It is a very efficient system for the delivery of images because it makes it possible to encode visually similar picture quality at drastically lower data rates. Where DV compressed each standard definition frame as a separate still image using a data rate of 25 mbps, HDV used MPEG-2 to compress Groups Of Pictures (GOP) which is the same system used by DVDs, Digital Broadcast TV, Streaming services, etc. The compromise to get a 1920 x 1080 image recording to work with the little tape format involved a completely different approach to compression.
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However, HDV actually delivered something closer to the original intention of DV, which was a high-end home video format rather than an entry-level professional format. The affordable and accessible DV with the higher resolution of HD. So when the HDV format was announced in 2003 it promised to bring these two huge leaps in video technology together. Initially, Sony’s HDCAM tape format made shooting HD 1920 x1080 a similar process to shooting on the industry-standard Digital Betacam format, and over the next few years, post-production also became manageable, particularly with the introduction of Blackmagic Design’s HD Decklink cards that allowed HD SDI video sources to capture directly into a computer. For schools, universities, drama clubs, and many other organizations, even advertising agencies could suddenly create video content in-house to a standard that simply wasn’t possible before.Īround the same time, HDTV was starting to make an impact at the high end of the industry.
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Tape to tape edit suites were extremely expensive and to start with, digital NLE systems were even more so. Suddenly individuals and businesses could go to their local electronics store and get everything they needed to be able to shoot and edit video to a standard that only very recently had only been possible for TV stations and major facilities. It is hard to put into perspective now what a big deal all of this was back then.
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Their new Final Cut Pro app then made it possible to edit this footage with frame-accurate precision while maintaining the “broadcast-ish” picture and sound quality. The data traveled straight from the tape along the FireWire cable to the Mac. But the FireWire interface that was built into the cameras and into the Apple Mac’s of the day made it possible to get the pictures and sound into a computer with no additional hardware and just as importantly, no loss of quality. The small, lightweight, and affordable consumer and prosumer cameras delivered picture quality that was far closer to traditional broadcast quality than had ever been possible outside of traditional TV camera systems. DV was one of those things that punched above its weight from day one. Apple and its Final Cut Pro application had ridden the wave of accessible desktop video editing in the late 1990s and one of the key developments that made this possible was the DV video format. ProRes basically began as Apple’s second attempt to solve the problem of editing HDV.
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Now that the ProRes enabled update to the iOS is available and Apple have also announced M1 Pro and M1 Max with ProRes hardware acceleration on the new MacBook Pro 14” and 16” models, it’s perhaps worth revisiting some of the reasons why ProRes was and still is such a big deal for the industry and why Apple would be doubling down on this family of codecs. When Filmic Pro got in before Apple and released their implementation of the ProRes capabilities for the iPhone 13 Pro there was a collective gasp from many in the industry as test images started to appear and the quality difference was immediately apparent. However, this really only scratches the surface of why the need for ProRes?
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