Este posibil ca produsele, serviciile și funcțiile sistemului de operare
să nu fie disponibile în această țară.
Motion 5.5.2
Motion 5.5.1
Motion 5.5
Motion 5.4.6
Motion 5.4.4
Modificarea acestei comenzi va actualiza automat această pagină

Popular video codecs in Motion

In Motion, you can use video compressed with nearly any video codec. However, it’s best to use high-quality codecs with a minimum of compression. Codecs that highly compress files, such as MPEG-4 or Sorenson, are less suitable for creating high-quality work.

Not all codecs support alpha channels. Alpha channels are useful if you’re delivering an effects shot for use in someone else’s composition. If you’re required to export a composition using a codec with no alpha channel support, you must export the alpha channel as a separate grayscale media file.

Note: Motion processes color in the RGB color space. Any clips that were captured or recompressed using a Y’CBCR-aware codec, such as DV, the Apple ProRes family, or Uncompressed 8-bit 4:2:2, are converted to the RGB color space when used in a Motion project. Clips exported from Motion using a Y’CBCR codec are converted back into the Y’CBCR color space.

For a complete list of file formats supported by Motion, see Supported media formats in Motion.

Apple ProRes

Apple ProRes codecs provide an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates. Apple ProRes codecs take full advantage of multicore processing and feature fast, reduced-resolution decoding modes. All Apple ProRes codecs support any frame size (including SD, HD, 2K, and 4K) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate.

Apple ProRes includes the following formats:

  • Apple ProRes Raw: Apple’s newest ProRes option, based on the same principles and underlying technology as existing ProRes codecs, but applied to a camera sensor’s pristine raw image data rather than conventional image pixels. ProRes RAW is available at two compression levels: Apple ProRes RAW and Apple ProRes RAW HQ. Both achieve excellent preservation of raw video content, with additional quality available at the higher data rate of Apple ProRes RAW HQ. Compression-related visible artifacts are very unlikely with Apple ProRes RAW, and extremely unlikely with Apple ProRes RAW HQ. ProRes RAW brings to raw video the same great performance, quality, and ease of use that ProRes has brought to conventional video, in a format ideal for high-dynamic-range (HDR) content creation.

  • Apple ProRes 4444 XQ: The highest-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels), with a very high data rate to preserve the detail in high-dynamic-range imagery generated by today’s highest-quality digital image sensors. Apple ProRes 4444 XQ preserves dynamic ranges several times greater than the dynamic range of Rec. 709 imagery—even against the rigors of extreme visual effects processing, in which tone-scale blacks or highlights are stretched significantly. Like standard Apple ProRes 4444, this codec supports up to 12 bits per image channel and up to 16 bits for the alpha channel. Apple ProRes 4444 XQ features a target data rate of approximately 500 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps.

  • Apple ProRes 4444: An extremely high-quality version of Apple ProRes for 4:4:4:4 image sources (including alpha channels). This codec features full-resolution, mastering-quality 4:4:4:4 RGBA color and visual fidelity that is perceptually indistinguishable from the original material. Apple ProRes 4444 is a high-quality solution for storing and exchanging motion graphics and composites, with excellent multigeneration performance and a mathematically lossless alpha channel up to 16 bits. This codec features a remarkably low data rate compared to uncompressed 4:4:4 HD, with a target data rate of approximately 330 Mbps for 4:4:4 sources at 1920 x 1080 and 29.97 fps. It also offers direct encoding of, and decoding to, both RGB and Y’CBCR pixel formats.

  • Apple ProRes 422 HQ: A higher-data-rate version of Apple ProRes 422 that preserves visual quality at the same high level as Apple ProRes 4444, but for 4:2:2 image sources. With widespread adoption across the video post-production industry, Apple ProRes 422 HQ offers visually lossless preservation of the highest-quality professional HD video that a single-link HD-SDI signal can carry. This codec supports full-width, 4:2:2 video sources at 10-bit pixel depths, while remaining visually lossless through many generations of decoding and reencoding. The target data rate of Apple ProRes 422 HQ is approximately 220 Mbps at 1920 x 1080 and 29.97 fps.

  • Apple ProRes 422: A high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing performance. The target data rate of Apple ProRes 422 is approximately 147 Mbps at 1920 x 1080 and 29.97 fps.

  • Apple ProRes 422 LT: A more highly compressed codec than Apple ProRes 422, with roughly 70 percent of the data rate and 30 percent smaller file sizes. This codec is perfect for environments where storage capacity and data rate are at a premium. The target data rate of Apple ProRes 422 LT is approximately 102 Mbps at 1920 x 1080 and 29.97 fps.

  • Apple ProRes 422 Proxy: An even more highly compressed codec than Apple ProRes 422 LT, intended for use in offline workflows that require low data rates but full-resolution video. The target data rate of Apple ProRes 422 Proxy is approximately 45 Mbps at 1920 x 1080 and 29.97 fps.

Note: Apple ProRes 4444 and Apple ProRes 4444 XQ are ideal for the exchange of motion graphics media because they are virtually lossless, and are the only Apple ProRes codecs that include alpha channel support to preserve transparency for later compositing.

MXF

MXF (Material eXchange Format) is an industry standard container format for video and audio. Similar to QuickTime files, a metadata wrapper describes the media within the MXF file. This information can include frame rate, frame size, creation date, and custom data created by a camera operator, assistant, or archivist.

Third-party codecs

Numerous video-editing solutions use different codecs, some of which may be available for installation to encourage interoperability. For more information, contact the manufacturer of the editing system.

Note: Most third-party codecs cannot have alpha channels.

Morty Proxy This is a proxified and sanitized view of the page, visit original site.
Util?
Limită de caractere: 250
Limita maximă de caractere este de 250.
Îți mulțumim pentru feedback.
Morty Proxy This is a proxified and sanitized view of the page, visit original site.