This is true. 

I was at a closed door, invitation only demonstration of a professional cinematography camera (manufacturer not to be named) one morning at the NAB last month. The room consisted of A level DP's and directors. I sat in the back row and listened and learned. After the suit and tie presentation by Japanese R&D, sales and technicians was over (and a very impressive one indeed), there were polite exchanges of pleasantries between the listening group and the pesenters. The camera had great features and the demo's shot by the DP's showed impressive dynamic range and S/N figures. But in the end, one major flaw was brought up to the manufacturer: No ProRes support. Oh yes, this company and it's camera had a wonderful new propriety codec. But the DP's and others said basically: "Your camera is a splendid new device but if it does not support Apple codecs, if will not be a rentable i.e. usable item". 

Now for those who are not aware, Apple ProRes 4444 is widely used in Hollywood (and other) shoots. Granted it's not the newest codec but the producers, directors, DP's and others depend on a consistent workflow and ProRes is it. In our business, ProRes is the most requested codec for video reformatting, period.

So whether one likes Apple or not can be debated, but the foundation for video acquisition and post have been set and it's Apple ProRes.

My apologies for such a video centered post but I thought it necessary to give some perspective as to what row Apple products play in the acquisition and post world.


David Crosthwait
DC Video

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>>> On May 17, 2015, at 7:25 PM, Jamie Howarth <[log in to unmask]> wrote:
>>> Apple is the industry standard for audio and video.