Since I lost quality going from h264 to prores 422 hq- can I get that quality back in the end You didn’t lose any quality. You were lucky that you didn’t run into any issue while editing. A sequence transcode gives you material you can fairly easily make further edits on, and then QT-Ref a new edited sequence again. Most of the time you will run into editing problems. The mixdown gives you something you can delete as soon as you finish creating your file in Squeeze. Otherwise, if you don't buy Calibrated, you can either mixdown your sequence to DNxHD and QT-Ref that sequence, OR transcode your sequence and export a QT-Ref of that. And then, create outputs from Sorenson Squeeze (or your chosen favorite encoder) - which is MUCH better at creating the H264 files than MC is. The Apple ProRes codec family provides an unparalleled combination of real-time, multistream editing performance, and impressive image quality preservation. So, on the Mac, my workflow is generally to consolidate the raw stuff (or just consolidate my SEQUENCE selecting the "AMA media only" option), and then QT-Ref it for exports. The Calibrated product would enable a similar workflow on Windows. All of those will install the Pro Apps codecs, including XDCam - which then allows me to export QT References of sequences that use XDCam media. On the Mac, the similar solution is to install a Final Cut Pro Studio product - like the $299 Final Cut Pro X, OR the $49 Compressor or Motion. If you're working a lot with XDCam, you MIGHT consider buying the Calibrated XD Decode product. (Note: batch conversion is supported, so you can load more than one file to save time. Final Cut Pro/Final Cut Express - File > Export > Using Quicktime Conversion iMovie HD - Share > Quicktime, then choose Compress movie for. Although transcoding H.264 to Apple Prores creates larger files that are larger than the native H. Container files can contain data encoded using various compression and encoding schemes. Currently macOS 11-12 Big Sur and Monterey are more forgiving but they still has the following issues with 'Codec ID' and 'Chroma subsampling' options. Just use L&T to re-wrap into Quicktime (as it is an MXF format, and FCP doesnt do MXF native without plugins) and you edit on a ProRes timeline. Some filename extensionssuch as MOV, AVI, and MXF denote container file formats rather than denoting specific audio, video, or image data formats. So you are right about 'QuickTime Player refuses to play some H.265/HEVC flavors (as well as Final Cut Pro 10.6). HOW you get there depends on a number of factors. Install and launch the H.264 to ProRes converter, then you can directly drag and drop the H.264 files to the converter, or click Add Video' button to locate the H.264 files you want to load. For FCP X users, Prores can be the best editing codec for you. Learn about the latest video, audio, and still-image formats that are supported by Adobe Premiere Pro. Overall, the end goal is to be able to export a QuickTime Reference of your sequence.
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