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Compressor 4 Essential Training streamlines the processes of compressing and encoding media in Final Cut Pro X's companion compression software. This course introduces the fundamental concepts of compression, how to determine appropriate compression settings, and building and modifying encoding presets for a variety of outputs, including Apple and Android devices, DVDs, PowerPoint, and the web. The course also covers placing watermarks, setting destinations, and transcoding files automatically using droplets.
In this case, I am going to use Compressor to take this file when transcoded from its starting format, H.264, to ProRes, because we need this to work faster in our Apple workflow with Final Cut Pro X, or even if you're using 7. I've got the batch template here. I am going to hit Cancel. Drag Settings and Destination. Here we go. I am going to click on our nice happy Finder. There is our Transcode Start. I am going to pull it over into Compressor and drop it into place. There are a bunch of different presets here, but what I need is ProRes.
Now, Apple has that towards the bottom, right here where it says ProRes, and they've got a variety of the different flavors of ProRes. These go from Proxy, being the lowest quality; to 422 being a nice medium quality-- it's probably perfect for all this DSLR footage-- HQ, if you were coming from something larger, say HDCAM SR or say RED; and 444 to keep everything perfect, you should know in the way I describe those Proxy 422, 422 (HQ), and 444.
They go in order of size. I just wish Proxy was at the top of this list rather than the middle. We're going to make a ProRes 422 file. It's going to make our file bigger, but it's going to make Final Cut Pro X work with it easier. Again, Final Cut Pro X can do this automatically for you in the background. The beauty of doing it here in Compressor is you can really batch a ton of these on a second computer. With this set, I am going to bring the setting up. I am going to choose where it's going to go; in my case, I am going to put it in where the original final is with this name.
We could change this name. You can see it's already got the name appended of the setting. We're going to see in a later section on destinations how we can customize that name. And I'll just point out in the Inspector here, the very first tab of the Inspector is the Summary, where we can see it's going to produce a ProRes 422 file, and its estimated final size, as well as things like what kind of video encoder or audio encoder it needs. I am going to go ahead and say Submit, and we're off to the races. I get the ability to choose what sort of priority; I am going to go High. And we're down here in History, watching it compress.
With it finished compressing, we're going to come back to the Finder. We'll take a look. Here's our original file. It's pretty compressed at 22 megabytes. We've made it actually larger, about three times larger, but our software, our editorial software, won't have to work as hard as the original, and this is a great reason to transcode into ProRes.
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