Apple ProRes codecs provide an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates. Apple ProRes codecs take full advantage of multicore processing and feature fast, reduced-resolution decoding modes. All Apple ProRes codecs support any frame size (including SD, HD, 2K, 4K, and 5K) at full resolution. The data rates vary based on codec type, image content, frame size, and frame rate. Apple ProRes includes the following formats.
Santa Clara, CA -- (SPW) --
ASSIMILATE announced today it has added support in its SCRATCH post-production tools and workflow for encoding and decoding using the Apple ProRes 4444 XQ codec.
ProRes 4444 XQ is the highest-quality version of the ProRes codec for 4:4:4:4 image sources (including alpha channels). This format has a very high data rate to preserve the detail in high-dynamic-range imagery generated by today’s highest-quality digital image sensors. For the detailed facts and benefits, visit https://support.apple.com/en-us/HT202410.
“ProRes has become a de facto format in the industry for feature film, episodic television and documentary production,” said Jeff Edson, CEO at ASSIMILATE. “We’re committed to continually upgrading SCRATCH with the latest technologies and features so that content creators are empowered with high-performance tools to create their best work. We’re delivering best-in-class cross-platform functionality to our customers with officially licensed and certified ProRes 4444 XQ, ensuring consistency in workflow and providing an industry-standard deliverable to both Mac and Windows users.”
SCRATCH Backgrounder
SCRATCH 8.4 is the latest version of ASSIMILATE’s advanced, real-time post-production tools and workflow. It offers the latest advancements in digital cinema technology that DITs, post-production artists and all filmmakers need to be creative, productive, and competitive. SCRATCH 8.4 provides content creators with an abundance of advanced features that enable them to excel at what they do, and at a price everyone can afford.
Price and Availability
For more information about the SCRATCH product line, including SCRATCH VR, SCRATCH Web, SCRATCH Play, go to products at www.assimilateinc.com. For more information about ProRes 4444 XQ visit https://support.apple.com/en-us/HT202410.
About ASSIMILATE
ASSIMILATE is the premier provider of real-time post-production and workflow tools that have proven essential to the successful creation of 2D/3D/VR studio and independent feature films, documentaries, TV episodes, and music videos. The SCRATCH product line, running on Windows and OS X, equips directors, DPs, on-set DITs and post-production artists with the state-of-the-art, cost-effective, data-centric solutions they need to meet the challenges of increased creativity and productivity amid ever-shrinking budgets. SCRATCH is resolution independent, supporting multiple formats, including ARRI RAW, KineRAW, Sony F5/55/65 and Cyber Shot s700, Phantom, Panasonic Varicam 4K, Canon C300/C500, Canon 3DGoPro, as well as enhanced support for all RED cameras. SCRATCH is the only post-production tool to support native Kinefinity RAW (KRW and DNG) files. SCRATCH enables mixing and matching of any camera format, resolution or color space (including ACES) on the same timeline. SCRATCH 8.4 is the first professional production/post-product workflow and toolset for VR content. SCRATCH Web is the first professional, cloud-based dailies/review tool for reviewing immersive VR content anywhere in the world. Learn more at http://www.assimilateinc.com
One doesn't have to be a statistician to know that there are fewer commercials being shot in the U.S. today for the American market than ever before, and a dramatic decrease in L.A. in particular. In the last five years, as reported by FilmLA (the office tasked with issuing permits), L.A. commercial production has dipped 31 percent.
But hereโs the thing: This doesnโt mean that L.A. has lost its importance as the production center of the world. Production in L.A. is vital. It is the go-to. Itโs where you can count on access to exemplary crews, a support infrastructure second to none, varied location and backlot options, a large population of on-screen talent and (fairly) predictable weather.
The fact is, with overall decline and now the devastation of the fires, weโre on the brink of losing this mainstay resource. Without employment opportunities and now many without homes, talented and trained crew are bound to leave either the industry or the LA area for other opportunities, unless there are enough job opportunities to sustainย a solid living.
Now is the time when we ALL must support and bolster this community.
Production is needed in L.A., now!
Of course, advertising is a business, and marketersโ money should be spent as efficiently as possible, BUT we have to think beyond each production and know that if we lose the incredible resource of L.A. production as we know it, then marketers, agencies and the industry loses in the long run.
Over the past several days, some agencies have issued directives to production companies that are unilaterally pushing upcoming production options out of L.A. The fact is L.A. is a large area, and many sections of the city and county are not directly impacted... Read More