From a presentation perspective, I'd nix both of the rapidly obsolescing HDCam and Blu-ray in favour of a ProRes file. Blu-ray is a pita for screenings. I've had discs that tested fine one day then wouldn't read the next. Even with a BR data drive and the software it's a slow and potentially lossy process to rip it back to a file.
If you're sending out a physical object (hard-drive/memory stick) with files on it, consider including multiple versions with different resolutions and/or bitrates. When I have the time to re-encode a file I'm pretty careful, but if I have to do so an hour before a screening, not so much.
You don't mention the running time, but a file that can be up//downloaded is theoretically cheaper/faster than shipping a tape or disc. At least it pushes the economic and environmental costs of the server farms onto the next generation.
Cheers,
Todd Eacrett
Victoria BC Canada
On Thu, 12 Dec
2013 21:33:07 -0800 (PST), ev petrol <[email protected]>
wrote:
thanks loads folks for all the feedback!!
this is a project that originated on super-8mm (18fps)
I did a 4K scan
then imported into avid as DNxHD 175X MXF
(the highest resolution I could get to play back on my laptop)
did all the conforming (stabilize, resize, timewarp, colour timing)& exported same as source (avid DNxHD 1920x1080 / 24fps)I have to make a digibeta & the DVDs (= what the funders asked for)
would it make sense to make a HD ProRes file & a Blu-Ray disc, instead of the HD cam, for screening purposes? (sounds like HD cam might not be very useful?)
I think the 2K is beyond the capacity of my laptop for the moment, but ideally, in the future, I might be able to conform the 4K to the current version ... would be lovely to get it onto 35mm at some point
cheers! Moiramoiratierney.net
vimeo.com/moiratierneyOn Thursday, December 12, 2013 9:33 PM, Aaron F. Ross <[email protected]> wrote:
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... >
>_______________________________________________ FrameWorks mailing
>list [email protected]
>https://mailman-mail5.webfaction.com/listinfo/frameworks </x-flowed>
-------------------------------------------
Aaron F. Ross
Digital Arts Guild
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