Diana's Top Ten FCP 7 Features

#6 Apple Pro Res

Apple ProRes is not new to Final Cut Pro 7. It was introduced in Final Cut Pro 6. But with FCP 7, the ProRes family has been expanded to include 3 new–and extremely useful–formats.

What's New in Apple ProRes?

Joining ProRes 422 and ProRes 422 (HQ) are three new versions of the Apple ProRes codec. Each codec offers HD quality at SD file sizes. The new formats expand the possibilities in your workflow offering two new formats for even smaller files and one format for the highest quality output.

The new ProRes versions include:

1) ProRes 422 (Proxy). For craft editing or offline editing on a MacBook or MacBook Pro. This was the format I used for a lot of the footage in my FCP 7 book. HD image quality looks really good and the file sizes are very small.

2) ProRes 422 (LT). For projects such as news, sports, and multicam events that require reduced file sizes at broadcast quality.

3) ProRes 4444. For compositing and digital workflows that require the highest-possible image fidelity.

Data Rates – Uncompressed and Apple ProRes at 1920 x 1080, 29,97 fps

The five different ProRes codes share similar attributes. ProRes uses variable bit rate (VBR) encoding to minimize file sizes for storage efficiency. It also optimizes decoding to offer multistream, real-time editing performance and preserves the original frame width of SD, HD, and 2K source video, so you won’t have to reposition or resize graphics in a finishing workflow.

There's a lot you can say about the ProRes formats. But for anyone who wants to go under the hood and learn about the technical specs of these new formats, click on the Weynand Resources Links & Stuff page and find the New Apple ProRes Paper. This white paper will answer all of your questions.

http://weynand.com/wt/links,-forums,-social-networking,-and-other-good-stuff,-etc./