“It became obvious almost two years ago that we wouldn’t be able to work on this movie at ProRes HQ and still keep everything on the SAN. Instead, we switched to ProRes proxy for the offline,” Hansen says. “Then we could use different bit rate files such as proxy, LT, standard and HQ that all have the same 1920 x 1080 resolution.”
A panel discussion at Dolby after a screening of The Art of Flight. I answered a few questions as related to the post workflow.