Just before NAB 2018, Apple announced ProRes RAW and ProRes RAW HQ, a new video codec aimed at professionals. When ProRes was originally launched it supported the YCbCr color space with 4:2:2 and 4:4:4:4 chrominance subsampling. ProRes is popular as an intermediate codec for transcoding video from the camera for editing or as a mezzanine codec for storing high quality edited video before transcoding to a delivery format. The 4:2:2 version is preferable for general purpose compression at high quality and 4:4:4:4 for applications such as chromakey or when on screen text and graphics will be added.
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There have been several articles in the past discussing the choice of video codec and arguments for and against (usually against) so-called Long GOP codecs. In this article I will be taking a closer look at GOP structures, discussing what Long GOP means and arguing that there is no one size fits all codec and that Long GOP, when used for the right content and application, is the only sensible choice.
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The first digital video standard, ITU-R BT.601, was published in 1982. After more than three decades of working with digital video formats people are still asking the question which format to use and when you should use it. Everyone wants video that can play anywhere, is high quality and has small file size.
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