So, choose the Prores codec best suited to your original footage and stick with it throughout. See this Apple doc and read all about it: It,s important to remember that each flavour of Prores only supports up to a certain data rate(Mbps) at any given frame size and frame rate. In my experience Apple’s Prores is a fantastic codec that absorbs the qualities of your original footage and makes the best of any subsequent effects or grading work (check out Synthetic Aperture’s Color Finesse). However, you have to finish the project in a codec that compressor and thus the CC MP will feel comfortable with. The more you change settings away from your original footage as captured by the cam, the worse things will look, particularly if you are working with lower-end cam-compressed formats. In my experience you need to let the CC MP plug do as much of the lifting as possible. If you are still unhappy, convert your final export from PPro to Prores (see below) which, of course, compressor loves. If Compressor will work happily with your codec, try CC MP and assess the result. The simple answer for an existing workflow is render out in whatever is the editing frame size and editing codec assuming the original footage has not been down-resed to make editing easier.
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