I do know, however, that it cannot export in AppleProRes 'cause it's running on Windows.Īnyway, since my encode it's gonna be a lossy one, I'd like to make them export the whole thing in lossless, so the question to you folks is: which lossless codecs does Davinci Resolve support on Windows?Īnd, if it doesn't support any lossless codec, which is the "less lossy" codec and settings I can ask them to export the file as?
I don't have access to that computer, so I can't check which codecs it supports on export. The whole project has been edited in AVID and it's now gonna be color-corrected in Davinci Resolve.Īfter that, they're gonna send the file over and I'm gonna have to encode it to make the official Bluray version (I'm gonna use Avisynth and x264 of course), the Motion JPEG2000 version for the DCP for which I'm gonna use Avisynth and ffmpeg/OpenDCP and the MPEG-2 XDCAM version for air-time in our linear channels using Avisynth and ffmbc.ĭavinci Resolve is running on Windows 10 and they wanted to know how they have to export it. What’s your experience? Is safe to mix ProRes 4444 footage and RAW? Share your thoughts in the comments below.I basically gotta work on the encoding of a documentary. As much as I love working with RAW material, it’s becoming less and less important, and before long we’ll have far more efficient codecs that offer us just as must flexibility in post. In fact, ProRes XQ actually takes up more space than many compressed RAW options, such as RAW 3:1 on the Blackmagic URSA.Īs time goes on, compression technology is only going to get stronger and more efficient. So, unless absolutely necessary, I usually recommend sticking with ProRes 4444. There’s little to no difference when color grading these two codecs, and even the original ProRes 4444 has nearly as much flexibility in post as a RAW file. That said, for anything short of heavy green screen/VFX work, I’d personally still use ProRes 4444 over ProRes XQ, based on file size alone.
It has higher data rates (over 500 MB/s even in HD), and it still offers the beautiful 12 bit 4:4:4: color space. It’s worth noting that since this video was released, Apple also released an even higher-quality codec: ProRes XQ, which is essentially a more robust version of ProRes 4444.
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