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ProRes Requirements / Quality / Practicality
Hello, I’m wondering if anyone has live captured from a Kona3 or LHe into the HD ProRes4:2:2 codec yet. Does it really work?
I’m about to shoot an indie movie in HD with a F900 and would like to capture HD-SDI 4:2:2 straight to the edit system to skip the HDCam compression, also the editor can begin editing on set to make sure all the shots work together, lots of benefits.
… and lots of questions.
With the CURRENT drivers and latest FC can you capture hd live in ProRes?
Is the quality really rivaling uncompressed? Do you ever see artifacts?
Does the editing workflow work well, any surprises?
I understand you need a new intel mac to use this codec, what is the minimum processor speed requirement to have HD ProRes capture run smoothly?
Thanks so much to anyone that has experience in this.
Stewart -
8 Replies
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[stewart mayer] ”
Is the quality really rivaling uncompressed? Do you ever see artifacts?”It’s close, but I saw artifacts during the Apple demos in Vegas. But no way to know if that was from the films themselves or the codec. But there were some sky shots of airplanes flying around with an uncompressed vs. Pro422 and I could clearly see some artifacts on the ProRes side. It’s very very clean, but just like DVCPro HD, it has limits and depending on the shot, the action, the lighting, you may or may not see artifacts.
When I get back to the office next week, I’ll finally have some time to run some DVCPro HD vs. ProRes 422 tests and I’ll be making some posts in my blog about that.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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Thanks for the input, I’ll keep an eye on this forum for your test results.
Stewart
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Stewart,
I also so those artifacts Walter is referring to (he pointed them out to me at NAB); however, I spoke about it to an Apple rep there, and he told me that he thought the footage was film originated, and has been though multiple generations, etc. etc.
Check out my post over on the FCP forum regarding my tests so far with ProRez HQ. Heading: ProRez revisited again. In my non-scientific tests, I have not been able to break the codec. But I’m also probably not the last word on the subject. Looks like it will work for me, but everyone’s needs are different.
Gary
Saltaire Cinema Productions -
i think that sky footage was an early encoding. a few colorists i know had noted it too. i have worked with some similar footage and have seen nothing like that blatant banding that was displayed on the one piece. it surprised me more not many people noticed it!
i’d chalk that up to early tech anomoly or bad footage selection, i dont think it is indicative of what you will see with the shipping product. it certainly isnt what i am seeing.
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Here are a set of tests comparing ProRes to Avid DNxHD to uncompressed with 1080i 8-bit footage:
tinyurl.com/25xk43
44 MB download
tinyurl.com/yqvt47
7 MB download
Sincerely,
OliverOliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Here are a set of tests comparing ProRes to Avid DNxHD to uncompressed with 1080i 8-bit footage:
oliverpeters.com/clients/dnxprores/dnx_prores_large.zip
44 MB download
oliverpeters.com/clients/dnxprores/dnx_prores_small.zip
7 MB download
Sincerely,
OliverOliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Interesting I assume this is ProRes and not ProRes(HQ)?
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Nevermind… I just read your text file… non (HQ)
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