Pick The Right Version of ProRes

Posted on by Sudd

[ Updated: Nov. 19, 2020, with more details on proxy files. ]

Here’s a question I get almost every day: “I’m shooting [insert name of video format] what version of ProRes is best for my project.”

ProRes is an excellent codec for editing and finishing. It is 10-bit, which means it provides 1,024 shades of gray or shades of each color per pixel. It has a high bit-rate, which means it retains excellent image resolution. However, there are six versions of ProRes, each of which vary in bit rate (and file size). In order of bit rate and potential image quality, these are:

Which one is best for your project? Based on my research, conversations and experience, here’s what I recommend.

NOTE: From an audio point of view, all six versions of ProRes have the same excellent, uncompressed audio quality.


ProRes Proxy is designed to create small file sizes providing very efficient editing. It is not optimized for image quality. ProRes Proxy files CAN be full frame (i.e. the same frame size as the original file). However as implemented by Apple, default proxy files are 1/2 the resolution of the master file to reduce file size. So, a master file of 1920 x 1080, creates a proxy file of 960 x 540.

With FCP X 10.4.9 and later versions, we can now choose proxy files that are 1/2, 1/4 and 1/8 the resolution of the master file using either H.264 or ProRes Proxy codecs. Smaller files have reduced image quality, but are ideal when media needs to be shared between remote editors.

ProRes Proxy is the best choice for:

The proxy file resolution may be reduced, but FCP X is designed to display it at the same frame size as the original file. This allows Transform and Cropping effects, among others, to be applied to a proxy file, yet still translate perfectly when switched back to the master file.

NOTE: Here’s a tutorial on the new Final Cut Pro X proxy workflow in version 10.4.9.


ProRes 422 LT is a format that I don’t use at all. While it has good image quality because it includes every pixel in the image, I find it too hard to create, given how other ProRes options are integrated with Final Cut Pro X.

I definitely don’t recommend setting render files to ProRes LT. Higher bit rate versions are a much better choice.

If I were to archive a standard-definition video project, I’d consider this format. I probably wouldn’t use it, but it would be worth considering. Why consider it? Because ProRes 422 LT generates the smallest file size of all the high-quality ProRes formats.


This is the default and workhorse video format for all optimized media in Final Cut Pro X. It is an excellent balance between image quality and editing efficiency.

ProRes 422 is the best choice for:

The trade-off for using ProRes 422 is that the files are large; about 1 GB per minute. However, when I’m editing, I want the best image quality with the fastest performance. I’ll compress the master file down into something smaller for distribution after all the editing is done.


This is the best format to use when your camera actually records ProRes 422 HQ. File sizes are bigger, however, about 1.5 GB per minute.

The only difference between ProRes 422 and ProRes 422 HQ is the data rate. And, unless you are using really good lenses with really good lighting, you won’t see a difference between ProRes 422 and 422 HQ.

What you will see is that your hard disks are filling up faster than normal.


The difference between the 422 family and the 4444 family is how they deal with color. Image resolution is the same between the two. 422 color sampling creates one color value for every two pixels. 4444 color sampling provides a color sample for each pixel. The 422 family is 10-bit. The 4444 family is 12-bit. More bits equals a more precise range of colors and grayscale values.

The reason you don’t need this higher-quality color sampling for video is that almost all video cameras use 422 color sampling, which means that you don’t improve your color by converting camera images to 4444; you just move it into a larger color space.

ProRes 4444 is the best choice for:


This is the newest member of the ProRes family. It is a very specialized, high-quality format that is designed more for cameras than post.

ProRes 4444 XQ is best for:

If your camera doesn’t shoot ProRes 4444 XQ, converting your files into this format won’t get you anything.

Here’s an article I’ve written that explains this codec in more detail.


In short, here’s what I recommend:

Following these guidelines can decrease your stress and your hard disk requirements, without damaging your image quality

Bookmark the permalink.

82 Responses to Pick The Right Version of ProRes

← Older Comments
  1. Carlos V. Diupotex says:

    Hi Larry!

    Excelent article.

    If I have a ProRes 422 videoclip with Pro Res 4444 animation added to it. Does the export would be ProRes 422, 422HQ or 4444?

    • Larry says:


      I’m sorry for the delay in answering this – your question got buried.

      If the bulk of your project is ProRes 422, export as ProRes 422. Exporting it as 4444 won’t improve quality.


  2. Monica says:

    Kindly let me know what would be the best codec option to export for broadcast if working in 8 bit. I keep getting mixed answers to this question about broadcast quality exports. Thanks

    • Larry says:


      I’m sorry for the delay in answering this – your question got buried.

      Generally, broadcasters have VERY specific criteria for the media formats they will accept. They may broadcast in 8-bit, but they may want the master file in 10-bit format. ProRes 422 is always a good choice, generally in MXF format.

      What I would do is ask them what format they want, then follow their rules.



    Hello, I have just finished an 4k 2d animation project in After Effects. It is in four parts(projects). I want to get them to Premiere to edit. Should I export them in ProRes 4444 (maybe XQ) or Tiff sequence? Or is it better to import the After Effects projects to Premiere and export from there? Do you have any idea what would save me time? Thank you very much

    • Larry says:


      I’m really sorry I didn’t see this question sooner. You should be able to simply import the AE Comp into Premiere. If not, export your project as ProRes 4444.


  4. Darrell Williams says:

    From the final product quality perspective-
    With the advent of the new M1 Macs that can handle H.264- Is there any reason to use ProRes as an editing codec? I will be shooting all of my video myself in H.264 and doing all my editing on an M1 machine. Is there any advantage (with these new machines) to transcode to ProRes for editing?

    • Larry says:


      I’m sorry for the delay in answering this. I didn’t see it immediately.

      Yes, there are many advantages to using ProRes for editing:

      * It provides 10-bit color depth. H.264 is only 8-bit. This means smoother gradients and more subtle color correction.
      * It requires less CPU horsepower to decode. This makes a big difference in multicam work.
      * Older systems that don’t have H.264 decoding built into their CPU will benefit
      * H.264 is deeply compressed. One of the factors in that compression is how much color data is discarded during compression. ProRes retains that original color. In other words, ProRes starts with more colors, and retains them through the editing process.
      * It is never a good idea to re-compress a compressed file. Since H.264 is already compressed, when you export that file it gets compressed again, further reducing image quality.


  5. […] + 여기서 자세히 보기 […]

  6. […] long and short of it is that, unless you have high quality cameras that are outputting more than Chroma 4:2:2, you should just use that. In my case, this is overkill, since OBS is actually putting out 4:2:0, […]

  7. Ben says:


    I am curious if choosing to upload video to social media like “YouTube” or “Instagram” in ProRess format will help me avoid compression blocking/artifacts? I use a Sony FX3 for shooting and I use the 10bit h.264 internal recording for most of my videos. But no matter what I do I always get that compression issue when I upload to social media. Recently, someone mentioned that I should try shooting in ProRess 12 bit Raw externally and see if that helps. Do you have any suggestions that could help me avoid my videos from being hit with the compression fiasco?

    Thank you,

    • Larry says:


      Maybe. Keep in mind that YouTube ALWAYS! recompresses your video – generally into 20 different formats and codecs to support all the devices it needs to support.

      So, your goal in uploading files to YouTube is to feed them more data than necessary so, when it recompresses, it has enough data to make that re-compressed image look good.

      I don’t see a need for 12-bit files since that format isn’t supported on any social media service. Rather, I would stay with 10-bit ProRes, then, if the files are less than 2 GB, which I think is the current maximum size for YouTube, upload ProRes 422. If they are larger, convert your projects to ProRes 422 Light and upload that. You stay with a high-quality codec, with a high data rate and 10-bit color. ProRes has far fewer artifacts than H.264.


  8. Geoff says:

    Hi Larry, Thanks for the explanation. How do you see H265 fitting into this workflow, especially if the original material was recorded in H265?

    • Larry says:


      H.265 (now called HEVC) was not invented for us. It was invented as a distribution format to reduce video bandwidth on cell towers. Now, Apple is using HEVC to reduce the storage requirements one capturing video on mobile devices. HEVC is even more compressed than H.264, with all the same limitations of color space and bit depth. It is excellent for distribution, but much less helpful in editing.

      My recommendation, where possible, is to convert HEVC to ProRes 422 prior to editing. Edit in ProRes 422, export a ProRes 422 master, then compress it back into HEVC for distribution = if necessary. Most of the time, because ALL social media recompresses the media sent to it, I just sent high bit rate H.264 to social media. It compresses faster and all social media outlets support it.

      Here’s an article that explains bit depth and the challenge of editing HEVC natively:


      Basically, ProRes provides more internal space for color and grayscale data – which makes it better for editing. HEVC creates smaller files, which makes it better for distribution.


  9. Jonathan says:

    Thank you for this very useful article. I had started to use 422 LT simply due to disc space limitations but after an experiment comparing 422 to 422 LT, the difference was very clear to me – bringing a vibrancy to the colour and a “solidity” and depth to the detail missing with 422 LT. The intermediate codec then renders wonderfully to H265. After reading your article to confirm what I had noticed with my own experiment I put a second solid state hard drive into service with the sole purpose of holding the ProRes working files! I cannot go to 422 HQ even if I wanted to though – not enough disk space!! And yes, editing with 422 is absolutely flawless, super slick and glitch free – it is a real pleasure. The digital equivalent of using a high end film editor in the old days where you could very seamlessly and smoothly zero right in on the very frame you wanted to cut.

    • Larry says:


      Thanks for your report. There’s no real advantage to editing ProRes 422 HQ – though there are some benefits to using is as a camera master format, as BlackMagic does.


← Older Comments

Leave a Reply

Your email address will not be published. Required fields are marked *

Larry Recommends:

FCPX Complete

NEW & Updated!

Edit smarter with Larry’s latest training, all available in our store.

Access over 1,900 on-demand video editing courses. Become a member of our Video Training Library today!


Subscribe to Larry's FREE weekly newsletter and save 10%
on your first purchase.