I want to reiterate that the ProRes codec is lossy. ProRes 4444 is
the best, it's full 4:4:4 color sampling and can optionally preserve
RGB color space if you're working with graphics. But if you're
looking for a truly lossless mastering format, the best option is
still Quicktime Animation at 100% quality. /// Aaron
///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
At 12/12/2013, you wrote:
I agree. HDCam-SR is a preferable tape master (but expensive to read
from because only big labs have the players). A ProRes file is
definitely more useful to work with, though a physical tape master
is reassuring to have. 24PFS is the most compatible framerate for
film original and HD projection including DCP. If you then make a
downconverted SD version on beta or as an SD file then 25fps is the
standard for that version. Watch out for DCP - this is an encoded
file package like a DVD and certainly not a master element. It
cannot be accessed or copied. It cannot even be read from in real
time - it has to be ingested into the server. It is only useful for
screenings in cinemas that are equipped. You are right to worry
about servers and platforms - some DCPs don't play on all systems.
But DCP has become the Hollywood standard to replace release prints.
It is handy to have available for potential screenings an HD ProRes
file, a Blu-Ray disc, and/or a DCP, an SD file, a beta, a DVD... But
for preservation, archiving and future compatibility,the best master
now is a 2K file, either in DPX or ProRes 4:4:4 or as tiff images.
Down the road you will be able to convert that into anything you
will need and you could even make a 35mm negative from it, which is
the best solution of course. -Pip At 16:28 -0800 12/12/13, David
Tetzlaff wrote: >I'd recommend getting your film transferred to the
highest quality >codec available, then converting it to whatever you
need on your own >(or a friend's) computer (if you don't have a
Mac). > >HD-CAM IS NOT FULL 1080P RESOLUTION! >It's a now
technologically obsolete tape format that uses an >anamorphic frame
to get within the recording bandwidth of the
tape >apparatus. > >You'll want your film outputted to a file on a
hard-drive >regardless, not to any form of tape. If the transfer
service can't >do that, f**k 'em, and find someone who
can. > >Assuming you have access to a Mac, I'd recommend ProRes
4:4:4. Not >that you'd ever send it out in that, but as a
'best-quality' master. >I assume DCP would be better (??) but I
don't know of any software >you could use to downconvert it. > >If
it's shot at 24fps, get it transferred at 24fps. If you need
to >send it out to PAL-land, they might have 24fps capability... And
if >they don't, you can do the 24-25 conversion yourself in
software. >That way you have the option of doing a 1frame=1frame
conversion so >every frame remains intact but it just runs a little
faster, or you >can do a transfer that preserves the running time,
and uses some >algorithm to blend frames to make up the difference.
If you're using >something like Apple Compressor to do that (24-25),
there are lots >of different settings you can manipulate to make
sure you get the >best possible quality, and it will take days to
render as a result. >So again, you'd want to only do this once, and
use your 24fps master >to create a 25fps 'master' in the best codec
available, from which >you would then create whatever 25fps
distribution versions you would >need... >
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Aaron F. Ross
Digital Arts Guild
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