ProRes 422 HQ vs 422 for D5 workflow

[Russell Lasson]

Some people like to know that they’re editing in the highest possible standard they can, even if they don’t understand what makes it better. That’s why we still see people importing files out to ProRes 4444 when they’re starting with 8-bit, highly compressed codecs. Why? Because they can and they don’t really get a grasp on the point of diminishing returns.

-Russ

Russell Lasson
Colorist/Digital Cinema Specialist
Color Mill
Salt Lake City, UT
http://www.colormill.net