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Apple ProRes White Paper January 2020 Contents Introduction 3 Authorized Apple ProRes Implementations 4 Apple ProRes Family Overview 5 Properties of Digital Images 8 Frame Size (Full-Width Versus Partial-Width) 8 Chroma Sampling 9 Sample Bit Depth 10 Properties of Apple ProRes Codecs 11 Data Rate 12 Quality 15 Performance 18 Alpha Channel Support in Apple ProRes 4444 Codecs 22 Appendix 23 Target Data Rates 23 Glossary 26 Apple ProRes January 2020 2 Introduction Apple ProRes is one of the most popular codecs in professional post-production. The ProRes family of video codecs has made it both possible and affordable to edit full-frame, 10-bit, 4:2:2 and 4:4:4:4 high-definition (HD), 2K, 4K, 5K, and larger video sources with multistream performance in Final Cut Pro X. This white paper provides in-depth information about the ProRes family of codecs, including technical specifications and performance metrics. For information about Apple ProRes RAW, which brings to raw video the same great performance, quality, and ease of use that ProRes has brought to conventional video, see the Apple ProRes RAW White Paper. Apple ProRes January 2020 3 Authorized Apple ProRes Implementations Apple ProRes is a codec technology developed for high-quality, high-performance editing in Final Cut Pro X. Apple has licensed ProRes to select companies for use in specific products and workflows. In some instances, unauthorized codec implementations have been used in third-party software and hardware products. Using any unauthorized implementation (like the FFmpeg and derivative implementations) may lead to decoding errors, performance degradation, incompatibility, and instability. For a list of all authorized ProRes licensees and developers, and for licensing information, go to support.apple.com/kb/HT5959. If you’re using or considering purchasing a product that encodes or decodes ProRes, and that product is not on this list, contact Apple at [email protected]. Apple ProRes January 2020 4 Apple ProRes Family Overview Apple ProRes codecs provide an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates. ProRes codecs take full advantage of multicore processing and feature fast, reduced-resolution decoding modes. All ProRes codecs support any frame size (including SD, HD, 2K, 4K, 5K, and larger) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. As a variable bit rate (VBR) codec technology, ProRes uses fewer bits on simple frames that would not benefit from encoding at a higher data rate. All ProRes codecs are frame-independent (or “intra-frame”) codecs, meaning that each frame is encoded and decoded independently of any other frame. This technique provides the greatest editing performance and flexibility. A variety of cameras can now capture and record a wider gamut of color values when working in log or raw formats. You can preserve a wider color gamut by recording with the ProRes LOG setting on certain cameras such as the ARRI ALEXA or transcoding from the RED® camera’s REDCODE® RAW format. Final Cut Pro 10.3 or later can process color in wide color gamut and output ProRes files in the Rec. 2020, DCI-P3, or D65-P3 color space. This results in deeper colors and more detail, with richer red and green areas of the image. With Final Cut Pro 10.3 or later, you can also export ProRes files inside an MXF metadata wrapper instead of exporting .mov files. This makes the exported video file compatible with a wide range of playback systems that rely on the MXF standard for broadcast and archiving. Apple ProRes January 2020 5 Apple ProRes Family Overview Apple ProRes includes the following formats: Apple ProRes 4444 XQ: The highest-quality version of 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. Note: Apple ProRes 4444 XQ requires OS X 10.8 Mountain Lion or later. Apple ProRes 4444: An extremely high-quality version of 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 re-encoding. 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 January 2020 6 Apple ProRes Family Overview 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 XQ and Apple ProRes 4444 are ideal for the exchange of motion graphics media because they are virtually lossless, and are the only ProRes codecs that support alpha channels. Apple ProRes January 2020 7 Properties of Digital Images The technical properties of digital images correspond to different aspects of image quality. For example, high-resolution HD images can carry more detail than their lower-resolution SD counterparts. 10-bit images can carry finer gradations of color, thereby avoiding the banding artifacts that can occur in 8-bit images. The role of a codec is to preserve image quality as much as possible at a particular reduced data rate, while delivering the fastest encoding and decoding speed. The Apple ProRes family supports the three key properties of digital images that contribute to image quality—frame size, chroma sampling, and sample bit depth—while offering industry- leading performance and quality at each supported data rate. In order to appreciate the benefits of the ProRes family as a whole and to choose which family members to use in various post-production workflows, it is important to understand these three properties. Frame Size (Full-Width Versus Partial-Width) Many video camcorders encode and store video frames at less than the full HD widths of 1920 pixels or 1280 pixels, for 1080-line or 720-line HD formats, respectively. When such formats are displayed, they are upsampled horizontally to full HD widths, but they cannot carry the amount of detail possible with full-width HD formats. All ProRes family members can encode full-width HD video sources (sometimes called “full-raster” video sources) to preserve the maximum possible detail an HD signal can carry. ProRes codecs can also encode partial-width HD sources if desired, thereby averting potential quality and performance degradation that results from upscaling partial-width formats prior to encoding. Apple ProRes January 2020 8 Properties of Digital Images Chroma Sampling Color images require three channels of information. In computer graphics, a pixel’s color is typically defined by R, G, and B values. In traditional digital video, a pixel is represented by Y’, CB, and CR values, where Y’ is the “luma” or grayscale value and CB and CR contain the “chroma” or color-difference information. Because the eye is less sensitive to fine chroma detail, it is possible to average together and encode fewer CB and CR samples with little visible quality loss for casual viewing. This technique, known as chroma subsampling, has been used widely to reduce the data rate of video signals.
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