Archive / Master Format

[KStephens]

So, I think it's a straight-forward process to back-up R3D files as 'digital negatives'. What about a 'master' format, though, for the final, graded footage... with effects and everything else?

Originally, I looked at JPEG2000. It could be used to create a DCP, which is apparently what studios have agreed on. That is probably a big selling point. However, I'm not sold entirely on the standard and just inclined to see what the alternative might be.

I've found JPEG2000 to be pretty slow, especially for compression. I was recently trying out PGF. It's much faster than JPEG2000 and has good compression ratios for lossy and lossless formats. I put it into a VFW codec and have seen good results. Another alternative could be to use individual frames but I don't see an advantage in having thousands of files (I'd prefer fewer files).

So, I'm considering PGF for an archive format for any final footage.

Any comments, ideas? Is it worth pursuing another format?

 

[David Battistella]

File based
Uncompressed 10-bit
Prores 4444
DPX file sequence

Tape
HDCAM-SR 1080 mor 2K
PRJECT
Media MAnaged FCP archive project

David

 

[KStephens]

File based
Uncompressed 10-bit
Prores 4444
DPX file sequence

Tape
HDCAM-SR 1080 mor 2K
PRJECT
Media MAnaged FCP archive project

David

Thanks. So, that's what you use? I only have a little experience with HDCAM but I'd want to keep the resolution at 4K. I've considered DPX. DPX would be cool -- I've used it for film projects in the past -- but I don't see the advantage over a fast, lossless compression format? 4K 10-bit DPX files are pretty large ..

 

[Marc Wielage]

Uncompressed 4K DPX files are the right way to archive each reel. But ask your distributor what delivery formats they'll need. With major studios, we're usually required to deliver the following:

* uncompressed 4K DPX of each reel, un-color-corrected

* uncompressed 4K DPX of each reel, color-corrected

* all textless material, 4K DPX, un-color-corrected

* all textless material, 4K DPX, color-corrected

* titles

* HDCam-SR in 1080 24p (all color-corrected and broadcast legal), original aspect ratio, with textless material at end

* HDCam-SR in 1080 24p but in full-frame 1.78

* HDCam-SR in 1080 24p 4x3

This doesn't even begin to get into the sound deliverables or alternate takes for TV versions, but it gives you an idea of what will be required in order to satisfy most distributors.