Rob Grauert
Forum Replies Created
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So then that’s it? The only reason to use ProRes instead of HQ is because HQ is giving you a larger data rate with no increase in quality?
Robert J. Grauert, Jr.
http://www.robgrauert.com -
Ok, So let me see if I’ve got this right:
The purpose of ProRes is to maintain high quality video, but at manageable data rate.
HQ is necessary for 10-bit codecs because they are, well 10-bit and higher quality. The HQ version allows you to maintain that quality, but with a more manageable file.
ProRes is all that’s needed for 8-bit sources because you’re not gaining anything transcoding to 10-bit. It would be like ripping a DVD to DVCPro50 and expecting it to be better than DV25. There is no difference because your original source has already been compressed to less than what you’re transcoding to.
If that is correct, then I’ve got to ask: I thought both ProRes and ProRes HQ were both 10-bit.
Robert J. Grauert, Jr.
http://www.robgrauert.com -
I hear ya. A nightmare it definitely is. It’s even worse because people think they NEED 24p. People think it adds value to their production. So that’s all I’m ever given. But then the turn around and half-ass their lighting (pardon my language). It wouldn’t be so bad if the DP would read the manual and learn that they can shoot 24pN with their HVX and avoid the whole mess.
I originally posted here because of the Reverse Telecine option in Compressor. I felt that made this question worthy of the Compression Techniques forum. I’ll see what the folks in the FCP forum think, although I sure many will be annoyed because this may have been discussed in the past. I just can’t seem to find exactly what I’m looking for.
thanks Dan
Robert J. Grauert, Jr.
http://www.robgrauert.com -
“With the HQ version the CPU is actively interpreting all 256 levels of grey on encode but passing that back out re-interpreted with all 1024 levels on output, that is one HUGE Mathematical Processing task.
With the Standard version of ProRes, that data is not re-interpreted on output until the process actually asks the CPU to handle the content in 10bit by adding filters, efx, or color correction. ”
Although I’ve always stuck with ProRes instead of ProResHQ, it’s only been because that was the point everyone was trying to make – only use HQ when working with 2K or more.
But I never really understood the technical reasoning. I understand that most cameras are just recording 8-bit, but what does Gary mean when he says “re-interpreted for output?” Re-interpreted from what? And what to? When is this re-interpreting taking place?
Thanks!
Robert J. Grauert, Jr.
http://www.robgrauert.com -
As John indicated, it’s not necessary to convert your footage to ProRes.
If you are going to implement still images, graphics, and/or motion graphics simply change your timeline compressor to ProRes (not ProResHQ) in your Sequence Settings. If this causes you to render all the time, wait until you are ready for final output to change your timeline compressor to ProRes.
The only time it will be beneficial to convert to ProRes is when working with Color, but even then, the ProRes conversion won’t take place until you render out of Color, not before going to color.
Robert J. Grauert, Jr.
http://www.robgrauert.com -
Might be a dumb question since you said nothing has changed, but do your sequence settings match your footage settings? You listed the RT settings. You can view your sequence settings by selecting the timeline and pressing Command + 0.
Also, try Unlimited RT instead of Safe RT, and Dynamic for Frame Rate Playback. While you edit, FCP may skip frames or reduce the quality of the image, but it should at least play without dropping frames. Your source media won’t be affected either. Just be sure to change your RT settings to Safe RT, High, and Full when you’re ready for a final output.
Robert J. Grauert, Jr.
http://www.robgrauert.com -
Also, what codec are you exporting out of After Effects. Try the Animation codec if you haven’t already done so.
Robert J. Grauert, Jr.
http://www.robgrauert.com -
hmm. I always tell people they should be judging the quality of their image by looking at an external broadcast monitor (or a TV at worst) and it should be calibrated with color bars. Are you doing this? Even if you output from FCP via firewire to a small video camera and then connect the camera to a TV via S-video…that is better than nothing.
Also, if you are working in a DV timeline, such as DVCPro50, I believe your files from After Effects are exposed to a lot of compression. So the viewer will be displaying my raw video, but once dropped into the timeline, the video is being compressed to whatever your timeline compressor is set to. Have you tried setting your timeline compressor to ProRes (not ProResHQ)? That’s just a guess…I’m not positive that will solve the issue, but It’s worth a try.
Robert J. Grauert, Jr.
http://www.robgrauert.com -
Hmm, I’m not sure what your work flow is, but I wouldn’t work in an XDCam timeline. With multiple formats I’d work in a ProRes timeline. But like I said, I don’t know what your workflow is and I don’t know what your future intentions are for this project.
What are your RT settings? Open your RT tab (next to the timecode on your timeline) and select “Unlimited RT” and “Dynamic” for Playback Video Quality and Playback Frame Rate. I believe this forces FCP to play back the video at the expense of playback quality. When you’re cutting the story, all you really need is to be able to see what you’re doing.
When your ready to color grade or output, change your RT settings to “Safe RT” and “High” for Playback Video Quality and Playback Frame Rate, and the render everything.
Robert J. Grauert, Jr.
http://www.robgrauert.com -
Thanks for sharing, Peter.
I’ve had my eye on the AJA LHi for some time now. I’ve been wanting to get it for my home computer, however, I always had BlackMagic in the back of my mind since they are a bit cheaper.
I was already leaning toward the AJA, but I must say that this pushes me even further toward AJA.
Thanks. Hopefully when I save up the money, it will be a well spent $1500
Robert J. Grauert, Jr.
http://www.robgrauert.com