Post by cedriclejeune on Nov 10, 2014 15:10:22 GMT
As we all know ProRes is pretty much the default standard anywhere: it can be used by some cameras for recording (Arri, Blackmagic), used as a working format in editing apps (like Apple Final Cut but also Autodesk Smoke) and way too often the format of choice for delivery.
It is the default choice because in most case people either:
a: don't know there are better formats on the market, like
b: can't agree on which better format to use
And now with even more flavours of ProRes (XQ and 4K all the way), obviously it's even worse! The main reason for that is that different implementations of Quicktime deal with gamma, video levels and YUV/RGB matrixes a different way, as it's not really enforced anywhere.
The good guys at Stopp, a post house in Sweden, have made a chart of ProRes colour conversion nightmares, available here:
www.stopp.se/lab-testing-the-pro-in-apple-prores/
As you could see, this is subject to change with versions of the software and now probably most of it is already outdated!
If you want better formats at least for delivery, check the different MXF flavours at www.amwa.tv and start to discuss the advantage with your clients. It's also interesting to consider for your own management/archival purpose to have formats you can describe
If you are really interested in MXF, you might want to consider training from Mesclado, www.mesclado.com (disclaimer: I participated one of their studies on UHD/4K content)
And also because it's always important to know your enemy, check Apple's whitepaper too www.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf
It is the default choice because in most case people either:
a: don't know there are better formats on the market, like
b: can't agree on which better format to use
And now with even more flavours of ProRes (XQ and 4K all the way), obviously it's even worse! The main reason for that is that different implementations of Quicktime deal with gamma, video levels and YUV/RGB matrixes a different way, as it's not really enforced anywhere.
The good guys at Stopp, a post house in Sweden, have made a chart of ProRes colour conversion nightmares, available here:
www.stopp.se/lab-testing-the-pro-in-apple-prores/
As you could see, this is subject to change with versions of the software and now probably most of it is already outdated!
If you want better formats at least for delivery, check the different MXF flavours at www.amwa.tv and start to discuss the advantage with your clients. It's also interesting to consider for your own management/archival purpose to have formats you can describe
If you are really interested in MXF, you might want to consider training from Mesclado, www.mesclado.com (disclaimer: I participated one of their studies on UHD/4K content)
And also because it's always important to know your enemy, check Apple's whitepaper too
www.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf