Hot answers tagged prores
There's a philosophical difference between delivery codecs (e.g. mpeg4, avchd), editing codecs (e.g. DNxHD, ProRes, Cineform), and capture codecs (e.g. r3d, DVCPROHD). While almost any codec can be used for each of these three stages, your workflow needs will help you decide which are best suited for each stage. The question you seem to be asking, is ...
Well going by the numbers h264 has a lesser bit-depth and color accuracy than ProRes 422. PR422 has 10bit and 4:2:2 chroma sub-sampling, h264 has 8bit and 4:2:0 unless you encode in the Hi422P Intra profile which isn't very well supported in the wild but offers 10bit and 4:2:2. So in that case I don't think you will have any difference what so ever between ...
Ffmpeg can encode video using ProRes, and runs cross-platform ffmpeg -i input.avi -c:v prores -profile:v 3 -c:a pcm_s16le output.mov will do the trick.
On Windows, I recommend FootageStudio 4K. It is a commercial converter (not cheap) that supports many professional formats, including ProRes.
I'd pick something that looks flat and unsaturated. Those are usually the ones designed to retain detail. If you see clog or slog2, those are good. Rec 709 will throw out info, so don't use that. What should inform this decision? Trial and error. A lut is really just a starting point for your grade. Try some different ones out. If it absolutely ...
My guess would be that AfterEffects is assuming something about the audio format which Quicktime is handling correctly but AE is not. Check your format settings; you might need to specify a different byte ordering (also called "byte swapping") or tell it to be explicitly 16-bit instead of, say, 24-bit. In Quicktime you can see what the audio format is via ...
I would use ffmpeg. Just write a sript in any scripting language you prefer and tell ffmpeg to encode new files depending on the total duration of the source file and let it only encode a certain amount of time. You can completely automate this sort of workflow with ffmpeg.
I've tried a bunch of front ends for ffmpeg and finally settled on Tencoder. Widows only. It has a preset for ProRes and is very easy to customize so you can crete setting for often used formats or settings. It is multithreaded and allows you to do batch processing.
You can try ffmbc - a customized version of FFmpeg. Unfortunately there are no builds for linux or windows at the moment so you have compile it yourself.
For such low quality footage (320 by 240 was quarter resolution even in the early 2000s), I'd probably go with DV format. It's a major video standard that, while not used much anymore (though HDV is still used), was a major video standard and thus isn't going anywhere quickly (just look at how MPEG-1 has hung around). It is designed for high quality video ...
According to Miraizon support this is a peculiarity in Premiere Pro handling of ProRes that causes it to interact "very inefficiently" with the the codec. There is an update forthcoming but until then they suggested this as a work-around: Move the AppleProResDecoder.qtx from the /Quicktime/QTSystem/ folder to a temp folder. I still get some inconsistencies ...
When video or audio data is compressed, it works by two different mechanisms. The first (which is the only one used by lossless compression) is to look for patterns that are repeated. When patterns are found, it can store the data once and reference the stored copy. The second is only used lossy compression and involves discarding the least significant ...
I've never encountered this problem, so unfortunately I can't give you advice on how to fix it. However, next time, I would suggest that you convert all your footage to the same format before you begin editing. Prores 422 is a great editing codec. Go to this website and download MPEG Streamclip. It's a free program that converts your footage to different ...
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