I recently did a presentation on Film Festival deliverables.
I expect RED users may be interested in this topic so I am placing a link here.
Following is a text version of the slides used in the presentation.
Presentation found at:
PDF at http://www.d-cine.net/cinetechgeek/F...liverables.pdf
PPT at http://www.d-cine.net/cinetechgeek/F...liverables.ppt
Slide text follows.
Film Festival Deliverables
running a festival or submitting to a festival..
What you need to know….
What is covered
- The typical media formats you expect today. (Tapes, files, film, DCP) How to run a festival cost effectively
- What a film producer needs to know (How to take advantage of digital)
- What a film festival producer needs to know (Best practices for the digital age)
Typical media formats
- Film – Outdated, no longer preferred
- DCP (Digital Cinema Package) – preferred but limited to 24fps for Interop DCPs which is the only widely supported DCP type (Note: SMPTE DCP support is coming this year (we hope))
- Tapes (HD and SD, SR/HD/Digibeta-cam, HDV) – Still in common use especially when non 24fps content is involved (Fading fast)
- BluRay’s and DVDs common again for non 24fps content (Quality??)
- eCinema (Non DCP media files) – Via USB thumb drive, HardDrive or Internet in a plethora of formats from MPEG2, H264, ProRes etc) Other then DCP, this would be the best method. (4:2:2 in 8/10bit)
Doing a Festival cost effectively
- Ask for DCPs. Try to utilise a location that plays SMPTE DCP’s Otherwise prioritise content,eCinema, BluRay/DVD, Tape (If available) Play all media files from a single platform, Windows Laptop.
- dcpPlayer – DCPs (Inc SMPTE any frame rates)
- BluRay Drive and software – Any BluRay or DVD eCinema files any format – VLC media player will play all
- i7 Laptop with BluRay, dcpPlayer and VLC software Projector and Audio options
What a film producer should aim for
- Will always need to make BluRay and DVDs for promotion
- DCP still BEST for in Cinema display. Best quality, similar or better then 4:4:4 12 bit (Highest quality ProRes equivalent)
- How to get to DCP?
- What to Supply (Video files,audio files and subtitles)
- Colour Management difficult. Talk to Encoder
- Remember DCPs are 1998×1080 or 2048×858, master to suite Is Encryption needed? If so, becomes much more difficult ($$$)
What a film producer should aim for
(When doing it on the cheap)
- eCinema networks in different regions.
- For example Australia, New Zealand, India and Nepal.
- eCinema cheaper to make and distribute then DCP.
(Smaller files, small USB-Hard Drives, small enough to download)
- In some regions, eCinema is the only way.
For example, non-English, mainly Local content regions.
- eCinema can archive 4:2:2 (8 or 10bit) Quality, better then BluRay.
- eCinema files can be downloaded over Internet (DCI to big)
How to get a DCP, eCinema, BluRay
- Open source tools are available but do not recommend to use them unless you really know what your doing
- Avoid using bedroom encoders
- If possible go to a specialised DCP encoding facility
- Good facilities have DCI/eCinema players for testing and quality checks but this would likely ad to the cost (Consider this insurance. Can you risk sending out 50 BAD copies $$)
- I cannot stress, if you can afford it, get your content encoded by a company who knows what they are doing (Avoid problems and egg- on-your-face if it goes wrong or does not look 100%)
What to supply an encoding facility
- TIF image files in 16bit liner color space
- Master quality codec files such as ProRes MOV files
- Typical colour space such as REC709 (Problematic area)
- DPX files are also typical buy make sure you tell the encoder exactly how they are stored. (Colour space can be linear or logarithmic)
- Audio files as separate stems meaning a mono 48Hz 24bit audio file per channel, typically 6 channels for 5.1 surround
- TALK TO THE ENCODER and see what he can deal with
- This is a very difficult area and is easy to get wrong
- Typically this is REC709 (If your doing the typical Video workflow)
- Especially important if doing DI using DPX and other more then 8bit color workflow.
- If not sure, best to bring in Encoder company to look at your workflow as so they can work out the best method
- In general, a good editor or workflow consultant should understand this (Tho I have seen many who do not)
Scope or Flat
- the DCI standard for DCPs are to master to SCOPE or FLAT SCOPE = (2K) 2048×858 or (4K) 4096×1716 (2.39:1)
- FLAT = (2K) 1998×1080 or (4K) 3996×2160 (1.85:1)
- FLAT Similar to HD 1920×1080
- Common workflow is to use typical HD workflow then do resize of 1920->1998, loose small amount of top and bottom
- Any resize has quality issues, you should be aware of this (Ie Avatar used 1920×1080, did you notice)
- We all want to protect our content
- DCI supports encryption that requires a KDM or key to be generated for every screen you could possibly want to show the DCP
- THIS IS EXPENSIVE – Every key cost $$ to produce
- Must go to specialised key management companies like Technicolor or Deluxe (And others)
- THIS IS EXPENSIVE and you should only consider this if you have a high profile independent feature or better, otherwise it is probably unjustified
- eCinema can also support encryption but this is usually a proprietary solution based on the region and distribution companies
Festival Producers, whats best for you
- SMPTE-DCPs are now the way to go SMPTE-DCPs can be made at all frame rates
tools such as dcpPlayer can be used to preview/quality control the content without the need to rent a cinema
- All Cinemas doing festivals are Digital now, just need to make sure they are upgraded to SMPTE-DCP
- Cinema Owners take note, get SMPTE-DCP upgrades ASAP, available now but check how compatible your equipment is with all frame rates (May need to purchase up-to-date player/projector)
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