Here are my recommendations on the Prores/DNxHR(HD) vs XAVC S problem. First, the differences between Prores and DNxHR/HD:
- On Macs, choose Prores, period. If you are handed DNxHR/HD, you can work with it if you download the Avid codecs for QT pack (free).
- On PCs, DNxHD/HR is preferable. Prores will play if you have QT, but I’ve found it’s always slower on PCs for some reason.
- DNxHR for 4K, DNxHD for 1080p.
Here’s a quick chart of the variants available and their data rates (specific to the a7S II and a7R II only):
For 1080p30 (in Mbps) | |
XAVC S (8-bit) | 50 |
Prores HQ (10-bit) | 220 |
Prores 422 (8-bit) | 147 |
Prores LT (8-bit) | 102 |
DNxHD 220x (10-bit) | 220 |
DNxHD 220 (8-bit) | 220 |
DHxHD 145 (8-bit) | 145 |
DNxHD 45 (8-bit) | 45 |
For 4K (in Mbps) | |
XAVC S (8-bit) | 100 |
Prores HQ (10-bit) | 884 |
Prores 422 (8-bit) | 589 |
Prores LT (8-bit) | 410 |
DNxHD HQX (10-bit) | 699 |
DNxHD HQ (8-bit) | 699 |
DHxHD SQ (8-bit) | 462 |
DNxHD LB (8-bit) | 143 |
Here are some important resources to learn more about Prores/DNxHD/DNxHR:
- Apple Prores White Paper (PDF)
- Avid DNxHD White Paper (PDF)
- Avid high-resolution White Paper (PDF, DNxHR is in there)
- List of DNxHD/HR resolutions and bit rates
- DNxHR codec variants
Now follow this simple flowchart:
1. Are you shooting chroma keys? Or is there compositing work involved?
If yes, shoot Prores HQ/DNxHR(HD) HQ/HQX.
If no, go to step 2.
2. When grading, will you be using more than one power window or mask per shot? Or Will you need multiple renders of a shot?
If yes, shoot Prores HQ/DNxHR(HD) HQ/HQX.
If no, go to step 3.
3. Are you shooting for strict broadcast delivery (10-bit 4:2:2)?
If yes, go to step 5.
If no, go to step 4.
4. Will my work be sent to a post house or studio who will convert to Prores/DNxHD/DNxHR anyway?
If yes, go to step 5.
If no, shoot XAVC S.
5. Will there be any grading at all?
If yes, shoot Prores HQ/DNxHD/DNxHR HQ/HQX.
If no, shoot Prores LT/DNxHD 145/DNxHR LB.
6. Are you shooting 4K or 1080p?
For 4K, go to step 7.
For 1080p, shoot XAVC S.
7. Do you have a slow computer (i3, i5 or low-end i7 processor)?
If yes, shoot either Prores LT or DNxHR LB. XAVC S 4K needs a good CPU to decompress in realtime.
If no, stick to XAVC S.
Bottom line
I think it’s worthwhile to go big or go home. If you’re opting for an external recorder for its color grading/chroma keying advantages, shoot HQ/HQX. Forget about the other variants.
However, if you’re opting for an external recorder because XAVC S 4K is slow on your computer, you can stick to the lowest setting because that would be equivalent to XAVC S 4K.
For a detailed comparison of internal vs external codecs, check out Comparison of XAVC S vs Prores vs DNxHR.
FAQs
Should you use Prores LT or 422, or DNxHD 145 or DNxHR SQ/LB?
For general work, I recommend XAVC S over either Prores 422 or LT, or DNxHD 145 or DNxHR LB/SQ. For the times you need Prores/DNxHR, you need HQ/HQX and the data cushion it provides.
When should you NOT shoot Prores?
If you’re a Windows user, avoid Prores.
I’m grading my movie or project in Resolve or Speedgrade. Should I choose XAVC S or Prores HQ or DNxHD 220x?
XAVC S is okay for all normal to medium grading work, which is 99% of projects, even cinema-quality ones.
How do you know when to use Prores HQ or DNxHD 220x or DNxHR HQ/HQX? Here are some questions to ask yourself:
- Will I use more than one power window or mask?
- Is there any compositing work involved?
- Is there some extreme noise reduction to be performed?
- Will my work be sent to a post house or studio who will convert to Prores anyway?
- Is my work intended to be delivered to broadcast (10-bit, 4:2:2)?
If the answer to any of the above is yes, then shoot Prores/DNxHD/DNxHR.