Variables to consider when :Delivering The Thornham DVD To The Client

What class of deliverable does the client need?

When working with a client, you need to make sure that they are prepared to receive the files you’re delivering. Just as with still photography, it’s important to choose the right way to format the deliverable. A layered Photoshop file may be difficult or impossible for some clients to open. And a savvy client who needs to make edits may be just as dissatisfied with the compressed JPEG you send via email. You might also hesitate in handing over all of your images from the shoot if you didn’t pre-negotiate the terms.

The same situation exists with video files. You need to clarify what class of file the client is prepared to receive. Ideally this discussion would have happened up front (as it will often affect the cost of the project). Here are several classes of deliverable to discuss with your client.

• Digital Master – As the name implies, a master file generally refers to a single, self-contained digital file that matches or exceeds the codec quality of the original camera acquisition. In most scenarios, the final video gets compressed or converted for multiple uses. Because of all this reformatting, it’s really important that you start out with the best quality image that you can. This file should be created with a very high quality codec, rendered at very high quality settings. Common choices include ProRes, Avid, and Cineform.
• Mezzanine Files – A Mezzanine file is a lightly compressed master file that will stand up to making additional compressed versions.The use of mezzanine files is popular as they simplify the process for most users. In this case, a high-quality file is created using minimal compression. A popular choice is to use the H.264 codec, but with a data rate that is much higher than a DSLR camera. The file is smaller and easier to backup or transport, as ome compression is applied, meaning that the file can be more easily shared or transferred using the Internet. However, the data rate is high enough that the file can be easily re-compressed for smaller sizes.
• Compressed Deliverables – This category of files typically refers to a wide range of files designed for playback on the web as well as consumer electronic devices and portable media players. It is quite possible that this list can grow into dozens of files quickly if you optimize for individual devices. If you are creating these files for your client, be sure to budget output and testing of each deliverable on a version of the intended playback device.
• Project/source files – This is a large area of conflict between client and vendor. The client may expect that video projects are works made for hire and expect that all footage you shot, as well as the project files for video editing and graphics, are bundled up and turned over to them. This opens up a myriad of potential issues and clearly shows where the video and photography industries differ on standard business practices. If you do deliver project and source files, most nonlinear editing tools have a media or project manager that can simplify the process.

Testing compatibility

Before you send your video out the door to a client (or even your audience) be sure to thoroughly test it. Always test each web video preset you intend to use by taking it and running it on a clip. Then take the resulting file and transfer it to an intended player. If the preset says its for an iPod, put the file on an iPod and an iPhone. If you are required to deliver on DVD, burn a disc and play it on a television. You need to test your settings because something can go wrong with the file.

Before you compress a lot of video, create a small test file. Try compressing 30 seconds of video with different settings. This test file should ideally include a mixture of footage and graphics that will be in your final shows. The goal is to find compression settings that work well with your material and are also compatible with the technology your audience wants to use.

Best practices

Here are some suggestions on best practices for creating optical discs:

• Use variable bit-rate encoding (VBR) – Variable bit-rate (VBR) encoding adjusts bit rate depending on the subject mater that is being encoded. If a shot is simpler with less movement, the total bit rate will be reduced. VBR encoding is more efficient and leads to smaller, better-looking files when compared to constant bit-rate (CBR) encoding.
• Watch bit rates– Setting a bit rate (or quality level) too high will create excessively large files that may not play smoothly with older players or software. The files might also skip and stutter. Conversely a bit rate that is too low will reduce quality but give you smaller files. When encoding for DVD VBR bit rates that are between 4–8 Mbps work well and for Blu-ray we’ve found bit VBR rates between 12-25 Mbps are appropriate for most situations
• Use progressive sources where possible – For both DVD and Blu-ray you’ll get better results from MPEG2 and H.264 encoding when your sources are progressive.

Duplication vs. replication

When creating DVDs or BDs, you have two choices in manufacturing the optical discs. If you’re dealing with small quantities, you can use the optical burner or disc drive with your computer. These discs are easy to make, but may not be as compatible in all players.

If you need to produce discs in larger quantities, the use of replication is preferred. In this case, a master disc image is created (often called the glass master). Discs can then be created using specialized hardware that creates the discs much faster and with greater accuracy to prevent errors. This process is typically used for orders above 500 discs.audience) be sure to thoroughly test it. Always test each web video preset you intend to use by taking it and running it on a clip. Then take the resulting file and transfer it to an intended player. If the preset says its for an iPod, put the file on an iPod and an iPhone. If you are required to deliver on DVD, burn a disc and play it on a television. You need to test your settings because something can go wrong with the file.

Before you compress a lot of video, create a small test file. Try compressing 30 seconds of video with different settings. This test file should ideally include a mixture of footage and graphics that will be in your final shows. The goal is to find compression settings that work well with your material and are also compatible with the technology your audience wants to use.