[FFmpeg-user] Colour metadata not preserved when re-encoding ProRes/mov to FFV1/mkv
Kieran O Leary
kieran.o.leary at gmail.com
Wed Jul 25 18:27:09 EEST 2018
On Wed, Jul 25, 2018 at 2:56 PM, Reto Kromer <lists at reto.ch> wrote:
> Kieran O Leary wrote:
>>Reto: Can you elaborate on the multiplication that you mention?
>>I'm assuming that this is not just the increase in file size
>>that you mention,
> I guess, that's the more "visible" aspect for many archives.
> (I used the term "multiplication" (in quotation marks), because
> it's more that just an addition.)
>>but perhaps you're referring to losslessly
>>compressing a proprietary lossy codec and ending up with
>>something that could be more complex than is necessary?
> For example the increased complexity slows down the workflows.
> If you have just a few of those files, then it doesn't really
> hurt; but if there are PB, then it does make a difference in
> terms of needed time and/or infrastructure. I have included
> ProRes and QuickTime issues in presentations during the last
> year or so, and an article will possibly be published by the
> IASA Journal.
We'd really just be looking at a few hundred files I think, all
created in-house back when ProRes was what was used when performing
telecine or tape migrations.
I hope your article makes it into IASA, it's such an important topic.
>>I think even
>>if we go ahead with this normalisation of our legacy in-house
>>created material, applying it to potential ProRes
>>donations/deposits would be a different conversation..
> My concern is about "ProRes-born" materials. For example many
> video artists have used or are still using this way to create.
> Or low-budget productions. In all those situations ProRes is the
> best possible quality.
Aye, I think we share this concern.
> I would also be interested in knowing the ratio, let's say,
> between ProRes 4444 and DPX productions which are currently
> screened as DCP in theatres.
Me too! It might be worth doing a survey actually with post-production houses.
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