You ask a very valid question. Previous projects that I've delivered to Netflix were from an Avid 709 project and I heard no complaints about levels. Given I am taking this final grade into an Avid project for marrying the audio and video along with an open title element I feel most comfortable working in Rec 709 because that is how I delivered the previous project. The difference there was I did the grade etc... all in Avid.
I would ask why would I not want to send legal levels? A level standard is to maintain consistency in the final product be it broadcast or cable or internet streaming. Given Netflix doesn't want color bars on the delivery file either they have an automated process for accessing the file level and handling it accordingly or when we deliver the file to the QC house that takes our file and formats it to the Netflix spec they convert things there. On the previous project my dealings with the QC folks had nothing to do with video levels so I am assuming my delivering a Rec 709 standard file was what they want.
Some of the underlying Netflix specs are related to iTunes standards but I never had to refer to them on my last delivery.
I've since looked at some of the camera originals and they are ProResHQ 422. This is what we typically get from the multicamera Arri Alexa and Amira shoots. I suppose the Colorist and Editors decided to work at ProRes 4444 to give more wiggle room in color correction. Perhaps I'm just too pragmatic but for a multicamera stage show destined for Netflix ProRes 4444 is overkill but perhaps there are ancillary distributions I'm unaware of.
---In avid-l2@yahoogroups.com, <speckydave@...> wrote :
Hi John,
Why should a master for Netflix delivery have legal levels? Do Netflix request broadcast levels in their spec?
David
Sent from my mobile phone - please excuse spellung.
On 15 Sep 2015 7:34 pm, "John Moore bigfish@... [Avid-L2]" <Avid-L2@yahoogroups.com> wrote:
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> I have received a "Graded" show as a ProRes 4444 file. When I ama link in Avid SNDX 6.5.4.7 the levels are illeagal, pretty much like RGB in 709 space. When I right click to get to source settings it says there are no source settings on this clip. The final delivery is ProResHQ 422. Of course there are not color bars on the file. God forbid I have a chance to actually accurately access the signal path. ;-(
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> I suppose I can try it on my 8.3.1 startup drive and use some of the new options. Can someone give me a heads up on the proper way to accurately transcode this ProRes 4444 file to ProResHQ 422. I have to add an open title so I will be working in Avid.
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> I'm thinking I could just export to ProResHQ 422 in QT Pro 7. I'm trying to use the most accurate workflow to maintain the grade. I don't want to just add an Avid color correction to make it legal. This will be for Netflix delivery.
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> John Moore Barking Trout Productions Studio City, CA bigfish@...
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Posted by: bigfish@pacbell.net
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