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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Why implementing 4k Prores will prove Jim's point.

David Battistella said:
This conversation is not about what is superior, clearly RAW without baked in WB and ISO is superior, it simple offers more choices and flexibility.
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Well, technically that's not always true. Shooting 12:1 redcode is NOT superior to shoot ProRes which when output through SDI bypasses redcode compression. That's my experience anyway...just saying.
 
I don't get 4K Prores, but I do get why a lot of editors would prefer to edit with smaller proxies without having to wait for transcodes. The majority of editors don't need a workhorse computer or 6K files for simple editing when a small laptop with small files will suffice. I never understood why anyone felt they needed a 4K monitor for editing.
 
Matthew Scott said:
Well, technically that's not always true. Shooting 12:1 redcode is NOT superior to shoot ProRes which when output through SDI bypasses redcode compression. That's my experience anyway...just saying.
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You're talking 1080p here.
 
David Battistella said:
Last week my pal was on a same day turnaround production. Shot 6K raw, edited in premiere, graded on speed grade and delivered a 2K and 4K master.

Where was the bottleneck with raw? There wasn't one.

Everything is doable with horsepower, brains and money.

Battistella
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OMG, just the comment I was waiting for as a potential Scarlet Dragon owner, LOL and thank you!

The operative question being, "If you were transcoding 6K from an Epic MX vs 5K from a Scarlet Dragon, which would have higher resolution or look BETTER IN PRO RES?"

My CS6 Premiere Pro has apparently just aborted any knowledge of RED files so this may be a rhetorical question and of no importance at this time! Thus there is no pressure for a correct answer but all opinions are greatly appreciated!
 
I agree that 4K ProRes is a bit silly, given that the datarates end up being totally comparable to lightly compressed raw - and if you're going to be dealing with that much data, you might as well make the most of it (i.e. have the flexibility of raw recording).

That said. 4K ProRes is still nice and easy to work with. It gives you simple, self-contained, drag-and-drop files that are a breeze to organise and deal with. So it would certainly be nice to have the option.
 
The question of Prores is not one of quality, it's one of convienience and standardization. 90% of TV and WEB is still broadcast/distributed at highly compressed 1080P. So many of the so called "meal" jobs, the ones we take to pay the bills just want a nice gradeable 1080P Prores image they can cut and finish easily on whatever system or facility they have a relationship with. Even the most recent 4K commercial I shot wanted 4k relog Prores 444 transcodes, didn't even archive the R3Ds (although I did for my reel).

It's OK IMHO to have the option to limiting the quality for speed and convienence, understand your clients needs is part of being a pro.
 
Terry VerHaar said:
I am feeling a little stupid about now; since ProRes is compressed with most parameters baked in, what exactly is ProRes Raw
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Don't feel bad Terry as I'm pretty sure he's just having fun! On the other hand, as far as I can tell, I'm actually now on trial membership with Adobe, LOL! No, seriously! JUST CRAP! Unbelievable!
 
What In would like is if Weapon could include some kind of single SDI 4k raw out that that the Convergent Designs Q7+ could transcode to 4k or other flavors of ProRes like my C500 does.
 
Evin Grant said:
The question of Prores is not one of quality, it's one of convienience and standardization.
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Except of course if you're shooting 12:1 RED Code and comparing that to 12-bit Prores which bypasses that compression. Am I the only one who has seen this difference or cares? (my comparisons were with 10-bit)
 
Mark K. said:
I agree that 4K ProRes is a bit silly... That said. 4K ProRes is still nice and easy to work with. It gives you simple, self-contained, drag-and-drop files that are a breeze to organise and deal with. So it would certainly be nice to have the option.
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Gee, that's confusing.

I know quite a few LA post houses that routinely use 4K, 5K, and 6K DPX files with no problem. Gone Girl went with 6K DPX files, as I recall. It can be done if you have enough horsepower and a fast pipe, and you can't go raw if it's a heavy effects show (as Gone Girl​ was). Many, many summer blockbusters are in the same category.
 
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