There are many different file formats we use that suit different purposes. Please read below to understand the distinctions.

ProRes

ProRes is a popular quicktime codec. This is because it's file size is low relative to the image clarity it provides (it can support up to 5K), it's hard to distinguish a ProRes from an uncompressed file. It's compressed size has many advantages, not least the speed it exports in and the low processing power required to view the file. If you are planning on doing further post production work then you may prefer to receive a ProRes 4444 but if not, it's standard practice to use a ProRes 422 HQ.

H264

An H264 is a heavily compressed file type that is suitable for purposes where the resolution and sound quality can afford to be compromised. As such, we export H264s for use on Vimeo and other online viewing platforms. Though not suitable for theatrical purposes, an H264 still gives the viewer a good image.

DPP / AS-11

All the major UK channels got together to create an agreed file format (as-11), it's similar to a quicktime but in an open source format. DPPs are HD and can hold more than 16 audio channels.. Here at The Look we can send DPPs directly to broadcasters.

IMF

A file format favoured by Netflix (and others) which allows multiple versions of the program and languages contained in a single media file. With Netflix, an HDR version is supplied to them with an XML 'sidecar' which has the SDR colour grade information.

DPX

A DPX sequence is a series of still images in a DPX format. Each image is one frame of a video. The frames are all uncompressed and particularly useful when doing VFX work.

EXR

An EXR sequence is a series of still images in a .EXR format. Each image is one frame of a video. The frames can have compression, and are particularly useful when doing VFX work, specifically in 'float' - this an extended luminance option used in EXR. If your project is being mastered in ACES then EXR frames will be used in our workflow.

DCDM

A DCDM is a sequence comprised of TIFF images. This is normally supplied in XYZ colour space and in 16bit colour depth. It is usually used for the creation of DCPs or for longterm archival on TV drama or feature films.

DCP

A digital cinema package is a bundle of files (video, audio and subtitles) that are used by cinemas to screen a film and is effectively the digital equivalent of a 35mm print. Typically, these are delivered to theatres on a CRU, a hard drive in a metal carrier. To combat piracy, DCP's are often encrypted and use KDM's (more on those on the Understanding DCDMs, DCPs & KDMs page on the left) to unlock the content. DCPs are generally 24fps and 1.85:1 or 2.39:1 ratio with 5:1 audio.

Learn more about this film related formats at: Understanding DCDMs, DCPs & KDMs

Project Interchange Files (Moving Projects Between Systems)

EDL

An EDL (Edit Decision List in a CMX3600 format). Containing ordered reel and timecode data, it tells the system where to insert the cut points and expedites the conform process. EDLs can be opened in a text editor and read manually. This means that we can isolate certain clips if we want to and also identify problems if the EDL isn't working as it should. A drawback is that it can only do one video layer at a time and subsequent layers must be exported separately. EDLs can only do straight re-speeds but can contain transitions such as dissolves and straight cuts. They are compatible with all software.

AAF

An AAF (Advanced Authoring Format) can be made by Avid and other editing and grading systems. They are similar to EDLs but can carry more information such as repositioning, resizing and speed ramps. Also, media can be embedded. AAFs cannot be opened in a text editor and so any problems that may arise are less easy to diagnose.

XML (in editing)

XML is a more modern file format than EDL and AAFs. As such, some systems don't yet read them. Like an EDL, they can be opened and read in a text editor and they can be made in Avid and Resolve. An advantage they have over EDLs is that they can do multiple layers.

LUT

A LUT stands for 'Look Up Table'. When grading we apply colour settings to an original image file i.e the rushes. When we send shots to the visual effects department, we send them without the grade burnt in to the image, but we can send the simplified colour grading settings as a LUT file. Its basically a simple text file which contains a whole load of numbers which relates to the RGB values of the grade, this allows the grade to be turned on and off in the visual effects department as a visual guide to the final look of the shot.

CDL

A CDL file is often incorporated in to an EDL. CDL stands for Colour Decision List, these basic colour corrections are usually done on-set by the DIT and the DoP with a LUT applied. They can be carried alongside each shot right from set through to Avid, then VFX and finally the main grade. In reality the final grade deviates from them as the creative tools in the grading suite are much more advanced than the controls available in the CDL format: vignettes, face tracking, keying individual colours etc.