Editing animation in ProRes 422 then swapping to ProRes 4444 for final out?

I'm trying to figure out the specs for a new Mac purchase that will do what I need. I produce an animated cartoon that is about 3 minutes long that originates as a set of PNG/Targa image sequences with alpha out of Lightwave 3D. The image sequence for each character is rendered into short video clips that are re-used into a sequence that is rendered out with alpha, so I need ProRes 4444 for that. That intermediate is then placed in the final project over a background.
Is there a way to edit in the lower data rate 422 and then have the media manager swap out the clips with the equivalent 4444? This to save on RAID costs.

of the top of my head if you are just trying to cut and add sound goto you're sequence and there is a little tab called RT. click it and drop you're playback down to a lesser setting. It won't look as good while editing but should help you're workflow if that is what you are referring to.

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    Unless I'm doing something wrong, I am pretty disappointed with ProRes 4444 color rendering / overall quality. To me, it is not much different Prores HQ.
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    The only way I've been able to view actual quality is by outputting still images and viewing them in Photoshop. How do you guys do it?
    Any insight would be appreciated.
    Thanks
    Steve

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  • Prores 4444 Problems

    Hi there,
    I'm digitizing video from a 4:4:4 HDSR through an AJA Kona 3 card (ver 6.0.3) to Final Cut trying to create ProRes 4444 files. However when I look at these files on the scopes my black level does not sit at 0 but rather it seems to add a setup to 7.5. My white levels also seem to have dropped. This shows up on the FCP scopes and on outboard calibrated scopes (back out through the Kona card).
    I've tried the same material with various other compressions (10 bit, Prores 422, etc) and all of those show the blacks at 0. As soon as I use ProRes 4444 the levels are raised. I've tried using Millions of Colors and Millions of Colors+ (although I don't need the Alpha channel) and I've turned the Gamma Correction off.
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    From the ProRes white paper:
    • Apple ProRes 4444: The new Apple ProRes 4444 codec preserves motion image sequences originating in either 4:4:4 RGB or 4:4:4 Y’CBCR color spaces. At its remarkably low data rate as compared to uncompressed 4:4:4 HD, Apple ProRes 4444 supports 12-bit pixel depth with an optional, mathematically lossless alpha channel for true 4:4:4:4 support. Apple ProRes 4444 preserves visual quality at the same high level as does Apple ProRes 422 (HQ), but for 4:4:4 image sources, which can carry the highest possible color detail.
    Apple ProRes 4444 is ideal for next-generation video and the most pristine computer graphics sources for cinema-quality compositing. For projects that previously required the Animation codec, Apple ProRes 4444 is a modern replacement with real-time playback support in Final Cut Pro. Because color detail is preserved, Apple ProRes 4444 is ideal for color grading with 4:4:4 image sources.
    • Apple ProRes 422 (HQ): Boasting widespread adoption across the video post- production industry, Apple ProRes 422 (HQ) offers visually lossless preservation of the highest-quality professional HD video that a (single-link) HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while retaining its visually lossless characteristic through many generations of decoding and re-encoding.
    Apple ProRes 422 (HQ) can be used both as an intermediate codec to accelerate workflows for complex, compressed video sources and as an affordable, high- performance alternative to uncompressed 4:2:2 video.
    • Apple ProRes 422: Apple ProRes 422 offers nearly all the benefits of its big brother, Apple ProRes 422 (HQ), but at a significantly lower data rate. It provides visually lossless coding performance for the same full-width, 10-bit, 4:2:2 sequences as Apple ProRes 422 (HQ) with even better multistream RT editing performance.
    • Apple ProRes 422 (LT): Like Apple ProRes 422 (HQ) and Apple ProRes 422, the new Apple ProRes 422 (LT) codec supports full-width 10-bit video sequences, but at a target data rate even lower than these siblings. Apple ProRes 422 (LT) weighs in at 100 Mbps or less, depending on the particular video format. It balances incredible image quality with small file sizes, and is perfect for digital broadcast environments where storage capacity and bandwidth are often at a premium.
    Apple ProRes 422 (LT) is ideal for live multi-camera and on-location productions where large amounts of footage are acquired to disk. The low data rate of Apple ProRes 422 (LT) also makes it an excellent choice for transcoding complex camera codecs like AVCHD.
    • Apple ProRes 422 (Proxy): The third new member of the Apple ProRes family is Apple ProRes 422 (Proxy). This codec maintains HD data rates below 36 Mbps, yet like its higher-rate Apple ProRes 422 siblings, it supports full-frame, 10-bit, 4:2:2 video.
    Apple ProRes 422 (Proxy) is intended for draft-mode or preview uses where low data rates are required, yet full-resolution video is desired. It is the ideal format for use in offline editing workflows with Final Cut Server. The traditional offline-to-online workflow with Final Cut Pro has relied on the Offline RT codec, but today’s HD workflows demand offline video formats that support native frame size and aspect ratio. Apple ProRes 422 (Proxy) supports full 1920 x 1080 and 1280 x 720 resolutions, enabling full HD resolution while editing, and accurate representation of FCP motion effects from the creative stages through finishing.

  • Snow Leopard Prores 4444 Gamma Shift Nightmare

    I've run into a nightmare with significant gamma shifts wrecking a lot of work we're trying to export using the Prores codec and After Effects CS3 (and CS4).
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    I appended suggested xml edit to the last line before  </MediaCoreQT...>  in both CS3 & CS4 files. Same infuriating darker gamma result after both edits.
    Scenario: large targa sequence we've been working on for months, established pipeline of compiling the targas in AFXCS3 (OSX 10.5.8), Project Settings/Color Settings/Working Space = none, exporting sequence as Prores 4444, gamma set to automatic. Colour matched targas perfectly.
    Now we're trying to use new Macpros we've bought specifically for this job that are run up as 10.6.2. Prores 4444 compiles are now coming out much darker! I've tried the XML edit (both CS3 & CS4), adjusting system gamma to 1.8 from new 10.6 default of 2.2, adjusting legacy gamma setting in project settings, etc... The colour is wrecked!! WTF?!?!?
    Really don't want to have to revert to "Animation" settings. Deadline looms. Any help would be enormously appreciated!

    I Think (but dont know) that I have found an explanation to this problem.
    It has to do with colorsync on OS X (cant talk windows as I dont use that)
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    1) Encode any non-ProRes 4444-source to ProRes 4444 using Compressor(Only encoder able to provide accurate result)
    2) Be sure so DISABLE - Final Cut Studio color compatibility in the QT7 Player Preferences
    3) Open source.MOV and new output.MOV in Quicktime7 -> Set view of both to half size (So you have overview) and place them next to each other
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    6) Create new AE composition and drag the Compressor-created ProRes 4444.MOV into it.
    7) Add to render queue and select the ProRes 4444 as output.
    8) Render out.
    9) Open Compressor-created ProRes 4444.MOV and new AE-created ProRes 4444.MOV in Quicktime7 -> Set view of both to half size (So you have overview) and place them next to each other
    10) They should look identical but they dont.
    11) Open OS X System Preferences (in case you closed it)
    12) Click 'Displays' and select the color tab
    Now, toggle through various color profiles. You SHOULD see the colors adapt on BOTH movies.
    They DONT. They ONLY adapt in the Compressor-created ProRes 4444.MOV not in the AE-created ProRes 4444.MOV
    And that even though color-mangement has been turned off.
    Turning color-managemen ON will have no different effect that leaving it off. The AE created movie(Color Management set to OFF) WILL not allow being color synced in OS X.
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    2) when color management is set to ON in the AE project settings and output module that the AE-Created movie would NOT adapt to any color-profile change made within the OS X System Preference, COLOR Panel.
    As of NOW... There are no differences between above.
    I hope this helps to solve this nuisance !!!
    If I have missed something VERY obvious then please disregard my post and tell me what I seeing incorrectly !!!
    PS - ON my computer - this last part of my post looks ridiculously small and that even though I have done NO font editing.
    I find that posting and editing in this forum is as hard as getting Adobe products to encode correctly

  • Problems importing ProRes 4444 files

    The original footage for my project is 16mm film, which I had scanned. I've been provided with two types of files: one set in ProRes 422 (proxy) with a timecode burn-in, and one set in ProRes 4444 with no burn-in. I've been able to import the 422 files without any problems, but obviously I greatly prefer the 4444 files. But when I've tried importing them, or even just previewing them in Media Browser, it's impossible to achieve fullspeed playback. I can't quite tell what's going on; the frame rate is definitely off for starters, it's too slow, but at any rate it doesn't play smoothly. Any idea how to start solving this problem? I've done a system resources test and I have plenty of horsepower, so I don't think this stuttering is due to that. I also have the newest version of QuickTime installed. I'm on a PC if that matters. Thanks for your help.
    Rob
    [Text formatting corrected.  Personal info removed.]
    Message was edited by: Jim Simon

    They are using a card reader, and the USB slot in an iMac.  It turns out that they have downloaded the cards first to their PC at home, then brought the same card to class to import to their LR catalog on their external HD.  Could here be something happening to the files to make them unreadable when the cards are downloaded to the home PC?

  • Audio drop-out in FCPX with 1920x1080 & 2048x1240p @ 24p (codec Apple ProRes 4444 (Linear PCM))24p

    Hi all...
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    Is this a software and/or OS issue?  Or a hardware issue?  Or both!?
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    Memory: 32 GB 1600 MHz DDR3
    Graphics: NVIDIA GeForce GTX 780M 4096 MB
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    Kind Regards,
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    Hi Luis,
    Thank you for that.
    Seems like you have a point about the "hardware" issue.  I'm unsure (new to it all) at what data rate my (er...wonderful) fusion drive provides FCPX for smooth playback - or where I can find that info on the iMac.  Playing back movies in the 422 HQ codec seems to have no issues (when I converted the movie from 4444 HQ). 
    But playing the full 4444 HQ, the picture is smooth, but the audio has these drop-outs - even with "best performance" option ticked. Interesting that the audio suffers, not the picture in FCPX - so not sure what's going on there. I also read - perhaps - that to play a smooth ProRes 4444 HQ movie in FCPX the data rate should be min of 500 Mbs (based upon About Apple ProRes) for HD movies and up (i.e. 2k).  ProRes 422 HQ needs a data rate of 220 Mbs - so that is my upper-limit to smooth video&audio playback with the current system I have, I guess.
    Does anyone recommend a fast USB3 or Thunderbolt drive (500Mbs+) where I am able to run 4444HQ movies with no issues to picture or sound (away from the fusion drive)?
    KR
    H.

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