ProRes Proxy compared to HDV?

I've just done a few tests, and ProRes Proxy seems to give exactly the same quality, or better, as the HDV I converted from. Is this the case? Both had the same settings.
I'm doing a complicated 19 track multiclip (original source HDV) - which actually works when the HDV is converted to the ProRes Proxy (Michael Trauffer's suggestion). I'm trying to determine whether or not there is any point in finishing off the project in ProRes HQ -- given the final output will be mainly for the web (HD)?
Ben

ProRes HQ is overkill. ProRes LT or ProRes 422 might be better. Proxy is an offline, meaning low quality and not meant for final quality, codec. It might look good on a computer monitor now, but there is artifacting. I have compared it to ProRes 422, and I can see the difference. If you can't, no worries.
If this is for the web, just use ProRes LT.
Shane

Similar Messages

  • To save time, could I get away with just using ProRes Proxy?

    Might be a dumb question.  But please play along with me...
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    Like many, I shoot most everything in 1080 HD (usually 24p, sometimes 30), unless I'm occasionally shooting 720 HD at 60i for later slowing down to slo-mo.
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    A lot of what I'm shooting is being shot on a Canon XA-10.  Some (and certainly all of the 720 footage, but some of the 1080) is shot on a 7D.  And still more is shot on either an iPhone 4S, or even on a Flip Ultra (720p, 30fps).
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    Of course, editing in Proxy and outputting using 422 requires that FCP-X encode to BOTH when importing, right?  Doesn't that add yet another bit of time to the overall process?
    I'm trying to streamline, and to reduce the overall amount of time I'm spending doing this stuff.

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    Wondering why the clips display fine on the timeline, allowing me to edit the video in-sync, however will not export properly?

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  • H.264 and prores proxy question

    I've read through a ton of posts about proxy and h.264 workflows but didn't find any that answers my specific question.
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    Thanks for your response. I'm shooting with a Sanyo FH1, mostly in 1080p, but I've scaled back to 720 since 1080 was overkill for what I'm doing to save some space.
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    Message was edited by: kenmoberg (updated macos version)

  • Quicktime not playing Apple ProRes (Proxy) 1080p video - help!

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    Hi friends,
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    My integration JDBC to PROXY and PROXY to JDBC. Inspite of using the proxy in syn mode i have used asyn proxy, now i have to give the proper answer y i have used asyn proxy, so please give me any drawbacks of syn proxy.
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    Hi Karthikeyan,
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  • Capture in prores proxy or H.264

    So here's the qusetion, I'm capturing footage from a HD broadcast (from cable, TWC), being that it's already a compressed signaled would it better to capture it as pro res proxy or a high bit rate H.264? ProRES 422, LT, just seems like overkill. Which would give me better qaulity?

    appleconfuse, i would like to help answer your questions, and i hope that what i say is helpful to you from a professional that knows how this works. :-) you should never use anything higher quality than h.264 for recording a tv show from tv. its completely ridiculous to use prores to do this for the following reasons.
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  • How do I transcode 1080p60 clips to ProRes Proxy or something similar?

    Hello!
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  • Understanding ProRes Proxy to ProRes

    Trying to get my head around the proxy thing. In FCP X I have -  create Optimized Media & Proxy Media Checked. So I am doing all my editing in Proxy right?
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    Proxy media is a proxy to the original media.  FCPX always retains the original media. 
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    Chris.

  • Prores Proxy?

    Is There a way to transcode to proves 422 proxy in prelude

    Hi Rob,
    Thanks for your post!
    Below are the steps to transcode a clip to ProRes Proxy.
    When you install Prelude, the Adobe Media Encoder will be installed together. So launch AME first;
    Click '+' button on the top right corner to create a preset; Please see screen shot below
       3.  Click 'Video Codec' dropdown list and then you will see the 'Apple ProRes 422 (Proxy)', select it;
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  • ProRes to ProRes Proxy White Border?

    Hello,
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    I see the border after the conversion in Compressor, on the output file (the ProRes Proxy). I should also state that the original file was PAL, then converted in a Terenex to NTSC. Maybe that has something to do with it? Although I don't see how since the Compressor conversion is NTSC to NTSC.
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  • Stills look better when using ProRes timeline instead of HDV

    I thought I'd share a discovery, and also ask for some advice.
    Discovery:
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    Stands to reason. ProRes is a full raster 10-bit I-Frame codec.
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    Shane

  • Can I capture in ProRes or is it HDV only?

    Just want to confirm that HDV/DV are the only capture formats I can use when digitizing from tape. Then I set my timeline settings to Pro Res 422 HQ to edit and export.

    MTPO666 wrote:
    Just want to confirm that HDV/DV are the only capture formats I can use when digitizing from tape. Then I set my timeline settings to Pro Res 422 HQ to edit and export.
    Hi MTPO666,
    If you have a third party capture card, you can capture other formats. With no capture card, you are indeed limited to DV and HDV capture. In those cases, working with a Timeline setting set to anything but the native DV/HDV format will cause unnecessary processing. If you need ProRes output, you can export in one of its formats in the end.
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    Kevin

  • ProRes & Proxy Workflow

    I am editing a bunch of multicamera shoots using multicam editing. All the footage is in ProRes Format. I import the ProRes files into FCPX as proxy footage and do my multicam edit. Some clips however, I want to take into After Effects to apply the warp stabilizer. I do this to the original ProRes footage not the proxies. I now want to replace the original proxies with new proxies of the stabilized versions. How do I do this?

    Hi,
    you can start reading at this section of the online documentation:
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