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Mastering output, which to choose
Ok, so this has probably been answered, but I searched and didn’t find reasonable answers. In FCP I used to output my sequence as a Quicktime file in the ProRes codec. That was my master. If I wanted DVD or vimeo files or whatever, I could just draw up that archived file and away I go.
I’m a bit confused with the new way of working in PP. Since I’m not transcoding my camera files to ProRes, I’m editing native camera formats. So my sequence may all be AVCHD files with a little H.264 mp4 or something else. I don’t think AVCHD is what I want to master in.
Would a ProRes quicktime still be the preferred mastering output? Very little of what I do ends up on TV, but if that’s my goal, are broadcasters taking anything other than ProRes quick times?
I’m on a Mac. Not sure if that matters, but I thought I’d throw that out there.
-Trevor Ward
Red Eye Film Co.
http://www.redeyefilmco.com
Orlando, FL -
6 Replies
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If you liked Prores with FCP theres no reason not to master to it with PrP. Nothing really has to change in that regard.
Tom Daigon
PrP / After Effects Editor
http://www.hdshotsandcuts.com
https://www.youtube.com/watch?v=DxPrG3WUyz8
(Best viewed at 1080P and full screen)
HP Z820 Dual 2687
64GB ram
Dulce DQg2 16TB raid -
We master out to “P2” format for archive of masters.
Chris Tompkins
Video Atlanta LLC -
ProRes is a fine codec (just the 422 for this) for your finished “master”
It’ll mean that if you want to create something in the future, you can use this as a mezzanine format, rather than the raw work. A slight, slight quality hit, but decent enough.
Best,
Jeff I. Greenberg
Editor/Author/Speaker/Consulting
My NAB seminar schedule, contact info and more -
We create master files in ProRes for the time being. We’ve made a few tests in Avid’s DNxHD codec as well and they are very very similar in quality.
We do the exact same native workflow through the entire pipeline until final render. We switch the Video Previews in the timeline over to ProRes and also make the final file a ProRes.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative MediaFoul Water Fiery Serpent, an original documentary featuring Sigourney Weaver. US & European distribution by American Public Television
MTWD Entertainment – Developing original content for all media.
“This American Land” – our new PBS Series.
“Science Nation” – Three years and counting of Science for the People. -
Thanks everyone for your input on “output.”
-Trevor Ward
Red Eye Film Co.
http://www.redeyefilmco.com
Orlando, FL -
Walter,
What variation of ProRes do you output to? ProRes 422? 422 HQ?
With DSLR based projects, I feel like ProRes HQ might be overkill. I did some tests comparing 422 and 422 HQ (from a DSLR project) and the difference was basically imperceptible – but I’m curious about your workflow.
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