![]() Recognizing the value and efficiency of a high-quality but low-size intermediate codec, other companies began licensing ProRes for use in their own platforms. Though initially intended for sole use with Apple’s suite of proprietary software, ProRes grew far beyond its original intended purpose. In 2009, the addition of two new ProRes formats increased these capabilities to 12-bit sampling depth at higher bitrates, making the codec that much more versatile. With a wide variety of future-thinking features such as 8K video resolution support, 10-bit sampling depth and variable bitrate encoding, the original four ProRes codecs quickly outshined their predecessor-the simply named Apple Intermediate Codec-and rivaled the capabilities of Apple’s main competitor: Avid Technology’s DNxHD. The result was a “visually lossless” intermediate codec that celluloid film scans and larger digital files alike could be converted to for the purpose of real-time playback editing in a nonlinear environment. ![]() The core concept was to introduce an easy-to-use, processor-efficient file type that editors could work with quickly while maintaining a high standard of image quality. In 2007, Apple unveiled the ProRes family of video codecs-a series of lossy video compression intermediate formats intended for use with the company’s Final Cut Studio bundle of post-production applications. ![]() ![]() Though technology in our industry is an ever-evolving force, there are some constants that we have come to rely upon. In short, this will give ProRes users the capability of accessing information directly from a camera’s sensor during the intermediate and editorial processes. By James Delhauer In ProRes RAW, Apple seemingly hopes to introduce a new standard that blends the ease of use of the original ProRes family with the post-production flexibility of a RAW file format. ![]()
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