![\"\"](\"http:\/\/thesica.in\/wp-content\/uploads\/2021\/05\/OTT.jpg\")
OTT platforms like Netflix, Amazon, Disney Hotstar has brought some changes and specifications where a content has to be delivered in a particular technical specifications.<\/p>\nLockdown though hit the entertainment industry it has also provided a gateway for future, \u00a0Movie theatres have been a great source of entertainment for a long time. And, now with changing times and increase in OTT platforms and streaming apps in India\u00a0 providing great content to the viewers, there is a clash between OTT Platform Vs Theatres. Due to the increase in the number of movie watchers, the future of movie streaming apps, OTT Platforms and movie theatres looks very bright.<\/p>\n
OTT platforms like Netflix, Amazon, Disney Hotstar has brought some changes and specifications where a content has to be delivered in a particular technical specifications.<\/p>\n
Right from choosing camera, resolution, post production and delivery.<\/p>\n
Image Capture Specifications<\/strong><\/p>\n Secondary Cameras:<\/strong> Cameras recommended for their original productions<\/strong><\/p>\n ARRI<\/strong> RED<\/strong> SONY<\/strong><\/p>\n Venice Camera RAW \/ X-OCN \/ XAVC-I PANASONIC\u00a0 S1H \/ Lumix BGH 1<\/p>\n CANON<\/strong> BLACKMAGIC<\/strong><\/p>\n BLACKMAGIC DESIGN Ursa Mini Pro 4.6K – Cinema DNG RAW<\/p>\n IKEGAMI <\/strong><\/p>\n IKEGAMI UHK-430 4K 4K Baseband video<\/p>\n PANAVISION<\/strong><\/p>\n PANAVISION DXL 2 Red Code RAW<\/p>\n Content delivered\u00a0 must consist of four types of assets as mentioned below<\/strong> File Format<\/strong> Delivery frame rates<\/strong><\/p>\n Frame Rates 23.976 \/ 24 \/ 25 \/ 29.97 \/ 30<\/p>\n Video file to contain Display Aspect Ratio (DAR) and Source Aspect Ratio (SAR) Digital Color Grading<\/strong> should be done with software\u00a0 recommended\u00a0 running latest firmware versions. Delivery should have a\u00a0 SDR (standard dynamic range with 100 nits brightness ) which is the regular form of delivery but recent specifications for immediate future will have to look out for\u00a0 a HDR graded output (1000 nits brightness).<\/p>\n This indicates that TVs with Dolby Vision can produce 10 times the amount of light than HDR10. Although, there are very few TVs that support 10,000 nit value.<\/p>\n After D.I Grading with trim pass images\u00a0 can be converted to Dolby Vision high dynamic range format.<\/p>\n iGene Mr.Dhanapal says Calibrated Monitor plays a key role for Grading HDR contents, his post production house is equipped with SONY BVM 310 monitor for the first time in Chennai.<\/p>\n Netflix, Disney Hotstar have also listed Monitors to be used for HDR grading for their original productions.<\/p>\n Other than their originals produced by\u00a0 Netfilx, Amazon prime and Disney hotstar doesn’t specify particular brand of cameras for their streaming but key points are to be considered.<\/strong><\/p>\n These\u00a0 are Netflix\u2019s key setting (highlights) of Non-Approved cameras:<\/strong><\/span><\/p>\n There are even sound design specifications Speaking to Award winning Audiographer M.Ravi\u00a0 he says sound peak level for mixing should pertain to -27db for the OTT platforms.<\/p>\n Cinematographer Mahesh Muthuswami who has cranked camera for ZEE5 originals Malaysia to Amnesia Directed by Radha Mohan released this week.<\/p>\n ”The Tech team from the OTT platform , briefed us their technical standards and minimum capture format requirements.\u00a0 I used a Panasonic Pure Raw 4K for the image capture and lensed it with Cooke Primes.<\/em><\/p>\n The first and foremost thing which\u00a0 came to my mind, was how would the content be watched. OTT originals, rarely get released in Big screen theatres. Watched primarily in Televisions , Laptops and Handheld devices\u00a0 may be..So the main differentiating factor\u00a0 would be that\u00a0 in big screen the image gets projected , whereas in all these devices its all Digital Display, probably LEDs or AMOLEDs.<\/em><\/p>\n At the grading stage , my colorist Rajasekar suggested , lets go the monitor way , instead of\u00a0 the standard projected screen image reference and \u00a0we graded in a reference grade Professional monitor.<\/em><\/p>\n That way , we started much, much closer\u00a0 to how the audience would watch the content , finally.<\/em><\/p>\n At the image capture stage , if we have to consider HDR , then\u00a0 ideally there should be a HDR Production monitor. Our standard production facilities still doesn\u2019t offer that facility. Neverthless , for someone who is used to exposing in film negative capture format , one could just expose , as if you would for a film negative. As simple as that , it was , at the capture stage.<\/em>”<\/p>\n Movie making has seen lot of changes over the century ,still a cinema is always best viewing in theatres.<\/p>\n Pandemic times should end and people will return to cinema halls to enjoy films and OTT platforms will co exist support the movie making business.<\/p>\n CJ Rajkumar<\/p>\n Author\/Cinematographer<\/p>\n\n
\n\u25cf Any cameras other than the primary camera (crash, POV, drone, underwater, etc.) visuals will be restricted to 1 minute per 10 minutes of edited content.<\/p>\n![\"\"](\"http:\/\/thesica.in\/wp-content\/uploads\/2021\/05\/Approved-4K-Cameras-Netflix-e1500909769289.jpg\")
<\/strong><\/p>\n
\nARRI Alexa LF Arri RAW \/ Pro Res HQ
\nARRI Alexa 65 Arri RAW<\/p>\n
\nRED Weapon W 8K Monstro Red Code RAW
\nRED Weapon W 8K Dragon Red Code RAW
\nRED Weapon W 8K S35 Helium Red Code RAW
\nRED Epic W 8K S35 Helium Red Code RAW
\nRED Weapon 6K Dragon Red Code RAW
\nRED Epic 6K Dragon Red Code RAW
\nRED Epic W 5K S35 Gemini Red Code RAW
\nRED Scarlet W 5K S35 Dragon Red Code RAW
\nRED Raven 4.5K Dragon Red Code RAW<\/p>\n
\nSONY F65\u00a0 RAW \/ F65 RAW \u2013 LITE \/XAVC-I (4K)
\nSONY F55 RAW \/ F65 RAW \u2013 LITE \/ XAVC-I (4K)
\nSONY F5 XAVC-I (4K)
\nSONY FS7, FS7II XAVC-I (4K)
\nSONY HDC 4300 4K Baseband Video
\nSONY PMW- Z450 XAVC-I QFHD 300 mode
\nPANASONIC<\/strong>
\nPANASONIC VariCam 35 V RAW \/ AVC-Intra 4K
\nPANASONIC VariCam LT V RAW \/ AVC-Intra 4K
\nPANASONIC VariCam Pure V Raw
\nPANASONIC AU EVA 1 All Intra 400<\/p>\n
\nC300 MkII Canon RAW \/ XF AVC 4K
\nC500 Canon RAW
\nC700 Canon RAW \/ XF AVC 4K \/ ProRes HQ<\/p>\n
\n1. Source Video\/Audio
\n2. Source Metadata
\n3. Source Subtitle file
\n4. Source Images (Artwork)
\nAll four types of assets must confirm to the specifications as provided below.
\nSource Video\/Audio Specifications<\/p>\n
\nVideo and Audio files must be delivered in one of the following formats:
\nContainer<\/strong> MOV MXF MPG MP4
\nVideo Codec<\/strong> ProRes 422 H.264, MPEG2 H.264, MPEG2 H.264
\nAudio Codec PCM PCM AAC, MPEG2 Layer II AAC, AC3<\/p>\n
\ndetails. Preferred DAR is 16:9.<\/p>\n
\n\u25cf Filmlight \/ Baselight
\n\u25cf DaVinci Resolve
\n\u25cf Nucoda FilmMaster
\n\u25cf Autodesk Lustre
\n\u25cf Quantel Rio<\/p>\n![\"\"](\"http:\/\/thesica.in\/wp-content\/uploads\/2021\/05\/HDR-vs-SDR.jpg\")
Another important form of content delivery code is Dolby Vision<\/p>\n\n
![\"\"](\"http:\/\/thesica.in\/wp-content\/uploads\/2021\/05\/xYNpjBkxqWJs3eJWqc4DxT.jpg\")
Speaking to D.I colorist Prasath Somasekar of knack studios\u00a0 says Dolby Vision delivery format has lot of advantages where multiple resolution like Full HD, 4k video\u00a0 can be packaged into one stream.<\/p>\n\n
![\"\"](\"http:\/\/thesica.in\/wp-content\/uploads\/2021\/05\/Malaysia-To-Amnesia-Tamil-Movie-Review.jpg\")
Mahesh validates his key point<\/p>\n
Lockdown though hit the entertainment industry it has also provided a gateway for future, \u00a0Movie theatres have been a great source of entertainment for a long time. And, now with changing times and increase in OTT platforms and streaming apps in India\u00a0 providing great content to the viewers, there is a clash between OTT Platform […]<\/p>\n","protected":false},"author":1,"featured_media":7355,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"translation":{"provider":"WPGlobus","version":"2.8.1","language":"ta","enabled_languages":["en","ta"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ta":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/7348"}],"collection":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/comments?post=7348"}],"version-history":[{"count":3,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/7348\/revisions"}],"predecessor-version":[{"id":7356,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/7348\/revisions\/7356"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media\/7355"}],"wp:attachment":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media?parent=7348"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/categories?post=7348"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/tags?post=7348"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}