f you have a properly tuned post pr

f you have a properly tuned post production workflow then the amount of times you’ll recompress an intermediate video is zero or once; the most common case is recompressing assets like intros, bumpers, motion graphics, and others once they make their way into a final program.

I wanted to do an informal test between Avid DNxHD, Apple ProRes HQ, and GoPro Cineform to see how they stacked up through 5 rounds of recompression. To illustrate the differences, I took my original test video into Adobe Photoshop, added the compressed video to the layer above, set the compressed video layer’s blend mode to difference, and applied an exposure adjustment layer with gamma correction set to 2.0 to more clearly see the differences. This comparison should casually highlight the generation loss inherent in ea

結果 (中文) 1:

你有，适当地调优的后的生产工作流程就金额的时候，你会重新压缩中间的视频的 f 为零或一次 ；最常见的情况重新压缩如引子、 保险杠、 运动图形和其他资产，一旦他们做他们的方式到最终的程序。我想要做狂热 DNxHD、 苹果 ProRes 总部和 GoPro Cineform，看看如何通过加压 5 轮堆积之间非正式的测试。为了说明差异，我带我原始的测试视频进 Adobe Photoshop 添加到上面的图层压缩的视频、 设置不同，压缩视频图层混合模式和应用伽玛校正设置为 2.0 更清楚地看出差异与曝光调整图层。这种比较随便应突出所固有的 ea 的代损失

結果 (中文) 2:

F你有适当调整的后期制作工作流程然后倍量，你会重新压缩中间的视频是零或一次; 最常见的情况下重新压缩喜欢前奏，保险杠，运动图形和其他资产，一旦他们做他们的方式为最终方案。我想做的事之间，苹果公司的ProRes HQ和GOPRO Cineform的非正式测试的Avid的DNxHD来看看他们是如何堆叠透过5轮再压缩的。为了说明的差异，我把我原来的测试视频到Adobe公司的Photoshop，增加了压缩视频上面的图层，设置压缩视频图层的混合模式为差，并应用曝光调整层，伽马校正设置为2.0更清楚地看到的差异。这种比较应该随随便便凸显内在EA产生的损失

結果 (中文) 3:

（f you have a恰当调整后生产工作流然后the微量of时报》你就会重新压缩的视频是零或一次安中；the最Common病例是资产intros重新压缩样，bumpers，运动图形，和其他人一次他们make their way into a final program。

I do安informal做测试between劲头十足的ProRes DNxHD，苹果总部，与GoPro Cineform to see how they叠加上5轮of recompression通。而illustrate the差异，I took my原版测试视频into the压缩视频的Adobe Photoshop，added to the above the压缩层，集视频层的混合模式to差分，和应用安曝光调整层withγ校正集to see the 2.0 to more明显的差异。This should casually highlight the发生损失的比较在EA的固有的