Worst Delivery Specs

Ok lets do it, post the worst Delivery specs you have received:

Let me start:

Client feedback :

why does this look so pixelated I though we shot this in 6K.


This isn’t a delivery spec but the format I’m hating the most right now is the 9x16 (4x5 safe). These damn social formats!


I think we still have a client that requires a .wmv that is under 10mb, you know, so that it can be emailed to someone who won’t look at it but still wonder why they can’t read the legals.


Director wants to shoot anamorphic. Client wants 9x16 social versions


thats a great one!

Reminds me of this

“You want a WMV but you don’t know me!”


damn this is nice also related: https://youtu.be/7xSoPGcTpyw


Worst delivery spec I had to supply was webm

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I have had this come up more times than I can count.

Me: “As long as the talent stands in the middle of frame 50 feet away, you should be totally covered on those social versions!”

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There’s got to be a better way. I’ve just had a similar quote. 2.9 anamorphic for that filmic look. It’s a lazy stereotype to me. Wasn’t it something film studios took up to combat tv in the 50s? And then used by Spielberg and the movie brats? Most typically George Lucas because he picked up the vista vision equipment for a song since it was obsolete in the early 70s! Filmic look comes from imagination.

Rant over.

Not too long ago I read a very interesting article about the nature/feel of anamorphic lenses and I softened my views.

Being able to focus attention by using a shallow depth of field is a very filmic technique but you can’t go around shooting on long lenses all of the time. Sometimes you need to shoot wider. The trouble with the wider spherical lenses is that everything gets sharper and sharper and having closer objects falling off into the defocus becomes very difficult.

This is one of the charms of anamorphic lenses, being able to shoot wide shots but with very shallow depth of field. Certainly more filmic and not just because of the letterbox.

But yeah. I have just talked my director out of shooting his latest commercial on anamorphic lenses because of the amount of post required vs the time (money) available. As much as I would love to map all of those lenses and perfect my undistort redistort pipeline.

I know what you mean. However, with regard to adverts, these strengths are, I feel, hinderances. Too many times I’ve been sat in a suite with an agency who tell me their client doesn’t like the shot because their product/app is out of focus. Maybe it’s a question of not having someone consider the project holistically but it’s rare that happens. I can’t think of many directors who stick around these days to finish a job or creative directors who don’t just delegate. Perhaps they’re all just juggling too many plates and I suppose my argument would be, why add another if you’re already struggling?

We just had a hand-animated spot fail QC due to duplicate frames. It was drawn on a combination of twos, threes, and ones. It’ll get sorted, but there have been way more Executive Producer calls than there should’ve been about it.


Historical context, 8 perf was a pillar of optical printer based visual effects because the larger neg area meant smaller grain compared to 4perf making the whole comp be less noisy.

Think of it as Neat from 78.

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