PRORES 422 BITRATE FULL BITRATE AND

Prores 422 Bitrate Full Bitrate And

I've found a lot of good information on the forum regarding the importance of converting footage to ProRes before editing, but I'm wondering which codec is the best choice for Mark II video.ProRes : Frame dimensions: Frame rate: Apple ProRes 4444 data rate: Apple ProRes 422 (HQ) data rate: Apple ProRes 422 data rate: Apple ProRes 422 (LT) data rate: Apple ProRes 422 (Proxy) data rate: 720 x 486: 23.98: 75 Mbps: 50 Mbps: 34 Mbps: 23 Mbps: 10 Mbps: 720 x 486: 25: 79 Mbps: 52 Mbps: 35 Mbps: 24 Mbps: 10 Mbps: 720 x 486: 29.97: 94 Mbps. Apple ProRes 422: A high-quality compressed codec offering.Hi, all. Frame dimensions Frame rate Apple ProRes 4444 data rate Apple ProRes 422 (HQ) data rate Apple ProRes 422 data rate Apple ProResThe target data rate of Apple ProRes 422 HQ is approximately 220 Mbps at 1920 x 1080 and 29.97 fps. Video that contains a lot of movement and color will typically require the full bitrate and in some cases require an even higher bitrate to make the video sharp. Bitrate will actually be lower than the target unless needed.

Video that contains a lot of movement and color will typically require the full bitrate and in some cases require an even higher bitrate to make the video sharp. Audio Bitrate.bitrate will actually be lower than the target unless needed. Use copy to copy the stream without re-encoding. Codec to encode the audio. Copy, none, aac, aache1, aache2, opus, vorbis.

If there's a compelling reason to use that. Two different FOURCCs are used in order to indicate each flavour:Any benefit from choosing ProRess 422 HQ (220 Mbps) over plain old ProRes 422 (147 Mbps)? One has a significantly higher bitrate, which I imagine is unnecessary, but would the color space (or other areas) benefit?And lastly, I'd be a bit averse to trying this unless there were a definite advantage, but what about ProRes 4444 (a 330 Mbps format)? I don't want to deal with file sizes that big if I can avoid it, but I've heard that it's ideal for grading in Color. ProRes 422 SD/HQ is the same codec operating on two different bitrates (flavours). If no quality is lost, then fantastic, but if there's a better option I'm willing to go higher.10-bit (12-bit for ProRes 4444) sample depth variable bitrate ProRes 422 Standard Definition / High Quality codec. Would ProRes 422 Proxy be a bad idea? It's a 45 Mbps codec.

It is 10bit and it will work for the vast majority of work.I would actually say people doing low end visual effects maybe better served with Using Pro Res LT because it should provide faster rendering and more realtime performance. It is a better codec than DVCPRO HD/HDCam. Go shoot something with an F35 or a Viper, then let's discuss Pro Res HQ or 444I would recommend ProRes LT for most workflows.

Master Format reRender (make iPod,YouTube,BluRay videos from this)Most independent Editors should/will probably convert footage to ProRes.If you are not sending video files or assets to multiple video shops back and forth then ProRes LT shoud be great. Color Correction reRender (to the Master Archived Format you make other vids from)4. Effects/Transitions/Titles reRender maybe (maybe not needed if going to apple Color)3. Capture/Convert Render (get file to ProRes)2.