- May 4, 2016 at 5:57 pm
I am editing a feature documentary in FCP 7 on a 1920×1080 (HDTV 1080i 16:9) Apple Prores 422 HQ, square pixel, 48kHZ 16 – bit timeline.
We may be moving to 2k,still debatable seeing the minimum quality difference, it only depends on what distributors want, which brings me to the point:
While initially distributors asked for the works; HDcam, DCDM, DCP, dpx files, hard drives etc etc (I know these are the standard deliverables but we’re a small company and can’t get all of that done fast) we asked them for an alternative and they agreed to accept:
“In replacement of video materials (HDcam sr, etc.) we could agree:
Feature file Pro Res
audio 5.1 and lt/rt
with textless elements
on hdd or digidelivery”
The question I have now is how do I deliver a 4444 render from my current timeline? What is the workflow and also what’s the best way to deliver the hdd or digidelivery? (in other words what does that mean exactly?)
Sorry for the amateur questions but deliverables are NOT my forte.
Thank you for any and all answers!
- May 4, 2016 at 7:34 pm
What was the source footage? What did you convert it from? If I were you, I would be tempted to just export a ProRes 4444 file from the HQ timeline. Depending on the source, you will not see any difference if you reimport everything at 4444.
HDD…that’s a HARD DRIVE DELIVERY. Simply buy a hard drive and put the exported files onto that.
Digital Delivery…FTP, Aspera, Dropbox…a place you upload the files.
Please tell me you know what TEXTLESS means. And you are getting a proper mix by a professional to get that 5.1 audio, correct?
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- May 4, 2016 at 9:27 pm
Thank you for your response. I am familiar with HDD and Digital delivery meanings but since it’s from outside of the US I jsut wanted to confirm it meant that universally and yes I do know what textless means thanks you:) We have a professional doing the sound mix yes.
Regarding the footage it is a mixture of DVCPRO HD, H.264 and red cam, all converted to Prores 422 HQ, along with many still images, graphics etc that I am not sure how would export to 4444, that’s what I need to know, do I have to do something to my timeline ? meaning, convert graphic or footage or if I just copy and paste (or export and reimport) onto a 4444 timeline will there be quality loss, errors, graphic modifications etc.
- May 5, 2016 at 12:20 am
Docos shot and framed 16:9 can be directly converted to DCP by simply dropping the 1920 x 1080 into a 1998 x 1080 Flat 2k with slight pillar boxing. There is no 16:9 format in 2k so this is the best way to deliver for DCP without cropping.
If you do want to crop you might have to look at doing your final sequence as 1998 x 1080 and frame each shot. The other advantage of the first method is no scaling.
Converting a finalto ProRes4444 is a waste of time if your sequence is ProResHQ. I deliver that for DCP. 4444 has no advantage as a delivery file other than the assumption that the extra colour space and an alpha channel somehow helps for a delivery file. Just makes it bigger. It will look the same.
- May 7, 2016 at 6:12 am
the simplest way forward, i suggest, is to not do anything differently at this stage.
finish your film in ProRes422HQ, it’s curent format.
when you have a PrHQ video master, make a copy as 4444 to keep your distributor happy.
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