Can someone with the appropriate expertise comment on whether it is worth using ProRes 444 vs. 422 for intermediate files when using output from the P4P? From what I can tell 444 only has value for extreme high-end production with heavy F/X and only if the equipment in the chain (from camera on) can really utilize the increased color depth (not even sure the P4P camera can.) Most advice seems to be that 422HQ or even just 422 is way more than sufficient for most uses and the huge filesizes generated by 444 result in no practical value for DSLR-class/prosumer cameras. I have tried to research this but it's apparently a very complicated topic.
ProRes 444 vs. 422?
- Thread starter smiller
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Prores 4444 is a lossless codec and large file size. It is usually used for post production work that will involve fx work because it contains an alpha channel. As you go down the chain from there i.e. Prores 422HQ -422LT just means the files get less lossless meaning you will see compression artifacts. The go to codec is prores 422. This is what we use for majority of our national commercial spots for delivery at least.
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