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PAL DV resolutions have an even (lower field first) ordering.ġ080i HD has an odd (upper field first) ordering.įor all non-Avid QuickTime codecs, these options allow you to specify whether the file being imported has pixel values that are stored using computer RGB values (where the 0-700 mV (video black to video white) voltages are mapped using the full range of 0-255, 8-bit) or ITU-R BT.601/ITU-R BT.709 values (where the 0-700 mV voltages are mapped using the 601/709 standard range of 16-235, 8-bit). PAL 601 resolutions have an odd (upper field first) ordering. NTSC 601/DV resolutions have an even (lower field first) ordering. This setting defines how the source material is interlaced.Īn odd, or upper-field ordering uses the first line of each frame for field one.Īn even, or lower-field ordering uses the first line of each frame for field two. This is because the Avid QuickTime codec inverts the alpha during the movie's creation, saving time on import into your editing applications while not significantly adding to the creation time in a third-party program. When alpha is imported from a non-Avid QuickTime codec, select Alpha > Invert Existing. If you can't go lossless, Apple ProRes or Avid DNx are phenomenal options with tons of depth to work with, while not being too large.Īfter your done, most deliverable are sent to clients in Lossy formats and that is just fine and usually preferred.Use Existing in the Import Settings dialog box. Lossless is always ideal for the most information during a production. Certainly when the deliverable is for internet streaming. Although not technically lossless ProRes and DNx provides massive amounts of information to work with and manipulate files, even when the deliverable is going on the big screen. Well both Apple and Avid refer to their codecs as Virtually Lossless, which is a great marketing term for saying it is lossless, but really good.Īs an industry, video professionals agree. So the big question is always about ProRes and Avid DNx right? Apples ProRes especially is what the vast majority of non-feature film production is using. Why? Because they are often much smaller files and to the naked eye, a well compressed file is unrecognizable as to whether or not file information was lost in compression. In fact, outside of broadcast, most organizations want their final deliverable in a Lossy codec. Lossy codecs are wonderful for delivery, especially on the web. Common codecs include HEVC, MPEG4, H.264, AVC, and many others. Lossy Codecs also come with a variety of format options. The obvious advantage here, is with a lossless codec you always have all file information to work with and make adjustments. Meaning color depth, bit depth, pixels, frames and more. Lossless, means that when you use this type of compression for your file you do not lose any of the file information. The are many lossless video codecs, common ones include H.264 Lossless, H.265 Lossless, Motion JPEG Lossless, Apple Animation Quicktime RLE, Autodesk Animator Codec, and many more. Many files are acquired as compressed formats from the moment of creation. In any creative field, Photo Video Audio, you are working with compressed files constantly. Compression is applied to a variety of files.