Just means its encoded without keyframing every frame. The numbers are use are from real-world use examples.ġ. I've used both codecs you mention, and no, I don't ignore them. I also know I had to upgrade my internet bandwidth by 100 times just to be able to send it before the deadline. I've used all versions of ProRes encoding as that's usually our delivery format. You have to spend $500+ to get FCP7 first as far as I know. There's tons of other formats out there that are better, but not "common". I seriously don't want to get into a "who's right" argument here, but I also don't want to get incorrect info to go out for folks to read who are in need of help.Īs somebody who's used virtually every encoding format there is, on virtually every type of Mac computer, under many regular and odd situations, my advice was given based on common computers (from G5 to 12-core macs), and readily accessible (free) tools and a fool proof solution. To get Photo JPEG that small, you must be at around 50% or less compression.Īccording to that, ProRes LT is smaller than an H.264 - I'm guessing that's a pretty high datarate on the H.264, but this myth about ProRes resulting in huge file sizes isn't true, and ProRes LT gives a perfectly acceptable image. Doing a quick online calculation leads to these examples. Yes, ProRes is too big for internet transfer, hence lots of editors will send H.264 and then you transcode your end.Īlso, not sure of your calculations. Never had any issue with either on a MacBook Pro. You're ignoring the ProRes LT and Proxy CODECs.
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