way to make new frames without some form of compresssion cycle, obviously some are more lossy than others.

[Ben Balser]

I use HEVC video all the time and love it. It’s a great codec. I use MP4 for delivery a lot, too, and love it. I don’t think you need ProRes HQ 4K, may be overkill. What’s the physical size and resolution of the screens? How far from them will folks be standing? This will affect the effective resolution they’ll be able to perceive. I think you need to trust HEVC and MP4 more. A decade ago MP4 was not as mature as it is today. It’s a very robust codec. But start with and edit in the resolution you’ll be delivering in. What is that resolution requirement? And stay away from ProRes “LT” anything. FCP’s compression engine is as good as any other NLE out there.

[Craig Seeman]

I have to assemble a one hour loop for an output of 4k MP4 for a public display of art and the monitor is a QLED 4k LG. I know the answer is go 4k Pro Res HQ all the way,

I think we need to unravel this a bit so you can better understand both the replies and possibilities.

MP4 is generally a container, not a codec. It can contain several codecs, including H.264 and H.265(HEVC) variants, but there are others.

One bit of information is how the files are being played back, as that may impact the codec choices and quality.

Another bit of information is the source files and their codec(s).

I’m not sure what you mean by “go 4k Pro Res HQ.” Is this your request for the source file codec? Is this the codec you want to edit in?

As others have pointed out, editing involves recompressing and, before export, FCP defaults to ProRes 422 (not HQ), but you can certainly change that.

If you’re asking them to deliver video files to you for editing, you may need to consider how they’re capturing and generating those files. Do you want them to take on the responsibility of upscaling lower resolution files to 4k ProRes HQ if they are creating the files in another format?

Depending on how they’re playing back the files, newer playback systems should have no problem with HEVC 420 8-bit. Older systems might be better off with H.264 420 8Bit but that may require a higher bit rate to match the quality of HEVC. It’s possible to exceed the maximum bit rate of the playback device so it is important to know what they playback device can handle.

As you are aware of, the internet speed and file size can impact the time it takes to send files back and forth and that’s certainly a factor. If that’s a serious concern then HEVC is best file size to quality codec to work with. You’d need to know what their up/down internet speeds are and how much time they have to best judge that.

[Devrim Akteke]

There will always be a compression if your goal is to decrease the size. Exporting to MP4 with the

H. 264 codec for greater compatibility at a bitrate of 40 Mbps would be sufficient quality for use on 4K screens.

[Terry Flaxton]

First of all let me say thank you to everyone that’s replied to my post – as soon as I’d written it a family event happened that took me out of the picture which is why I haven’t responded. But: to be clear all the files are coming in from around the world and all are in their final state so determination of how they capture is not possible. These are not pro cinematographers or DITS or post folk, they’re moving image artists (the kind you’d see on sedition art as with my outputs here https://www.seditionart.com/terry-flaxton ) but they all grasp the various resolutions possible – and they all grasp that compression must occur. Like me though (as I just conflated wrappers and containers – and on that with regards HEVC and MP4, I did some experiments for online streaming some while back and discovered that – staring at an early 4k OLED – HEVC needs pushing in terms of samples to get as good at MP4 such that it’s bit rate and file sizes are equivalent by the time unwanted artefacts have gone). Re Display this will be via a 50 inch 4k OLED LG and the audience will be close up. Now I may not be understanding everything – got that – but I come from the front end, camera. So given my grasp of resolution, is – were I shooting I’d set the camera output to as high as possible in terms of un-compressed files, baring in mind that basic analogue to digital compression happens between lens and light sensitive surface – and the pathway behind that through to data collection in a medium. But the task I have is to gather via the internet a set of 12 x 5 minute pieces of work and from the answers you’ve all given me, I’m thinking I shall create an ask for everyone to send me 4k Pro Res files before I go abroad and just go through standard FCP routes of preparing a loop, then adjusting that at best quality via Compressor. And thanks again for responding.

[Ben Balser]

Consider that broadcast HD and 4K is done via MPEG streaming, which is more highly compressed than most codecs in use. And that most camera manufacturers use their own tweaked version of MP4, so each is slightly different. It’s not all about codec. Just saying…

[Terry Flaxton]

Thanks Ben – I had a broadcast career once many years ago – then turned to art production and display and on one level for big projections in goes a computer and output at HD/4k pro res…. but often the site requires a card in a display with the same specs as streaming – or – as a for instance I had several exhibitions in cathedrals and price wise the choice was media players but at that time they were not dependable for the six month periods (on the other side of the atlantic and I really didn’t need to be coming and going fixing things) so I chose old fashioned blu-rays at max 29 per second and each of the 5 times one machine got me through 6 months of daily use sometimes 12 – 14 hours per day (several exhibitions of which required 3 x blue rays – not synched of course but the show didn’t need synch – otherwise itd be back to computers).

[Ben Balser]

4K H.264 is really high quality. I’d never deliver in a ProRes codec. So few devices/broadcasters/producers will use it for public display or broadcast. Stick with that they’re asking, 4K MP4, the quality will be great, the MP4 codec has come a long way over the years and is pretty decent quality and bullet proof these days.

I recently retied from TV production and will tell you that MP4 video is great quality for delivery. Use the 4K MP4 they’re asking for.

I currently produce 3 local TV shows as a semi-retirement job. I shoot with HEVC and love it. I edit and deliver HEVC and MP4 mixed, and deliver really great result that my clients love.