![]() This in turn will increase the bit-rate of your video, increase your video’s file size and require more processing power for playback. If your video has a lot of fast motion and you are noticing a lot of blocky distortion in your video you can try increasing your spatial quality to 80 or higher. Data rate: Restrict to: 5000 kbits/sec for 720 HD and Triplewide or 9000 kbits/sec 1080 HD.Download and Install VideoSolo Free Video Converter. Here is the step-by-step guide for how to convert videos to ProRes by using VideoSolo Free Video Converter. With this converter's help, we can convert videos to Apple ProRes easily without any extra fee. Note that I first render to QuickTime ProRes 422 before I encode to my final format in Apple Compressor. What's more, it's totally free to do the conversion. Here are my QuickTime H.264 video encoding settings for Apple Compressor 4 to create the very best videos for church media playback. The key is to produce a clean looking video with crisp detail, accurate color, smooth playback and a seamless loop when the playhead moves from the end of the video back to the beginning. I have tried many different encoding settings and software like Episode by Streamclip, Sorenson Squeeze by Sorenson Media and MPEG Streamclip by Squared 5 and I have landed on Apple’s Compressor to be the best Mac software to create high-quality encoded videos. ![]() ProRes 422'Proxy): for first generation viewing and editing (cuts only).Since posting my original article “ Our Motion Loop Render Settings” back in September 2012, I have updated how we render our motion loops, video backgrounds and countdown timers. ProRes 422(LT): relatively lossless codec, to be used with most common acquisition formats and where no heavy editing is compositing is involved. ProRes 422(regular): virtually lossless codec to be used with most common acquisition formats (HDV, EX, AVCHD.) and when you need multiple generations in editing or compositing (multiple layers, renders or exports). ProRes 422(HQ): virtually lossless codec, only to be used with hig-end acquisition formats such as HDCAM SR, AVC-Intra and the likes, AND when you need high-end compositiing or keying. ProRes 4444: virtually lossless, extremely high-fidelity codec, only to be used with hig-end acquisition formats such as HDCAM SR, AVC-Intra and the likes, AND when doing high-end multiple generation compositing or keying OR when you need to export high-end video with alpha channel (roundtripping to third party applications). ![]() [Finally your question about which ProRes you should use: The best way to do this is described here: That's why it is much better to encode your video to H.264 yourself and upload the H.264 file to Vimeo. So you will lose all the quality you have uploaded. Second, Vimeo will re-encode any video that is not uploaded as H.264 anyway, and their encoder is not very good. All the correct 422 labels also show in the codec lists in all encoding apps. First the files are very large, so you would spend hours uploading. I was also able to render out a 422 LT clip from QT Pro and Streamclip to use in the project. But even if they did it would not be a good idea to upload such files. Now as to your question about Vimeo and ProRes: First a clarification: ProRes is a QuickTime format, thus any ProRes file you create will be wrapped in the QT container and will have the.
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