ENCODING AND OUT PUT because the acquisition codec is not ideal for editing and therefore a more suit- able editing format is chosen. Back in the late 1980s and early 1990s there was no DV, HDV, DVCPro HD, ProRes or high-quality affordable formats. Rather there were professional formats such as Betacam and Beta SP, one-inch C format and other consumer formats such as Super VHS, Video 8, or Hi-8. If footage needed to be edited that origi- nated using lower-end formats, the video content would be dubbed to a higher- quality format for post-production. For example, something shot on Video 8 was dubbed to Betacam or one inch for editing. This was standard procedure as the cheaper formats were deemed non-broadcast. While occasionally used for acqui- sition they were never used for editing in a broadcast environment. Twenty years forward and we have a range of codecs to work with: DV, 8-bit uncompressed, 10-bit uncompressed, DVC Pro, HDV, AVCHD, DVCPro HD, AVC Intra, XDCAM, XDCAM HD, XDCAM EX, AVCCAM, and then the high-end formats like RED, uncompressed HD, and beyond. To help deal with this multitude of codecs, Apple has created a high-quality