Apple Color 1.5 - Manual (Page 111)

Which Codec Should You Use for Export?
When choosing the codec you want to use for rendering the final output, there are four
considerations:
• If you’ll be outputting to a high-bandwidth RGB format (such as HDCAM SR), or are
mastering 2K or 4K RGB media using QuickTime, you should export your media using
the Apple ProRes 4444 codec for the highest-quality result. This format is appropriate
for mastering at a quality suitable for film out, but the results will require a fast
computer and accelerated storage for playback.
• If you’ll be outputting to a high-bandwidth Y
′
C
B
C
R
video format (such as Betacam SP,
Digital Betacam, HDCAM, and DVCPRO HD) and require the highest-quality video data
available, regardless of storage or system requirements, you should export your media
using the Apple Uncompressed 10-bit 4:2:2 codec.
• If you’ll be outputting to one of the above video formats and require high quality,
but need to use a compressed format to save hard disk space and increase
performance on your particular computer, then you can export using the
Apple ProRes 422 codec (good for standard definition) or the higher-quality
Apple ProRes 422 (HQ) codec (good for high definition), both of which are 10-bit,
4:2:2 codecs.
• If your system is not set up to output such high-bandwidth video, and your program
uses a source format that’s supported by the Original Format option in the QuickTime
Export Codecs pop-up menu in the Project Settings tab of the Setup room, you’ll be
able to render back to the original codec used by your Final Cut Pro sequence. If your
codec is unsupported, the QuickTime Export Codecs pop-up menu will default to
Apple ProRes 422. For more information on which codecs can be rendered using the
Source Format, see
Compatible Media Formats .
Compatible Image Sequence Formats
Although Color supports a wide variety of image formats for clips that are edited into
Final Cut Pro projects that are sent to Color, the list of supported image formats that you
can import directly into Color is much shorter. The following RGB-encoded image formats
are compatible with Color, and are primarily intended for importing image sequences
directly into the Color Timeline.
• Cineon (import and export): A high-quality image format developed by Kodak for digitally
scanning, manipulating, and printing images originated on film. Developed as a 10-bit
log format to better contain the greater latitude of film for exposure.
• DPX (import and export): The Digital Picture eXchange format was derived from the
Cineon format and is also used for high-quality uncompressed digital intermediate
workflows. Color supports 8-bit and 10-bit log DPX and Cineon image files.
111 Chapter 4 Importing and Managing Projects and Media