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Apple ProRes is a high quality, "visually lossless" lossy video compression format developed by Apple Inc. for use in post-production that supports video resolution up to 8K. It is the successor of the Apple Intermediate Codec and was introduced in 2007 with Final Cut Studio 2. [1] Much like the H.26x and MPEG standards, the ProRes family of ...
Uncompressed video is digital video that either has never been compressed or was generated by decompressing previously compressed digital video. It is commonly used by video cameras, video monitors, video recording devices (including general-purpose computers), and in video processors that perform functions such as image resizing, image rotation, deinterlacing, and text and graphics overlay.
Resolution Frame Size Chroma Subsampling Bits Frames Per Second Megabits per second Minutes per Gigabyte Avid DNxHD 440x: 1920 x 1080: 4:2:2: 10: 60: 440 0.325
The resolution 3840 × 2160, sometimes referred to as 4K UHD or 4K × 2K, has a 16:9 aspect ratio and 8,294,400 pixels. It is double the size of Full HD (1920 × 1080) in both dimensions for a total of four times as many pixels, and triple the size of HD (1280 × 720) in both dimensions for a total of nine times as many pixels. It is the lowest ...
High definition video (prerecorded and broadcast) is defined threefold, by: The number of lines in the vertical display resolution. High-definition television (HDTV) resolution is 1,080 or 720 lines. In contrast, regular digital television (DTV) is 480 lines (upon which NTSC is based, 480 visible scanlines out of 525) or 576 lines (upon which ...
2K resolution is a generic term for display devices or content having a horizontal resolution of approximately 2,000 pixels. [1] In the movie projection industry, Digital Cinema Initiatives is the dominant standard for 2K output and defines a 2K format with a resolution of 2048 × 1080 .
A Digital Cinema Package (DCP) is a collection of digital files used to store and convey digital cinema (DC) audio, image, and data streams. The term was popularized by Digital Cinema Initiatives, LLC in its original recommendation [1] for packaging DC contents. However, the industry tends to apply the term to the structure more formally known ...
In a conventional 65 mm camera, the film passes vertically through the camera, five perforations at a time, or 34 meters (112 ft) per minute. In comparison, in a conventional 35 mm camera, 35 mm film passes vertically through the camera, at four (smaller) perforations at a time, which translates to 27.4 meters (90 ft) per minute. [21]