Prores For Mac

admin 12/13/2021

Apple ProRes is one of the most popular video formats in professional video production and post-production. ProRes is a codec technology developed by Apple for high-quality, high-performance editing in Final Cut Pro X. Mac users need to interact with Windows-based creators. It would be much simpler for Mac users to get proper ProRes files from their follow Windows collaborators. Instead, Apple has forced the Windows community into the hacked-ProRes netherworld of FFmpeg and it’s not going to stop until Apple allows ProRes to be rendered natively on Windows.

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  1. Mac Apple ProRes Converter Reviews. Acrok Mac ProRes Converter is a idea video to ProRes 422 codec conversion software. I like it.-Mandy Acrok Video Converter Ultimate for Mac is one of the best ProRes converter around due to it's simplicity and ease of use. I'd recommend it to anyone (and everyone).-Rick.
  2. Bonus Part: Convert Any Format to ProRes on Mac. Where converting a ProRes file to a Windows-compatible format can be done on both Mac and Windows PCs, reversing the process, i.e., to convert a video file to ProRes can be done only on the Mac variant of Wondershare UniConverter.
  3. A dialog box opens, prompting you to select a folder on your Mac to store the exported Apple ProRes MOV files. Select a folder and click 'Save'. If you use this program frequently, you will be impressed by the presets it offers to various multimedia devices and media players. It spares you a lot of effort and time because all the parameters.

The Apple ProRes codec family provides an unparalleled combination of real-time, multistream editing performance, and impressive image quality preservation. ProRes RAW is based on the same principles and underlying technology as existing Apple ProRes codecs, and is ideal for High Dynamic Range (HDR) content creation in Final Cut Pro X, Motion, and Compressor.

ProRes RAW brings the same great performance, quality, and ease of use to raw video that ProRes has brought to conventional video. When you store a clip in the ProRes RAW format rather than in a proprietary camera raw format, you get more control over the processing of the image, including demosaicing, linear-to-log conversions, and custom LUTs.

With ProRes RAW, you can import, edit, and grade video with RAW data straight from your camera sensor — without slowing down your edit. ProRes RAW also provides maximum flexibility for adjusting the look of your video while extending brightness and shadows.

You can render and export faster with ProRes RAW than you can with other raw formats—ProRes RAW is optimized for macOS and the latest Mac computers. And you can fit more footage on every card because ProRes RAW files are smaller than standard formats.

Prores For Mac

Data rate

You can choose between two ProRes RAW compression levels: ProRes RAW and ProRes RAW HQ. Both compression levels achieve excellent preservation of raw video content, with Apple ProRes RAW HQ providing additional quality at a higher data rate. ProRes RAW data rates can vary significantly based on image content, because the codec is designed to maintain constant quality and pristine image fidelity for all frames.


Raw video playback requires decoding the video bit stream and converting the decoded raw image. Final Cut Pro streamlines and optimizes this conversion process for Apple ProRes RAW files. When you use ProRes RAW with Final Cut Pro, you get the same real-time, multistream video editing performance you experience with Apple ProRes RAW as you do with standard media.

And with the Mac Pro (2019), the Afterburner card accelerates decoding and playback of multiple streams of ProRes and Pro Res RAW video files for even better performance.

View ProRes RAW on your Mac

After you install Pro Video Formats on your Mac, you can view ProRes RAW files with QuickTime Player and Quick Look. Since ProRes RAW captures high-dynamic-range data directly from the camera sensor, footage may look overexposed on the display of your Mac.

Because ProRes RAW is an acquisition format created by cameras and video recorders with RAW data straight from your camera sensor, it's not possible to create ProRes RAW files from video software. To export ProRes RAW files to other formats, use Final Cut Pro X, Motion, or Compressor. You can't export ProRes RAW to other formats with QuickTime Player.

Learn more

  • Apple ProRes RAW white paper (PDF)
  • HDR and Wide Color Gamut in Final Cut Pro X white paper (PDF)

ProRes has gained in popularity as an intermediate codec. In this post we share tips for using ProRes in your video workflow.

When I began my career I was editing a lot of video in Final Cut 7, so ProRes naturally was my best friend. When I made the brief jump to Avid and then quickly turned to Premiere Pro, ProRes came along for the ride. With more and more high-end cameras shooting RAW and programs like Premiere having the ability to read those RAW files natively, as of late ProRes has been dwindling within my workflow. However, if you’re shooting a project with a short turnaround time, you can’t go wrong with ProRes.

1. Know Your Formats

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There are a total of six ProRes formats. These formats range from extreme compression to minimal compression rates. It’s important to note that each ProRes format supports all of the current frame sizes such as SD, HD, 2K, 4K & 5K. So lets take a quick look at each codec and the data rate specs for each frame size.

Frame DimensionsFrame RateProRes 4444ProRes 422 (HQ)ProRes 422ProRes 422 (LT)ProRes 422 (Proxy)
720 x 48623.98 fps75 Mbps50 Mbps34 Mbps23 Mbps10 Mbps
720 x 48625 fps79 Mbps52 Mbps35 Mbps24 Mbps10 Mbps
720 x 48629.97 fps94 Mbps63 Mbps42 Mbps29 Mbps12 Mbps
720 x 57623.98 fps88 Mbps59 Mbps39 Mbps27 Mbps12 Mbps
720 x 57625 fps92 Mbps61 Mbps41 Mbps28 Mbps12 Mbps
720 x 57629.97 fps110 Mbps73 Mbps49 Mbps34 Mbps15 Mbps
960 x 72023.98 fps113 Mbps75 Mbps50 Mbps35 Mbps15 Mbps
960 x 72025 fps118 Mbps79 Mbps52 Mbps36 Mbps16 Mbps
960 x 72029.97 fps141 Mbps94 Mbps63 Mbps44 Mbps19 Mbps
1280 x 72023.98 fps132 Mbps88 Mbps59 Mbps41 Mbps18 Mbps
1280 x 72025 fps138 Mbps92 Mbps61 Mbps42 Mbps19 Mbps
1280 x 72029.97 fps165 Mbps110 Mbps73 Mbps51 Mbps23 Mbps
1440 x 108023.98 fps226 Mbps151 Mbps101 Mbps70 Mbps31 Mbps
1440 x 108025 fps236 Mbps157 Mbps105 Mbps73 Mbps32 Mbps
1440 x 108029.97 fps283 Mbps189 Mbps126 Mbps87 Mbps38 Mbps
1920 x 108023.98 fps264 Mbps176 Mbps117 Mbps82 Mbps36 Mbps
1920 x 108025 fps275 Mbps184 Mbps122 Mbps85 Mbps38 Mbps
1920 x 108029.97 fps330 Mbps220 Mbps147 Mbps102 Mbps45 Mbps
2048 x 115223.98 fps302 Mbps201 Mbps134 Mbps93 Mbps41 Mbps
2048 x 115225 fps315 Mbps210 Mbps140 Mbps97 Mbps43 Mbps
2048 x 115229.97 fps377 Mbps251 Mbps168 Mbps116 Mbps52 Mbps

2. Encoding with Variable Bitrate

Variable Bitrate (VBR) allows ProRes to be economical with video storage, without damaging the visuals. This type of damage will sometimes occur when max bitrate is exceeded with codecs that are fixed. So for instance, if we encode an action sequence, ProRes can use a higher data rate which will ensure that image loss is negated and the detail of the video remains. Then say, we have a simple two-shot dialogue sequence. ProRes reallocates only the bitrate needed. Being able to vary bitrate based on the material is pretty impressive.

3. Question of Storage and RAW Usage

While ProRes is a larger file size than H.264, it falls well short of the storage cost of RAW formats such as RED RAW. With that said, for most video professionals ProRes is the codec of choice for any work relating to a project that needs a quick turnaround time.

However, many professionals agree that if you are working on a project where more time can be devoted to the project, you’ll want to go with RAW. Even though ProRes 4444 retains a wealth of image information, this data is still far less than what you get with RAW.

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RAW assures you that you are getting the least compression. I’ve found that by using RED RAW over ProRes I have far more flexibility in post. If not much time can be devoted to post, then I’ll transcode to ProRes 422 in order to speed up my editing process. Working with RAW 4K footage can be taxing on your editing system.

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Here is a nice video comparison of ProRes going head to head with CinemaDNG through a Blackmagic Cinema Camera (video by Tom Majerski):

4. You Can Edit Outside of Final Cut Pro X

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While this seems like a no-brainer it’s a misconception that I’ve found with quite a few inexperienced video producers and filmmakers. I’ve heard “I thought you could only use ProRes in Final Cut” a few more times than I care to admit. ProRes is supported by all of the major editing softwares such as Premiere Pro, Avid Media Composer & Lightworks.

5. ProRes is a 10-bit Codec

The basic train of thought is the higher the bit number, the higher the quality of the video. Bits give us an idea on how many colors are being captured during filming (for most DSLRs you’ll be capturing 8-bit video). But ProRes is a 10 bit codec, so that means it can process a lot more color data. It’s a good rule of thumb that even if you capture 8-bit video using a DSLR (like a Canon 5D Mark III), you can convert that to ProRes and take advantage of the 10 bit encoding, which can make the color correction process easier.

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The folks at Atomos put it like this:

Even if your camera only outputs 8 bit video, it’s still better to work with a 10 bit codec, because all subsequent editing and processing will be done at the higher resolution. Imagine, even if your original was only 8 bit, adding a subtle colour tint. If you did that at only 8 bit resolution, you’d be adding contours to contours, whereas with 10 bit per channel resolution, you’ll get a much smoother effect. The bottom line is that it’s much better to work at 10 bit resolution than 8 bit, whatever the source of your video.

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What do you think of ProRes? Is it your codec of choice? Share in the comments below.