ProRes acquisition?

[Shane Ross]

If you shoot DVCPRO HD, I wouldn’t capture as ProRes 422…I’d still capture as DVCPRO HD. ProRes 422 is an option for the UNCOMPRESSED formats…as I see it. But, perhaps it has a better color space for color correction. Dunno. Can’t tell until we get our hands on it.

Shane

Littlefrog Post
http://www.lfhd.net

[David Roth weiss]

Just as Shane says, and its also possible that if you’re going to be mixing many different formats on the same timeline there might be some additional benefit to ProRes422.

Shane, is this your understanding as well or have I misinterpreted some of the things I’ve seen and heard?

DRW

[Peter Dewit]

I’m getting the feeling ProRes is Apple’s answer to Avid DNxHD codec.

[Shane Ross]

[David Roth Weiss] “and its also possible that if you’re going to be mixing many different formats on the same timeline there might be some additional benefit to ProRes422.”

Not sure what you mean by that. Other than it is a “light” codec…28MB/s as opposed to 180MB/s…so mixing formats won’t be as processor hungry.

But I agree with Peter…it is Apple’s answer to DNxHD.

Shane

Littlefrog Post
http://www.lfhd.net

[Peter Dewit]

It will remain to be seen if it’s a good enough quality to be a finishing format as well(As DNxHD is for plenty of people)

[Gary Adcock]

[Shane Ross] “If you shoot DVCPRO HD, I wouldn’t capture as ProRes 422…I’d still capture as DVCPRO HD. ProRes 422 is an option for the UNCOMPRESSED formats…as I see it”

Secondarily — a software transcode will only covert the 8bit captures where as capturing via 3rd party cards via HDSDI (like Kona) will allow you to fully utilize the 10bit colorspace.

DVCPROHD generates smaller file sizes than ProRes from the same content stream.

gary adcock
Studio37
HD & Film Consultation
Post and Production Workflows

[Steve Braker]

I don’t think I made the question clear enough. By acquisition I mean field recording – you know, camcorders and all that. In an age of moving into tapeless acquisition, doesn’t ProRes look like a really fine format for hard drive or solid state recording in the field?

Of course we’ll be able to do it with a “laptop acquisition assistant” following us around, but I’m talking true portable production. Any guesses as to whether this is likely to happen?

I suppose it has more to do with business/politics than whether it’s a good idea.

[Walter Biscardi]

[Shane Ross] “If you shoot DVCPRO HD, I wouldn’t capture as ProRes 422…I’d still capture as DVCPRO HD.”

Actually that’s the first test I intend to run, capturing our footage as Apple ProRes 422 and so some split screens to see if it holds up better in color correction than DVCPro HD. It’s a larger file size, but not by much and if the benefits show themselves with better image quality, then we’ll make the switch.

Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Food Network’s “Good Eats”
HD Editorial for “Assignment Earth”

Read my blog! https://blogs.creativecow.net/WalterBiscardi

[Devin Crane]

I would look to Ikegami to support this, they already have a camcorder that supports DNxHD and a field recorder also. They moved their SD Editcam to support MXF transfer last year so I would think with as big as Apple has become they will be moving that route.

We’ve been using their DNS-33W Editcam for over a year now and love it.

[Tony Manolikakis]

Another critical thing to evaluate is the quality of the video over multiple generations, that is, after compositing various elements, especially animations and graphics, with the camera original material. This is where ProRes should excel. Being able to work in 10 bit AND compressed is very powerful. We’ll see…

Tony

Tony Manolikakis
Rev13 Films