Apple Color 1.5 User Manual
Page 110
Color also supports the following two offline-quality codecs for workflows in which you
convert DPX or Cineon image sequences to offline-quality QuickTime clips for editing.
Because they’re so highly compressed, these codecs are not suitable for high-quality
mastering. DPX/Cineon conversions to QuickTime clone both the timecode and reel
number of each shot. For more information, see
Converting Cineon and DPX Image
.
• Apple ProRes 422 (LT): A more highly compressed codec than Apple ProRes 422,
averaging 100 Mbps at 1920 x 1080 60i and 1280 x 720 60p. Designed to allow
low-bandwidth editing at full-raster frame sizes, eliminating awkward frame-size
conversions when conforming offline-to-online media for finishing and mastering.
• Apple ProRes 422 (Proxy): An even more highly compressed codec than Apple ProRes 422
(LT), averaging 36 Mbps at 1920 x 1080 24p, or 18 Mbps at 1280 x 720 24p. Designed
to allow extremely low-bandwidth editing at full-raster frame sizes, eliminating awkward
frame-size conversions when conforming offline-to-online media for finishing and
mastering.
Color supports the following third-party codec for rendering.
• AJA Kona 10-bit RGB
Note: The AJA Kona codecs are not installed by QuickTime by default and are available
only from AJA.
You can render your project out of Color using one of several high-quality mastering
codecs, regardless of the codec or level of compression that is used by the source media.
You can take advantage of this feature to facilitate a workflow where you import
compressed media into Color and then export the corrected output as uncompressed
media before sending your project to Final Cut Pro. This way, you reap the benefits of
saving hard disk space and avoiding rerendering times up front, while preserving all the
quality of your high–bit depth adjustments when you render your output media prior to
sending your project back to Final Cut Pro.
110
Chapter 4
Importing and Managing Projects and Media