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Project Metadata

Production specs — resolution, codec, framerate, aspect ratio

Project-level metadata documents the technical specs of a production: resolution, codec, framerate, aspect ratio, sensor mode, color space. These appear in PDF exports and inform the Camera Package wizard.

What Project Metadata Is For

Specs that travel with the project.

  • Resolution, codec, framerate, aspect ratio at the project level.
  • Appears in PDF gear-list headers and exports.
  • The Camera Package wizard uses metadata to suggest sensor mode and recording settings.
  • Every field is optional — fill in what's relevant.
  • Syncs with the project via cloud sync.
Tips
  • Set metadata early — the Camera Package wizard works better with it set.
  • Use the project's notes field for one-off specs that don't fit the standard fields.
  • PDF exports include metadata in the header, so clients and rental houses see it.

Resolution

Capture / delivery resolution.

  • 4K (3840×2160 UHD or 4096×2160 DCI).
  • 6K / 8K — for crop and stabilization headroom in post.
  • 2K (2048×1080) — DCI standard.
  • 1080p (1920×1080) — HD web and broadcast.
  • 720p (1280×720) — lower-bandwidth web delivery.
  • Custom resolution — any non-standard deliverable.
  1. Open the project and go to Project Requirements → Camera Specifications.
  2. Choose a value in the 'Recording Resolution' dropdown.
  3. Camera Specifications (including resolution) are set per camera package — repeat for each package that differs. The delivery resolution is set once for the project, under Delivery Specifications.
  4. Changes save automatically — the resolution appears in the Project Briefing PDF.
Tips
  • Shoot at the highest resolution your workflow tolerates — downscaling in post is easy, upscaling isn't.
  • If client delivery resolution differs from capture, note it in project notes.

Codec

Recording codec. Each trades quality, file size, and workflow.

  • ProRes (4444, 422 HQ, 422, LT, Proxy) — common editing format.
  • DNxHD / DNxHR — Avid-native, broadly supported.
  • H.264 / H.265 (HEVC) — compressed delivery and mirrorless capture.
  • CinemaDNG — uncompressed RAW frames.
  • ARRIRAW — Arri's native RAW format.
  • RED RAW (R3D) — RED's native format with variable compression.
  • Sony RAW — Sony's native RAW format.
Tips
  • ProRes 4444 strikes a balance between quality and file size for most editing systems.
  • H.265 typically delivers 40–50% better compression than H.264 at comparable quality.
  • RAW maximizes post flexibility but multiplies storage and decoding cost — confirm the post pipeline can handle it before pickup.
Common Pitfalls
  • Picking a codec the editing system can't play in real time — test the chain first.
  • Underestimating storage requirements for RAW.
  • Forgetting that some codecs need specific hardware (RED Rocket, GPU decoding).

Framerate

Capture and playback framerate.

  • 23.98 fps — film-look standard for digital cinema.
  • 24 fps — true cinema standard.
  • 25 fps — PAL/SECAM broadcast standard (Europe, Asia, Africa).
  • 29.97 fps — NTSC broadcast standard (Americas, Japan, South Korea).
  • 30 fps — common web video standard.
  • 48 / 50 / 60 fps — higher frame rates for action / sports.
  • 90 / 120 / 240 fps — slow-motion capture.
Tips
  • 23.98 fps is a safe default for narrative and commercial work.
  • Confirm delivery requirements first — broadcasters often have strict framerate rules.
  • Plan slow-motion ahead — it usually requires 2–5× the playback framerate.
  • When capture and playback differ, document both.

Aspect Ratio

Frame aspect ratio for the deliverable.

  • 16:9 (1.78:1) — widescreen TV, streaming, web.
  • 4:3 (1.33:1) — classic TV, some social.
  • 2.39:1 / 2.40:1 — anamorphic / CinemaScope.
  • 1.85:1 — widescreen cinema (US standard).
  • 2.76:1 — ultra-wide (Ultra Panavision 70).
  • 1:1 — square social.
  • 9:16 — vertical (Stories, TikTok, Reels).
Tips
  • Shooting for multiple platforms: capture at the widest ratio and crop for others.
  • Anamorphic glass produces wider ratios; match aspect ratio to the lens.
  • Document every delivery ratio in the project notes if the client needs several.
  • Aspect ratio feeds the Frame Composer tool for frame-line generation.
Common Pitfalls
  • Ignoring safe areas when shooting for multiple aspect ratios.
  • Picking an aspect ratio without checking the lens — anamorphic changes the math.
  • Forgetting vertical deliverables for social campaigns.

Additional Metadata

Supplementary production specs for documentation and workflow planning.

  • Camera system — brand and model (auto-filled by the Camera Package wizard).
  • Sensor mode — Open Gate, Super 35, etc. (auto-configured from camera selection).
  • Color space — Rec.709, Rec.2020, DCI-P3, ACES.
Tips
  • Camera system and sensor mode auto-fill when you select a camera in the Camera Package wizard.
  • Color space is the colorist's first question — set it during prep, not after wrap.

For per-row gear specs (weight, power, mount), see 'Item Details'. For workflow editing on top of these specs, see 'Workflow Editor'.

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