“Going into extreme detail, Apple has said its new HD video standard was designed not just to beat opposing formats but to clear bottlenecks — some of which are stifling for video editors,” Aidan Malley reports for AppleInsider.
“Although it touched on ProRes 422 as part of its Final Cut Studio 2 announcement, Apple later offered a more detailed explanation of why the format was created and its real advantages to film crews,” Malley reports.
Apple “observes that one of its key trump cards, compressing full-quality HD to manageable file sizes, isn’t new. In fact, the company notes that in some cases the variable bit rate encoding of ProRes — which tosses away data in simpler frames — isn’t as purely efficient in crunching data as with other standards. The new RED One camera, for example, compresses a 4000-pixel wide or ‘4K’ video image into a 200 megabit per second stream. By contrast, a high-quality 1920×1080 ProRes clip (roughly a quarter the size of the 4K video) is larger at 220Mbps,” Malley reports.
“But while this fits the storage needs of the camera, the processing overhead required to decode the video during editing can be crushing to all but the best systems — a problem for video editors who may need to preview one or more clips at once. It leaves little room for adding effects and seldom scales down smoothly,” Malley reports. “This is where ProRes 422 excels, says Apple.”
Full article here.
[Thanks to MacDailyNews Reader “LinuxGuy and Mac Prodigal Son” for the heads up.]