[Frameworks] HD cam 24 vs 25? vs DCP?

Fri Dec 13 05:59:56 UTC 2013

(& sorry for the multiple messages, yahoo glitch ...)

moiratierney.net
vimeo.com/moiratierney

On Friday, December 13, 2013 12:34 AM, ev petrol <epetrol2 at yahoo.com> 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! Moira

moiratierney.net
vimeo.com/moiratierney

On Thursday, December 12, 2013 9:33 PM, Aaron F. Ross <aaron at digitalartsguild.com> 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 FrameWorks at jonasmekasfilms.com 
>https://mailman-mail5.webfaction.com/listinfo/frameworks </x-flowed>

-------------------------------------------

Aaron F. Ross
Digital Arts Guild 

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