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From Canon 5D to Film out . Apple Pro Res 422 or Pro Res 422HQ
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[Chris Fera] ” Do you think you can mix Pro Res standard and HQ on the same timeline with settings at 422HQ?”
Part of your sequence is already HQ, so make sense to set HQ for the sequence codec.
rafael -
Not to make things more complex…
But don’t forget that the CAMERA NATIVE files are already encoded in H264 at a maximum data rate of 100Mbps.
ProResLT is DESIGNED to work with data streams of that size. So in the initial ingest and straight editing of 5Dmkii footage – you gain NOTHING from working in ProRes HQ or in any timeline workflow above ProRes LT.
Others here are correct that IF you’re going to do compositing of sources at higher data rates and/or extra color grading in POST – then and only then will working with additional color space help you.
Bottom line. If you shoot correctly in the first place. (proper color balance/lighting in your field production and no mixed color temperatures you wish to correct in post – plus you’re happy with the original “look” of your footage) than you can comfortably enjoy the benefits of the smaller data stream of ProResLT knowing that ALL the quality of your original footage will be maintained throughout your entire workflow.
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Conner
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Thank you. This was very helpful. I totally got it. I am at stardard res right now and I don’t see any difference with HQ so I’ll make HQ only the sequences that will require more work in post.
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[Bill Davis] “But don’t forget that the CAMERA NATIVE files are already encoded in H264 at a maximum data rate of 100Mbps.
ProResLT is DESIGNED to work with data streams of that size. So in the initial ingest and straight editing of 5Dmkii footage – you gain NOTHING from working in ProRes HQ or in any timeline workflow above ProRes LT.”
The only reason to transcode, is just because FC doesn’t support the format.
yes, BUT, don’t forget that your H264 at (100mbps) is 8b/420, while the Prores file will be 10b 422.
You need room to put this extra information (no extra quality). Going to one of the more compressed Prores flavors (LT), wouldn’t help much.
Unless you are really constrained by storage space, go always to the less compressed that you can.
rafael -
I won’t argue with the general assumption that working in the finest quality that your system both supports AND for which it does not extract a performance penalty is smart.
However, particularly in video editing, I’ve watched for decades as otherwise smart guys I’ve known spent time and resources assembling system that capable of working with UNCOMPRESSED files, only to end up feeding them an exclusive diet of 3.5Mbps DV footage.
Those systems WILL maintain the maximum quality that those formats can handle and may even be superior when it comes to compositing those shots with OTHER higher rez elements. – BUT -the lessons I learned in my early days in print advertising ring true.
Once you screen a photo with an 85-line screen – no matter HOW high-rez a print you make of the ad – you will never recover ANY of the resolution that’s been LOST in the translation of the original shot.
So if you shoot on a 5dmkii and the CARD FILES exit with a file that’s H264 bandwidth limited to 100Mbps – That’s what your VIDEO is going to STAY no matter what other raster standard you may subsequently choose to plop them on.
FWIW.
“Before speaking out ask yourself whether your words are true, whether they are respectful and whether they are needed in our civil discussions.”-Justice O’Conner
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[Bill Davis] “Once you screen a photo with an 85-line screen – no matter HOW high-rez a print you make of the ad – you will never recover ANY of the resolution that’s been LOST in the translation of the original shot.”
Hi Bill,
I agree with you about that nothing will recover the lost resolution.
I’m talking about not adding further compression, which would leads to further lost in resolution.
I’m not talking about resizing or reprocessing “8b Uncompressed RGB stills”, but of transcoding from H264 to Prores, (different compression schemes) and stuff with very different properties (8b/420 vs 10b/422).
We don’t add quality on this transcoding, but we add data (almost double if we would be Uncompressed). We need where to put all these extra bits.
If you blow up a PNG with Photoshop, obviously will lose resolution. That’s not a reason to save it as JPEG with high compression.[Bill Davis] “So if you shoot on a 5dmkii and the CARD FILES exit with a file that’s H264 bandwidth limited to 100Mbps – That’s what your VIDEO is going to STAY no matter what other raster standard you may subsequently choose to plop them on.”
The only workflow that would keep the full quality from that stuff, is 8/10b Uncompress.
Even Prores HQ will add compression. A generation lost.
rafael -
don’t make a print. you’ll never get your money back. sorry, haven’t read any of the responses, maybe someone already mentioned this. unless you’re independently wealthy and this is your hobby don’t waste the thousands. i have 2 shorts both shot on 35mm, both played at over 50 film fests. i won awards for both. the prints are collecting dust. a short film was still semi-important maybe 7-8 years ago. those days are gone. master on hdcam or bring your laptop and spend the 3-10K you were gonna waste on the print on shooting a feature with your iphone.
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