1. Download GoPro Player for macOS 10.15 or later and enjoy it on your Mac. (5.6K, 4K, custom) 1 and codecs (HEVC, H.264, Apple® ProRes) to choose from.
2. In this episode, I show you how to install Apple's ProRes 422 codecs (plus a ton of other ones) FREE and LEGAL, and then I show you how to set it up with you.
3. Download ProRes RAW for Windows - This dedicated codec enables the playback of ProRes RAW and ProRes RAW HQ video files in compatible applications on Windows systems.
4. Jul 20, 2021 ProRes RAW data rates generally fall between those of ProRes 422. Blackmagic RAW in Avid and Premiere Pro. Mac Pro Afterburner: Editors' Dream but Only for ProRes and ProRes RAW. Dec 14, 2018 — Since I don't have a Mac, is there a way to render Prores on Windows. Download and install ProRes encoder. You export Avid Medi.

Warning on OSX: Adobe changed their way of interpreting AfterCodecs ProRes 422, it has now a color shift on reimport in Adobe CC 2019 (only), please use ProRes 4444 Unable to Undo (CTRL+Z) when using automatic AE RQ Comments bug fix, now this feature has its own sub menu in 'Composition' top menu under 'AfterCodecs Settings'.

1. Apple ProRes 422 LT is a more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate is approximately 102 Mbps at 1920x1080 and 29.97 fps.
2. If you are running Premiere on a Mac computer, we would recommend choosing “Final Cut Pro” “Apple ProRes 422 (.mov)” as output format. The ProRes 422 codec will ensure a good balance between file size and file quality. This converter only outputs Apple ProRes files up to 1080p.

Apple ProRes 422: A high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing performance. The target data rate of Apple ProRes 422 is approximately 147 Mbps at 1920 x 1080 and 29.97 fps. After recently updating Premiere on my Mac, none of the Apple ProRes 422 options are showing up when exporting under Quicktime. I haven't had this problem before and my footage was imported as ProRes 422 HQ. It supports playback of up to 3 streams of 8K Pro-Res RAW or 12 streams of 4K ProRes RAW. Adobe says that Premiere Pro supports decode acceleration of ProRes 4444 and 422 codecs using the.

All Apple ProRes codecs support all frame sizes (including SD, HD, 2K, 4K, and 5K) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. Apple ProRes includes the following formats.

To bring the same performance, quality, and ease of use introduced by Apple ProRes to raw media, use Apple ProRes RAW. Learn more about ProRes RAW.

Apple ProRes 4444 XQ*

Apple ProRes 4444 XQ is the highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels). This format has a very high data rate to preserve the detail in high-dynamic-range imagery generated by today’s highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery. This holds true even against the rigors of extreme visual effects processing in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920x1080 and 29.97 fps.

ProRes 4444 XQ is supported on OS X Mountain Lion v10.8 or later.

Apple ProRes 4444*

Apple ProRes 4444 is an extremely high-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels). This codec features full-resolution, mastering-quality 4:4:4:4 RGBA color, and visual fidelity that is perceptually indistinguishable from the original material. Apple ProRes 4444 is a high-quality solution for storing and exchanging motion graphics and composites, with excellent multigeneration performance and a mathematically lossless alpha channel of up to 16 bits. This codec features a remarkably low data rate compared to uncompressed 4:4:4 HD. It has a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920x1080 and 29.97 fps. It also offers direct encoding of and decoding to both RGB and Y’C_BC_R pixel formats.

Apple ProRes 422 HQ

Apple ProRes 422 HQ is a higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444 but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate is approximately 220 Mbps at 1920x1080 and 29.97 fps.

Apple ProRes 422

Apple ProRes 422 is a high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing performance. The target data rate is approximately 147 Mbps at 1920x1080 and 29.97 fps.

Apple ProRes 422 LT

Apple ProRes 422 LT is a more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate is approximately 102 Mbps at 1920x1080 and 29.97 fps.

Apple ProRes 422 Proxy

Apple ProRes 422 Proxy is an even more highly compressed codec than Apple ProRes 422 LT, intended for use in offline workflows that require low data rates but full-resolution video. The target data rate is approximately 45 Mbps at 1920x1080 and 29.97 fps.

* Apple ProRes 4444 and Apple ProRes 4444 XQ are ideal for the exchange of motion graphics media because they are virtually lossless. They are also the only Apple ProRes codecs that support alpha channels.

ProRes has gained in popularity as an intermediate codec. All Apple ProRes codecs support any frame size (including SD, HD, 2K, 4K, and 5K) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. Apple ProRes includes the following formats: Apple ProRes 4444 XQ, Apple ProRes 4444, Apple ProRes 422 HQ, Apple ProRes 422, Apple ProRes 422 LT and Apple ProRes 422 Proxy. Have some ProRes 422 MOV files and want to edit them in Premiere Pro CC? While this seems like a no-brainer it's a misconception that I've found with quite a few inexperienced video producers and filmmakers:

Can I edit ProRes 422 MOV in Premiere Pro CC? I know Premiere Pro accepts QuickTime MOV, but I failed to import ProRes 422 MOV to edit.

Why Premiere Pro CC won't Import ProRes 422 MOV Files?

Adobe Premiere Pro did announce to import MOV, but not all MOV files can be imported to it. From its official website, Adobe Premiere Pro supports several audio and video formats, making your post-production workflows compatible with the latest broadcast formats.

The media formats listed below are supported for directly importing and editing with Premiere Pro CC:

ARRI AMIRA camera: Premiere Pro provides built-in support for the ARRI AMIRA camera, with appropriate color LUTs applied as master clips on import.

Canon XF, Canon RAW: You can work natively with Canon XF and Canon RAW footage, including footage from Canon Cinema EOS C300 and C500 cameras. Premiere Pro lets you import and edit QuickTime formats natively including Apple ProRes and MOV files that Canon 5D and 7D cameras capture. You can clip metadata without any transcoding, rewrapping, or logging and transferring required.

CinemaDNG: Premiere Pro lets you import and edit uncompressed CinemaDNG media from the following cameras: Blackmagic Cinema Camera, Blackmagic Pocket Cinema Camera, Convergent Design Odyssey7Q.

Panasonic AVC, P2 cameras: You can native import and edit media from the following cameras/camera codec formats: Panasonic AVC Ultra, Panasonic AVCi 200, Panasonic AVC Ultra Long GOP (Group of Pictures), Panasonic P2 cameras and across multiple P2 cards

Phantom Cine media: You can natively import and edit Phantom Cine media shot on Vision Research Phantom cameras.

RED support: Premiere Pro CC supports working natively with RED Digital Cinema (R3D) footage from the following cameras & codec formats: Color Science like REDcolor2, REDgamma2, and REDlogFilm, RED ONE, RED EPIC, RED Scarlet-X cameras with support for RED Rocket, Red Dragon including RED Dragon 6K

Sony cameras: You can import and edit media from the following cameras directly, without rewrapping or transcoding: Sony XDCAM, Sony XDCAM 50, Sony XAVC, Sony XAVC LongGOP (Group of Pictures), Sony XAVC-S, Sony SStP, Sony RAW (F65, F55, F5, FS700 cameras)

How to Successfully Import ProRes 422 MOV to Premiere Pro CC for editing?

In order to successfully import ProRes 422 MOV to edit in Premiere Pro CC, a recommended solution is to convert or change the source file to Adobe Premiere Pro CC optimized MPEG-2.

To be honest, it's not as hard as you imagine, what you need is just a video converter like Pavtube Video Converter for Mac. After downloading and installing the gorgeous video converter gadget, you can effortlessly transcode any unsupported video files to Adobe Premiere Pro CC friendly video format while keeping the excellent video/audio quality.

More than that, it also supports fast converting any popular video formats to seamlessly suit for Avid Media Composer, Final Cut Pro, iMovie, etc to satisfy your diverse editing demands. Now don't hesitate to download it and follow the step-by-step guide to transcode ProRes 422 MOV for editing in Premiere Pro CC smoothly. The program even has the advanced editing options to lets you fine-tune the final look of your movie. It also has its equivalent version for Windows users - Pavtube Video Converter to convert ProRes 422 MOV on Windows.

Transcode and import ProRes 422 MOV to Adobe Premiere Pro CC

Prores 422 Codec For Windows

Apple Prores 422 Codec Download Mac

Step 1: Add ProRes 422 MOV video files to the program

Click the 'Load files' or 'Add video' icon to transfer ProRes 422 MOV files to the program.

Step 2: Output Premiere Pro CC optimized format

Click 'Format' bar, from its drop-down list, select 'Adobe Premiere Pro/Son...' > 'MPEG-2 (*.mpg)' to output for editing with Premiere Pro CC.

Step 3: Start ProRes 422 MOV to Premiere Pro CC conversion

Go back to the main UI, click the 'Convert' button under the video preview window to start the conversion process.

When the conversion is over, transfer the converted files in the destination that you have specified before to your local computer, then feel free to import converted ProRes 422 MOV to Adobe Premiere Pro CC to begin your great editing works.

Apple Prores 422 Codec Download Mac Premiere Pro 2017

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More Profiles. More Pixel Formats. Better Performance. The New Version 2!

The second generation release of the Miraizon DNxHD and ProRes Codecs brings many new features and improvements.

• New support for ProRes 4444 XQ profile encoding and decoding
• New support for DNxHD 444 profile encoding and decoding
• New encoding rate control system with improved image quality
• New threaded encoding system for faster encoding performance
• New support for additional pixel formats
• New support for conversions between 4:2:2 and 4:4:4 for more pixel formats
• Improved compatibility with Adobe CS and CC products

See the complete list of new features and improvements for the Windows version and the Mac version.

The Industry's Two Most Popular Professional Editing Codecs Together

The DNxHD (VC-3) and ProRes codecs have both enjoyed increasing popularity among video editors. Unfortunately, support for the two codecs is uneven across computer platorms and editing systems, making it often difficult for editors to collaborate and exchange files. This patchy support also poses problems for archiving projects if an organization decides to switch editing platforms or computer systems. Now, Miraizon has a convenient and cost-effective solution to this problem. The Miraizon DNxHD and ProRes codec components offer identical functionality for both Mac and Windows users, as well as identical compression and decompression capability to all QuickTime-compatible applications. Editors can now use the best codec for the job while maintaining their preferred editing system and computer platform.

Use DNxHD with Macs. Use DNxHD without Media Composer.

While DNxHD codec components have been available for some time, fully thread-safe components have been missing. This limited the useability of the DNxHD codec on the Macintosh platform. In addition, unless you owned Avid Media Composer, the only available components were older and had reduced functionality. The Miraizon DNxHD codec components are modern, fully thread-safe components that will work with any QuickTime-capable application. They offer identical performance and functionality for Mac and Windows users, and even for users of older PowerPC-based Macs.

Use ProRes with Windows. Use ProRes without Final Cut.

The ProRes codec has been gaining in popularity, but until now Windows users have been left out. Sure, it was possible to play ProRes movies under Windows, but not to actually edit or modify those movies. The only choices were clunky implementations based on open-source projects. Mac users who didn't want to purchase Final Cut were in stuck the same situation. Now, with the Miraizon ProRes codec component, these problems have been solved. The Miraizon components are modern, fully thread-safe components that will work on Macs and on Windows with any QuickTime-compatible application. The Mac and Windows versions offer identical performance and functionality, and even users of older PowerPC-based Macs are not left out.

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Powerful Performance

The Miraizon codecs automatically take advantage of the processing power of your system to dramatically speed up both compression and decompression.

• SSE2 and AltiVec vector acceleration for faster compression, decompression, and format conversions
• Multi-threaded program structure gives impressive performance gains on systems with multiple CPUs
• Multi-threading adjusts according to the number of CPUs in your system

Miraizon DNxHD Codec Features

The Miraizon DNxHD codec delivers professional performance and is fully compatible with Avid DNxHD codecs.

• Support for all 4:2:2 VC-3 standardized profiles
• Support for 4:4:4 DNxHD 444 profile
• Support for both progressive and interlaced video
• Selection of profile and interlacing both programmatically and through a dialog interface
• Support for conversions between 4:2:2 and 4:4:4 formats
• Support for conversions between 8 bit and 10 bit video formats
• Support for frame sizes up to 1920x1080
• Support for non-standard frame sizes with automatic padding and selection of best profile
• Support for input and output in a wide variety of pixel formats, including 4:2:2 (8/10/16 bits), ARGB (8/16 bits), BGRA, v308, v408, r408, r4fl, and v410

Miraizon ProRes Codec Features

The Miraizon ProRes-compatible codec delivers professional performance and is fully compatible with Apple ProRes codecs.

Prores Raw Decoder Windows

• Support for all 4:2:2 profiles, including Proxy, LT, 422, and HQ
• Support for all 4:4:4 profiles, including 4444 and 4444 XQ, with or without alpha channel data
• Support for both progressive and interlaced video
• Selection of profile and interlacing both programmatically and through a dialog interface
• Support for conversions between 4:2:2 and 4:4:4 formats
• Support for conversions between 8 bit and 10 bit video formats
• Support for all frame sizes from below standard-definition through HD 2K, 4K, and beyond
• Support for non-standard frame sizes with automatic padding and cropping
• Support for input and output in a wide variety of pixel formats, including 4:2:2 (8/10/16 bits), ARGB (8/16 bits), BGRA, v308, v408, r408, r4fl, and v410

Prores Raw For Windows

QuickTime Component Features

The Miraizon DNxHD and ProRes codec components are implemented as modern QuickTime 7 compatible components.

• Implementation as QuickTime Image Compression and Image Decompression components for widest compatibility
• Support for Standard Compression dialog configuration (e.g. in QuickTime Pro)
• Support for Request Settings dialog configuration (e.g. in Adobe CS and CC products)
• Support for programmatic configuration and operation via compression and decompression sessions
• Full compatibility with movies produced by Avid and Apple components

Still have questions? Visit our Miraizon DNxHD and ProRes Codecs FAQ page.