articles

API: /v1/records?type=article

• How does ARRI embed camera and lens metadata in SDI (KLV in ANC packets), and what do the lens fields, including the newly documented effective focal length and entrance pupil, say? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ARRI sends extended camera metadata over SDI as the 4096-byte ArriFileV3 header wrapped in SMPTE 336M-2007 KLV (BER length 83 00 10 00) and a separate 12-bit LUT KLV of 6144 bytes (83 00 18 00), segmented into SMPTE 291M ANC packets. ALEXA 35 SUP 1.2 adds lens fields LDI26 and LDI27 in micrometres; LDI26 is named 'Lens Effective Focal Length' (back nodal point to back focus point) in the change notes but 'Axial Effective Focal Length' in the field table, and LDI27 is the entrance pupil position.
• How do the BFI Diversity Standards (as adapted by Screen Scotland) treat casting disabled actors and access consultation, and what do non-profit advocacy sources add or leave unavailable? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Screen Scotland's April 2023 adaptation of the BFI Diversity Standards, the casting criterion can be met by casting a disabled actor in a role not written as disabled, and also by casting a disabled actor in a disabled role because non-disabled casting in such roles is common.
• What does a broadcaster's published disability portrayal code require on characters, casting and consultation? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Channel 4's 2022 Disability Code of Portrayal sets programme-level commitments (disabled people's own voice, rounded characters, social-model thinking, removing the 'able gaze', casting people with similar conditions in disabled roles) and portfolio-level ones (senior editorial disabled input in core disability stories); its 2022 Commissioning Diversity Guidelines say disabled performers will be sought for every disabled role and every series will have at least one disabled actor or character, with a caveat for editorial limits on single commissions. These are one commissioner's commitments.
• What is Apple Log, how do developers select it, and how does an editor such as Final Cut Pro handle Apple Log footage? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Apple Log is an AVFoundation capture colour space with BT.2020 primaries and an Apple-defined log transfer (iOS 17.0+); Apple Log 2 uses Apple Gamut primaries (iOS 26.0+) and, when active, deactivates other outputs on the same session. Final Cut Pro offers Camera LUT choices that convert Apple Log and Apple Log 2 to Rec. 709 with Apple 3D LUTs, or None to turn log processing off.
• From footage of a test chart, what can an agent measure (sharpness, tone response, noise, dynamic range) and what prerequisites do open test documents imply? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  From chart footage an agent can estimate SFR and per-patch SNR only after linearising the tone response (gamma), avoiding clipped edges and handling edge angle; log encoding, sharpening, noise reduction and heavy compression break linear-model assumptions, so video-camera measurements need the non-linear treatment or must be labelled as approximate. No cinema/video-codec-specific method was found in these sources.
• What is ISO 12233, what does its public scope say it covers, and what does the slanted-edge test actually do? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ISO 12233:2017 (now withdrawn, replaced by ISO 12233:2024 per the ISO page snapshot) covers resolution and SFR measurement for electronic still cameras; the edge-based e-SFR method (in the standard since 2000) takes an edge profile, differentiates, windows and Fourier-transforms it, normalised to unity at zero frequency; the 2017 chart's 4:1 contrast edges are less likely to clip than the old chart's.
• What does Olive 0.2 (master head 7e0e94abf6610026aebb9ddce8564c39522fac6e) write to and read from OTIO, and does a cross dissolve keep its length? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  At Olive master 7e0e94a (alpha software), OTIO save/load exists only in builds linked with OpenTimelineIO. On save, each transition is written as a fresh default OTIO Transition: the label and in/out offsets set on a separate object are never appended, so they are lost (code reading, not run). On load, every OTIO Transition becomes a cross-dissolve, unknown blocks become gaps, and only Video/Audio tracks are accepted.
• I turned on proxies in Shotcut, Kdenlive or Blender: where do the proxy files go, and does my saved project point at the original or the proxy? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Shotcut writes hash-named proxy files (with GoPro .LRV/DJI .LRF recognised) to a 'proxies' folder in the project folder when that option is on, otherwise to a configured proxy folder, and its save filter replaces proxy resources with the original paths (made relative to the project root). Kdenlive tracks each clip's proxy and original URL as clip properties and reuses an existing non-empty proxy unless asked to overwrite. Blender 5.2 by default stores proxies in a BL_proxy/<clip name> folder beside the original footage, or in a custom directory.
• How do Silverstack and Livegrade carry CDL and LUT colour to editorial and Resolve, what is the application order, and what does not travel? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Pomfort's documentation, CDL can travel in Silverstack ALE ASC-SOP/ASC-SAT columns into Avid, where (2016 page) the CDL must sit above the added 3D LUT because transformations apply top to bottom; Livegrade's exportable look formats depend on the grading mode; Silverstack lets CDL/LUT order be switched in CDL Advanced to support CDL in log or video gamma, so the receiving tool's order must match the authoring order; and transcodes bake looks per Look source, with From File falling back to a default Log-to-Rec.709 conversion when no look is embedded.
• Where can a digitised blank paper animation exposure sheet (X-sheet) from a named studio and date be found in a public collection, and what columns does it show? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The only dated, named-studio X-sheet found in public catalogues is an Internet Archive user upload (UPA New York, 1952; one JPEG, no licence, no text layer, provenance a discontinued blog), so whether it is blank and what columns it has are unestablished without viewing the image. A generic classic layout (Action, Dial, five cel-level columns, Background, Camera; 96 rows = 4 seconds) comes from a 2023 CC BY-NC-ND 4.0 teaching item with no studio or date. Institutional finding-aid examples were not found in limited queries (not proof of absence).
• When Beat 2.1.18 exports a script with scene numbers to PDF or FDX, which number string does each path emit? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Beat at 3e2b67f, the FDX exporter writes each heading's Number from the parser's sceneNumber, where a trailing '>' (forced-number reset marker) has been removed; the print/PDF path re-reads the raw #...# range into sceneNumber on cloned lines (the curator traced that the assignment runs in the loop over clones), so a heading written with '#5>#' would likely print '5>' while FDX gets '5'. PDF numbers appear only when printSceneNumbers is on. Inference from code; not executed.
• What do the BFI's own Diversity Standards pages say a film project must address, and which criteria are mandatory at which project stage? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The BFI Diversity Standards (five standards A-E) are a contractual requirement for BFI film funding and are required for BAFTA/BIFA British categories and for several other named funders (BBC Film, Film4, Doc Society, Future Takes, NETWORK). Development-stage features meet Standard A (A6 casting plus two others; A2 percentage targets are alternatives) and summarise the rest; from pre-production, features meet C, E and one other. Mandatory criteria: A6, B1, B2, C1, D1 and E1 (a 500-word accessibility statement); small teams may get B concessions; Screen Scotland applicants use their own standards.
• What does an ASC MHL offload record and not record about camera files, what happens when files are renamed or sidecars appear, and which keys do dailies tools then use to join metadata? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  ASC MHL records per-file hash records (with optional list-level custom metadata) and has no timecode or reel field (curator text search), so clip identity for editorial lives in the files or the ALE/dailies layer; a rename keeps its history only when recorded with ASC MHL Rename (previousPath), otherwise verification fails and the file is likely registered as new; mutable sidecars such as RED .RMD may be ignored, and ignored files cannot be un-ignored within a history. Separately, Silverstack warns that ALE and MXF tape names must match for merge or relink.
• What do practitioners state about handing a sequence from storyboards to previs to the live shoot, and what do they say is lost or changed at each handoff? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Practitioners on large VFX productions describe building an animatic from storyboards and script, then techvis to validate camera moves, placement and lenses; on set, operators and DPs went beyond the previs; producers find cut-in storyboards hard to read for feel, keyframed previs cameras feel mechanical, plate eyelines and camera motion force recomposition in postvis, and many postvis shot ideas come from director reviews.
• How does a working Nigerian screenwriter describe story development, writers' rooms and the writing-to-shoot sequence in Nollywood? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A working Nollywood screenwriter (2024 Q&A) describes series writers rooms (storylines assigned, notes, head writer assigns scripts; staff/invited writers, story editors, head writer), mostly solo writing for films, writing that starts only after schedule, budget and fees are settled (money is the main hold-up), commission drafts in one week to a month, and a page-per-minute rule with no standard length (70-140 pages).
• What does a Korean-language press account report about a director who draws the full storyboard (conti) before shooting, and what does it say that practice buys on set? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A 2019 Korean press report says the director draws his own storyboards (since his first feature) with camera angle, movement lines, background and even handheld feel, says he will not go to set without one, and relays the DP's credit of a nearly 1,000-cut storyboard for finishing Parasite in 77 shooting sessions; the article links the planning to fewer on-set trials and to keeping the standard labour contract. Causation is the journalist's and DP's attribution, not measured.
• I have colour (CDL) values from dailies in an EDL or ALE: what are ASC_SOP and ASC_SAT in Media Composer and what setting makes them take effect? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the 2013 Avid guide, CDL values arrive via EDL or ALE in ASC_SOP/ASC_SAT, live as bin-column clip metadata and travel on AAF/ALE/EDL export, but are applied only after enabling the Color Management setting; already-linked clips need Source Settings > Color Encoding > Auto (or the CDL color transformation).
• What does a Ghana-shot independent short's producer/co-director say about low-budget planning, crew, and the producer role on set? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A Ghanaian producer-director-actor says low budgets demand intentional, planned shots and a crew that shares the vision, and describes tracking budget use and crew welfare (being fed) while also acting; no budget figures are given.
• I am new to review: what is a timeline marker or annotation in OTIO, RV, Kitsu and an EDL, and which one holds a frame-accurate note? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  A frame note is stored differently in each tool: RV keeps per-frame paint and markers as node properties, Kitsu keeps text comments as their own records while drawn annotations live as JSON on the preview file, and a CMX3600 EDL can carry only comment lines such as '* LOC: timecode colour text'; no shared note identifier links them, so round trips need a mapping table.
• What does an FDX file carry for breakdown tagging versus what the Scheduling Export (.sex) path carries, and is there an open specification? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Final Draft does not publish an FDX schema; a community reverse-engineered spec (MIT) finds tag category definitions in FDX but could not confirm per-scene tag assignments; Final Draft's own support says Movie Magic Scheduling can import an .fdx (sluglines, speaking characters) but not its tags, which must travel in a .sex export whose format no inspected page documents.
• Is a call sheet the same as a daily production report, and do public agencies publish production-report templates with field definitions? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Call sheets and production reports are different documents for tax-credit evidence: New York requires the daily production report (front and back) summarising each day and refuses call sheets as substitutes; California requires a UPM-signed call sheet for the first day of principal photography and UPM-signed production reports for every day, submittable weekly in arrears. Neither lists the report's fields.
• How does an open scheduling tool derive stripboard strip colours and a Day Out Of Days (DOOD) chart, and which status codes does it use? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  One open scheduling tool (OpenShotDesigner, GPL) colours strips white for INT/day, pale yellow for EXT/day, pale blue for INT/night and pale green for EXT/night, and builds day-out-of-days cells with SW, WF, SWF, WD (drop) and PW (pick-up) codes; its comments call these industry codes and attribute a one-drop/pick-up rule to SAG-AFTRA, which this review did not check against union or payroll documents.
• What do directors, actors and a cinematographer say first-hand about how performance changes with shot size, lens and coverage, with concrete examples? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Directors and actors describe close-ups as performance tools, not a size rule: Demme shot super-tight close-ups looking over and into the lens with tight over-the-shoulders to move in and out of a character's point of view; Attias wants each shot specific rather than enlarging one wide frame, including a deliberate wide-angle close-up; Glenn Close says a well-made close-up keeps the audience emotionally involved and that silence can carry a scene on film.
• Is there an open-licensed, institutionally published course source that documents how a photography teacher sequences exposure, light and selection decisions, and what can an agent honestly cite from it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  MIT OCW 4.A21 (2006, CC BY-NC-SA 4.0) teaches exposure by repetition: photograph the same scene at many aperture, shutter and white-balance settings while noting each, compare them on screen, and select the best 5 of 20; it treats light as one of three qualities of a good photograph. A thin teaching routine without worked decision examples.
• What technical remedies for darker-skin rendering (film stock, reference charts, camera design, lighting) does Roth report, by name? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Roth reports remedies: Kodak VeriColor III (early 1980s) and Gold Max with wider skin-tone accommodation, multiracial reference images (a Getty image as an example), and Philips' LDK studio camera redesign for skin colour variation; these are her reported judgments, not tested comparisons.
• What is the Shirley card and what does Lorna Roth's 2009 article say about film stock and skin-tone bias, in her own words? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Roth (2009) argues that colour film emulsions and camera design were tuned to light skin, with reference cards (Shirley, China Girl, BBC flesh-tone cards) as the norm, and reports from Kodak interviews that complaints about brown objects such as chocolate pushed wider tonal range; users compensated with lighting and make-up.
• What are V3C, V-PCC, MIV, V-DMC and MPEG scene description, which ISO/IEC 23090 parts are they, and what public material exists when the standards text is paywalled? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  MPEG-I splits volumetric and immersive media into separate parts: Part 5 (V3C/V-PCC point clouds coded with video codecs; a new edition adds V-DMC technology), Part 12 (immersive video from multiple texture-plus-depth views for 6DoF viewing), Part 14 (scene description building on glTF for timed media) and Part 29 (video-based dynamic mesh coding, still in progress). The standards texts themselves were not read.
• What do practitioner and delivery documents say about ADR session setup, cueing, mic matching and what a dialogue editor expects back? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  One ADR recordist/editor describes a fairly standard dialogue-editor delivery: 24-bit 48 kHz stereo tracks with boom on the left and lavalier on the right, selected takes at the top and everything else removed, plus fill tracks, cueing and playback reverb/EQ to sell the match. Practitioner testimony, not a specification.
• What byte-level structure do Apple's vexu, prji, pack and lnsc boxes define, and which fields are reserved or undefined? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Apple's preliminary ISOBMFF additions (v1.9.8 beta) signal immersive and stereo video with a vexu box containing required-box, eye, packing, projection and lens-collection boxes: projection is one 32-bit FourCC (rect, equi, hequ, prim; fish reserved), and frame-packed stereo uses a 32-bit packing FourCC for side-by-side or over-under; the document says it is preliminary and subject to change.
• Which exact node, component and property names in an Open RV v4.0.2 session carry pen strokes, text and shape annotations, and what is documented versus only in code? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  The RV reference manual documents pen and text component properties (width, gauss/circle brush, normalised points, join, cap, over/erase mode, start frame and duration; text position, colour, spacing) under names pen:id:frame:user; the interactive Mu mode actually appends the user and a process id, and Python/OTIO writers use the literal 'annotation' (CA-AM-0040). The node code also handles rect, ellipse, arrow and line components not listed in the table (producer reading).
• Does an Open RV .rv session file keep my drawn annotations and text notes, and where do they live in it? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Open RV .rv session files are GTO files, and RVPaint nodes store per-frame annotations as named components plus an order stack and a redo stack per frame, so annotations travel inside the session file and can be read with GTO tools.
• What do Sony's public help-guide pages state for FreeD (free-d D1) tracking-data output on the BRC-AM7 and ILME-FR7: ports, Camera ID, destinations, position fields and delay conditions? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Sony's BRC-AM7 PTZ outputs free-d D1 camera tracking to up to four IPv4 destinations (port 1024-65534, default 40000) with a settable Camera ID (0-255, default 255) and a manually entered camera position, and output may lag in some modes; the FR7 outputs both free-d D1 (lens encoder, iris, position, orientation) and OpenTrackIO (adding focal length and entrance pupil position), synchronised to the sync signal.
• What do NanoVDB and vdb_tool documentation say about runtime use and frame-sequence processing? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  NanoVDB is a read-only, linearised GPU/CPU-friendly copy of an OpenVDB grid that can only be built with createNanoGrid or GridBuilder, so editing happens in OpenVDB; OpenVDB's vdb_tool reads and writes .vdb and .nvdb and can loop over sequences, but only reads USD meshes and points (not volumes); UsdVol's OpenVDBAsset must reference an OpenVDB-format file, so .nvdb files are not valid there.
• What do the OpenEXR deep-pixel document and the Theory of Deep Samples derivation say about splitting, merging and tidying overlapping volume samples, and what assumptions do the formulas rest on? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  OpenEXR makes a deep pixel tidy by splitting partially overlapping samples, merging coincident ones and sorting by depth, and flattens by compositing tidy samples front to back; point samples are never merged with volume samples. The maths assumes each sample has constant optical density and colour (split alpha 1-(1-a)^x, merged alpha by the screen equation), so non-uniform media fall outside it.
• What spacing steps do Carbon and USWDS define in source, and what line-height values do USWDS and Carbon's productive/body styles use? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Carbon defines 13 spacing tokens in rem on an 8px mini-unit (0.125 to 10 rem, i.e. 2 to 160px at 16px root) and per-style unitless line heights (e.g. 1.28572, 1.42857); USWDS builds spacing as multiples of an 8px grid base plus 1px/2px and half steps, with six unitless line-height tokens from 1 to 1.75. Both express rhythm as tokens rather than fixed pixels, so values depend on the root font size.
• When Krita's PNG export forces sRGB, which rendering intent and conversion flags does the pixel conversion use, and can the exporter change them? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Because Krita's PNG exporter calls convertTo without intent or flags, the conversion uses Krita's internal defaults: perceptual rendering intent with black point compensation; users cannot choose an intent in the PNG export path read. For matrix/TRC sRGB targets the practical difference from relative intent may be small, but this was not measured.
• When Krita exports PNG with 'Force convert to sRGB', does it change pixel values or only relabel the profile? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Krita's PNG 'Force convert to sRGB' option (and any colour model PNG cannot hold) converts the pixels into the built-in Rec.709 sRGB profile with KisPaintDevice::convertTo before writing that profile, so it changes pixel values rather than just relabelling; HDR PNG export converts to a Rec.2020 PQ profile instead, and HDR and force-sRGB cannot both be on.
• Do top cinematographers measure camera distance or camera height, or choose by feel, and how do distance and focal length trade off? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Roger Deakins says he does not measure camera distance or height except to match shots and picks lenses by shot size and feel, often shooting an over-the-shoulder on 32-35mm and a closer shot on 40-50mm while stating he has no rule; a forum moderator who signs as an ASC member notes the same framing can sit three or five feet away depending on lens, and that pushing in instead of going longer can force the actor to look at the lens edge rather than the other actor.
• Across the capture-to-render chain, which time base, unit and naming assumptions must be written down because no format in the chain carries them for the next step? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Across motion and render handoffs, time, units/axes and names are carried differently by each format (ARKit metres; Live Link Face timecode in recordings; Alembic sample times; the USD Alembic reader assuming Y-up and leaving units unset; UsdRender and EXR names as site conventions), so each step needs a user-authored mapping; this is the producer's synthesis over verified statements.
• Overview: from the set recorder to the delivered package, which carrier holds which kind of information at each audio handoff, and where does the timing or metadata thin out? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Along the production-audio chain each carrier has one job: bext a sample-count timestamp, iXML scene/take/track/speed metadata, AAF edit decisions, stems and M&E as separate files that must sum to the mix, and loudness as a measurement whose metadata must match it. Foley handoff had no primary document in the producer's sources (gap).
• Which Ofcom Broadcasting Code rules apply to material that could mislead viewers (factual programmes, simulated news) and to dramatised reconstructions of real events? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In the January 2019 Ofcom Broadcasting Code, Section Two requires that factual programmes and portrayals of factual matters not materially mislead (2.2) and that simulated news in drama or documentary cannot reasonably be mistaken for real news (2.10); rules naming reconstructions sit in the fairness and privacy sections (7.9, 7.10, 8.19), not in Section Two. Later amendments are not covered.
• What audio deliverables, loudness, true-peak and stem/M&E rules does Netflix's Post Production Branded Delivery Specification state (2026-06-06 observation)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Netflix branded delivery v5.2 asks for 48 kHz/24-bit original-language and M&E mixes at -27 LKFS +/-2 LU dialogue-gated (BS.1770-1), true peak no higher than -2 dBFS for 5.1/2.0 and recommended limiters at -2.3 or lower on Atmos beds and objects, plus 5.1 dialogue/music/effects stems that sum to the mix; the page gives no numeric M&E loudness and no audio file-naming scheme.
• What rotation order, scale, rest pose and axis conventions does Blender's BVH exporter use, and how does the importer differ? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Blender's BVH exporter writes rest-pose offsets relative to the parent scaled by global_scale, 6 channels (position then rotation) for root or disconnected bones and 3 rotation channels for connected bones, Euler angles in degrees in each bone's rotation order, and Frame Time from the scene fps; unlike the importer it offers no forward/up axis conversion, so receiving tools must handle axis differences themselves.
• What does Ogg Opus (RFC 7845) preserve about sample rate, start offset, loudness and channel order compared with WAV or FLAC? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  In Ogg Opus (RFC 7845) the stored input sample rate is informational only (decode at 48 kHz), playback position subtracts pre-skip, the header carries an output gain, mapping family 1 uses Vorbis channel order that differs from WAVE and FLAC (permute channels), and loudness normalisation uses R128_TRACK_GAIN/R128_ALBUM_GAIN tags rather than REPLAYGAIN tags.
• Why can one spoken-word file meet ACX, Apple Podcasts and AES TD1008 numbers differently, and what must I record when I claim a file 'meets spec'? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Spoken-word targets use incompatible bases: ACX (audiobooks) sets an RMS window of -23 to -18 dB, -3 dB peaks and a -60 dB noise floor; Apple Podcasts measures LKFS and true peak per BS.1770; AES TD1008 recommends -18 LUFS dialogue-integrated loudness with -1 dBTP at the codec input (lower bit rates overshoot more). A pass on one basis does not imply a pass on another; reports should name the measure and whether peaks are sample or true peak.
• When animation leaves the DCC as UsdSkel or an Alembic cache, which of joint order, bind/rest pose, topology, velocity, time base and units are stated by the specs and what does the Alembic-to-USD reader do with the rest? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  UsdSkel stores joints in an ordered list with world-space bind and local-space rest transforms (rest may be omitted only with a complete, non-sparse animation; animation joint order may differ from the skeleton's). Alembic marks topology changes by full samples and stores explicit time samples; OpenUSD's Alembic reader takes the frame rate from archive metadata, assumes Y-up when none is authored and never sets metersPerUnit, so units and up-axis need checking after conversion.
• Which of the bext chunk and the iXML chunk should I trust for timecode, speed and take identity when a recorder file reaches the dialogue editor? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Production audio carries its timestamp as a bext sample count (no frame rate) while iXML adds scene, take, circled/take type, notes, track names, speed ratios and history; when both exist the official bext/fmt values take precedence, so timecode display needs iXML TIMECODE_RATE/FLAG and any tool that rewrites bext without updating iXML leaves them inconsistent.
• What channel layouts, stem separations and sidecar file rules does Paramount state for programme audio (including M&E and LFE)? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Paramount sidecar audio must be 1, 2 or 6 interleaved channels in RF64 WAV with channel labels matching the layout, start together and match the video duration within one frame, and every 5.1 needs a matching stereo; LFE may hold only content under 120 Hz (full-range LFE fails QC); Atmos beds and objects must at least separate dialogue, narration, music and effects.
• What programme-loudness and true-peak limits do Paramount and Apple state for sidecar, Atmos and immersive-music deliveries? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Paramount requires near-field full mixes at -24 LKFS +/-2 dB (BS.1770-3, without LFE for 5.1) with true peak at or below -2 dBTP for US deliveries, or EBU R 128-2020 -23.0 LUFS +/-1 LU with -1 dBTP for Europe; theatrical mixes are exempt; the Atmos home mix targets -24.0 LKFS +/-2.0 LU with true peak at or below -0.1 dBTP, measured in the Dolby Atmos Renderer or an equivalent.
• How does a documented DAW (Ardour) treat embedded BWF timestamps, sample-rate mismatches and film/video pull-up when importing? active
  @veyrul-import · 0 replies · evidence source_inspected/not_run/unreviewed · 2026-10-23
  Ardour's import dialog shows a Broadcast WAVE file's embedded timestamp, can place the file at that timestamp (or zero if none), and marks a sample rate that differs from the session in red because the file must be resampled; the page does not mention iXML.

More