Will Rendering a Prores 422 Again Reduce Its Quality
Well at that place goes my plans for finally jumping transport altogether to the "PC Master Race" and getting rid of my ProRes add-on one time and for all… merely kidding, I am still considering leaving the Apple ecosystem altogether (afterward all, I am in the shittiest position possible – editing with Premiere Pro on a Macbook Pro), but this latest bombshell declaration from Apple has got my world turned upside down one time again and put a wrench in my plans (once again). And for the first fourth dimension ever, I am probably going to be buying Final Cut Pro X… I've dreaded even uttering these words for so long, but with the latest Apple declaration I am about to tell you about, I will probably exist joining the Dark Side soon.
Apple is bringing ProRes to Raw or Raw to ProRes, not actually sure, merely the new FCP 10 update (x.4.i), which will be bachelor for download on DAY ane of NAB 2018 this Monday Apr 9th, will add a brand new codec chosen ProRes RAW.
In my bones agreement of this new codec it is the all-time of both worlds – fluid real-fourth dimension playback without rendering fifty-fifty in 4K, efficient encoding and decoding with tremendous disk space benefits (compared to uncompressed raw or even CinemaDNG), and all the flexibility of a Raw workflow – something like REDCODE Raw for non-RED camera users.
At the moment (at to the lowest degree every bit of this upcoming Monday), the just NLE that supports it is – you guessed it – Concluding Cut Pro X. Chances are, Adobe will effort to support it in time, but equally of now, ProRes RAW will alive in the world of FCP 10 just.
ProRes RAW has been designed for HDR workflows, and with the latest codec editors tin can import, edit and grade pristine footage with RAW information from the camera sensor but like they would any other non-Raw existing ProRes codec be it a 10bit or 12bit variant, all the same this fourth dimension with the benefits of a Raw workflow – with full access to white rest, ISO, lens data stored in the metadata files and much more.
And with performance optimized for macOS, editors tin can play total-quality 4K ProRes RAW files on MacBook Pro and iMac systems in real time without rendering. ProRes RAW files are fifty-fifty smaller than ProRes 4444 files, allowing editors to make ameliorate use of storage while providing an excellent format for archiving.
Apple ProRes RAW will be available in 2 compressions – ProRes RAW and the higher quality ProRes RAW HQ. According to apple tree "…both reach excellent preservation of raw video content, with additional quality available at the higher data rate of Apple ProRes RAW HQ. Pinch-related visible artifacts are very unlikely with Apple ProRes RAW, and extremely unlikely with Apple ProRes RAW HQ."
In its nature, the ProRes RAW is 12bit, and fifty-fifty supports 8K resolutions; information rates are of form resolution dependent. Best to refer to the official Apple ProRes Raw White Newspaper (link at bottom of article) for more details. Here is an example of how ProRes Raw stacks up against other mutual ProRes flavours in 4K DCI/59.94p:
Resolution – DCI 4K (4096 x 2160) at 60p
Information technology is quite impressive to see ProRes RAW HQ is more than efficient than the 12bit ProRes 4444, which is a huge file without the benefits of Raw; and if y'all want get with the more than compressed ProRes Raw – you get a file like in size to ProRes 422, which is just nuts.
Notation: The Data Rates on the side of the graph above – should read 200 MB/south on the lowest bar, 400 MB/due south, 600 MB/due south, and 800 MB/s at the height bar – getting y'all a 4K/60p ProRes RAW HQ bit charge per unit (varying betwixt) 290 – 370 MB/due south – which is very manageable. I am not sure why, but the Apple ProRes RAW white paper has those censored or omitted, but the version that I saw briefly has the data rates. I will update the link if I come up across the revised white paper.
According to Apple, compared to other raw video formats supported past Final Cut Pro, ProRes RAW offers superior performance in both playback and rendering, as shown in the charts below:
Notation from Apple's White Paper: Testing conducted by Apple in March 2018 on production 2.3GHz 18-core Intel Xeon W-based 27-inch iMac Pro systems with 128GB of RAM, Radeon Pro Vega 64 graphics with 16GB of HBM2, and a 4TB SSD. Tested with prerelease macOS High Sierra, prerelease Terminal Cut Pro 10.iv.1, Canon RAW Plugin 1.0 for Final Cutting Pro X, and plugins from Blood-red Apple tree Workflow Installer v12, using 50-second picture-in-picture projects with 8 streams of Apple tree ProRes RAW video, vii streams of Apple ProRes RAW HQ video, iii streams of Canon Cinema RAW Low-cal video, and 1 stream of REDCODE® RAW v:1 video, all at 4096×2160 resolution and 23.98 frames per second. Performance will vary based on organisation configuration, media type, and other factors.
Final Cut Pro editors tin can work natively with ProRes RAW and ProRes RAW HQ files created by Atomos recorders. The format volition be bachelor as a free update for owners of Atomos Sumo19 and Shogun Inferno devices. The format volition also be available equally part of a forthcoming upgrade bundle to users of the DJI Inspire two drone and Zenmuse X7 Super 35mm photographic camera organisation designed for aerial cinematography.
The latest Final Cut Pro 10 update will besides meet the addition of avant-garde closed captions. FCP 10 users tin now add together captions to their projects without the need for expensive third-party plugins, software or services. Editors can import closed explanation files direct into their project or create them from scratch. Captions announced in the viewer during playback and can be attached to video or audio clips in the timeline, so they automatically move with the clips to which they're connected.
Images by Apple
An all-new captions inspector makes information technology simple to adjust caption text, colour, alignment, location and more. Users can even create captions in multiple languages within the same timeline and hands share captioned videos to YouTube and Vimeo. And in the share window, a new Roles tab displays titles, video and sound roles in a single consolidated interface, making it easy to configure roles and closed captions when sharing.
Motion v.4.1 and ProRes RAW enable motion graphics artists to accept full advantage of RAW prototype quality with superb functioning and flexibility when designing graphics and furnishings. Compressor 4.four.1 gains support for closed captioning with comprehensive controls to view, suit and deliver captions every bit function of a batch or iTunes Store bundle.
Final Cut Pro 10.4.1 will be available on Apr nine as a complimentary update for existing users, and for$299.99 (US) for new users on the Mac App Shop. Motion 5.4.1 and Compressor 4.4.i volition as well be available on April nine as free updates for existing users, and for$49.99 (US) each for new users on the Mac App Store.
To learn all about the new ProRes RAW format, all you lot editing nerds can download the Apple ProRes RAW White Paper presented in this PDF here.
Source: https://www.4kshooters.net/2018/04/05/final-cut-pro-x-update-introduces-prores-raw-advanced-closed-captioning/
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