What we need to get started on your project:

At the very least, we need the following pre-turnover items so we can begin developing the workflow.


  • A single frame file of the"Frame and Focus" chart at your DI (deliverable) resolution, clearly showing the frame lines for your project. The file can be any standard format such as TIFF, DPX, EXR, PNG, or JPG. (TIFF or PNG are preferred.)
  • The details of the delivery format to your DI house, for instance "10 bit DPX in Log C at 2048x1152" or "16 bit uncompressed EXR linear (gamma 1.0) at 4096x2160", or for still frames of static titles "16 bit TIFF with straight alpha (unmult) and rec709 color space."
  • Your view LUT as used in your DI, so we can see what you are seeing, and bake it in to the proxies for your editorial team.
  • The details of the delivery format for your editorial team for the reference proxies. For instance "8 bit DNxHD36 at 23.976 and 1920x1080, using RGB levels (0-255) and Rec709 color space with view LUT baked in".
  • If you have a standard naming convention for shots you want us to use, tell us ASAP. Alternately we can provide a naming convention for consistency. Click here for our standard naming convention and other useful files.
  • And a list of personnel with job title & contact information for the editorial team, appropriate team members at the DI facility, etc.


Everything else will depend on the specific job, and will be discussed on a case by case basis. But a few things to mention that make the workflow move better on our end:

  • We prefer all reference videos to be ProRes or Avid DNxHD. Please avoid sending us MP4 or H264 type files.
  • For titles and credits, we need a tab delimited text file (and not a PDF file). Click here for a downloadable template and other useful files.
  • We prefer to work with non-transformed copies of camera original files - in other words, just as they are straight out of the camera. For ARRI Alexa, this is generally going to be a ProRes file - and we need it with NO LUT applied. If it is RED, then it would be a RAW wavelet file. For DSLR and GoPro types of cameras, it's probably an H264 file - and here, we want the original H264 - please do not transcode the camera original to ProRes or other format.
  • We need the LUT as a separate file to apply to your finished VFX for editorial proxies so they match dailies. 
  • If it is a RED file, we'd need the specific conversion setting(s) you are using per shot. 
  • For film originals, we prefer dust-busted scans in EXR format (linear, gamma 1.0), at 4K or above.
  • Intermediate elements: EXR linear (gamma 1.0) with chromaticities attribute is also our preferred format for all intermediate stages, such as color-graded elements, or CGI elements from an outside vendor. 
  • On set data including HDR Light Probes, camera data (height, declination, focal length, aperture, frame rate, shutter, sensor size).
  • It is very helpful if you have a short clip with a color chart (such as X-Rite) for every VFX setup, for each independent camera.
  • If you are providing special logos for your end credits, please provide them in a black and white vector format - i.e. EPS, SVG or AI. While we can work with bitmapped files (JPEG, PNG) if the resolution is high enough, it is always best to use a vector graphic in credits.

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