difference between micrsotock quality and Framepool quality

We don’t spare efforts or petabytes to offer you quality without compromise. So you can count on the best aesthetic base for your production in the edit.

Why bother having the best footage or the greatest cinematographers, if the valuable material gets treated badly? At Framepool we guarantee that any original quality is preserved and the material will be passed onto you the way it was supplied:

10 bit stays as 10 bit – 12 bit is maintained as 12 bit

We always store incoming footage material in it’s original resolution, with no haggling for bits or bytes! Framepool is the only stock footage provider who deals with chroma subsampling in 4:4:4, if the original footage material has been shot in raw or 4:4:4. The entire original colour information of a clip is always preserved within the workflow of our footage archive and can be delivered as such through our master play-out process.
So if a clip has been filmed in top quality on Red or Alexa, you can be sure we’ll provide it to you in the same stunning quality 1:1. And to make sure that our clients will have their specific production needs met, we always archive the corresponding raw files to our colour corrected ProRes footage masters.

There are many free options to choose from within our master playout process, for instance:
• a variety of frame rates,
• delivery in original resolution,
• additional choices for common codecs as needed in post, for example Apple ProRes and Avid DNxHD.

We are also happy to deliver you the raw material, or we can arrange for some internal post work like de-graining and dirt removal when it comes to scanned film material.

We guarantee you more flexibility for color grading and compositing! The result is – post production your way!