Unboxing the AJA IoHD, and setting up
By Kevin P. McAuliffe | November 20, 2008
I thought that for this next article series, I would take a look at Apple's biggest addition to Final Cut Studio 2, and that is the inclusion of their newest QuickTime codec, Pro Res 422 (and Pro Res HQ). Most editors might think "Big deal, I can already edit in HD, so why would I use Pro Res?". Well, I'll tell you why. First of all, you get real-time HD capture across HD-SDI at 8 or 10-bit. You also get HD frame sizes at SD file sizes (in all major HD formats), you get a codec that gives you quality that is almost as good as codecs that you are currently using to edit HD with, and the best part is that you can edit in Pro Res 422 and Pro Res 422 HQ in the comfort of your own home on FireWire hard drives. Oh, and did I mention that because it's "Pro Res 422", you are working in a true 4:2:2 color space? Until Final Cut Studio 2, Avid has thrown in our faces the fact that they have great quality, compressed HD for their editors to work with, and Final Cut editors don't. Well, not anymore. The big advantage we have over Avid editors right now is choice. We can choose the hardware we want to use as our input/output device, and Avid editors really don't have the choice. So that brings up a very interesting question. How do you actually get Pro Res into your system and edit with it? High end post production houses use MacPros that you can install HD capture cards into for all your editing needs, but what about the rest of us? Now I know that some editors might think that editors who don't use high end MacPros aren't professional, and are only working on corporate and wedding videos, which is completely untrue. I am currently working on thirty webisodes of a show that I am editing in Pro Res that will be shown exclusively on the web, as opposed to on television. Let's take a look at how professional editors can edit anywhere with AJA's IoHD and Apple's Pro Res 422.