Testing the “Pro” in Apple ProRes

Testing the “Pro” in Apple ProRes | Stopp lab:
This test started out to check color fidelity with Apple ProRes and The Foundry products like Nuke and Hiero. We knew from earlier that results wouldn’t be ideal.
Later we expanded the test to other video applications and encoding software to see what that would give us. The outcome was quite disturbing. A format most people believe to be stable in terms of color turns out to be not so “Pro” at all.

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Render Taxes

The Genesis Project : Render Taxes:
Today, I’d like to talk about a popular subject… I’d like to talk to about taxes.  Or more specifically “render taxes” as it relates to non-linear editors.  It’s been said that everyone pays taxes.  In the case of video editing workflows, everyone has to render their media at some point, which takes time (tax = time) and hence the concept of a ‘render tax’.

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Encoding Apple ProRes on a Windows PC with Redcine X Pro and FFMPEG

Encoding Apple ProRes on a Windows PC with Redcine X Pro and FFMPEG | Fallen Empire:
I’ve found an alternative workflow that is semi-automated and cheap using FFMPEG (or more specifically, a version called FFMBC with extra features for broadcast formats) and a neat Python script to bridge it with Redcine X Pro, or any other batch media encoder like Adobe Media Encoder or Sorrenson Squeeze.

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יש דרכים פשוטות (וזולות) יותר מזו. בדרכים האחרות גם כן יש שימוש ב FFMBC אבל הליכי העבודה ישירים יותר, אפשר לעשות batch והקובץ שמתקבל תואם למערכות העריכה בלי בעייה.

האופציה הפשוטה והקלה יותר היא תוכנה בשם Cinec. השנייה, מעט יותר מורכבת אבל עם גמישות גבוהה יותר היא AnotherGUI.

Avid: Automatically converting OP-Atom MXF to ProRes MOV

Avid: Automatically converting OP-Atom MXF to ProRes MOV:
Over the last few days I tried to automatically convert Avid OP-Atom MXF files to ProRes 422 HQ MOV files. At first this didn’t sound too hard but it took me several days to come up with an good solution.

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Avid DNxHD vs. Apple ProRes vs. GoPro Cineform: Recompression Generation Loss

Avid DNxHD vs. Apple ProRes vs. GoPro Cineform: Recompression Generation Loss:
If you have a properly tuned post production workflow then the amount of times you’ll recompress an intermediate video is zero or once; the most common case is recompressing assets like intros, bumpers, motion graphics, and others once they make their way into a final program.

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Media Composer 6.5.2 ‒ Consolidate QuickTime ProRes

Media Composer 6.5.2 ‒ Consolidate QuickTime ProRes - Media Composer Family:
QuickTime ProRes can now be consolidated like any other native codec, and has an increased playback performance of up to 4 streams in real-time at full quality. If your workflows involve AMA linking to ProRes media you can now consolidate them into an MXF wrapped file for quickly checking into Interplay or to become Avid native managed media. With the performance fixes, the consolidation process is very quick, as if you were copying the media. Also whether you are AMA linking or having native ProRes media, the playback performance has also been fixed to get up to 4 streams of playback depending on your storage performance.

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When you shouldn't use Avid DNxHD and Apple ProRes

When you shouldn't use Avid DNxHD and Apple ProRes:

Fifteen years ago, audio over the Internet was broadcast - and stored - as RealAudio. For those of us listening in over dial-up or downloading one-minute clips, it was an unexceptional entry into the world of new media. Kieron Seth  wonders what will happen to our soon-to-be outdated media files.


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Prores Faceoff | Exit Editorial | Long Live the Moving Image

Prores Faceoff | Exit Editorial | Long Live the Moving Image:
Just how lossy is Prores LT compared to Prores HQ?  On the surface level, the images look almost indistinguishable to the human eye.  Here’s two.  Click the images to get the high-res if you don’t believe me.

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Batch Prores Encoding in Windows 7 with FFmpeg and AnotherGUI

Batch Prores Encoding in Windows 7 with FFmpeg and AnotherGUI:
As previously mentioned in my last post, the free little program 5DtoRGB allows Windows users to encode their movie files to Prores format. Why would we want to do that if programs like Premiere CS6 can handle everything natively? Because we might want to finish our video project in a color grading program like Speedgrade or Davinci Resolve that natively supports Prores but not for instance, the MTS files out of a Sony FS100 or the MXF out of the Canon C300.

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