[Vanessa Mcdonnell]

I have not yet been able to perfect my workflow unfortunately. For exhibition I’ve been using an blu ray encoded with compressor. I did speak with a couple of people who felt that a higher level hardware encoding set up would achieve the best results, specifically using sony blu code (see message below which I received from a lab in NYC – and which introduces new technical challenges to the equation). However, some people think that software encoders like AME and compressor have caught up or surpassed seldom updated hardware encoding set-ups, and obviously paying a lab to master files for you is very expensive.

We will eventually be doing an actual release on blu ray so hopefully someone has some advice to offer!

Vanessa,

The Sony Blu-Code is the best encoder to retain the 16mm grain. The issue is that it requires Uncompressed 4:2:2 10 bit MOV files. The ProResHQ files you have would need to be converted in QT Pro or re-exported from the FCP project as Uncompressed. It will be approx 5 times the size of your current 88 Min ProResHQ file.

We can encode from your ProResHQ files using the Sony DSA encoder. This is a very good encoder, just not as much control as the Blu-Code. Many filmmakers are happy with the results.

The Blu-Code is a fast encoder, but requires capture from HD tape or a Uncompressed file as source. The DSA is great but slow about 4 times the running time.

Blu-Ray – Via DSA encoder
Encoding Content at 1.5 hour = 6 hours encoding time @ $150.00 per = $900.00
Authoring (No menu, Autostart, No Chapters, Non-Looping) 1 hour @ $200.00
Imaging $100.00 (1st Blu-Ray burned – Duplication master)
Copies at $40.00 per

Option * DTS for 5.1 with 6 mono 48k/16-24bit files submitted by client