4K master resolution?

[Frank Cueto]

Guys, is there a standard as far as 4K Masters?

I want to finish several films in 4k (4 films). One of em is 1.85, another is 1.77 yet another one 2.35 and of course a 2.40 one too.

What resolutions are considered masters for this? I am leaning 4kHD as standard Horizontal res.

So now I am trying to figure out on which resolution (and pixel aspect) to prep my master so I can deliver correct files.

Any hints?

 

[Clark Dunbar]

http://en.wikipedia.org/wiki/4K_resolution

 

[Frank Cueto]

Thanks Clark. already went that way but there is a bunch of them listed. I was wondering if there is a PREFERRED resolution and if some of them could end up being rejected at the stage of deiverables because improper resolution?


-F

 

[Cory Petkovsek]

What are your deliverables? Your resolution is dependent upon them.

If you are targeting a theatre DCP, then go Scope 4096×1716, (2.39:1) or Flat 3996×2160, (1.85:1).
http://en.wikipedia.org/wiki/Digital_Cinema_Package

I have read online that projectors are typically only setup for these aspect ratios. Others will introduce black bars which negatively impact the contrast. I'm not sure how this impacts 2:1. The imager is capable of 2k and 4k (4096x2160) at 2:1, but since it's not common, a projector at a theater may stick it into a scope or flat preset and introduce bars instead of allowing the full resolution of the imager .

If you are targeting hdtv, then use 3840×2160.

Master your film in the aspect ratio the director wants it in given the above resolutions. If that's you then pick what you like. Then if you are going to an alternate medium other than what it was mastered in, reframe it for the alternate delivery (ie. scope -> hdtv). In that case you either cut off the edges or letterbox it.

 

[Marc Wielage]

Great advice from Cory above. I would ask your distributor for a specific list of specifications for the final deliverable files. I would also make sure you have SMPTE sizing charts so that there's no surprises when it comes to masking or blanking for final composition. (Bear in mind that most distributors ask for both theatrical and home video deliverables, and all of them involve different standards, color spaces, and file formats.)

I have delivered 4096x3112 files for CinemaScope archival files, and also 3996×2160 for a normal theatrical 1.85 film. I haven't yet worked on a 4K 2.40 project for DCP, but I have done quite a few 1.85 films, and dozens and dozens of 2K projects.