Apple Pro Res "Render at Maximum Depth"

From my understanding, Apple Pro Res maxes out at 12 bit with DSLR cameras in movie mode not even reaching that. Yet, the setting for "Render at Maximum Depth" offers 24 to 64 bit. Anyone know what the story is with this setting?
And does anyone know the settings for Apple Pro Res 4444 at its highest quality when coming from H.264?
Thanks.

For your reading enjoyment -
http://forums.adobe.com/message/4529886
http://images.apple.com/finalcutpro/docs/Apple_ProRes_White_Paper_October_2012.pdf
A question for you - what is your workflow where you think you might need this? Keep in mind that the majority of cameras only record 8-bit color, and also in a very highly compressed format, so you won't necessarily gain anything by going to 4444, as the source video is of limited quality already.
Basically, if you don't have any high-bit-depth sources in your timeline to preserve the quality of, there may be little or no benefit to enabling "Max Depth".
Thanks
Jeff Pulera
Safe Harbor Computers

Similar Messages

  • Apple Pro Res 422 HQ export - "render at max depth" and "24 bit or 48 bit depth"?

    I'm exporting my 90 minute feature for DCP using the Apple Pro Res 422 HQ codec. The film is 1920x1080 and that is what the export will be. We used a variety of cameras (Canon 7D, Sony XR160, GoPro, Blackmagic in HD) for the film.
    For the export options:
    Do I check "Render at Maximum Depth"?
    Which do I choose - 24 bit or 48 bit depth? - one has to be chosen even when "Render at Maximum Depth" is unchecked
    When I asked the DCP house, they said that "Render at Maximum Depth doesn't actually do anything when using this codec" and haven't answered the 24 vs. 48 bit question.
    This discussion:
    https://forums.adobe.com/message/4529886#4529886
    says that you "never need to enable the Max Render Quality (MRQ) unless you are exporting in a format/pixel ratio different from your original video."
    This discussion:
    https://forums.adobe.com/message/5619144#5619144
    adds insight into what 24 vs 48 bit depth means, but doesn't answer my specific question
    Thanks for your help.

    For your reading enjoyment -
    http://forums.adobe.com/message/4529886
    http://images.apple.com/finalcutpro/docs/Apple_ProRes_White_Paper_October_2012.pdf
    A question for you - what is your workflow where you think you might need this? Keep in mind that the majority of cameras only record 8-bit color, and also in a very highly compressed format, so you won't necessarily gain anything by going to 4444, as the source video is of limited quality already.
    Basically, if you don't have any high-bit-depth sources in your timeline to preserve the quality of, there may be little or no benefit to enabling "Max Depth".
    Thanks
    Jeff Pulera
    Safe Harbor Computers

  • Apple Pro Res 422 / FCP7 render issues

    Hello,
    I do a lot of timelapses and have pretty good workflow for all this. However, I am experiencing one issue that makes everything a bit difficult. I appreciate if anybody could help me.
    My workflow is:
    1. Shoot some stills RAW
    2. Develop in Adobe Camera RAW
    3. Import stills sequence and render in AfterEffects CS4 to AppleProRes 422
    4. Import to FCP7 and edit
    5. Grading / color correction
    6. Publishing
    All works fine, however I am having very often an unpredictable issues with the Apple Pro Res 422 codec under FCP7.
    I always render a bunch of sequences from AE using the same settings for all files. The only difference is resolution.
    My render settings for exporting from AE are:
    - Apple Pro Res 422 wrapped in MOV
    - render in 10-bit YUV from RAW 16 bit sequence files
    - AE project in 16 bit
    - Resolutions of rendered all files around 3500x2500 px, this vary from file to file.
    The sequences render fine in AE.
    The sequences play properly in QT, I can import them to FCP properly, play in FCP properly. I can drag to timeline, scale, rotate, scrub etc.
    However: Some sequences fail to render in FCP7.
    When I drag them to my working sequence in timeline (Usually a Full HD 1080p, Pro Res 422, YUV), scale down (usually) and try to render timeline footage (don't mean exporting here yet) I get the following error:
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    This happens on many computers including iMac, MacbookPro and a Mac Pro.
    I discovered that setting the footage size to even width and height figures when exporting from AE eliminates the problem sometimes, but it does not help in all cases.
    Also it sometimes help if i take such sequence, crop and export using QT under the same settings, just a few pixels less in size. But again - it helps sometimes.
    Can anybody help me with these?
    Anybody experiencing similar issues?
    Thanks a lot.

    I had the same problem when we started to edit on Pro Res timelines. The solution I found was to go the Sequence Settings > Video Processing > and change the Render setting to "Render in 8-bit YUV" that allowed me to actually render the timeline and view my work. Hope that helps.

  • Fcp forces me to render Apple Pro Res 4444 files when i drop on timeline

    i shoot with the canon 5d mark ii and i have been having problems making my videos easy to edit. I convert them from h.264 to the apple pro res 4444. when i take the files and then attempt to drag them into the project timeline, i am prompted to change the settings to match that of the video format. when i select no, all of the files require me to render before playback. when i select yes, i always get dropped frames and the video stalls and fails to play. selecting no and rendering is not time efficient at all and i know there is a better way to do this. any help or suggestions? i'm clearly doing something wrong.

    Hi -
    While it may seem counterintuitive, transcoding to a ultra-high quality, specialized format like ProRes 4444 actually, in most cases, counter productive.
    Converting your h.264 files to ProRes 4444 is like buying size 26 shoes for size 9 feet. Apple ProRes 4444 is there for specialized use by people editing large frame size images +WITH an alpha channel for each frame+. To properly play it back will require both a high horsepower computer and high speed disk drive array to support the data rate involved in that format.
    May I make a suggestion? I would be to convert your h.264 material to Pro Res 422. Even ProRes HQ is beyond what you need to handle your material correctly.
    When you convert your files to ProRes 422, and allow FCP to set the sequence to the same settings, you will find that you will be able to edit without rendering. And don't worry - the quality of your image is set by the h.264 compression, the conversion to Pro Res 422 will not degrade it.
    A frequent example given on these boards: if you take a can of beer, and pour it in a keg, you still have just a can of beer, but it is harder to carry around - and the keg certainly takes up more space.
    There is a very useful White Paper written by Apple that describes the various flavors of ProRes and their correct application at:
    http://images.apple.com/finalcutstudio/docs/AppleProRes_White_Paper_July2009.pdf
    Hope this helps.
    MtD

  • Apple Pro Res 64-bit Encoding

    I've looked everywhere and tried everything...
    https://helpx.adobe.com/premiere-pro/using/whats-new-7-1.html
    At the bottom, under "support for new camera formats", there is a section regarding support for  "Apple ProRes 64-bit" as a new camera codec. I looked everywhere in Media Encoder and the only thing with a "64" in the Apple Pro Res Codecs is under Apple Pro Res 4444 in the "Maximum Bit Depth". However, this option was already available so that 's not what Adobe could be reffering to... I understand that there is support to utilze the 64 bit capabilities to quicken the transcoding process but does anybody know anything about a new Pro Res Codec at 64-bit? Where it is? What it entails?
    Anything at all would be awesome. Thanks.
    -Dimitri

    Hi Dimitri,
    It's 64 bit as in it uses a 64 bit process on a Mac. It does not refer to 64 bit depth. The only and main difference is that encoding ProRes is going to be faster now.

  • CS 5.5 renders apple pro res poorly compared to CS5.0

    Hi hi,
    This is my first time posting here.
    I'm experiencing a loss in the quality of text in my rendered video after migrating from cs5.0 to cs5.5, and I would like to know if there is any way cs5.5 could give a better render, or if I should switch back to cs5.0 for the time being.
    The video that I'm rendering consists of two videos: a video of a power point presentation, and a video of the speaker/presenter pip'ed over the power point video. The text on the power point slide is poor quality when exported from cs5.5 compared to the same video rendered in cs5.0 with the same settings.
    All of my source video is apple pro res LT codec, and was captured on a AJA Ki pro device. My sequences are setup as progressive to match the source.
    I'm exporting as MPEG2-DVD
    Export settings:
    Again, I've rendered the same project in both cs5.5 and cs5.0 each with the same export settings; however, the cs5.5 rendered video has blurry text (exspecially on the charactors such as the 'e') on the power point slides where the cs5.0 looks fine.
    system notes:
    I have the latest quicktime version installed.
    Working on window 7 systems.
    Comparison (Note: This is actually a pretty good case for cs5.5. Other slides in previous renders were much worse, but you can still see the difference here.):
    CS 5.5
    CS 5.0
    Thanks,
    Ted

    Seems  5.5  is not applying MaxQuality sharpening.
    Is this a direct export from Premiere or did you send it to AME?
    I have found a sligt difference when doing this.

  • DVCPRO HD/Apple Pro Res 422 HQ slow to transcode to DVD on 8 core Mac Pro's

    I've been conducting some tests and narrowed down the slow transcode times I'm having specifically to DVCPRO HD or Apple Pro Res 422 HQ clips when transcoding to 90-150 MPEG-2 DVD Presets. These formats take forever to render on a Mac Pro 8 core when compared to a G5 or a quad 2.66GHz Mac Pro. DV and DVCPRO 50 are transcoding at very fast speeds on a Mac Pro 8 core. I would like other Mac Pro 8 core users out there to confirm this... that way Compressor developers can do soemthing about these slow MPEG-2 transcode times. A 6 minute DVCPRO HD clip is taking 52 minutes to transcode to a MPEG-2 90 minute DVD Best Preset in Compressor. This is in comparison to 20 minutes on a G5 and 10 minutes on a Mac Pro 2.66GHz for the same transcode. This problem does not happen while transcoding to MPEG-1 or HD DVD MPEGs.
    I've tried everything:
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    2. Switched memory
    3. Tried virtual clusters.. still slow even at 750% cpu utilization.
    4. Tried with updates and without updates.
    5. Tried with multiple other clips.
    6. Looked at my file permissions for each clip
    7. Made sure that each file is self contained.
    8. Tried custom presets.
    9. Googled to see if other people are having the same problem... found this: http://forums.creativecow.net/thread/155/866630
    10. Compared times to DVD Studio Pro's encoder... DVD Studio Pro is way faster.
    11. I've written to Ken Stone and Mike from HDforindies.com... just to confirm the problem... waiting for their response.
    12. I've also written a suggestion/problem report to Compressor developers.
    Message was edited by: Trancepriest
    Message was edited by: Trancepriest
    Message was edited by: Trancepriest

    I've had the same chooppy/ipxelated results that you are having with DVD Studio Pro's encoder at different settings. If DVD Studio Pro had worked well... I would have dropped this issue somewhat. I'm so irritated that a Mac Pro 8 core... top of the line machine is getting floored by G5's and Quad Mac Pro's. Even though it's just with the DVD 90-150 minute presets... its still a major issue because i need to make DVD's on a regular basis. I woud feel so much better if I knew someone was looking at the problem. Including you I've found 3 others with the same issue. I'm hoping to get them on this thread.

  • Exporting AVI to Apple Pro Res 422

    I am using Adobe Premiere Pro CS4 4.2.1 and I would like to export my source file (AVI) to Apple Pro Res 422. Is that possible?
    If not, which format do I export my video to be used on a Mac running Final Cut Pro. I realize I can export using Quicktime, but then Final Cut Pro would have to render the video. I am hoping to avoid the additional rendering step.

    Open the AVI file in MPEG Streamclip, and choose prores 422 as the export option, and see if that works.
    Here Is A Link To A Tutorial On How To Do It

  • Apple Pro Res 422 versus Apple Intermediate Codec

    I'm new to the world of FCE HD. I'm transfering video from a Canon HG10 to my MacBookPro and storing on an external drive. Earlier projects are bringing in video with Apple Intermediate Codec compressor... no problems, editing doesn't require rendering... Now video is being brought in as Apple Pro Res 422. The Pro Res is requiring that I render everything once I bring it from the viewer to the canvas. I've searched all menus, preferences and settings looking for where and how to change this setting. Does anyone have a solution to this snag?
    The data rate for Pro Res 422 is 15.3mb/s and for Apple intermediate codec is 9.9
    None of this makes sense to me... please assist.

    Hi(Bonjour)!
    How did you convert to ProRes 422?
    ProRes 422 codec is a part of final cut studio 2.
    FCE HD cannot edit nor render in ProRes like Final Cut Pro. You material havs to be NTSC, PAL or AVCHD and HDV (converted to Apple Intermediate Codec).
    Michel Boissonneault

  • Apple Pro Res use in PRemiere for expanded color specturm

    I heard that using Apple Pro Res in Premiere and AE is good for being able to use the expanded color specturm of the clips.  Is this true and and necessary.
    Thanks
    On a Mac, CS5.5 , os 10.6.8

    Perform the following test:
    1. Transcode your footage into ProRes (measure transcoding time) and import both of them into AE
    2. Set project to 32 bit colour space and tick Linearize Working Space checkbox
    3. Drop both source footage and the transcoded one into a composition and set upper layer blending mode to 'Difference' - you'll notice artifacts, which indicate there are some data shift (i.e. loss in quality) happened during transcodung (visually unnoticeable though; uncheck Linearize Working Space, and you'll get solid black screen)
    4. Temporarily disable eyeball for your transcoded footage layer, pull a key or/and apply some significant colour correction and/or a retiming effect onto your source footage. Measure the time for rendering RAM preview.
    5. Copy effects and paste them onto your transcoded footage, enable the layer eyeball - you'll notice artifacts, probably, worser than you had had before you started your grading work.
    6. Disable your source footage layer eyeball and measure how much does it take to render RAM preview for your graded transcoded footage. In my particular spec the difference between rendering RAM preview for graded AVCHD source footage and the transcoded one is about 16%.
    7. Render lossless (or about lossless) intermediates out of your graded source footage and the transcoded one in turn, measure the render time. In my particular spec the difference between a single render is about 25-30%. If I take into account time for transcoding, the difference decreases to about 16%. Bear in mind that influence of transcoding time diminishes if one needs more than a single render.
    8. Reimport your rendered intermediates into AE project and drop them into the same composition above existing layers. Set blending modes of both layers to 'Difference'.
    9. Enable eyeballs just for your rendered intermediates layers - you'll notice artifacts.
    10. Now compare like with like: enable eyeballs of your graded source footage and the intermediate rendered out of your graded source footage, then disable them and enable eyeballs of graded transcoded footage and the intermediate rendered out of it - you'll probably notice similar slite artifacts in both cases.
    What does all the above mean?
    1. Transcoding a source footage doesn't give one any advantages in terms of quality for colour grading. Resulting quality is consistent in both cases, but some quality loss happen during transcoding.
    2. Transcoding yields savings on render time, which may be important in some workflows.

  • After burning a successful DVD in iDVD out of FCPX, how can I see the settings it used?   So I finally burned a DVD out of a Apple Pro Res file into iDVD in PAL format. My question now is how can I find out what the exact burn properties were so that I ca

    After burning a successful DVD in iDVD out of FCPX, how can I see the settings it used?
    So I finally burned a DVD out of a Apple Pro Res file into iDVD in PAL format. My question now is how can I find out what the exact burn properties were so that I can apply the same burn properties to a project in Compressor 4?
    Is it possible to see what iDVD did?

    I don't know any way you can interrogate iDVD to reveal settings to the extent that you can in a Compressor project. What you could do is open up the show's VOB in MPEG STreamclip, go to File and Reveal Stream Information; that will at least give you some rudimentary info like average bit rate. Perhaps someone, with more iDVD experience, can chime in here.
    The broader question is why use Compressor at all if your current workflow is doing the job to your satisfaction?
    The value of Compressor is that it gives you control over the many parameters that affect size quality.  and playability. The Compressor presets can give you a starting point for DVD delivery, Web, etc. From those presets, people typically experiment by adjusting the parameters until they get the desired results for their specific show. It's a little bit science and a little bit art. After experimenting, you may be able to get slightly better quality for the project you've successfully burned in iDVD by using Compressor and something likeToast…or maybe not.
    Good luck.
    Russ

  • Vixia HF200-apple pro res?

    I've searched online and throughout the apple forum, but I can't find any info that discusses the best sequence and project settings to use with a Canon Vixia HF200 camera. I bought ten of the Vixia HF200's for our school to use with Final Cut Pro 6.06 running on Quad Core and a few 8 core Intel Macs. We can ingest perfectly. No issue. And I am probably using the wrong settings, but I set the sequence preset to Apple Pro Res HQ 1920x1080 24p. Our cameras are all set to cinema mode24p. For easy setup we have been using Format:HD, Rate:all and Use at DVCPro HD-1080pA24. Our sequence settings are 1920x1080 Custom 16:9, Pixel Aspect=1440x1080, timebase=23.98 and compressor apple Pro res HQ. I've played with other settings and editing is fine and the video looks fine. However, on most of these settings we are seeing some weird by product. All exported 1920x1080 video has flash frames throughout the video. You can watch the video on an NTSC monitor or on the computer monitor and there are no flash frames. But once you export using Quicktime Movie Apple Pro Res HQ 1920x1080, then that exported file shows multiple flash frames. Again, I'm sure I have all the wrong settings. Can someone respond with the optimal settings for editing AVCHD @ 24MB from a Canon Vixia HF200 within FCP 6.06?

    Did it work before?
    If so, what did you change?
    If not, have you tried installing the latest ProRes Codecs?
    x

  • Apple pro res 422 file consuming more space than usual

    hi everyone!
    I've been  working with FCP 7 since 2008 and at the same time I started working with Canon T2 from 2 years ago and I haven't had any problems with my FCP workflow files, editing and output used to be H. 264 based files until I started to  have problems with my hd DSRL projects. Recently when editing the audio went out of sync and  I was suggested to change the Quicktime video settings from FCP 7 to imovie (which is th application I commonly use to create chapters and share to iDVD) this worked perfectly. It was the  first time I which I had  to  change the Quictime Settings to Apple Pro Res 422 The Out of sync problem was resolved but the space consumed by the file was enourmosly ncreased instead. ie. A 5 min project usually would take like a 500 mbs quicktime  file  and now using the Apple Pro Res 422 this 5 min project went up to 5.3 Ggs!! And also the exporting process is taking forever!! For instance I'm working  with a 30 min project and the Quicktime conversion never ends. It's taking about 12 hrs and is not taking  more than the 20% of the process. Is there something I'm doing wrong? I need help in a extremely urgent way!  Thank you all guys! And best regards from Mexico!!
    Mac Pro early 2008
    Processor  2.8 GHz Quad-Core Intel Xeon
    Memory  10 GB 800 MHz DDR2 FB-DIMM
    Graphics  ATI Radeon HD 2600 XT 256 MB
    Software  OS X 10.8.4 (12E55)

    >using the Apple Pro Res 422 this 5 min project went up to 5.3 Ggs
    That's about right for a ProRes 422 file. High quality video takes a lot of space. It's sufficient to use the lighter ProRes LT for the footage from your T2 by the way. Your MacPro can also have up to 4 hard drives for plenty of storage.
    Why are you using QuickTime Conversion?
    Exporting to QuickTime with current settings and self contained is the better way. Then you use Compressor to make your delivery format from that master. Compressor is faster because it can take advantage of multiple cores - FCP doesn't. It will also give you far more control and choice over the encoding.

  • Converting 7D camera footage to Apple Pro Res 422 HQ

    I shot footage with the Canon 7D. I brought the footage to Compressor (latest version as part of Final Cut Studio). I am transcoding the footage to Apple Pro Res 422 HQ for editing in Final Cut Pro 7.
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    My clips do experience a slight color shift but nothing nominal. However, I have no problems converting my files using the preset and opening them up in FCP 7. When I open them in QTX they appear the same size as their original. Have you checked the inspector pane on your MBP? I have had issues where QTX will not open a video full size due to screen resolution limitations and would always downsize instead. That could be your issue since the MBP cannot display a 1080p file at full resolution.

  • Where is apple pro res format in mpeg streamline??

    i'm brand new to this. have a canon 5D Mark II and final cut express 4.
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    ProRes is only available with FCP. For FCE you have to use the Apple Intermediate Codec.

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