H264 or quicktime export?

Forum|Forum|1 year ago
July 18, 2024
3 replies
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Hi. I'm super bad at tech stuff, so apologies in advance. I'm outputting a 30fps feature lenth documentary shot on an iphone for a DPC. I'm wondering which is better, H264 or Quicktime 422HQ. The Quicktime file is obviously much larger, but I dont know if that exactly matters. Any low tech advice would be appreciated. Thanks!

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Correct answer R Neil Haugen

I work for/with/teach pro colorists, who of course master a fair number of DCPs.

Typically a 'master' file is created, either ProRes or a DNx variant, and then a DCP is also created. The DCP is often H.264. BUT ... various festivals may have entirely different spec sheets. So knowing which festival, and getting their specific spec sheet, may be required.

And note, some spec sheets are written by people who don't actually understand the tech details. Which is frustrating when they 'demand' something that isn't possible. Plus ... actual theatre specs tend to be done with a 2.6 gamma grading display transform on the colorist's screen, and to a 48 nit max brightness. And a particular white point also.

So ... it may be you need Rec.709 graded on a gamma 2.4 display in that semi=darkened room, or graded at display transform of 2.6 in a totally darkened room to a P3 spec. Who knows, until you get The Sheet.

MyerPj

Community Expert

So, just as to the export part, the ProRes (422HQ) is going to be your best quality, you can even make h.264's from the ProRes file and the quality will still be high. The h.264 can play on most players, so that's good for that type thing.

IrishjdkAuthor

Known Participant

Thank you! I think I'm going to go the ProRes rout.

R Neil HaugenCorrect answer

Legend

I work for/with/teach pro colorists, who of course master a fair number of DCPs.

Typically a 'master' file is created, either ProRes or a DNx variant, and then a DCP is also created. The DCP is often H.264. BUT ... various festivals may have entirely different spec sheets. So knowing which festival, and getting their specific spec sheet, may be required.

And note, some spec sheets are written by people who don't actually understand the tech details. Which is frustrating when they 'demand' something that isn't possible. Plus ... actual theatre specs tend to be done with a 2.6 gamma grading display transform on the colorist's screen, and to a 48 nit max brightness. And a particular white point also.

So ... it may be you need Rec.709 graded on a gamma 2.4 display in that semi=darkened room, or graded at display transform of 2.6 in a totally darkened room to a P3 spec. Who knows, until you get The Sheet.

Everyone's mileage always varies ...