Posted on by [ This article was first published in the May, 2010, issue of Larry’s Monthly Final Cut Studio Newsletter. ] With the release of Final Cut Pro 7, Apple increased the number of ProRes versions from two to five: • ProRes 422 Proxy • ProRes 422 LT • ProRes 422 • ProRes 422 HQ • ProRes 4444 So, that begs the question: which version should you use for your project?
The first four flavors of ProRes in this list are identical in every respect, except one – bit rate. They all support: • Intra-frame encoding, meaning each frame is individually compressed as a stand-alone picture, unlike GOP-based encoding like XDCAM EX or HDV. • Variable bit-rate data encoding, creating smaller files than constant bit rate encoding.
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• 10-bit color depth, for very high color fidelity • 4:2:2 chroma sub-sampling, the maximum allowed for video formats • Fast render times, much faster than GOP-compressed video like XDCAM EX or HDV • Faster editing within Final Cut Pro • Matching the frame rate, frame size, and pixel aspect ratio of the source video • Optimized for multiple processor support (Unlike H.264, ProRes encoding and decoding are optimized for multiple processors.) There is a relationship between bit rate, file size, and image quality. In general, the lower the bit rate, the smaller the file size, and, potentially, the lower the image quality.
The five versions of ProRes in the list above are sorted in order from lowest bit rate to highest bit rate. ProRes 4444, the fifth version, is the exception. While it builds on the first four ProRes versions, it adds support for the following: • RGB or YCbCr color space • Up to 12-bit color support • Inclusion of the transparency (alpha channel) information in a clip If you need a clip to retain transparency information, which is called the “Alpha channel,” you only have one choice: ProRes 4444. None of the other ProRes versions support clip transparency. Well, since it’s clear that ProRes 4444 is the absolute “best” in terms of quality, it seems like we should all just select ProRes 4444 and be done with it. The problem with this approach is that your file sizes can be quite large, not as large as fully uncompressed HD, but still pretty darn big.
(Well, actually, REALLY BIG!) And, unless you have a specific need for this format, you probably won’t be able to see the difference in image quality between ProRes 4444 and other ProRes versions. Also, using ProRes 4444 in your project probably means you’d need to render every shot.
Think of ProRes 4444 as the replacement for the Animation codec. We use the Animation codec when we want to move files between one application and another; for example, between After Effects and Final Cut. Then, once it’s in Final Cut, you render it into the final version you need for your project. As a transfer format, ProRes 4444 is great.
As a video editing format, it’s way past overkill. Most of the time, you will be fully happy with one of the four other versions. And your file sizes will be much smaller. The four other versions of ProRes differ in only one area: data rate. Changing the data rate directly affects file size and image quality. The slower the data rate, the smaller the resulting file and, potentially, the lower the image quality.
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For example, here’s a table that showcases the difference. This is just a guide, different formats create different file sizes, but the general proportions will be the same. TABLE: ProRes Storage Requirements ProRes Version Store 1 Hour of 720p/60* ProRes 422 Proxy 20 GB ProRes 422 LT 46 GB ProRes 422 66 GB ProRes 422 HQ 99 GB ProRes 4444 (no alpha) 148 GB * Source: Apple Inc. ProRes White Paper, June, 2009. NOTES: * All versions of ProRes use variable-bit-rate encoding, so the actual data rate and file sizes will differ somewhat from this table.