Video Loop Formats: MP4, ProRes, HAP and DXV

MP4, H.264, ProRes, HAP and DXV solve different playback problems. Here is how to choose a format for editing, streaming and live visuals.

A video’s filename extension tells only part of the story. MP4 and MOV are containers; H.264, ProRes, HAP and DXV are codecs that determine how the frames are compressed and decoded. The right choice depends on whether you are streaming one background, editing a film or playing several 4K layers live.

MP4 and H.264

H.264 inside an MP4 container is the most widely compatible delivery format. It produces relatively small files, plays in browsers and editing applications, and works well for OBS backgrounds or a single video layer.

Its efficiency comes from storing differences between frames rather than every frame independently. That can make random seeking and multi-layer live playback more demanding. Hardware decoding helps, but H.264 is not always the best performance format for a large VJ set.

ProRes

Apple ProRes is an editing codec designed for high image quality and responsive timeline playback. Files are much larger than H.264, but every frame is easier for an editor to access. ProRes 422 variants are common for mastering and post-production.

ProRes 4444 can carry an alpha channel for transparency. A file being ProRes does not automatically mean it has alpha; it must be encoded in a variant and pixel format that supports it, and the source animation must actually contain transparency.

HAP

HAP is designed for real-time visual performance. It shifts decoding work towards the GPU and is supported by VDMX, TouchDesigner, MadMapper, Modul8 and other media-server tools. HAP Q prioritises image quality, while other variants trade quality and file size differently.

HAP files are large because they trade storage and disk bandwidth for easier live decoding. Run them from a fast SSD, especially when several high-resolution layers play simultaneously.

DXV

DXV is Resolume’s preferred codec for live playback. Like HAP, it is designed to decode efficiently on the GPU. Resolume Alley can batch-convert source videos into DXV without requiring a separate editing package.

If your performance is built in Resolume, converting MP4 source loops to DXV before the show is usually more reliable than asking the system to decode several 4K H.264 files at once.

Which format should you use?

• OBS or Streamlabs: H.264 MP4 is normally the practical choice.
• Premiere Pro, Final Cut or DaVinci Resolve: MP4 works, while ProRes can improve heavy editing workflows.
• Resolume: convert performance files to DXV.
• VDMX, TouchDesigner or MadMapper: HAP is often useful for multi-layer playback.
• Transparent overlays: use a codec and source that support alpha, such as ProRes 4444 or an alpha-capable HAP variant.

Resolution and frame rate still matter

Changing codec does not change the creative content, aspect ratio or native frame rate unless you explicitly convert those properties too. A 3840 × 2160 file remains 16:9. A 24fps source does not become true 60fps simply because it is encoded as DXV.

Match the output system where possible. For a 1080p stream, a 1080p copy avoids scaling a 4K frame during every moment of the broadcast. For a 4K LED canvas or detailed crop, retain the original resolution.

What format are Visualdon loops?

Visualdon loops are delivered as MP4 files using H.264 High and yuv420p. They do not include alpha and are not supplied as DXV, HAP, WebM or ProRes. This keeps the download broadly compatible; VJs can convert the files for their chosen playback system.

Every product page lists its resolution, frame rate, duration and file size. Browse the 4K VJ loops, the streaming backgrounds, or the complete loop shop.