How to convert any video to prores for editing
- Step 1Drop your source onto the transcoder — Accepts mp4, mov, mkv, webm, avi, m4v, ts. The file loads into the browser tab; nothing is uploaded.
- Step 2Set Codec to prores — Choose prores in the Codec dropdown. FFmpeg.wasm uses the
prores_ksencoder; the output Container becomes the .mov editors import. - Step 3Ignore the CRF box — ProRes is not a CRF codec, so the CRF value has no effect here. The transcoder writes ProRes at its default profile — there's no profile picker in this tool (see step 6).
- Step 4Run the conversion — FFmpeg.wasm re-encodes the source into intra-frame ProRes with AAC audio. ProRes files are large by design — make sure you have disk space.
- Step 5Import into your NLE — Drop the .mov into Final Cut, Premiere, or DaVinci Resolve. Scrubbing and trimming are now smooth because every frame is self-contained.
- Step 6Need a specific profile? Use the dedicated encoder — For 422, 422 HQ, or 4444 (alpha/graphics), 10-bit colour depth, and PCM audio, switch to /video-tools/prores-encoder, which exposes the profile selector this universal tool does not.
Transcoder ProRes vs the dedicated prores-encoder
Both produce ProRes .mov locally via FFmpeg.wasm. The universal transcoder is the quick path; the dedicated encoder is the one to use when an editor or colourist needs a specific profile or 10-bit PCM-audio master.
| Capability | video-transcoder (Codec=prores) | prores-encoder (dedicated) |
|---|---|---|
| Profile choice (422 / 422 HQ / 4444) | No — default profile only | Yes — pick 422, 422 HQ, or 4444 |
| Colour depth | Encoder default | 10-bit (yuv422p10le, yuva444p10le for 4444) |
| Alpha channel (graphics/keying) | No | Yes via the 4444 profile |
| Audio in output | AAC 128k | PCM (pcm_s16le) — uncompressed, edit-grade |
| CRF box | Ignored (ProRes isn't CRF-based) | Not applicable — profile sets the rate |
| Output container | .mov | .mov |
Codec dropdown — what each option does
These are the five entries in the Codec selector. Every option is a software FFmpeg.wasm encoder running in your tab — there is no hardware/NVENC path in this tool. The CRF box drives quality for the rate-controlled codecs.
| Codec option | FFmpeg encoder | Best for | CRF behaviour |
|---|---|---|---|
| h264 | libx264 | Universal playback — every phone, browser, TV, editor | CRF 0-51, ~18-23 is visually clean; 23 is the default |
| h265 | libx265 | Roughly half the size of H.264 at matched quality; archives | CRF 0-51, ~24-28 matches H.264 CRF 18-23 |
| vp9 | libvpx-vp9 | Open, royalty-free; great for web/<video> playback | CRF 0-51 used as the quality target; slowest of the lot in WASM |
| av1 | libaom-av1 | Smallest files of all; long-term web/archival | CRF 0-51; software AV1 in WASM is very slow — short clips only |
| prores | prores_ks | Hand-off to editors; intra-frame, scrub-friendly | CRF box is ignored — ProRes is not a CRF codec (see the prores spoke) |
Tier limits for the transcoder (video family)
Limits are per-file size and per-batch file count, not a duration cap — the encode streams to disk so a 90-minute file is bounded by file size, not minutes. The transcoder takes one file at a time (no drag-to-batch in the UI).
| Tier | Max file size | Files per run | Practical note |
|---|---|---|---|
| Free | 1 GB | 1 | Fine for a single phone clip or a short screen recording. A 4K 60fps file fills 1 GB in roughly 2-3 minutes of footage at high bitrate. |
| Pro | 10 GB | 5 | Covers most camera originals and longer recordings; run files one after another. |
| Pro + Media | 100 GB | 50 | Built for raw camera masters and long-form sources. Size, not length, is the gate. |
| Developer | 100 GB | Unlimited | Same 100 GB per-file ceiling, no cap on how many files you process. Pair with the @jadapps/runner for unattended batches. |
Cookbook
Editing-prep conversions to ProRes, and when to reach for the dedicated encoder instead.
Quick ProRes mezzanine from an H.264 camera file
You just need an edit-friendly intermediate fast. The universal transcoder's default ProRes is enough for a smooth timeline.
Input: A001_C012.mp4 (H.264 long-GOP, stutters when scrubbing) Settings: Codec=prores (Container auto = .mov; CRF ignored) FFmpeg.wasm (conceptually): -i A001_C012.mp4 -c:v prores_ks -c:a aac out.mov Result: an intra-frame ProRes .mov that scrubs instantly in Final Cut / Premiere / Resolve.
Editor asked specifically for ProRes 422 HQ
A specific profile request means the universal transcoder isn't enough — it only writes the default profile. Use the dedicated encoder.
Requirement: ProRes 422 HQ, 10-bit, for a colour grade. Use /video-tools/prores-encoder, set Profile = 422 HQ. It writes -c:v prores_ks -profile:v 3 -pix_fmt yuv422p10le with PCM audio — exactly what the colourist needs. The universal transcoder can't pick the profile.
Graphics/keying clip that needs an alpha channel
Transparency for compositing requires ProRes 4444, which only the dedicated encoder offers.
Requirement: ProRes 4444 with alpha for a logo animation. Use /video-tools/prores-encoder, set Profile = 4444. It uses pix_fmt yuva444p10le to carry the alpha channel. The universal transcoder's prores output has no alpha.
Make a smaller deliverable AFTER editing
ProRes is a working format, not a delivery format. Once the edit is exported, transcode the master back to H.264 MP4 for viewers.
Edit master: final_prores.mov (very large) Settings: Container=mp4 Codec=h264 CRF=20 Result: a compact, universally playable MP4 to upload/share. ProRes is for editing; H.264 is for delivery.
Convert a clip too big for ProRes at full size
ProRes files are large. If disk space or the tier cap is a worry, downscale first, then make ProRes from the smaller frame.
Input: 4K source you'll edit at 1080p. 1) /video-tools/video-resizer → 1080p version 2) Codec=prores here → a 1080p ProRes .mov that's far smaller than a 4K ProRes file and still edits smoothly.
Edge cases and what actually happens
Need ProRes 422 / 422 HQ / 4444 specifically
Use prores-encoderThe universal transcoder writes ProRes at the default profile only — there's no profile picker. For a named profile, 10-bit colour, alpha (4444), or PCM audio, use /video-tools/prores-encoder, which exposes the Profile selector.
Setting a CRF for ProRes
IgnoredProRes is quality-fixed by profile, not by CRF. The CRF box in the transcoder has no effect when Codec=prores — changing it won't alter the output.
Output file is enormous
ExpectedProRes is intentionally lightly compressed for editing performance, so .mov files are large (often many times the H.264 source). That's normal — ensure you have disk space and headroom under your tier's file-size cap.
Audio needs to be PCM for the edit
Use prores-encoderThe transcoder re-encodes audio to AAC 128k even for ProRes output. If the edit requires uncompressed PCM audio, /video-tools/prores-encoder writes pcm_s16le instead.
Source has an alpha channel
Alpha lostThe transcoder's ProRes output doesn't preserve alpha. For transparency you need ProRes 4444 from /video-tools/prores-encoder.
ProRes won't play in a browser preview
By designProRes is an editing codec, not a web playback codec — browsers won't play the .mov inline. That's expected; ProRes is for your NLE, not for embedding on a page.
Large 4K ProRes over the tier cap
RejectedBecause ProRes is large, a 4K master can exceed the free 1 GB cap quickly. Downscale with /video-tools/video-resizer first, or use a higher tier (Pro 10 GB / Pro + Media 100 GB).
Very long source to ProRes on a laptop
Slow + hugeSoftware encoding plus ProRes's large output makes long files slow to write and heavy on disk. Convert only the section you'll edit — trim first with /video-tools/lossless-trimmer.
Tab closed mid-encode
AbortedAll work is in the browser tab; closing or refreshing it cancels the job and discards the partial .mov. Re-run from the start.
Frequently asked questions
Why convert to ProRes for editing at all?
H.264/H.265 are long-GOP (inter-frame) codecs — every frame depends on its neighbours, so scrubbing and trimming force your machine to rebuild frames and the timeline stutters. ProRes is intra-frame: each frame is self-contained, so Final Cut, Premiere, and Resolve scrub instantly. Convert to ProRes, edit, then export back to H.264 for delivery.
Can this tool make ProRes 422 / 422 HQ / 4444?
Not the universal transcoder — it writes ProRes at the default profile only, with no profile picker. For a named profile (422, 422 HQ, or 4444), use the dedicated /video-tools/prores-encoder, which exposes exactly those options plus 10-bit colour and PCM audio.
Does the CRF setting affect ProRes output?
No. ProRes quality is set by its profile, not by CRF, so the CRF box has no effect when you pick prores. Use /video-tools/prores-encoder if you need to control the quality tier via the profile selector.
What audio do I get with ProRes from the transcoder?
AAC at 128k. If your edit requires uncompressed PCM audio (common for grading/finishing), use /video-tools/prores-encoder, which writes PCM (pcm_s16le) instead.
Will the ProRes output have an alpha channel?
No — the universal transcoder's ProRes doesn't carry alpha. For transparency (logos, keying, graphics), use the 4444 profile in /video-tools/prores-encoder.
Is the footage uploaded anywhere?
No. Everything runs locally via FFmpeg.wasm in your browser tab — important for unreleased or client footage. Only an anonymous processed-file counter is recorded for signed-in users, never the video.
Why is the ProRes file so much bigger than my source?
ProRes is lightly compressed on purpose so editing is fast — that means large files, often several times the size of an H.264 source. It's normal and expected; ProRes is a working format, not a delivery one.
Can I play ProRes in my browser to check it?
Browsers won't play ProRes .mov inline — it's an editing codec. Open it in Final Cut, Premiere, DaVinci Resolve, or QuickTime on macOS to verify it.
My ProRes file is too big for the free tier — what do I do?
Downscale the resolution first with /video-tools/video-resizer (e.g. 4K to 1080p) so the ProRes is far smaller, or move to Pro (10 GB) / Pro + Media (100 GB). You can also trim to just the section you'll edit with /video-tools/lossless-trimmer.
Should I edit in ProRes or just edit the original MP4?
If the original H.264/H.265 scrubs smoothly on your machine, you can edit it directly. If it stutters — common with 4K long-GOP files — transcode to ProRes first for a smooth timeline, then export H.264 for delivery.
Is ProRes from the transcoder good enough, or do I always need the dedicated encoder?
For a quick edit-friendly mezzanine, the transcoder's default ProRes is fine. Use /video-tools/prores-encoder when someone specifies a profile (422/422 HQ/4444), needs 10-bit colour, needs alpha, or needs PCM audio for finishing.
Does the workflow run on Windows as well as Mac?
Yes. It's a browser page running FFmpeg.wasm, so you can produce ProRes media on Windows or Linux too — even though ProRes originated as an Apple codec, encoding it here doesn't require a Mac.
Privacy first
Every JAD Video tool runs entirely in your browser via WebCodecs and FFmpeg (WebAssembly). Your video files never leave your device — verified by zero outbound network requests during processing.