[Frameworks] HD cam 24 vs 25? vs DCP?
Aaron F. Ross
aaron at digitalartsguild.com
Fri Dec 13 02:31:34 UTC 2013
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
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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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