Stockholm > Delivery Format
PICTURE
Negative
All lab rolls must be clearly labelled with :
Title.
Date.
2, 3 or 4-perf.
TC start on the punch hole in the beginning of each lab roll.
The same corresponding TC must be found on the one-light tapes
delivered together with the lab rolls.
All film rolls must be re-winded and cleaned after rush/one-light
transfer. If not so a fee for each lab roll will be invoiced by TCP.
Edl (for picture post)
CMX 3600
One Edl for every video-track.
The Edl shall only contain video.
Sync frame 48 frames before picture start.
Do not include unsupported effects in the EDL (like chroma keys). This
may cause problems in the auto conform.
Picture reference
DV-Cam, Digital Betacam or a DV-pal quicktime in 25 fps.
Do not cover the burnt in info for tape name, lab roll, source tc with a
letterbox.
Graphics
All graphics shall be delivered in 72 dpi RGB colour mode.
We accept TIFF and TARGA files with an alpha channel in the correct
aspect ratio. Or illustrator eps vector files.
HD 1920 x 1080 px
PAL/SD 720 x 576 px
PAL wide 1024 x 576 px (shall be used for 16:9 PAL material)
Digital deliveries as file sequences or quicktimes
For grading in Film Master we prefer 10 bit DPX files. We can accept
Targa files.
For Final Cut Pro deliver quicktime files in Black Magic codec or Apple Pro Res.
For Flame/Flint/Smoke we accept DPX, TIFF and TGA.
A maximum of 7 digits can be used in a file padding (name_1234567.dpx)
USB/FireWire drives shall be labelled with production company and project name.
All cables and the power adaptor shall be included.
RED
For projects filmed with RED we need:
From Avid a EDL CMX3600 or RED16 using camroll as ID.
From Final Cut Pro a CMX3600.
R3D material shall be delivered on Firewire 400/800, not LTO. Keep the original recording file structure and original names.
If possible deliver a Avid bin as well.
If the client convert the R3D to dpx files. Export to Dpx red log and red space.
The exported folders and files should have the same name structure as in the EDL.
Remove all file meta data.
SOUND
EDL
CMX 3600 EDL for all audio tracks with filetag based soundroll column
CMX 3600 EDL for main video track
Media
AAF if edited in AVID
AAF exported with a separate media folder
Minimum 150 frames handles
OMF, if edited in Final Cut Pro
OMF with embedded media
Minimum 150 frames handles
Volume automation enabled
If needed, XML document and acces to Final Cut Pro media files
Picture reference
DV-PAL quicktime in original fps
Location sound on channel 1/L and music and effects on channel 2/R
Sync beep 1 frame long 48 frames before programme start
Location sound
All location sound files must be delivered on a hard drive
Sound and continuity reports delivered as PDF-files or divided in binders
Notes
Location sound file bit depht, sampling frequency and metadata must remain intact when imported, synced, edited and exported
EDL's, sync beep, programme start and the content of the programme shall correspond with the AAF/OMF and quicktime reference
If re-edited, new EDLs, AAF/OMF and quicktime reference must be delivered immediately
Adjustments because of re-editing will be charged by the hour unless agreed upon
Loss of time caused by faulty exported project or delayed delivery will be charged by the hour
Firewire / USB discs
With the disc enclose the power adaptor as well.
Negative
All lab rolls must be clearly labelled with :
Title.
Date.
2, 3 or 4-perf.
TC start on the punch hole in the beginning of each lab roll.
The same corresponding TC must be found on the one-light tapes
delivered together with the lab rolls.
All film rolls must be re-winded and cleaned after rush/one-light
transfer. If not so a fee for each lab roll will be invoiced by TCP.
Edl (for picture post)
CMX 3600
One Edl for every video-track.
The Edl shall only contain video.
Sync frame 48 frames before picture start.
Do not include unsupported effects in the EDL (like chroma keys). This
may cause problems in the auto conform.
Picture reference
DV-Cam, Digital Betacam or a DV-pal quicktime in 25 fps.
Do not cover the burnt in info for tape name, lab roll, source tc with a
letterbox.
Graphics
All graphics shall be delivered in 72 dpi RGB colour mode.
We accept TIFF and TARGA files with an alpha channel in the correct
aspect ratio. Or illustrator eps vector files.
HD 1920 x 1080 px
PAL/SD 720 x 576 px
PAL wide 1024 x 576 px (shall be used for 16:9 PAL material)
Digital deliveries as file sequences or quicktimes
For grading in Film Master we prefer 10 bit DPX files. We can accept
Targa files.
For Final Cut Pro deliver quicktime files in Black Magic codec or Apple Pro Res.
For Flame/Flint/Smoke we accept DPX, TIFF and TGA.
A maximum of 7 digits can be used in a file padding (name_1234567.dpx)
USB/FireWire drives shall be labelled with production company and project name.
All cables and the power adaptor shall be included.
RED
For projects filmed with RED we need:
From Avid a EDL CMX3600 or RED16 using camroll as ID.
From Final Cut Pro a CMX3600.
R3D material shall be delivered on Firewire 400/800, not LTO. Keep the original recording file structure and original names.
If possible deliver a Avid bin as well.
If the client convert the R3D to dpx files. Export to Dpx red log and red space.
The exported folders and files should have the same name structure as in the EDL.
Remove all file meta data.
SOUND
EDL
CMX 3600 EDL for all audio tracks with filetag based soundroll column
CMX 3600 EDL for main video track
Media
AAF if edited in AVID
AAF exported with a separate media folder
Minimum 150 frames handles
OMF, if edited in Final Cut Pro
OMF with embedded media
Minimum 150 frames handles
Volume automation enabled
If needed, XML document and acces to Final Cut Pro media files
Picture reference
DV-PAL quicktime in original fps
Location sound on channel 1/L and music and effects on channel 2/R
Sync beep 1 frame long 48 frames before programme start
Location sound
All location sound files must be delivered on a hard drive
Sound and continuity reports delivered as PDF-files or divided in binders
Notes
Location sound file bit depht, sampling frequency and metadata must remain intact when imported, synced, edited and exported
EDL's, sync beep, programme start and the content of the programme shall correspond with the AAF/OMF and quicktime reference
If re-edited, new EDLs, AAF/OMF and quicktime reference must be delivered immediately
Adjustments because of re-editing will be charged by the hour unless agreed upon
Loss of time caused by faulty exported project or delayed delivery will be charged by the hour
Firewire / USB discs
With the disc enclose the power adaptor as well.