ProRes 4444

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.
I am making a digital 4K film shot on RED and animation done in Maya. When I toggle between Animation and ProRes 4444 codecs, I see a dramatic difference in both color rendering and overall video quality.
Believe it or not, I'm seeing much better results using the DVCPRO HD 1080p codec. It looks rather similar to Animation at 1080p rez.
Does anyone have a similar...or different results.
Thanks

I may have been too quick to criticize ProRes 4444.
I believe the culprit was HOW I was viewing the material (caused the compression circles and degradation).
To see how the output actually looked, I outputted singe TIFF frames from the timeline for each of the codecs I wanted to test. As you would expect, Animation and 4444 were roughly similar with ProRes HQ lagging. DVCPRO HD looks horrible by comparison.
So this raises a question -- How do I view the material AS IT IS?
The Canvas seems to be a bit erratic -- i.e. I can change the compressor in the sequence settings to DVCPRO the image clear up in the canvas -- but that quality may not represent the output.
BTW - I do have the "Play in high quality when available" clicked in quicktime. But, it seems that playback is also not representative of the actual quality.
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

Similar Messages

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

    Hi all...
    I'm new to this forum.
    Is there an audio issue (drop-outs) with FCPX (ver 10.1.2) for 1920x1080 24p, 1080p HD & 2048x1240 24p (2k) - note: films in FCPX are in codec Apple ProRes 4444, Linear PCM?
    Very recently I've been working on a show reel and I have imported a file (short film) to snip out a section to add to the show reel. 
    I set the project to the film's settings i.e.. "set based on first video clip"...(1920x1080 24p, 1080p HD).  When I play the film in FCPX the audio "hic-cups"..."dips to silence"..."drops-out" briefly (up to 0.5 secs in duration) and very frequently all the way through (approx 15 mins long film)...note: audio set is at stereo 48kHz. The audio monitors on the right hand side also show the dip taking place (if it's a long enough drop-out).
    I also have a version of the film in 2048x1240 24p at 2k, again Stereo 48kHz...and this does the same audio "drop-out" all the way through.  I'm unsure what other formats will create this problem i.e. higher or lower aspect ratios than those above.
    Is this a software and/or OS issue?  Or a hardware issue?  Or both!?
    About This iMac details:
    iMac 27 inch: OS X ver 10.9.4
    Processor: 3.5 GHz Intel Core i7
    Memory: 32 GB 1600 MHz DDR3
    Graphics: NVIDIA GeForce GTX 780M 4096 MB
    Fusion Drive 3.12 TB
    Final Cut Pro X was bought & installed with this iMac back in Feb 2014
    FCPX version: 10.1.2
    Note also:  I used Compressor (ver 4.1.2) to convert the files (movies) above to Apple ProRes 422 HQ, Linear PCM and the issue disappeared - the audio and visuals played with no problems.  All films play with no issue when opened in QT player.  They are also fine when exporting from FCPX.  The issue only occurs (as far as I can tell) within FCPX when editing or playing the audio there.
    Has anyone encountered this problem?
    Kind Regards,
    Hakan

    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). 
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    KR
    H.

  • More CS 5 - ProRes 4444 Alpha channel nonsense

    Hi:
    Quicktimes I render out of After Effects CS 5 using the ProRes 4444 codec are tagged as having an alpha channel even though my settings in the Output Module are RGB and Trillions of Colors.  NOT RGB + Alpha and Trillions of Colors+.  It doesn't matter whether my project is 8 bit or 16 bit.
    When I bring such movies back into AE it shows them as having an alpha channel (Trillions of Colors+).  If I do a Get Info in QT player it shows Millions of Colors+, and FCP shows them as having an alpha, too.
    I just upgraded to Snow Leopard 10.6.8 (figured it was safe after two years) and in the process switched full time to CS 5 (I only used it in the past to open other's projects).  I never had these issues with CS4.  I have not installed any AJA codecs into this new OS (clean install over wiped HD).
    This appears to be the opposite of the problem most have been having, which is AE won't generate an alpha in ProRes 4444 without moving codecs and other nonsense.
    The reason this is a problem is because when I bring these Quicktimes with faux alphas into FCP for editing I can't export a reference movie.  FCP rewrites the whole timeline.
    Haven't these CS 5/ProRes 4444 codec/Alpha channel issues been going on for over a year?  Do I have to buy CS 5.5 to get this to work correctly?
    Thanks.
    Shawn Marshall
    Marshall Arts Motion Graphics

    PR422HQ is way overkill for 99% of the video and film producers in the world. It's there for a specific elite of the entertainment biz, those who work in 4k on 64bit systems, I guess, that' ain't me! It's one of those "if you have to ask, you can't use it" sort of things. Anyone who uses the advanced features of the ProRes family knows why. That's the theory. In my practical experience over on the FCP forum at Apple, 99% of those using ProResHQ believe they are improving their original footage.
    Apple ProRes 4444 
    The Apple ProRes 4444 codec offers the utmost possible quality for 4:4:4 sources and for workflows involving alpha channels. It includes the following features:
    Full-resolution, mastering-quality 4:4:4:4 RGBA color (an online-quality codec for editing and finishing 4:4:4 material, such as that originating from Sony HDCAM SR or digital cinema cameras such as RED ONE, Thomson Viper FilmStream, and Panavision Genesis cameras). The R, G, and B channels are lightly compressed, with an emphasis on being perceptually indistinguishable from the original material.
    Lossless alpha channel with real-time playback
    High-quality solution for storing and exchanging motion graphics and composites
    For 4:4:4 sources, a data rate that is roughly 50 percent higher than the data rate of Apple ProRes 422 (HQ)
    Direct encoding of, and decoding to, RGB pixel formats
    Support for any resolution, including SD, HD, 2K, 4K, and other resolutions
    A Gamma Correction setting in the codec’s advanced compression settings pane, which allows you to disable the 1.8 to 2.2 gamma adjustment that can occur if RGB material at 2.2 gamma is misinterpreted as 1.8. This setting is also available with the Apple ProRes 422 codec.
    Apple ProRes 422 (HQ)
    The Apple ProRes 422 (HQ) codec offers the utmost possible quality for 4:2:2 or 4:2:0 sources (without an alpha channel) and provides the following:
    Target data rate of approximately 220 Mbps (1920 x 1080 at 60i)
    Higher quality than Apple ProRes 422
    Apple ProRes 422
    The Apple ProRes 422 codec provides the following:
    Target data rate of approximately 145 Mbps (1920 x 1080 at 60i)
    Higher quality than Apple ProRes 422 (LT)
    Apple ProRes 422 (LT)
    The Apple ProRes 422 (LT) codec provides the following:
    Roughly 70 percent of the data rate of Apple ProRes 422 (thus, smaller file sizes than Apple ProRes 422)
    Higher quality than Apple ProRes 422 (Proxy)
    Apple ProRes 422 (Proxy)
    The Apple ProRes 422 (Proxy) codec is intended for use in offline workflows and provides the following:
    Roughly 30 percent of the data rate of Apple ProRes 422
    High-quality offline editing at the original frame size, frame rate, and aspect ratio
    High-quality edit proxy for Final Cut Server
    The Apple ProRes family of codecs provides these advantages:
    Quality indistinguishable from that of the most pristine sources: Maintains superb quality even after multiple encoding/decoding generations.
    Mastering-quality 4:4:4:4 RGBA: Provides a lossless alpha channel with real-time playback (Apple ProRes 4444 only). Mastering-quality 4:4:4 Y′CBCRcolor and 4:2:2 Y′CBCR color are also available.
    The quality of uncompressed HD at data and storage rates lower than those of uncompressed SD: Provides real-time editing performance comparable to or better than that of any other HD codecs in Final Cut Pro.
    Apple ProRes encoding at any frame size—SD, HD, 2K, 4K, or other: Apple ProRes codecs can also be encoded into nonstandard frame sizes, but nonstandard frame sizes are not supported for real-time playback in Final Cut Pro.
    Variable bit rate (VBR) encoding: “Smart” encoding analyzes the image. Efficiency is increased because excess bits are not wasted on simple frames.
    10-bit sample depth: Preserves subtle gradients of 10-bit sources (sunsets, graphics, and the like) with no visible banding artifacts. When you import a file using an Apple ProRes codec, you don’t have to first determine whether the file is an 8-bit or 10-bit file. Apple ProRes codecs always preserve the bit depth of your original source files.
    I-frame–only (intraframe) encoding: Ensures consistent quality in every frame, with no artifacts from complex motion, and speeds up editing.
    Fast encoding and decoding: Delivers high-quality, real-time playback and faster rendering times.
    Equipment affordability: Because of low bit rates, you can edit more streams with more real-time effects on slower drives, or have more users accessing the same media over shared storage devices.
    Workflow options for any video format that does not have native Final Cut Pro support: The Apple ProRes format provides an effective workflow for projects involving multiple acquisition formats when you want to standardize on a single codec.
    Better rendering for native editing: Can be used to render long-GOP MPEG-2 formats (such as HDV and XDCAM HD) to speed up editing and avoid MPEG-2 reencoding artifacts before output.

  • Exporting image sequence in ProRes 4444 gives black movie

    In QT Pro, I'm exporting a movie made from an image sequence.  If I export using ProRes 4444, all I get is a black movie file.  If I export using other codecs, it works fine.  Any ideas what might be wrong and how to fix this?
    Thanks!
    G

    Sorry, but you've posted this in the Audition (Audio) forum.  I suggest you repost in the appropriate forum.  Good liuck!

  • Motion 4 Prores 4444 alpha not showing up in Motion answered

    Hi,
    I recently exported a Prores 4444 from Motion and when bringing it back in there was no transparency. I found the same issue in this discussion, and it was marked unanswered. It has been answered, but a clarification needs to be added and I was unable to reply to the discussion for whatever reason. A 1 pixel crop is the answer BUT it must be applied at the Media level and not the layer level.
    http://discussions.info.apple.com/message.jspa?messageID=10487207
    Hope this helps the next poor soul who scratches their head and wonders why wont motion just work sometimes...

    Yes, thanks - weird one, but I'll try and remember it...
    Patrick

  • Alpha channel and ProRes 4444

    I have a number of AE files that I would like to render in Media Encoder with their alpha channels using the ProRes 4444 codec. I cannot figure out how to make ME give me an alpha channel. If I render in AE, I get the alpha channel without a problem. How can I get ME to give me an alpha channel? I am using ME 2014 on a Mac.

    Hi Remy,
    Choose QuickTime. Then from the list of formats in the Video tab, choose ProRes 4444. Scroll down to "Depth" and choose 32 bit. This will allow you to export with an alpha channel.
    Thanks,
    Kevin

  • Rendering to ProRes 4444 with alpha channel

    Hello Everybody,
    I have question? I have a green screen project finished. But when i render my footage to ProRes 4444 with aplha i got a mega file more then 5gb. In the specifications I found out that I have a bitrate of 203,57 Mbit/s. How can i lower the bitrate in the rendersettingd for this codec?
    I hop to hear some of your suggestions.
    Kind regards,
    Gowan Genis

    What Andrew said.... Production codecs are all going to have high data rates. That's why we use them in production. Storage is so cheap now that it shouldn't be a problem for anyone that is making a living making movies or for anyone with enough budget to support a movie making hobby. My first 4GB Ultra SCSI drive array cost nearly $20K, I just bought a 1.5TB drive for $89... It wasn't that long ago that I was paying $1 / foot to shoot, process, work print and sync 35MM film. (98 feet / minute @ 24 fps).
    If you want a smaller file size you'll have to go to a delivery codec. Just be sure you know what to use when...

  • 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.
    Is there anything else I could be missing? Is this just what ProRes 444 does? I can't find much documentation on this subject. Thanks so much for any help.
    Ryan

    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.
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  • ProRes 4444 with BOTH Alpha Channel AND Timecode?

    Recently did a large project of creating alpha channels from green screen footage.
    Made the timelines 4444 and tried to output.
    If I export as Quicktime, I get the timecode but not the Alpha channel.
    If I export as Quicktime Conversion, I can get the Alpha channel, but not the timecode.
    Am I doing something fundamentally wrong?
    Is there a way to get both on the same output?
    Like I said, this project is large -- 91 files -- and it takes more than 8 hours to export out either way even on a current 6 core machine.
    What I really do NOT want to have to do is some crazy copy and paste of the timecode information from two separate exports.

    You said, "'export as Quicktime' is a very vague description."
    Actually, it's not.
    A person only has a few choices in Final Cut Pro.  If you want to get really specific;
    File > Export > QuckTime Movie...
    Or
    File > Export > Using QuickTime Conversion...
    That's it!
    With the first and ONLY the first, it will export whatever is on your timeline and you can get Timecode, but I can't figure out a way to make it output the Alpha channel with it.
    With the other, you can get any sort of converted output you can input, including ProRes 4444 and Alpha, but unfortunately not the Timecode track.
    UNLESS some Guru out there knows some sort of trick.
    I'm hoping to find somebody that knows one.

  • CS5: ProRes 4444 Alpha issue rears it head again in a strange way

    So here's a strange one: I've found that if the first frame of a composition is completely opaque (such as using a solid to fade from black) then any QT Movie rendered with ProRes 4444 + Alpha will not include an alpha channel. I've replicated it on multiple machines and triple checked my MediaCoreQTCodecRulesCS5.xml to ensure that it's correct. Here's the steps to recreate this:
    create a new comp (Project bit depth = 16bpc)
    create a new solid with the same dimensions as the comp
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    move down 5 frames in the comp and create a new keyframe by setting the Solid's opacity to 0%
    set the work area to 1 second
    Render a movie using ProRes 4444 RBG+Alpha
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    You've found a bug. I'm not sure where the problem is. If I render out an image sequence or an Animation Codec file, then drop it in Media Encoder or Compressor to render a ProRez 444 with alpha channel I occasionally get the bug. You can't tell anything from the Quicktime Player but you can see the error in AE.
    I discovered that if you put one even partially transparent pixel anywhere in the frame the alpha renders perfectly, but as you pointed out, when the first frame or few frames have a 0 alpha value the renders are funky. I just don't know if it's AE's problem, Adobe's problem, or an Apple problem because I can break it in compressor or Media Encoder or I can make it work in either.
    I'd file a bug.

  • CS5.5 | ProRes 4444 - Interpret Footage does NOT see Alpha Channel

    I thought this problem would have been taken care of by now.
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    Dan,
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    I dup'ed the vid layer and moved it about and set the opacity to 50... Then exported. And imported. And THERE they were ....
    LE ALPHA OPTIONS....
    Best Regards
    M.

  • Problems with Apple ProRes 4444 and alpha channels in Motion 4 after upgrade to Snow Leopard.  Has anyone seen this?

    We've just now upgraded from Leopard to Snow Leopard and are having a problem with Apple ProRes 4444 and alpha channels in Motion 4.  A clip with an alpha which keyed perfectly before the upgrade, now will not key.  If I convert the clip to the Animation codec, it keys perfectly.  If I export the Motion project as a ProRes 4444 self contained movie, it will key when brought into FCP 7 but if I import the project into FCP 7, it will show the key in the viewer but not the canvas.  Has anyone seen this or have any suggestions on how to correct this?  Is it a bug? 
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    Motion 4.0.3
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  • Premiere Not Interpreting Alpha Transparency ProRes 4444

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    Hi,
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  • After Effects CC Render Errors with RED footage and ProRes 4444 proxies

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  • Premiere CC eating up memory while playing back ProRes 4444

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    - Removing plugins from Library/Quicktime does not fix the problem
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    Hey Sam... just wondering if you ever figured this problem out.  I have the exact same problem, albeit with FCPX XML's.  It's driving me bonkers and nobody seems to know.  Any insight would be truly appreciated.  Thanks.

  • ProRes 4444 Gamma Shift Elimination on OS X Snow Leopard

    Hi....
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    If FAILING to follow above workflow - meaning failing to uncheck 'Enable Final Cut Studio color compatibility' before encoding,
    your going to get a heart attack before that gamma matches...
    NB - You should NOTE... That in step 17 - enabling the 'Enable Final Cut Studio color compatibility' does NOT alter the transcoded file,
    it alters the Source. Making it darker.
    NBB - That preference 'Enable Final Cut Studio color compatibility' should NOT have ANY influence (at least to my knowledge) over
    how the file is encoded. But it DOES.... Failing to uncheck the 'Enable Final Cut Studio color compatibility' will result in a never matching
    transcode vs original...
    This whole scenario ONLY pertains to the quicktime player ! But then again... That is where a lot of folks WATCH their movies.
    At least I do.
    Hope this Helps

    As I stated only the original MOV will be affected by the 'Enable Final Cut Studio color compatibility' preference.
    If one used compressor to convert to 4444 that transcoded file will ALSO be affected by that preference
    If one uses other encoder/transcoder like AME or MPEG Streamclip those files will NOT be affected.
    I think I know why.....
    In the OS X Finder, select your original movie and also one converted to 4444 via Compressor,
    hit command-i to open the information window. Below General you will find More Info... Un-hatch the arrow (if not already)
    and look at the 'Color Profile'...... property.
    It says: HD (1-1-1) when encoded to 4444 via Compressor
    It says: (1-1-6) when checking the original coming from the canon
    THAT 'Color Profile' property is simply NOT there on Adobe Media Encoder - encoded files.....
    Look at the following screen shot....
    Seems as if adobes encoder just voids that entry... Or what do I know ?????

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