This theory ProRes is a myth, or is it true?

I shoot video AVCHD to a FS700 and edit and strongly grade natively in Premiere Pro CS6.

Told me that if I convert my images in ProRes and THEN change and rank, the colours and the details will hold better what to do with native AVCHD and will ultimately better looking images.

Here is a quote from the forum to justify that. Please can someone confirm if this is true?

AVCHD is a very compressed and lossy format. Original filmed in AVCHD will look essentially good, but the trouble begins when you start recompress the images. Recompression happens whenever you convert images to another format, or when you use the images in an editing one environmentnd, you need to make your video.

When you edit AVCHD natively, whenever you add an effect, title or whatever, you will lose quality and it will get worse the generations more than you do of your original film. That's why effects, titles, etc. are always rendered in ProRes 422 (or more) in FCP10. Because ProRes is resistant to several much better than AVCHD re-encoding.

When you first convert your AVCHD to ProRes, you will get a first generation loss. But the advantage of the codec ProRes of is that it's a transparent format, i.e. Once your video is to the ProRes format it will not deteriorate even after several re-encoding. ProRes LT turn to 82 Mbps, but this does not mean anything. The LT codec is much more rigid than ProRes 422 and 422 HQ, which means once again that it will not resist several generations. That was why the best workflow is to convert any size with loss of a transparent format such as ProRes 422 and upward. You will always lose a little bit of sharpness in the first conversion, but from there you'll be sure even when you use the ProRes images in complex projects with several piles of filter.

A myth.

When editing with FCP, there was a natural tendency to convert a lot of source material to ProRes 422, simply because you had no choice. You now have the choice after moving to PR

The choice is quite simple, either change the native format was shot in your hardware, or convert to ProRes 422. The Advisor must

No convert to ProRes.

Using the native format has the following advantages: No transcoding, none made, no modification of data, no recompression, no damage and no damage. But conversion ProRes 422 has singnificant disadvantages, it takes twice as long, it uses almost three times the disk space and shows no visible improvement. For example, ingesting a 16 GB card with MXF material on some machine takes about 6 minutes to the native format, but takes about 12 minutes when transcoded to ProRes 422, storage needs go from 16 GB to about 43 GB without visible difference.

In addition, ProRes cannot be exported from a PC and has problems with the movement of gamma.

The post you quoted has a serious flaw in it. He assumed that several of exports and imports, creating production losses. It's a very strange workflow. One would normally change and once completed, once export. This gives the same loss of generation as ProRes conversion first. Only with ProRes you will lose another generation when exporting one.

Tags: Premiere

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