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Best format for composers

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That probably varies from person to person. I prefer .avis, but I'll just convert any video I get into the format I like. I assume Mac folks gravitate towards quicktime files. The most important thing is the framerate (which can mess with synching if everyone's not on the same page). Other than that, smaller file sizes are better, and the video doesn't need to be full HD resolution. When composing, I don't want my system taxed too much with video playback; as long as I can see the action while I'm working, that's good enough.

You can always ask a composer what they prefer before you send it to them, but we are, to some degree, used to dealing with whatever anyone throws at us.
 
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I agree with Josh. I pretty much convert it when I get it but prefer some type of small lo res quicktime file. (I'm on a mac though)

For me the big thing is getting the timecode burned into the video. You'd be surprised at how often major production companies didn't do this.

If there's a temp track I like to get one stereo file with the vo on the right side and the mono temp music on the left side. If I need more volume from either one I can just pan it to my taste and the video guy doesn't have to send me multiple audio files.
 
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Modern Day Myth Prod. LLC said:
What is the best format for videos to send composers over
the Internet? Mp4?
Click to expand...

You'll really need to discuss that with the composer, each one has their own working practices.

In my case, for composing (or audio post) I would want a 1080p quicktime in H264 format, as that has about the best quality to file size ratio. I would then transcode it to ProRes or DNxHD 220 for actual use. As JoshL said, it is imperative that it's at the same frame rate as the editor's session. I also like to have BITC (Burnt In Time-Code) which is a useful safety check. Also useful when composing is to have the dialogue on one audio track and any temp music used during editing on a different audio track.

G

EDIT: Looks like I was writing my reply while Tune peddler was posting his.
 
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Anything Quicktime compatible is fine for me. As long as framerates stay the same, there's no issue.

A timecode burn is especially important, even more so now, when the filmmakers and composers are using different software, and it doesn't work for the composer just to say "start the music file at 6:33 on the timeline."

Everybody needs to be looking at the same clock, regardless of where the playhead is on their own timeline.
 
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Fantastic tip! It never occurred to me to ask for a burnt-in time code, though it really should have. That way everyone is on EXACTLY the same page. I usually make note of the timecode where I chop the video, and then add that to the timecode on my sequencer, but if it's right on the video, it doesn't matter where or how I chop it up. Taking that a step further, I could include the timecode at the beginning of the filename while mixing down, making it easier for the editor to put them in the right place.

:cheers: Next round's on me!
 
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JoshL said:
Taking that a step further, I could include the timecode at the beginning of the filename while mixing down, making it easier for the editor to put them in the right place.
Click to expand...

You could do that but depending on the software you're using, you shouldn't need to. If you are exporting as a broadcast wav file then time-code should be stamped in the metadata of the file. Then all the mixer needs to do is import to the original time stamp and it should be perfectly placed.

G
 
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