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[For After Effects CS5, see .]
for information about gamma shifts with ProRes4444 media.
If you’re working with Apple ProRes 422 media in After Effects, you may have noticed some undesirable color shifts. The most likely cause for such color shifts is the fact that After Effects by default doesn’t know how to interpret Apple ProRes 422 media. Specifically, After Effects doesn’t know what color space the color information in these footage items is in. When After Effects doesn’t know what color space a footage item’s colors are in, it has to pick something, and it goes with sRGB—which is wrong for ProRes assets, so the colors are misinterpreted.
Fortunately, it’s pretty easy to tell After Effects how to interpret these colors correctly.
The automatic way is to add a set of rules to your interpretation rules file. If you do this, then After Effects will automatically identify Apple ProRes 422 as such and interpret the colors accordingly. (You can also manually assign input color profiles to footage items individually, but trust me: it’s easier in the long run to edit your interpretation rules file and let the automagic work from there.)
For information on how to edit your interpretation rules file, see the last section of the
page of After Effects Help.
Add the following lines of text directly above the line “# this soft rule should be the last in the list of soft rules”.
# soft rule: Apple ProRes 422 720×480 & 720×486 are SDTV NTSC
*, 480, *, *, "apch" ~ *, *, *, *, "r6nf", *
*, 480, *, *, "apcn" ~ *, *, *, *, "r6nf", *
*, 486, *, *, "apch" ~ *, *, *, *, "r6nf", *
*, 486, *, *, "apcn" ~ *, *, *, *, "r6nf", *
# soft rule: Apple ProRes 422 720×576 is SDTV PAL
*, 576, *, *, "apch" ~ *, *, *, *, "r6pf", *
*, 576, *, *, "apcn" ~ *, *, *, *, "r6pf", *
# soft rule: Apple ProRes 422 HD is Rec. 709
*, 720, *, *, "apch" ~ *, *, *, *, "r7hf", *
*, 720, *, *, "apcn" ~ *, *, *, *, "r7hf", *
*, 1080, *, *, "apch" ~ *, *, *, *, "r7hf", *
*, 1080, *, *, "apcn" ~ *, *, *, *, "r7hf", *
[Note: Be sure to use a plain text editor (like BBEdit or Notepad), not a word processor, to edit this file. Line endings and invisible formatting from word processors can make the file not work correctly.]
The four-character codes apch and apcn denote ProRes 422 HQ and ProRes 422, respectively.
These rules assign ProRes media the appropriate color profile by looking at the vertical frame size to determine whether the media is NTSC, PAL, or HD. You could add a similar rule for 2k assets, etc.
After you’ve made these changes to your interpretation rules file, start After Effects. Your ProRes media will now be automatically be assigned the correct color profile.
Of course, assigning the correct input color profile to a footage item doesn’t help anything if you’re not using the color management features that use those input color profiles to convert colors into the project’s working color space (project working space). You must therefore also enable color management by choosing a project working space. (Choose File & Project Settings, and choose a working color space from the Working Space menu.) For information about color management, see the
section of After Effects Help, and the white paper and tutorials that it points to.
(update: When you render and export the movie out of After Effects, make sure that you’ve
that is appropriate for your output. If you’re “round-tripping” back to ProRes 422, then you’ll probably want to assign the same profile to the output file that you used to interpret the input file.)
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First Look at Codecs: ProRes 422 vs DNxHD
I'm not a codec guy. I don't know the ins and outs of codecs the way engineers do. All I want to know is how how true to the original image the resulting file is when I use a codec, how much space I'm saving, and how much processing power it takes to compress and display it.I just received Final Cut Studio 2 – quite an impressive package. Among the new features is the ProRes 422 video codec. It comes in two flavors – regular and HQ, and boasts file sizes 20% of uncompressed HD. Sounds a lot like Avid's DNxHD codecs.So I came up with a little test. I generated six QuickTime video files in Adobe After Effects (neutral territory.) The test pattern was simple enough – an animated blue to white gradient background with a noise filter added to the lower half and a 16:9 box in the center with a waving silky texture. You can download the
that I used.As a control, I used Apple's Uncompressed 10-bit 4:2:2 codec. I rendered the animation to the ProRes 422 (HQ), ProRes 422, Avid DNxHD 175, Avid DNxHD 115, and Avid DNxHD 36 codecs. (Note: The DNxHD flavors are specific to 1080/24p format video. The 30i versions would be DNxHD 220 and 145.)After re-importing the results in After Effects, I placed each file in a composition along with the Uncompressed 10-bit 4:2:2 version and used the Difference transfer mode to illustrate where the compressed image varied from the uncompressed. The results were quite surprising.The DNxHD 175 file's difference from the uncompressed was barely visible to the naked eye, but the ProRes 422 (HQ) codec showed significant differences. In fact, in my test, the DNxHD 115 codec also outperformed the ProRes (HQ).The images below are scaled JPEGs, but they are fair representations of the files rendered in After Effects. The first image is a still frame from the fully rendered animation out of After Effects. Below it are the comparison images' difference mattes against the uncompressed animation.Added 5/30/07:Thanks to everyone for the comments and suggestions., especially Graeme Natress.Inspired, I ran the following test. AJA Kona 3 uncompressed 1080i. Transcoded it to ProRes 422 (HQ) through compressor. Imported the ProRes material back into the FCP 6 project. Placed in a timeline on top of the orignal mater, changed the composite mode to Difference and &drum roll& … the frame was virtually black.Using the ProRes 422 (HQ) codec as intended… it delivers as promised and a bit better than expected.Have not had the time to test the Avid codecs under similar conditions within an Avid system, but there's no reason to suspect DNxHD won't perform as well in that test as it did in the more informal test.Further, I have been able to determine that most of the difference spotted in the Difference mode tests in After Effects was due to some sort of a gamma shift.The Avid codecs allow you to select the color space (709 or RGB) and I believe that is why the RGB-YUV conversions are apparently handled better by the Avid codecs. (Something to keep in mind when embarking on projects that may require material to meander into the RGB space.)The big surprise for me was the performance of Avid's DNxHD 36 codec. 3.5% of the original file size… and look at how amazing it did. (Since it's a progressive-only codec, I couldn't run it on my second set of tests.)I'll give Graeme's red on black test a try sometime in the future. For the record: 4:4:4 filtering was on in all applicable ProRes renders.Uncompressed file size 15 sec. animation: 1.61 GB.DNxHD 175 file size 15 sec. animation: 273 MB.ProRes 422 (HQ) file size 15 sec. animation: 262.1 MB.DNxHD 115 file size 15 sec. animation: 180.4 MB.ProRes 422 file size 15 sec. animation: 178.8 MB.DNxHD 175 file size 15 sec. animation: 56.1 MB.This test is not meant to be the definitive codec comparison. It's meant as a conversation starter. I only tested using one computer generated file. To the naked eye, all codecs delivered exceptionally well, but the difference mode comparisons show that the Avid codecs were truer to the original image. I'd love to hear from others testing different file types.
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Follow us on如何转Apple ProRes 422格式拜托各位大神_百度知道
如何转Apple ProRes 422格式拜托各位大神
请问大家一般格式在苹果的FCP里编辑 转换成Apple ProRes 422格式批量转换那款软件比较好了，大家都在用那款软件了
提问者采纳
但牛刀就不用杀鸡了吧，最近发现 Super mov converter 不错;&gt批量转换一般用adobe的AME。当然Davinci更好。
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出门在外也不愁查看: 5560|回复: 1
请问PC平台AE可否输出Apple ProRes 422 格式
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请问PC平台AE可否输出Apple ProRes 422 格式
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不一定要AE&&只求如何在PC平台输出Apple ProRes 422编码的MOV文件