What causes an Apple Pro 422 hq codec problem?July 19, 2020 by Steven Colson
This user guide describes some of the possible causes that could lead to the Apple Pro 422-hq codec. Then I will provide possible solutions that you can try to resolve this issue.
Apple ProRes 422 is a high-quality compressed codec that has almost all the advantages of the Apple ProRes 422 HQ, but with 66% data throughput, it guarantees even better real-time multithreading performance. The target data rate is approximately 147 Mbps at 1920 x 1080 and 29.97 fps.
Choose The Correct Version Of ProRes
This is the question that I get almost every day: "I take pictures [indicate the name of the video format] which version of ProRes is best for my project."
ProRes is a great codec for editing and finishing. It is 10-bit, which means it offers 1024 shades of gray or shades of any color per pixel. It has a high data rate, which means that it supports excellent image resolution. However, there are six versions of ProRes, each of which differs in data transfer speed (and file size). In order of data transfer rate and potential image quality, this is:
ProRes Proxy was designed for small files and very efficient processing. It is not intended for excellent image quality. Indeed, only all other pixels are displayed on all other lines. (This is called a “quarterly resolution.”)
The only time I use ProRes Proxy regularly is to edit multiple cameras and I never issue proxy files. I always do optimized or native output to get the highest possible image quality.
Apple suggests using ProRes proxy files for archiving. Although proxy files are smaller than any other ProRes format, they are still much larger than H.264. At the same data rate, H.264 has higher image quality. I usually do not use ProRes proxies for archiving.
ProRes 422 LT is a format that I don’t use at all. Despite the fact that it has good image quality, since it contains all the pixels in the image, it is too difficult for me to create it, since other ProRes parameters are built into Final Cut Pro X.
If I archived a video project with standard resolution, I would consider this format. I probably won’t use it, but it would be worth considering. Why think about it? Because the ProRes 422 LT generates the smallest file size of any high-quality ProRes format.
This is the standard high-performance video format for all media optimized in Final Cut Pro X. It provides an excellent balance between image quality and efficiency.editing.
The disadvantage of using ProRes 422 is the large file size. about 1 GB per minute. However, when editing, I want to get the best image quality at maximum performance. After editing, I compress the master file into something small for distribution.
This is the best format if your camera actually records the ProRes 422 HQ. However, the file size is larger and is about 1.5 GB per minute.
The only difference between the ProRes 422 and the ProRes 422 HQ is the data rate. And if you do not use very good lenses with very good lighting, you will not see any difference between the ProRes 422 and 422 HQ.
The difference between the 422 family and the 4444 family is the color processing method. Image resolution is the same between the two. A color sample 422 provides a color value for every two pixels. Color swatch 4444 provides a color swatch for each pixel.
The reason you don’t need this better color sampling for video is because almost all camcorders use 422 color sampling. This means you don’tDo not enhance your colors by converting the camera image to 4444. You simply move it to a larger color space.
This is the newest member of the ProRes family. This is a very specialized and high-quality format designed more for cameras than for mail.
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