3 Replies Latest reply on Nov 30, 2011 8:59 PM by Rick Gerard

    I really need some After Effects Logic regarding ProRes 4444

    AtonMusic Level 2

      Regardinf ProRes 4444

       

       

      I cant unterstand why it is so difficult to make this work properly.

       

      It used to be that we could NOT select Trillions of Colors because they were grayed out.

      Thus giving us 16 Bit per channel...

       

      Then we had a fix althoug manual at first, we could then select 16 bit per channel...

       

       

      Now we have a NEW problem.... And it is exactly opposite.

       

      Now -- We cannot select Millions of colors thus 8 bit per channel.

       

       

      I have a project in 8 Bit and I want to render it to ProRes 4444 but NOT in 16 bit per channel but with 8 bit per channel.

      I cant do that as the Millions of colors (and Millions of Colors+) are grayed out...

       

      I have a really hard time understanding this never ending problem. How hard can it be... Or am I the one totally missing the obvious...

       

      BTW - Apples Compressor and Quicktime 7, correctly outputs 8 bit per channel incl. Alpha thus achieving 32 Bit (8 bit per channel)

       

      Why cant after effects...

       

       

      To the developers in case you are here ,-)

       

      If the AE project is 8 bit per channel we should be able to render 8 bit per channel ProRes4444

      If the AE project is 16 bit per channel we should be able to render 16 bit per channel ProRes4444

       

      Thanks for any clarification

        • 1. Re: I really need some After Effects Logic regarding ProRes 4444
          Rick Gerard Adobe Community Professional & MVP

          Apple Pro Rez 444 is a 12 bit codec. It always encodes at 12 bit. You can't force Pro-Rez 4444 to any other bit depth. The behavior in CS5.5 is correct and makes sense.

           

          FYI, ProRez 422 HQ is a 10 bit codec. It won't encode at anything else. Changing the color depth settings in the Output Module won't change the way the codec works.

           

           

          Here's a link to the ProRez white paper.

          • 2. Re: I really need some After Effects Logic regarding ProRes 4444
            AtonMusic Level 2

            Rick Gerard wrote:

             

            Apple Pro Rez 444 is a 12 bit codec. It always encodes at 12 bit. You can't force Pro-Rez 4444 to any other bit depth. The behavior in CS5.5 is correct and makes sense.

             

            FYI, ProRez 422 HQ is a 10 bit codec. It won't encode at anything else. Changing the color depth settings in the Output Module won't change the way the codec works.

             

             

            Here's a link to the ProRez white paper.

            Hi Rick,

             

            thanks for chiming in.

             

            I have already read that paper many times. Perhaps I am just not smart enough.

             

            When you say that it always encodes in 12bit... Does that mean that if I have a 16 Bit per channel Image Sequence that it would truncate the 4 upper bits ?

             

            Here is the description of Apple's Compressor ProRes 4444 Setting. Indicating 32 bit which would be 8 bit per channel alpha included...

             

            Be really nice if you could explaing that to me

             

            Name: Apple ProRes 4444

            Description: QuickTime movie with Apple ProRes 4444 (with Alpha) and audio pass-through

            File Extension: mov

            Estimated size: unknown

            Audio: multi-track pass-through

            Video Encoder

                      Width: (100% of source)

                      Height: (100% of source)

                      Pixel aspect ratio: Default

                      Crop: None

                      Padding: None

                      Frame rate: (100% of source)

                      Frame Controls: Automatically selected: Off

                      Codec Type: Apple ProRes 4444

                      Multi-pass: Off, frame reorder: Off

                      Automatic gamma correction

            Progressive

                      Pixel depth: 32

                      Spatial quality: 75

                      Min. Spatial quality: 0

                      Temporal quality: 0

                      Min. temporal quality: 0

             

            Compatible with Mac

            • 3. Re: I really need some After Effects Logic regarding ProRes 4444
              Rick Gerard Adobe Community Professional & MVP

              Yes, Pro Rez 4444 is a 12 bit codec. You could load a 1 bit tiff sequence into QTPro and encode the movie with ProRez 4444 and you'd get a 12 bit version of a 1 bit file. The pixels would all either be black or white, but if you applied a blur, you'd get a better result than you would if you blurred an 8 bit codec encoded file.

               

              ProRez 422 HQ is always 10 bit.

               

              But that's OK, because my favorite HDSLR workflow is to take the 8 Bit Mpeg files from the Canon cameras, transcode them with Magic Bullet Grinder to ProRez 422 HQ because Color Correction and compositing works much better when you have a little more color space to work with. The original isn't improved, but with a 10 or 12 bit codec, the ability to make subtle corrections becomes much better.

               

              I proved this to myself years ago by learning how to pull great, not just good keys from DV footage. As long as I stayed in the the DV codec I couldn't get away from the color sampling, but as soon as I transcoded DV to Uncompressed, then applied some color channel blurring, blending, and other tricks, I was able to pull a great key from very marginal footage.