{"id":4049,"date":"2015-09-29T18:53:03","date_gmt":"2015-09-29T18:53:03","guid":{"rendered":"https:\/\/adriengontier.com\/?page_id=4049"},"modified":"2019-12-23T12:19:51","modified_gmt":"2019-12-23T10:19:51","slug":"prores","status":"publish","type":"page","link":"https:\/\/adriengontier.com\/en\/prores\/","title":{"rendered":"COMPRESSION ProRes"},"content":{"rendered":"

\"ProRes\"<\/a>Tous les membres de la famille de codecs Apple ProRes prennent en charge les formats d\u2019image (incluant SD, HD, 2K, 4K et 5K) en pleine r\u00e9solution. Le d\u00e9bit de donn\u00e9es des codecs Apple ProRes varie en fonction du type de codec, ainsi que du contenu, de la dimension et de la fr\u00e9quence des images.
\nLa s\u00e9rie de codecs Apple ProRes inclut les formats suivants:<\/p>\n

Apple ProRes 4444 XQ – 12BITS – 4K UHD – 1861 Mbits\/s – \u00a0467MBPS en HD<\/big><\/b><\/p>\n

Il s’agit de la plus haute qualit\u00e9 du codec Apple ProRes pour les images sources 4:4:4:4 (avec canal alpha). Ce format poss\u00e8de un d\u00e9bit de donn\u00e9es particuli\u00e8rement \u00e9lev\u00e9 afin de pr\u00e9server tous les d\u00e9tails dans les hautes gammes dynamiques des images issues des derni\u00e8res g\u00e9n\u00e9rations de capteurs de tr\u00e8s haute qualit\u00e9. Le codec Apple ProRes 4444 XQ pr\u00e9serve des gammes dynamiques largement sup\u00e9rieures \u00e0 la gamme dynamique des images Rec. 709.
\nCette qualit\u00e9 est maintenue y compris lors des traitements d’effets visuels ou les niveaux de noirs ou hautes lumi\u00e8res sont r\u00e9duites consid\u00e9rablement<\/p>\n

Tout comme le standard Apple ProRes 4444, ce codec prend en charge jusqu’\u00e0 12 bits d’information par canal d’image et jusqu’\u00e0 16 bits pour le canal alpha.<\/p>\n

Apple ProRes 4444 XQ propose un d\u00e9bit de donn\u00e9es cible est d\u2019environ 500 Mbps pour les sources 4:4:4 \u00e0 1920 x 1080 et 29,97 ips.<\/p>\n

Apple ProRes 4444 –\u00a0<\/big>12BITS – 312mbps HD – 1241 en UHD<\/big><\/b><\/p>\n

Ce codec offre la meilleure qualit\u00e9 pour les sources 4:4:4:4 et pour les flux de travail impliquant des canaux alpha. Il pr\u00e9sente les caract\u00e9ristiques suivantes:<\/p>\n

– Couleurs RVBA 4:4:4:4 de qualit\u00e9 de pr\u00e9gravure en pleine r\u00e9solution, impossibles \u00e0 distinguer du mat\u00e9riel d\u2019origine avec excellentes performances multig\u00e9n\u00e9ration
\n– Canal alpha sans perte math\u00e9matique (jusqu\u2019\u00e0 16 bits) avec lecture en temps r\u00e9el
\n– Solution de grande qualit\u00e9 pour le stockage et l\u2019\u00e9change d\u2019animations et de cr\u00e9ations composites
\n– D\u00e9bit de donn\u00e9es exceptionnellement faible par rapport au format HD 4:4:4 non compress\u00e9 (le d\u00e9bit de donn\u00e9es cible est d\u2019environ 330 Mbps pour les sources 4:4:4 \u00e0 1920 x 1080 et 29,97 ips)
\n– Encodage et d\u00e9codage directs des formats de pixels RVB et Y\u2032CbCr<\/p>\n

Apple ProRes 422 (HQ) –\u00a0<\/big>10BITS<\/big><\/b><\/p>\n

Ce codec pr\u00e9serve la qualit\u00e9 visuelle au m\u00eame niveau \u00e9lev\u00e9 que le codec Apple ProRes 4444, mais pour des sources d\u2019images 4:2:2. Largement adopt\u00e9 dans le secteur de la postproduction vid\u00e9o, le codec Apple ProRes 422 (HQ) propose une pr\u00e9servation visuellement sans perte de la vid\u00e9o HD professionnelle de la plus haute qualit\u00e9 qu\u2019un signal HD-SDI (\u00e0 liaison unique) peut v\u00e9hiculer. Ce codec prend en charge les sources vid\u00e9o 4:2:2 en pleine largeur \u00e0 une profondeur de pixels de 10 bits, tout en restant visuellement sans perte tout au long des cycles de d\u00e9codage\/r\u00e9encodage.<\/p>\n

Le d\u00e9bit de donn\u00e9es cible du codec Apple ProRes 422 (HQ) est d\u2019environ 220 Mbps \u00e0 1920 x 1080 et 29,97 ips.<\/p>\n

Apple ProRes 422\u00a0<\/big>–\u00a0<\/big>10BITS<\/big><\/b><\/p>\n

Ce codec pr\u00e9sente presque tous les avantages du codec Apple ProRes 422 (HQ), mais \u00e0 66 pour cent du d\u00e9bit de donn\u00e9es, pour de meilleures performances de montage multiflux en temps r\u00e9el.<\/p>\n

Apple ProRes 422 (LT)\u00a0<\/big>–\u00a0<\/big>10BITS<\/big><\/b><\/p>\n

Avec un d\u00e9bit de donn\u00e9es cible correspondant \u00e0 environ 70 pour cent du d\u00e9bit de donn\u00e9es du codec Apple ProRes 422 et des tailles de fichier plus petites de 30 pour cent par rapport au codec Apple ProRes 422, ce codec est id\u00e9al pour les environnements o\u00f9 la bande passante et la capacit\u00e9 de stockage sont limit\u00e9es.<\/p>\n

Apple ProRes 422 (Proxy)<\/big>–\u00a0<\/big>10BITS<\/big><\/b><\/p>\n

Ce codec est con\u00e7u pour \u00eatre utilis\u00e9 dans les flux de travail hors ligne qui n\u00e9cessitent des d\u00e9bits de donn\u00e9es faibles mais des vid\u00e9os en pleine r\u00e9solution. Le d\u00e9bit de donn\u00e9es cible correspond \u00e0 environ 30 pour cent de celui du codec Apple ProRes 422.<\/p>\n

Informations compl\u00e9mentaires<\/big><\/b><\/p>\n

Les codecs Apple ProRes 4444 et Apple ProRes 4444 XQ sont parfaitement adapt\u00e9s pour les \u00e9changes de fichiers graphiques anim\u00e9s car ils sont virtuellement sans perte. Ce sont les deux seules variantes du codec ProRes qui prennent en compte les canaux alpha.<\/p>\n

 <\/p>\n

 <\/p>\n

Petit rappel sur les HDD interne (test sur mac pro en Sata2)
\nsur les memes disques Seagate 7200 tours\/min de 3To achet\u00e9 en 12\/2015
\n– la vitesse du disque en solo est de wr 103,6 MB\/s – rd 122.3 MB\/s
\n– la vitesse du disque en RAID duo est de wr 317,6 MB\/s – rd 344,6 MB\/s
\n– la vitesse du disque en RAID trio est de wr 505.0 MB\/s – rd 502,5 MB\/s<\/strong><\/p>\n

CODEC DEBIT – 30fps<\/p>\n

[one_half]<\/strong><\/span><\/p>\n

HD<\/p>\n

1920 x 1080<\/p>\n

Apple ProRes 444 XQ – 62.5 MB\/s<\/p>\n

Apple ProRes 444 – 41.25 MB\/s<\/p>\n

Apple ProRes 422 HQ – 27.5 MB\/s<\/p>\n

Apple ProRes 422 – 18.4 MB\/s<\/p>\n

Apple ProRes 422 LT – 12.75 MB\/s<\/p>\n

Apple ProRes Proxy – 5.6 MB\/s<\/p>\n

Calculs bas\u00e9s sur une fr\u00e9quence d’images de 30 i\/s.<\/p>\n

 <\/p>\n

[\/one_half][one_half_last]<\/strong><\/span><\/p>\n

 <\/p>\n

4k<\/p>\n

4608 x 2592<\/p>\n

CinemaDNG RAW 3:1 – 180 MB\/s<\/p>\n

CinemaDNG RAW 4:1 – 135 MB\/s<\/p>\n

3840 x 2160<\/p>\n

Apple ProRes 444 XQ – 250 MB\/s<\/p>\n

Apple ProRes 444 – 165 MB\/s<\/p>\n

Apple ProRes 422 HQ – 110 MB\/s<\/p>\n

Apple ProRes 422 – 73.6 MB\/s<\/p>\n

Apple ProRes 422 LT – 51 MB\/s<\/p>\n

Apple ProRes Proxy – 22.4 MB\/s<\/p>\n

[\/one_half_last]<\/h3>\n

voir aussi<\/p>\n

https:\/\/adriengontier.com\/redraw\/<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Tous les membres de la famille de codecs Apple ProRes prennent en charge les formats d\u2019image (incluant SD, HD, 2K, 4K et 5K) en pleine r\u00e9solution. Le d\u00e9bit de donn\u00e9es des codecs Apple ProRes varie en fonction du type de codec, ainsi que du contenu, de la dimension et de la fr\u00e9quence des images. La […]<\/p>\n","protected":false},"author":3,"featured_media":7351,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-4049","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nCOMPRESSION ProRes<\/title>\n<meta name=\"description\" content=\"Compression ProRes\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/adriengontier.com\/en\/prores\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"COMPRESSION ProRes\" \/>\n<meta property=\"og:description\" content=\"Compression ProRes\" \/>\n<meta property=\"og:url\" content=\"https:\/\/adriengontier.com\/en\/prores\/\" \/>\n<meta property=\"og:site_name\" content=\"Adrien Gontier, Directeur de 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