This camcorder also allows all XDCAM HD data rates including 50Mb XDCAM HD, and also support slow motion acquisition of 1280x720 material. Frustratingly, although a 24P (23.98P) facility for this camera has been announced, it will also be a chargeable option requiring the CBKZ-FC02 software planned to be available for Summer 2009.
As an acquisition (camera) codec, I like it just fine. But camera codecs aren't necessarily optimized for graphics, text, etc. This is a 50mb MPEG-2 Codec. If you told me you were going to a playout server? Then yeah, archive/finish everything in xdcam. But I'd use ProRes 422 to master (or DNxHD). The data rates are roughly 3x HDCam422. Three 1/2-inch type Exmor CMOS sensors XDCAM camcorder recording Full HD XAVC 100 Mbps, with wireless and 16x zoom HD lens options. (PXW-X320L lens-less model also available) PDW-850. Three 2/3-inch Power HAD FX CCD sensors XDCAM HD422 ultimate Professional Disk camcorder with best picture quality and easy-to-share and archive media.
Easy Integration
Integrates into the production workflow of any TV station or post-production facility.
One User Interface, Multiple Channels
Built-in video and audio previews and the versatile single/multi-channel inspector enables the ingest operator to control all available ingest machines from a single user interface.
Format and Container Support
Dynamically record multiple video sources directly into industry-standard Apple QuickTime, MXF OP-1a and MP4 containers with broadcast-grade codecs.
Multichannel Recording
Sophisticated single and multi-channel ingest, with growing file support, in one flexible, expandable client-server ingest solution. 24/7 deployment in time-sensitive broadcast environments.
Safety First
Smart fallback destinations for out-of-storage or network connection loss scenarios and safe-write logic in the event of a power outage.
Presets
Customizable presets to quickly switch between commonly used setups.
Speed up your Process
Use multiple concurrent instances to significantly speed up editing in your NLE or to generate a proxy alongside the high-res file.
Extensive Metadata Support
The XML metadata engine enables you to customise XML exports to accompany QuickTime and MXF generated files – or to write the desired metadata set directly into the QuickTime file.
Marker Support for Adobe Premiere Pro
Xdcam Hd 422 Codec For Mac Os
Markers can be used for all kind of recordings where the operator needs to mark highlights, scenes or specific actions to speed up the post-production workflow.
Full NDI® Support
Full discovery and recording support for NDI® sources based on the open, low-latency video-over-IP protocol developed by NewTek ™.
Xdcam Hd 422 Codec For Mac Windows 10
Supported Codecs & Containers
- XDCAM EX, XDCAM HD, XDCAM HD422
- ProRes 422, LT, Proxy, HQ
- ProRes 4444 (with alpha)
- H.264
- HEVC
- DVCPRO HD
- IMX 30/40/50
- ProRes 422, LT, Proxy, HQ
- ProRes 4444 (with alpha)
- XDCAM EX, XDCAM HD, XDCAM HD422
- AVC-Intra 50M/100M
- DNxHD, DNxHR
- H.264
Supported Frame Rates
- 23.976, 24, 25, 29.97, 30, 50, 59.94, 60
- Supported frame rates are container and codec specific
System Requirements
- Apple Mac Pro, iMac, iMac Pro or Mac mini
- Apple macOS Mojave (10.14.x) or macOS Catalina (10.15.x)
- Support for AJA and Blackmagic Design video devices
- For detailed system requirements please consult the online user manual or contact us
UPDATE — October, 2011: ProRes is no longer just an editing codec – it’s also used in portable field recording devices to bypass in-camera compression, capturing directly to ProRes with 10-bit 4:2:2 quality, ready to edit! Learn more about this exciting new hardware here or see our review of the Atomos Ninja for a detailed look at just one of the solutions that we provide.
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Apple introduced the ProRes 422 video codec for Final Cut Studio 2 users in 2007. The codec is said to offer uncompressed quality in a compressed codec, but many editors are nervous about using anything less than full uncompressed video to retain broadcast quality. So what is ProRes 422, and how does it measure up against uncompressed HD video?
ProRes 422 is a full-raster codec, meaning the video is not scaled down. The full 1920×1080 image is used, unlike DVCPRO-HD or XDCAM, which scale HD 1080 video down to 1280×1080 and 1440×1080 respectively, effectively tossing out a large amount of picture data to save space.
Xdcam Codec
Next, ProRes 422 uses a full 10-bit 4:2:2 color space, which provides much better color fidelity than 8-bit color. This makes a real difference when color grading and compositing images. There is simply more color data to work with, and that can eliminate color banding issues by providing more steps in color gradients.
ProRes 422 uses a variable bit-rate compression scheme in which complex scenes are less compressed than basic or static scenes, so the quality is distributed as needed to maximize the efficiency of the codec for the best possible image. For 1080i, the ProRes 422 data rate is 145Mbps, and there’s also an HQ setting with a 220Mbps rate.
Compared to uncompressed HD video, ProRes files are about five times smaller, using about 20% as much hard drive space per hour. This means smaller, less expensive storage systems can be utilized, making broadcast-quality HD video production more affordable to smaller production houses and independent video producers. ProRes 422 HD video files are so efficient they can be captured and edited on a Mac Book Pro, something you wouldn’t try with uncompressed HD!
The easiest way to use the USB adapter is to reboot. If you hold down the Option key while clicking on the Bluetooth menu icon, the MAC address of the adapter should be different. You can also verify in System Profiler. You'll know it's working if any existing pairings break. On your Mac, choose Apple menu System Preferences, then click Bluetooth. Select the device in the list, then click Connect. If asked, click Accept (or enter a series of numbers, then press Enter). You need to connect your Mac with the device only once. NETGEAR Nighthawk AC1900 WiFi USB 3.0 adapter wirelessly connects your laptop or desktop computer to the next-gen 802.11ac technology with WiFi speeds up to 1.9Gbps. Connect the adapter to a USB 3.0 port and is compatible with next generation WiFi devices and compatible with 802.11ac/n and all legacy WiFi devices. See all USB Wi-Fi Adapters $74.99. Usb bluetooth for mac os.
There are other HD codecs with lower data rates available, but because they are more highly compressed, they take more processing power to encode and decode (play back). The ProRes 422 codec provides a good middle-ground by providing a smaller file size than uncompressed, while providing easy capture and playback on even marginal machines.
But what about quality? Review after review by video professionals have consistently rated ProRes 422 quality as “visually equivalent” and “undistinguishable” from uncompressed footage, even after multiple encode/decode cycles. This can’t be said about many other compressed codecs available today.
Another important benefit of ProRes 422 is that it allows more layers of Dynamic RT playback. 4 layers of 1080i can be expected, and 720p 24 editors can expect up to 14 layers of HQ footage playback in real time. For reference, a powerful 8-core machine with a video RAID might only play a single stream of uncompressed HD.
Even if you don’t normally work with uncompressed video, ProRes 422 can help editors who shoot with compressed formats such as HDV, which is an 8-bit 4:2:0 format using MPEG-2 Long-GOP compression. HDV does not hold up well to editing, so by capturing to the ProRes 422 codec right away, quality will be maintained from that point on, and it’s easier for the system to work with as well.
The ProRes 422 codec is supported in the AJA IoHD product, which is a portable capture and playback interface for use with Mac computers. SD and HD video with audio can be captured via a comprehensive set of professional inputs, with the incoming video being converted to ProRes 422 in the AJA hardware and sent to the Mac via Firewire. When playing back ProRes 422 clips from the Final Cut Pro 2 timeline, video is sent over the Firewire back to the IoHD to be sent out any of the unit’s many outputs to various recorders and displays at full quality.
Another i/o device for the Mac is the Matrox MXO2, which has similar connectivity to the IoHD, but lacks a hardware ProRes 422 encoder – it is up to the host computer to encode to ProRes on the fly using its processor, so older Mac Books may not be up to the task to capture HD footage. As always, it’s a good idea to not only compare tech specs, but check video forums online to see how devices like these are performing for actual users to help determine which would suit your needs and budget.
One last tip – while the ProRes HQ codec is great for video from high-end sources, it may be overkill for formats like HDV. It’s been reported that users are better off to use the standard ProRes 422 codec at 145Mbps with the lower-end HD formats, as there is no advantage to using the HQ codec when starting with a highly-compressed and scaled HD source format.
Sony Xdcam Driver
If you’re a Final Cut Pro 2 user and have not tried working with ProRes 422, you owe it to yourself to try it today and see the benefits for yourself.