Apple Prores Codec Download For Mac

04-10-2021 admin

Apple Prores Codec Download Mac Free

Apple ProRes is one of the most popular video formats in professional video production and post-production. ProRes is a codec technology developed by Apple for high-quality, high-performance editing in Final Cut Pro.

Apple ProRes RAW applies ProRes compression technology to RAW image data from the camera sensor. This delivers the flexibility of RAW video with the incredible performance of ProRes in a format ideal for high-dynamic-range (HDR) content creation.

Is my first tutorial, I saw the other ones where outdated so I wanted to help out.Im not ver. However, ProRes support will not be available for iPhone 13 Pro users at launch. Apple talked a lot about ProRes during its special event on Tuesday, as the codec is widely used by professionals. ProRes RAW data rates generally fall between those of ProRes 422. Blackmagic RAW in Avid and Premiere Pro. Mac Pro Afterburner: Editors' Dream but Only for ProRes and ProRes RAW. Dec 14, 2018 — Since I don't have a Mac, is there a way to render Prores on Windows. Download and install ProRes encoder. You export Avid Medi. In 2007, Apple introduced the Apple ProRes codec family, providing an unparalleled combination of real-time, multistream editing performance, impressive image-quality preservation, and reduced storage rates for high-bit-depth 4:2:2 and 4:4:4:4 video. Apple ProRes RAW is based on the same principles and underlying. The ProRes 422 codec will ensure a good balance between file size and file quality. This converter only outputs Apple ProRes files up to 1080p. Apple ProRes 422: A high-quality compressed codec offering nearly all the benefits of Apple ProRes 422 HQ, but at 66 percent of the data rate for even better multistream, real-time editing performance.

Apple also licenses and certifies ProRes and ProRes RAW for specific third-party products and workflows. These products include software, cameras, and other hardware devices. To learn more about Apple ProRes and ProRes RAW, view the Apple ProRes White Paper (PDF) and the Apple ProRes RAW White Paper (PDF). For information on ProRes and ProRes RAW licensing, development, and product certification, contact the Apple ProRes Program Office at ProRes@apple.com.

Unauthorized codec implementations

In some instances, unauthorized codec implementations have been used in third-party software and hardware products. Using any unauthorized implementation (such as the FFmpeg and derivative implementations) might lead to decoding errors, performance degradation, incompatibility, and instability. If you're using or considering the purchase of a product that encodes or decodes ProRes but isn't on the list below, please contact us at ProRes@apple.com.

ProRes RAW products

SCRATCH

NEON 17/ 24/ 31/ 55
NINJA V
SUMO 19
SHOGUN INFERNO
SHOGUN 7

Zenmuse X7

Baselight
Daylight

EDIUS Pro
EDIUS Workgroup
EDIUS XRE

ProRes products

After Effects CC
Animate CC
Audition CC
Bridge CC
Premiere Pro CC
Media Encoder CC
Photoshop CC
Photoshop Elements
Photoshop Lightroom
Prelude CC
Premiere Elements
SpeedGrade CC

Io HD
Ki Pro
Ki Pro Mini
Ki Pro Rack
Ki Pro Quad
Ki Pro Ultra
Ki Pro Ultra Plus
Ki Pro Ultra 12G
CION
Control Room

Camino Online
Camino VTX SDK
Custom Integrated PC Server Systems

Picturall Pro
Picturall Quad
Picturall Twin

CastGenie
Pige Antenne
Catch-Up TV
ClipShuttle

ALEXA
ALEXA Mini
ALEXA Mini LF
ALEXA XT
XR MODULE
ALEXA XT M
ALEXA XT PLUS
ALEXA XT STUDIO
ALEXA FIBER REMOTE
AMIRA Advanced
AMIRA Premium
ALEXA SXT
ALEXA SXT-W
ALEXA LF

ARY DSX TX
ARY DSX Recorder
ARY DSX Trimmer

SCRATCH
SCRATCH Play Pro
SCRATCH VR
Live Looks
Live FX
Live Assists

Neon 17/ 24/ 31/ 55
Ninja
Ninja 2
Ninja Flame
Ninja Inferno
Ninja Assassin
Samurai
Samurai Blade
Ronin
Ninja Blade
Ninja Star
Ninja V
Shogun
Shogun 7
Shogun Flame
Shogun Inferno
Shogun Studio
Shogun Studio 2
Sumo 19

TITAN File
TITAN KFE

Smoke
Flame
Flame Premium
Flame Assist
Burn
Flare
BackDraft Conform
Lustre

Endcrawl

Media Composer
Pro Tools
Media Central | Editorial Management
Media Central | Production Transcode

AWS Elemental Cloud
AWS Elemental Live
AWS Elemental MediaConvert
AWS Elemental Server

UltraPlayer

UHD-24/7
UHD-Play
UHD-QC

Video Transcoder
VCT Video Comparison Tool

Central Control HDCore Capture Module
Central Control HDCore Feed Capture Module
Central Control HDCore Ingest Module
Central Control HDCore Insertion Module
Core News ME/EME
Core News MediaPoint
Core News Precis PTA & Secondary PTA

DaVinci Resolve
DaVinci Resolve Studio
Hyperdeck Extreme 8K HDR
HyperDeck Shuttle 2
HyperDeck Studio
Hyper Deck Studio Mini
HyperDeck Studio 12G
HyperDeck Studio Pro (4K)
Cinema Camera EF
Cinema Camera MFT
Cinema Camera PL
Pocket Cinema Camera
Pocket Cinema Camera 4K
Pocket Cinema Camera 6K
Pocket Cinema Camera 6K Pro
Production Camera 4K
Production Camera 4K PL
URSA
URSA 4.6 K EF/PL
URSA Mini 4K EF/PL
URSA Mini 4.6K EF/PL
URSA Mini Pro 4.6K EF
URSA Mini Pro G2
URSA Broadcast
Micro Cinema Camera
Video Assist
Video Assist 4K
Video Assist 5” 12G HDR
Video Assist 5” 3G HDR
Video Assist 7” 12G HDR
Video Assist 7” 3G
Fusion
Fusion Studio
Media Express

Continuum
Mocha
Silhouette

Azimuth

BroadStream(was OASYS)

Maker
Player
Media Manager

Tin Man

HardingFPA Desktop edition
HardingFPA Server edition

Digital Cinema Camera EOS C700
Digital Cinema Camera EOS C700 PL
Digital Cinema Camera EOS C700 GS PL
Digital Cinema Camera EOS C700 FF
Digital Cinema camera EOS C700 FF PL

Cantemo Portal ProRes Encode
Cantemo Portal ProRes Decode

Click Effects Prime HX
Click Effects Prime MX
Crossfire Server
LyricX HX
LyricX MX
LyricX Offline
Mosaic
Mosaic XL
Mosaic-Unbundled
Prime HX
Prime MX
Prime Offline

Cinedeck RX
Cinedeck EXTREME
Cinedeck MX
Cinedeck ZX

Cinegy Player
Cinegy Air
Cinegy Desktop
Cinegy Convert
Cinegy Live

PixelStrings
RadiantGrid
Tachyon Wormhole
Tachyon, Dark Energy and/or Dark Energy with Radiant Grid

CrossFire

Codex Studio Recorder
Codex Transfer Station
Codex Digital Lab
Vault Platform for Vault S
Vault Platform for Vault XL
Vault Platform for Mac

On-Set Dailies
Express Dailies

Bellus X650
Bellus X-UHD
NPS-CG
NPS-CG UHD
ODIS X650
ODIS X-UHD

Apollo
Odyssey7
Odyssey7Q
Odyssey 7Q+
uTV

CRI DietCoder
CRI Sofdec2

AmberFin
Brio
Galaxy

HDR-80
HDR-90

Deluxe Delivery Platform

DFN

Nucleus

Loki
Nucoda
Nucoda Academy
Phoenix Refine
Phoenix Touch
Phoenix Finish
Phoenix Video

DJI

CineLight
Inspire 2

Dolby CineAsset
Dolby CineAsset Pro
Dolby CineAsset Player
Dolby CineAsset Player Pro
Dolby Vision Professional Tools
Hybrik

Flow Automation
Flow Browse
Flow Ingest
Flow Logger
Flow Scan
Geevs Slim HD
Geevs HDP

Encoding.com Cloud Transcoding Platform

DiTV ProRes Dailies System

Unreal Studio

Etere Matrox driver
Etere MTX Master Control Driver

EVS (also see OpenCube)

XT Access
IP Director
Xedio
XFile
Insio
Xsquare/XTAccess

Fast CinemaDNG Processor

Baselight
BLG for Flame
Daylight

LTR-PRS (ProRes option for LTR-200HS6)
LTR-PRS (ProRes option for LTR-200HS7)
LTS-PRS (ProRes option for LTS-60/LTS-70/LTS-80)
MXR-350

Nuke
NukeX
Nuke Assist
Nuke Studio
Hiero
Hiero Player

easyDCP Creator
easyDCP Player
MPEG-H Production Format Player (MPF-Player)

RENDER SPICE

Hit Film Pro
Hit Film Express

DIG HD

Séance For Macintosh
Séance For Flex 4K
Séance v.3.0

Fusion Studio

Alchemist File
EDIUS Pro
EDIUS Workgroup
EDIUS XRE
Fileflow
iTX-ENC-VID
iTX-TV-SECREC
iTX-DM
iTX-WF-PROXY-GEN
iTX-DESKTOP
iTX-TVCHAN
iTX-OD-BMAST
K2 Summit 3G / K2-XDP2-02
K2 Summit 3G / K2-XDP2-04
K2 Summit 3G / K2-XDP2-02-IP
K2 Summit 3G / K2-XDP2-04-IP
K2 Summit 3G / K2-XDT-02
K2 Summit 3G / K2-XDT-04
K2 Solo 3G / K2-SOLO3G
Kronos File
Live Touch Video Server
MBG File
mync Basic/Standard
Quasar File
sQ Video Server
T2 4K Plus Elite
T2 4K Plus Pro
T2 4K Plus Express
T2 4K Elite
T2 4K Pro
T2 4K Express
Rio 4K 500-012
Rio 4K for Rio Connect 500-016
Rio 4K Software 500-302
Rio 2K Software 500-300
XRE Transcoder

Digital Video Processor (DVP)
DVP Factory

Spectrum
ProXchange
ProMedia Carbon
ProStream 5000
ProMedia Capture

Phocus

Clip Review
FoolCat
Reports

Hi3559AV100
Hi3559CV100

CLIPBOX
CAPTUREBOX

ZONZA

Nexio AMP (NXAMP7-HDX)
Nexio AMP (NXAMP7-HDI)
Nexio NLE Gateway (NXH1UNLE)
Nexio Media Gateway Server (NX1011MGX)
Nexio PRX Transcoder (NX1011PTCD)
SelenioFlex Ingest (SFX-INGEST1)
SelenioFlex Ingest (SFX-INGEST3)
SelenioFlex File: Stream Transcode Engine Studio (SFX-FILE-STRM-ST)
SelenioFlex File: Stream Transcode Engine Studio (SFX-FILE-STRM-CO)
SelenioFlex File: Zenium Engine - Studio Bundle (SFX-FILE-XEN-STUD)
SelenioFlex File: Zenium Engine Stand-alone - Studio Bundle (SFX-FILE-SA-STUD)

QTAKE HD
QTAKE 4K
QTAKE Lab
QTAKE AutoPilot
QTAKE Server
QTAKE Monitor
QTAKE Player
QTAKE Lite

Insta360 Stitcher
Insta360 Studio

FrameFormerMCFRC

4K UHD XJive Player

GY-HC500
GY-HC550
GY-HC900

Kandao Studio 3
QooCam Studio 2
Obsidian Pro

TERRA 4K
TERRA 6K
MAVO
MAVO LF

KOLOR SAS (A GoPro company)

Autopano Video
Autopano Video Pro

Kyno

ProRes Decoder SDK

Transcoding Processor, MMW-TRN
Bridging, MB-l

Masstech HQS: Topaz/Emerald/Indigo

Matrox X.mio2
Matrox X.mio3
Matrox X.mio5
Matrox DSX.Core
Matrox DSX LE3
Matrox DSX LE4
Matrox DSX LE5
Matrox M264

MAM
INGEST

Azure

Modulo Kinetic
Modulo Player

MAM4PRO
mDeck
mxfSPEEDRAIL

Cortex

eXerver Player
eXerver Recorder
eXerver VCR

ARRISCOPE

SETARIA CLOUD

Nova HD/ UHD Recorder
Nova HD/ UHD Player
Nova HD/ UHD eVCR
Nova HD/ UHD Tr

Nexguard File Embedder

NOA VideoScanner

Odyssey

Insight Server

OpenCube(an EVS company)

OpenCubeHD/DCP 2.5

Ownzones Connect

AU-VREC1 (ProRes recorder for VariCam 35 and VariCam HS)
Varicam LT: AU-V35LT

Millenium DXL camera

Pebble Beach Systems

Dolphin

TMPGEnc Video Mastering Works 7

Workflow Server
Workflow Client
Media IO Server
Media IO Desktop
Transcode Agent
Task Agent
Master Control Server

mRes
Pronology StreamFile Core
Pronology CenterPoint MAM

Ingest Machine

EPIC-W HELIUM S35
Komodo 6K
WEAPON 6K CF
WEAPON 6K MG
WEAPON 8K
WEAPON 8K VV
WEAPON 8K VV ANA
WEAPON HELIUM 8K S35
RAVEN
REDCINE-X PRO
REDline
SCARLET-W

Clipster
Fuze
Venice

ContentAgent

Sirus 4K Player
Sirus 4K Recorder

Mamba
Mistika Boutique
Mistika FX
Mistika Insight
Mistika Ultima
Mistika Optima
Mistika Post
Mistika Review
Mistika VR
Mistika Workflows

MCR Apple Final Cut ProRes
MCR Apple Final Cut HD ProRes

Coyote Q3G
Coyote S12G3

Catalyst Browse
Catalyst Prepare
Catalyst Edit
CBK-55PD (ProRes option board for PMW-F5 and PMW-F55)
XDCA-FS7 (ProRes codec extension unit for PXW-FS7)
PXWK-501 (ProRes software key for PXW-X500)
PWS-100MG1 (Media Gateway Workstation for PWS-4500)
PWS-100PR1 (Production Control Workstation for PWS-4500)
PWSL-PH45 (ProRes Option Codec Key for PWS-4500)
RAW Viewer
Media Backbone Navigator X (PWA-NV10C)
Media Backbone Ensemble
Media Backbone Sonaps
Transcode Hub
VENICE CineAlta camera
Xpris
X-Disc Archive

Squeeze

PIX 220, 220i
PIX 240, 240i
PIX 250i
PIX 260, 260i
PIX 270i
PIX-E5
PIX-EH
PIX-E7

CatDV Standard
CatDV Pro
CatDV Enterprise
CatDV Pegasus
CatDV Worker

Steinberg Media Technologies

Cubase Pro (9.0.30 & later, 9.5 & later, 10.0.0 & later)
Cubase Artist (9.0.30 & later, 9.5 & later, 10.0.0 & later)
Cubase Elements (9.0.30 & later, 9.5 & later, 10.0.0 & later)
Cubase LE (9.0.30 & later, 9.5 & later, 10.0.0 & later)
Cubase AL (9.0.30 & later, 9.5 & later, 10.0.0 & later)
Dorico Pro (2.0 & later)
Dorico Elements (2.0 & later)
Nuendo (7.1.40, 8.0 & later)

GENESIX

Platform Playlist Engine
Platform Workflow Engine

Camtasia

Aurora
Hyrda

Flipfactory
Vantage
Episode Engine V6
Wirecast
Switch Player
Switch Pro
Telestream Cloud
Vidchecker Base System
Vidchecker Correction option
Vidchecker-post Base System
Vidchecker-post Correction option

HERMES Encoder

Thomson Video Networks

ViBE VS7000

Cablecast Flex Lite
Cablecast Flex 2
Cablecast Flex 4

just:in linux

Unity Editor

eV10-1B1P
eV10-1B3P
eV10-2B2P
eV10-2P
eV10-4B
eV10-4P

Vantrix Ultra High Density File Transcoder
Vantrix Cloud File Transcoder

VectorBox 8000
Vector MultiPlay
VServer 8000HD

Pulsar Professional
Pulsar Standard
Pulsar Pay-Per-Use
Quasar SaaS
Quasar Private
NIMA Professional
NIMA Standard

ClearView
RTM - Real Time Monitor

vMax
vsnCapturer
vsnMatic
vsnAir News

Vidispine BASE OEM
ProRes Decode
ProRes Encode

Vision Research (an AMETEK company)

Phantom Camera Control Software
Cine ViewerSoftware
CineMagIV (for Phantom Flex4K)

D-Stream
Karisma3D
K3DEngine
Temta Neramit
Tornado2
V-NLE
V-Render

HDM850 Professional Decoder Board

Viz Engine
Viz Video Engine
Viz One

XMV
Playout

Photon
Xenon

XTRMX

xView

Z CAM

Z CAM E2

Zeplay 844
Zeplay 844 R7

ProRes vs H.264, it is hard to judge which one is better as each of them can be used as the best video codec under certain circumstances. In simple words, Apple ProRes codec is designed for post-production while H.264 codec is widely used in video delivery/distribution. Compared to the background and theoretical knowledge, you may be more interested in the using scenes. So, this is not a paper-style article but a guide which will use simple words about Apple ProRes vs H.264 to help you choose the right codec when you need to edit, play, upload, share, etc. videos.

Best Video Converter to Convert Apple ProRes to H.264 & Vice Versa

MacX Video Converter Pro, a free video conversion tool supporting both H.264/HEVC and ProRes to let you convert Apple ProRes to H.264 and vice versa at will. Also compress 8K/4K files to 1080p in superfast speed and high quality.

Part 1. The Brief Introduction of ProRes & H.264
Part 2. Detailed Analysis of Apple ProRes vs H.264
Part 3. Comparison Conclusion – Which One Should You Choose

Part 1. The Brief Introduction of ProRes vs H.264

#1. What is ProRes?

ProRes is a high quality, lossy video compression format developed by Apple for use in post-production that supports video resolution up to 8K. So, it gradually become the mainstream code for Hollywood movie production. Introduced in 2007 with Final Cut Studio 2, it is an unparalleled combination of multistream, real-time editing performance, impressive image quality, and reduced storage rates so that is very suitable for post-production, high quality and high performance. Besides, ProRes video codec is exclusive for iPhone Pro series, and as of now only iPhone 13 Pro and iPhone 13 Pro Max can record ProRes videos.

Apple ProRes includes the following formats: Apple ProRes 4444 XQ, Apple ProRes 4444, Apple ProRes 422 HQ, Apple ProRes 422, Apple ProRes 422 LT, Apple ProRes 422 Proxy.

ProRes vs ProRes Raw vs Raw

In 2018, Apple released ProRes Raw, the codec built upon the same technology as other ProRes codecs. ProRes Raw retains more original information than ProRes and has a higher data rate so that it is perfect for making HDR-standard videos. If ProRes codec is for Ultra HD 8K videos, ProRes Raw is born for HDR standard videos.

Well, what’s the difference between ProRes and Raw? Raw Formats are the untouched media that your video camera produces. Unlike ProRes videos, Raw videos are not encoded files. All the data of RAW is from camera sensor without any camera processing baked in. Besides, you can change camera settings like ISO, exposure, gamma, white balance and color space after your video is hot. So, ProRes Raw has the performance of ProRes and the flexibility of Raw.

#2. What is H.264?

Used by 91% of video industry developers as of September 2019, H.264 (AVC) video compression standard is an industry standard for video compression which mainly used as a delivery/distribution codec with much smaller file size. It is a network-friendly video transmission method that can deliver high-quality images without being a bandwidth hog. So, it is commonly used for recording, compression, streaming/distribution of video contents. To free up storage space of your devices, H.264 is still more suitable than Apple ProRes.

Specs	ProRes	H.264
Release date	2007	2003
Developer (s)	Apple Inc.	Video Coding Experts Group (VCEG) and Moving Pictures Export Group (MPEG)
Compression way	Intra-frame compression, low compression ratio	GOP (Group of Pictures) Processed Collectively, high compression ratio
Lossy/lossless	Lossy compression	Lossy compression
Container format (s)	Works with QuickTime Movie Format (MOV)	Works with Almost All Major Formats (MP4, M4P, M4V)
Video resolution	Mainly for 8K,now you can only record 4K	Mainly for 4K, up to 8K
Codec	10-bit Codec	8-bit Codec
Usage	Post-production	Video distribution/delivery

Part 2. Detailed Analysis of Apple ProRes vs H.264

Vlc player mac video aufnehmen. Here, we discard in-depth technologies about the two codecs that a paper could explain clearly, but give you easy words about what you are caring most, say which one is better.

#1. ProRes vs H.264: File Size

Winner: H.264

H.264 has high compression ratio making the file size is relatively smaller while Apple ProRes has low compression ratio making the files gigantic in size that further occupy a significant amount of space on a disk. The data rate of ProRes is higher than the normal video materials including H.264 files so bring about a lot of storage pressure as well. That’s why you need iPhone 13 Pro with at least 256GB storage to a record a 4K ProRes video, and that’s why Apple provides 1TB storage choice for iPhone users.

#2. ProRes vs H.264: Video Quality

Winner: Apple ProRes

Apple ProRes preserves a wider color gamut. Apple ProRes is a 10-bit codec that the ProRes files have more shades while working with Color Grading options in a post-production tool like iMovie, Clips, Final Cut Studio 2, Final Cut Pro X, Adobe Premier and Davinci Resolve. However, H.264 is an 8-bit codec which has fewer color grading options while working with post-production software. As far as we know, HDR offers brighter highlights, darker shadows and more details in both sides, but Apple ProRes supports HDR while H.264 doesn’t support it.

#3. ProRes vs H.264: Compatibility

Winner: H.264

Apple ProRes is a quite new video codec mainly designed for post-production, so that the supported devices or applications are countable. As of this article, there only a few devices, hardware or platforms support ProRes.

Recorders: Arri Alexa, AJA (IO HD FireWire 800 interface; Ki Pro and Ki Pro Mini portable recorders, Ki Pro Rack and Ki Pro Ultra for 4K/UltraHD workflows), Atomos[19] (Ninja and Samurai recorders), Sound Devices (PIX series recorders), Convergent Designs (Odyssey7, 7Q, 7Q+), Fast Forward Video[20] (Sidekick recorder) HyperDeck SSD recorders, Blackmagic Cinema Camera, Odyssey7 and Odyssey7Q monitor/recorders, Atomos Shogun, AJA CION production camera, Blackmagic UrsaMini 4.6k, Blackmagic Pocket Cinema Camera 4K, iPhone 13 Pro, iPhone 13 Pro Max, etc.
Encoders: iMovie, Clips, Final Cut Studio 2, Final Cut Pro X, Adobe Premier, Davinci Resolve, QuickTime (using the 'Maximum' quality setting when producing a Movie Recording), etc.
Video hosting sites: YouTube.
Media Player: VLC Media Player, QuickTime Player (need to download Apple ProRes QuickTime decoder for Windows and Mac).

As for H.264, you can find it nearly everywhere. H.264 touches every aspects of our digital lives and its popularity is growing continuously. You can find it in HD DVDs, HDTV, pay-TV, YouTube videos, Blu-ray discs, videos from Netflix, Hulu, Vimeo, iTunes Store, Amazon Prime Video, etc. You can also find it in CCTV and Video Surveillance markets. Since iPhone 6S Plus, all newer iPhone models support H.264 video codec.

#4. ProRes vs H.264: Encoding

Winner: ProRes

Apple ProRes uses I-Frame approach. All ProRes codecs are frame-independent codecs that each frame is encoded and decoded independently of any other frame. That leads to a faster rendering speed, 5.7 times the R3D 3:1, 4.1 times the R3D5:1, and 1.5 times the Canon's new compressible RAW . That’s the reason ProRes files are big. However, ProRes files are loosely compressed, so they don’t require much GPU to de-compress the information.

H.264 uses GOP (Group of Pictures) Approach. H.264 codec compresses a group of pictures to form a complex architecture that, even though it reduces the overall file size, requires more inputs from GPU to decompress and process while processing.

#5. ProRes vs H.264: Other Advantages & Disadvantages

ProRes:

ProRes helps make iPhone 13 Pro series and newer iPhone models more professional in terms of recording cinematic videos.
ProRes is a bandwidth intensive format because of its large file size.
If you use ProRes coding format when editing your videos, you can export your videos with a faster speed.

H.264:

H.264 is more suitable for the majority of people who only need videos up to 4K.
H.264 is more economical. The service providers and common people can use the existing wires and infrastructure for long-distance transmission. Because H.264 video is standard based, it provides a vendor agnostic video extension solution that users can mix and match H.264 equipment from different vendors without worry of any compatibility or proprietary issues.
H.264 is a network-friendly video transmission method that delivers high-quality images without being a bandwidth hog.
H.264 lets you stream video from an encoder to multiple decoders simultaneously. For example, you can stream one set of video signals to a display, a video wall and a digital signal system at the same time.

Part 3. Comparison Conclusion – Which One Should You Choose

H.264 is for video distribution/delivery purposes, while ProRes is for post-production. That said, if you just need to do a simple edit or just play a video, you can go with H.264 codec, but if you plan to do a heavy edit with lots of transitions, effects, layers and color grading, you will be best served by Apple ProRes.

Apple Prores Codec Download Mac Free

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