ProRes Settings

[Jeremy Garchow]

That is a great way to use a ProRes timeline, for the benefit of your graphics (as long as your graphics are handled properly). ProRes is 10bit and graphics like 10bit, so to speak.

Jeremy

[Mike Faulkner]

what is the difference between Pro Res and Pro Res HQ?
is one sd and one hd?

[Walter Biscardi]

[mike faulkner] ”
what is the difference between Pro Res and Pro Res HQ?
is one sd and one hd?”

No, one is a higher data rate for higher quality. They’re both available in SD and HD.

Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.

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[Jeremy Garchow]

What Walter says. One is more compressed than the other. Apple recommends using ProRes HQ for HD, bit you don’t have to exclusively.

Jeremy

[Brian Pitt]

Riddle me this…

I already have much of my project cut on a standard NTSC DV timeline. If I create a ProRes sequence, can I copy and paste my assets from the original timeline? If I do this, will my graphics now be adjusted with the ProRes treatment?

Brian

[Jeremy Garchow]

Where are your graphics coming from?

[Brian Pitt]

I have a graphics guy that is supplying them for me. Mostly PSD files, but I am using a few elements from inside FCP using the text generator.

Here is another question…When I’m capturing DV footage, Can I import it as ProRes? I hope that doesn’t sound stupid, I just really haven’t messed with this format at all, but I’ve heard good things about it. The reason I ask is because I created a ProRes timline and dropped some DV footage onto it and I needed to render every clip. I’m not sure if that is just part of it or what…

Brian

[Carsten Orlt]

Jeremy
where exactly did you read this as it is not in their white paper on ProRes. There it just states that ProRes normal is good for normal life, and HQ is only the option if you want more.
Also I did tests and don’t see any difference between HQ and not.
Now I know HQ is better quality in term of higher bit rate BUT in real life for television, I don’t see the point.
Cheers
Carsten

[Alan Lacey]

Brad I would guess that staying in DV sequences while you’re cutting is most convenient, then change sequence settings to prores and let it render for final output.

Obviously it depends what your output requirements are.

Alan

[Sean Oneil]

[Brian Pitt] “If I create a ProRes sequence, can I copy and paste my assets from the original timeline? If I do this, will my graphics now be adjusted with the ProRes treatment?”
Yes

[Brian Pitt] “When I’m capturing DV footage, Can I import it as ProRes? I hope that doesn’t sound stupid, I just really haven’t messed with this format at all, but I’ve heard good things about it.”

You cannot convert from DV to ProRes on the fly during capture if you are capturing over Firewire. Capture native DV and render your final work in a ProRes sequence. If you are capturing from SDI then you can and should use ProRes. You should NEVER use the DV codec when capturing SDI for any reason unless it’s an offline-online workflow.