MPEG All clips are MPEG-2 Long GOP 50 Mbps, wrapped in MXF container. The MPEG-2 clips were captured in HD resolution and in all available project speeds 23.98p, 25p, 29.97p, 50i, and 59.94i. For reasons of simplicity we only recorded 25 fps sensor speed/25p project speed. We used a Zeiss Compact Zoom 70-200 at T4.0 in combination with a FSND 1.2 filter and a rotating polarizer. ProRes: 3.2K and 4K UHD clips For these higher resolution formats we chose ProRes 4444 as our go-to codec, recording straight to Rec 709 color space. You can get hold of the full set of metadata by extracting it from the corresponding file’s header. We used a Fujinon Cabrio 19-90 Zoom for all “sets of six clips” and an ARRI/Fujinon Alura 30-80 Lightweight Zoom for the high-speed clips. The clips have been recorded either in the Log C wide gamut color space or by using the built-in Rec 709 look file for conversion to HD video color space. So each project speed folder contains a similar set of six clips. Project speed 29.97p is available as non-drop frame as well as drop frame time code clip-set. Each resolution is available in every project speed (i.e. ProRes: HD and 2K clips We’ve shot two different ProRes flavors: ProRes 422 – “Video Workflow” and ProRes 4444 – “Postproduction Workflow” in two resolutions: HD and 2K. Please note that this sample footage was created for workflow evaluation purposes. ARRI provides ProRes sample footage shot on an AMIRA camera with a release version of SUP 1.0/3.0 and MPEG-2 shot with a release version of SUP 3.0.
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