-
prores422 and 32bit/64bit
I work at a tv station and we had a question on which codecs to use, having just made the switch to Premiere Pro CC. All our footage was 422 LT for the past few years, however with PPro CC being a 64bit system, we wondered if it was time to switch codec. 422 LT works on premiere Pro, but i have a few questions
– Prores 422 LT needs to go through Quicktime, in particular Adobe QT32 – which is a 32bit application/system. This means that Adobe has to go through this system and is not really going at a 64 bit speed. However Quicktime X is a 64 bit program – however does ProRes422 LT use Quicktime X’s 64 bit or the QT32 system? Im not too aware of how codecs work here: can it be set to 64bit via Quicktime X or is it set at 32bit.
– Wrapper also matters here – i assume a .mov automaticly needs to go through Quicktime; again is that operated by quicktime X (64bit) or quicktime7 (32bit). Note that i have both on my Mac computer.
– What would be a solid alternative then. I have heard of OP1-mxf – has anyone used it so far?
-
4 Replies
-
[frank tourv] “I work at a tv station and we had a question on which codecs to use, having just made the switch to Premiere Pro CC. All our footage was 422 LT for the past few years”
Premiere is built for native editing — unlike FCP, you don’t have to transcode your incoming footage if you don’t want to. You can bring footage directly from your cameras into the edit, and output directly in whatever playout format you need.
Can you talk a little more about your workflow, from start to finish?
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events -
Not always like this but
Acquisition of footage either
a)our own film crew comes in with(H264 when filmed out of studio, 422 LT when filmed in a studio via an AJA kipro), or we buy a show from a production house which usually send it in Prores422
– If H264, we convert to 422 LT into Facilis Terrablock(which is a real pain in the butt for the 6months i have been there, as a side note)
– Offline&Online edit on various Macpros from circa 2009-2010, Blackmagic decklink SDI cards.
– Telestream vantage on terrablock; one compression (mpeg1) gets sent to corporate who approves. Once approved, a homemade MXF compression(i would have to see what it is again, but its heavy compression)
gets sent to our Live studios, which sends it to cable companies.– We backup the finished shows on external drives, and eventually to LTO5.
Our question was mainly the h264 –> 422LT conversion; it does an OK job, but we wondered if we could make it better using P2, DNxHD, OP1-mxf, etc. instead of 422LT for premiere CC
-
Not always like this but
Acquisition of footage either
a)our own film crew comes in with(H264 when filmed out of studio, 422 LT when filmed in a studio via an AJA kipro), or we buy a show from a production house which usually send it in Prores422
– If H264, we convert to 422 LT into Facilis Terrablock(which is a real pain in the butt for the 6months i have been there, as a side note)
– Offline&Online edit on various Macpros from circa 2009-2010, Blackmagic decklink SDI cards.
– Telestream vantage on terrablock; one compression (mpeg1) gets sent to corporate who approves. Once approved, a homemade MXF compression(i would have to see what it is again, but its heavy compression)
gets sent to our Live studios, which sends it to cable companies.– We backup the finished shows on external drives, and eventually to LTO5.
Our question was mainly the h264 –> 422LT conversion; it does an OK job, but we wondered if we could make it better using P2, DNxHD, OP1-mxf, etc. instead of 422LT for premiere CC
-
[frank tourv] “If H264, we convert to 422 LT into Facilis Terrablock(which is a real pain in the butt for the 6months i have been there, as a side note)… Our question was mainly the h264 –> 422LT conversion; it does an OK job, but we wondered if we could make it better using P2, DNxHD, OP1-mxf, etc. instead of 422LT for premiere CC”
You may not need to transcode at all. If you have a decent system, Premiere is really smooth with camera-native media. Try bringing the H.264 in directly through the Media Browser without transcoding and see if it works for you.
[frank tourv] “Telestream vantage on terrablock; one compression (mpeg1) gets sent to corporate who approves. Once approved, a homemade MXF compression(i would have to see what it is again, but its heavy compression) gets sent to our Live studios, which sends it to cable companies.”
If you prefer to transcode up-front, Premiere Pro can “smart render” a few formats including both DNxHD (PC/Mac) and ProRes (Mac only).
See Dennis Radeke’s blog entry Premiere Pro CC for Broadcasters [link] for more.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
RenderBreak Blog – What I’m thinking when my workstation’s thinking
Creative Cow Forum Host: Live & Stage Events
Reply to this Discussion! Login or Sign Up