How to use ProRes?

What do I do?

Get an HD capture card... or shoot with a format that allows you to convert to ProRes Proxy, like RED, AVCIntra P2, AVCHD (I think).

Where do I choose the codec, when do I do it (before import/Log & Capture?)

If you have a capture card, it will be in the list of capture card codecs. If you don't, and you are importing one of the tapeless formats mentioned, it is in the Log and Transfer PREFERENCES (sprocket looking menu).

Are all my files duplicated into smaller files making my project larger

Duplicated from.... what? A tape? No, they are captured fresh from a tape. Tapeless? Yes, they are converted to QT files and put into the Capture Scratch folder on your media drive.

and if that is the case should I choose a new "scratch disk" for my ProRes 422 (Proxy) files so they´re easier to bring on a laptop?

Put them on the drive you intend to use. Are you TRANSCODING already captured footage? What the heck are you doing? Can you give details?

ProRes 4444 - is it enough to just set this as a sequence setting and import my files?

No. You need to set your capture settings to that too...or import settings if the format allows it. Are you just mentioning that format because you want the HIGHEST QUALITY POSSIBLE? Are you trying to convert AVCHD to ProRes 4444?

Dude...go here and read up what ProRes4444 is for:

http://documentation.apple.com/en/finalcutpro/professionalformatsandworkflows/

Can it be that easy?

Depends...do you know what you are doing? Doesn't sound like it...so it may NOT be that easy.

Shane



< Edited by Host >

Then someone told me it would be a good idea to transcode my HDV-footage to something "smaller" for offline editing

Smaller than... ? Not HDV, that is 12.3GB/hour and ProRes Proxy is 24.1GB/hour. Smaller than ProRes 422? Yes...so it would be viable for offline/online in that manner. but then you need an HD capture card to do this properly.

and when I´m done I would just reconnect to my original HDV-files for optimal quality...

Ahh...HDV. No, ProRes Proxy offers no space savings over HDV. HDV is HIGHLY compressed.

ProRes 4444 is for exporting footage with an embedded Alpha...right. Not really something you use as an online finishing codec entirely.

I was once again thinking of transcoding already captures HDV-footage.

Why? What will you be outputting to?

But I see that when using ProRes 4444 I would just capture it directly to that format - correct?

ONly if you need to include embedded Alpha channels. Otherwise, use ProRes 422. Even HQ is overkill for HDV. But now, if you are talking about capturing ProRes Proxy, then ProRes 422 for online...you really need an HD capture card. This cannot be done via firewire.

Shane

fwiw - Shake doesn't fully support ProRes4444.

x

Shane wrote:
… use ProRes 422. Even HQ is overkill for HDV.

(We have a parallel thread on a very close HDV subject)
Coming from HDV into ProRes, is it really overkill to use ProRes HQ if you intend to do a fait amount of processing and compositing on your images?
Sure, the originals can't look better, but when your processing is at a higher bit depth won't you at least retain the full quality of these originals throughout the processing phase?
Or should simply ProRes 422 be enough?
I am asking since I have not been able to experiment yet (but in the planning phase)

k.

is it really overkill to use ProRes HQ if you intend to do a fait amount of processing and compositing on your images?

Yes. HQ really is meant for very VERY high end 2K and 4K...or broadcast HD 1080 shows that were shot with REALLY GOOD cameras, like HDCAM SR or RED or CineAlta or Varicam cameras. You are shooting HDV...the LOWEST end of the HD spectrum. So going to ProRes 422 will be plenty. HQ will gain you nothing but larger files.

http://forums.creativecow.net/faq/applefinalcutpro#75

but when your processing is at a higher bit depth won't you at least retain the full quality of these originals throughout the processing phase?

You'll not see ANY difference between ProRes 422 (145mbit) vs ProRes HQ (220 mbit) in your case. None. Not unless you go to the BIG MOVIE SCREEN...and then look close. Are you doing that?

Shane

I understand. I thought 4444 was the dedicated format for these cameras.
And happy to hear this, since it will lessen a bit the burden on the computer and will allow some additional layers and filters.
In the case of several successive transformations of clips in Motion wouldn't you gain anything by doing the compositing in Prores HQ? (Let's say you need to go/back two or three times between Motion and FCP).

… maybe not to the BIG movie screen, but to possibly around 12-15" wide.

I wish Apple and manufacturers would make these things as clear in their manuals dedicated, after all, to professionals.
k.