Why ProRes? 1
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subjective opinion of a person who has worked with one product all his life

Scott Simmons

I’ve worked with many products and many codecs and I would 100% agree with ProRes 100%. If you have a different opinion based on your own experience please do detail that here as I’d love to hear it.

David Crosthwait

I agree with your analysis of ProRes. I work with it everyday. As our clients state, it’s reliable and predictable. In my decades of production and post experience, ProRes is my choice for post and for archiving.

Thomas Zugmeyer

How about the fact that ProRes is an Apple-proprietary codec, not a SMPTE standard?? So, if you go the ProRes route, you’re locking yourself in Apple dependency. And that might be fine for you, you might be an Apple shop to start with, using Macs as your compute platforms, and Final Cut Pro as your preferred editor, and so you don’t mind having one more foot chained to an Apple cannonball. But, if you’re not in bed with Apple yet, I would seriously advise against making a codec choice that effectively marries you with Apple whether you want it or not.

David Crosthwait

A few years ago, I was invited to sit in on a private new camera model demonstration meant for cinematographers at NAB. I was amongst the “A list” DP’s but my function being there was just for curiosity.

When the demo was done, Q&A began. The subject of codecs that the camera could create had been stated already. ProRes was not one of them. Right off the top, one attendee said “Your camera looks very good and the demo was wonderful. But if it can’t make ProRes files, we can’t use it”. Head nodding in the room was to the affirmative

There was a “kind of a hush” in the darkened room. The value of ProRes was again evident.

Scott Simmons

Then what’s you choice for a high-quality, near-lossless, intermediate codec? Avid’s DNx? GoPro’s Cineform?

Shawn Miller

Yes! DNx and Cineform are excellent. I have cameras that shoot in ProRes and DNx – there is no difference in file size, quality, or performance between the two. I’ve also used Cineform for about 17 years, it works great in Premiere Pro and Davinci Resolve.

Mark Ferman

OUCH. Your obviously completely clueless blather-rant only needed A SIMPLE LINK to burn to the ground Mr. Zugmeyer. 😂😂

Haters gonna hate! The sign of a TRUE PRO!

Mark Ferman

“ Even better: all the information needed to decode it is publicly available. This means […] any manufacturer or developer can include the ability to decode ProRes in their products.”

So someone remind me again: what is Blackmagic’s problem that they refuse to support ProRes RAW even though they are more than familiar with the whole procedure?? Which part of the above gets their panties in a bunch?

Oh… right. Mr. Petty is just staying true to his name. I forgot. 🙄

And you have to love how they actually have the gall to blame APPLE for FC not supporting BRAW. It’s so infantile.

Last edited 1 year ago by Mark Ferman

Hello everyone so my questions are

1. Is shooting in canon xf- avc all I 4k 10 bit 422 internally and transcoding to ProRes 422 the same as shooting 422 straight to my ninja?

2. Will the file size or bit rate be the same if I transcode my xf avc to 422 compared to shooting straight to 422?

3. How do I know which flavor of ProRes to pick based on my cameras internal codec? Do I pick the one that is closest to my cameras internal shooting bit rate?

4. If I have a xf – avc and ProRes file that are the same bit rate is one higher quality than the other?

I think that’s it haha. Thank you for your help and I’l I’d love to talk on the phone about this if anyone has the time.

[email protected]


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