An in-depth examination of ProRes
The largest issue in post production is maintaining the highest quality for compositing, graphics, effects and delivery; whether that content is used in broadcast, theatrical or direct to DVD release.
Camera native codecs are amazing for their ability to capture light at the highest quality, yet this “native” camera data was never meant to work directly within the editing process, only within the manufacturers proprietary camera hardware.
This intermediate codec, called ProRes, was designed specifically to maintain full colorspace and 10bit workflow throughout the post process allowing Final Cut Pro to finally take its place as a truly professional editing platform.
- What is ProRes
- ProRes Data Rate and Compression Ratio
- ProRes Standard vs. HQ
- Scalar Playback and Performance Enhancement
- 8bit vs. 10bit
- Compressed vs. Uncompressed workflows
- Advantages with HDV content
- Hardware support for ProRes
- Tech Notes