Proxies are also easier and faster to transfer, with a service like MASV, so the editor can get started sooner while they wait for the original media to make its way to the edit suite. The solution is often to transcode to a lower quality ‘proxy’ version of the media that is much easier to edit with and takes up a lot less hard drive space. But they represent the highest possible quality version of the media. These place huge demands on the editing system in terms of the required CPU, GPU and storage capacities. Most modern cinema cameras shoot in very large resolutions (4K, 6K, 8K, 12K etc.) and in RAW uncompressed file formats. In video post-production there are numerous stages of the process that usually require some transcoding. Here the former is higher quality in comparison to the latter but has a larger file size. Apple ProRes often does a great job in this regard and it can be difficult to visually distinguish between, for example, ProRes 422 and ProRes LT. It is worth mentioning that there are also some smart codecs that are ‘visually lossless’, which is to say that you can’t tell by looking at them whether they are the original or the transcoded version.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |