You've got to wonder why people keep 'effing around with pc codecs and
searching around endlessly in hidden directories for files when there is
such a thing called a Mac. Add up your hours and I think you'll find a Mac
would pay for itself within a month. Heave the cryptic multi-tasking Edsel
into the bin, get a Mac and spend your time focussing on ideas.

Just my thoughts,
Perth (way down south, not the bonnie one).

>For the record, I don't think ProRes is strictly lossless. But yes,
>it's always a good idea to create a digital master from which you can
>strike compressed copies. I always master using a truly lossless
>codec, such as Quicktime Animation at 100% quality. That preserves
>the RGB color space and 4:4:4 color sampling, whereas most codecs
>will convert to YCbCr and subsample the color channels. The downside
>is that file sizes get very large... 20 GB for a three minute film at
>  //  Aaron
>At 12/8/2013, you wrote:
>>More and more people are asking for h264 nowadays - the Good Enough
>>attitude which is fine for most of my work. From Premiere / Adobe
>>Media Encoder I use the Vimeo hd 720p30 setting which is what I
>>mostly shoot in.  Looked amazing on the big Vancouver Int'l Film
>>Centre screen last week. There's 1080i and p also I think.
>>Unfortunately, the projection booth is as varied as the edit suite
>>these days, so you might want to make a ProRes or other lossless
>>master and use that to produce versions as the need arises. Pumping
>>out overnight-encodings of various kinds is what computers are for,
>>after all... :-) > On Dec 8, 2013, at
>>1:51 PM, "Aaron F. Ross" <> wrote: > >
>>Unfortunately, the Apple ProRes encoder is not available for
>>Windows. There is a workaround involving ffmpeg, but it's a pain.
>>You have to render your clip to a lossless format such as QT
>>Animation, then convert using ffmpeg. This is a command line app,
>>but there is a front end gui available. > >
>> > > Barring ProRes, the
>>next best thing is AVID DNxHD, which is supported under Windows. But
>>it's doubtful that you'll see many festivals accepting that.
>>SIGGRAPH requires it, but they're really technocratic. > > Depending
>>on your image content, you might be OK with h.264 at high bandwidth
>>settings. I.e., ~24 megabits/sec for 1080p footage, ~5 megabits/sec
>>for 480p. If you're seeing artifacts, the old standby, motion JPEG,
>>may be an acceptable fallback position. > > Aaron > > > > > > At
>>12/8/2013, you wrote: >> Hey folk, >> >>  Just curious about what
>>the (presumably few) Premiere users among you do when you're
>>exporting a file for projection, what you've had good experiences
>>with etc. What say you? >> >> >> -- >> --ekrem serdar >> Austin,
>>TX >> (Sent from a toy) >>
>>_______________________________________________ FrameWorks mailing
>> > >
>>------------------------------------------- > > Aaron F. Ross >
>>Digital Arts Guild > >
>>_______________________________________________ > FrameWorks mailing
>>list > >
>>_______________________________________________ FrameWorks mailing
>Aaron F. Ross
>Digital Arts Guild
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