Is this a benefit of ProRes?

[Chris Borjis]

I’d like to point out that there is absolutely nothing wrong with DVCPRO-HD as an ingest/edit codec.

The fact is you can go 1 or 2 possibly 3x generation before you see a visual loss. I did color correction and editing on a TV series last fall that was DVCPRO-HD start to finish and it looked absolutely spectacular from start to finish.

This is the same experience Walter & Shane have had working with the codec. For Me, there is nothing to really be gained for doing ProRes just for the sake of it. I didn’t believe that until I experienced it first hand. If your workflow dictates DVCPRO-HD there is no reason to shy away from it.

One more point about 8-bit. there something a lot of folks out there are not aware of, that if the algorithm used for 8-bit processing is precise enough, smooth gradients are possible.

This is what Discreet Logic has implemented in all of their compositing and editing solutions. I know it doesn’t help us here but it is possible to get smooth gradients and imaging quality equivalent to 10-bit with an 8-bit codec. The Discreet smoke* system I have does just that.

[Rennie Klymyk]

[gary adcock] “FYI- I am finishing a pretty technical paper on ProRes that will be released after NAB- I think there are some things about ProRes everyone needs to know. “

I was wondering if you will be doing any comparisons between ProRes and AVC-I or if you could do so on a side bar. I’m curious if ProRes could be used as a capture codec in a camera.

“everything is broken” ……Bob Dylan