Export a 30-second clip as H.264 and you get a 15MB file. Export the same clip as ProRes 422 and it’s 800MB. Both look nearly identical on screen. So why would anyone choose the bigger file?
Because codecs aren’t just about final quality — they determine how your editing software handles the footage in real time.
Delivery vs. Editing Codecs
H.264 (and its successor H.265/HEVC) are delivery codecs. They use heavy compression to make files small for streaming, uploading, and downloading. Your phone records H.264. YouTube streams H.264.
ProRes and DNxHR are editing codecs. They use lighter compression that’s faster for your CPU to decode frame-by-frame. Every frame is stored independently, so scrubbing the timeline, color grading, and applying effects happens smoothly.
When you edit H.264 footage directly, your software has to decompress groups of frames just to display one. This creates lag during playback and preview.
Which Codec for Which Job
Use H.264/H.265 when:
- Delivering final video to clients, YouTube, or social media
- File size matters (web downloads, email delivery)
- No further editing will happen
Use ProRes/DNxHR when:
- Editing or color grading footage in a timeline
- Passing files between applications (After Effects to Premiere Pro, for example)
- Rendering motion graphics or overlays that will be composited later
- Archiving project files that might need re-editing
The MOV vs. MP4 Question
MOV and MP4 are containers, not codecs. A MOV file can contain ProRes, H.264, or other codecs. An MP4 file typically contains H.264 or H.265.
The container determines compatibility. MP4 plays everywhere. MOV is better supported in Apple and Adobe workflows. The codec inside determines quality and performance.
Motion Graphics and Alpha Channels
If you’re working with overlays or motion graphics that need transparency, your codec choices narrow significantly. H.264 doesn’t support alpha channels. ProRes 4444 and PNG sequences do.
This is why many overlay packs — including those on ANFX — offer both formats: MP4 (H.264) for overlays on a black or green background that use blend modes, and MOV (ProRes/JPEG2000) for overlays with a true alpha channel.
Practical Recommendation
For most creators: edit with whatever your camera shoots (likely H.264), but transcode to ProRes if you experience timeline lag. Export your final product as H.264 for delivery.
If you create motion graphics: render intermediate files as ProRes 4444 (with alpha if needed), and only compress to H.264 as the very last step.
