hd formats workflow

8/15/2019 HD Formats workflow

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Workflow & Media Management

Media Types

Compression Types

Data Management

File Systems

Storage Types

Downloading with Confidence

Naming Conventions


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Workflow & Media ManagementWorkflows

The Online / Online Workflow

SxS, P2 or ProRes

The Offline / Online Workflow

AVCHD, P2, ProRes

The RAW Offline / Online Workflow

RED R3D

Archiving Options


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Recording Media


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Codec Comparisons in 1080

Avid DHxHD 444 - 1920 x 1080 10 bit 4:4:4 YCbCr / RGB I-Frame at 440 Mb/s

Apple ProRes 4444 - 1920 x 1080 12 / 10 bit 4:4:4 YCbCr / RGB I-Frame at 330 Mb/s

HDCAM SR - 1920 x 1080 12 / 10 bit 4:2:2 / 4:4:4

YCbCr / RGB I-Frame at 440 Mb/s or 880 Mb/s


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Apple ProRes 422 HQ - 1920 x 1080 10 bit 4:2:2 YCbCr I-Frame at 220 Mb/s

Avid DNxHD 444 - 1920 x1080 10 bit 4:2:2 YCbCr / RGB I-Frame at 220 Mb/s

Apple ProRes LT - 1920 x1080 10 bit 4:2:2 YCbCr / RGB I-Frame at 100 Mb/s


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AVC-Intra 100 - 1920x1080 10 bit 4:2:2 YCbCr

I-Frame at100 Mb/s

XDCAM 422 / Canon XF / NanoFlash - 1920x 1080 8 bit 4:2:2 YCbCr Long GOP at 50 Mb/s

HDCAM - 1440x1080 8 bit 4:2:2 YCbCr I-Frame at 144 Mb/s


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XDCAM EX - 1920x1080 8 bit 4:2:0 YCbCrLong GOP at 35 Mb/s

DVCPRO HD - 1280 x 1080 8 bit 4:2:2 YCbCrI-Frame at 100 Mb/s

AVCHD / AVCCAM - 1920x1080 8 bit 4:2:0 YCbCrLong GOP at 24 Mb/s


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XDCAM HD - 1440 x 1080 8 bit 4:2:0 YCbCrLong GOP at 35 Mb/s

Canon SLR H.264 - 1920 x 1080 8 bit 4:2:0 YCbCrLong GOP at 40-50 Mb/s

HDV - 1440 x 1080 8 bit 4:2:0 YCbCr

Long GOP at 25 Mb/s


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RAW Video Formats

RED R3D (RedCode) - Compressed 12 bit RAW video - VariousData Rates from 3:1 (225 MB/s) to 13:1 (51 MB/s)

Arri RAW - Uncompressed 14 bit RAW Video - 170 MB/s

F65 RAW - Minor Compression (3:1) 16 bit RAW Video - 250 MB/s


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Basic Workflow: File Systems

Media is formatted just like a Hard Drive

File Systems

FAT 32

File Allocation Table 32, Built for DOS

2 TB maximum drive size, 4GB maximum file size

Universal Support


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File Systems

UDF

Universal Disk Format

No file size limitation

Supported by MOST computers


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File Systems

HFS+

Hierarchical File System - Mac OSX

No file size limitation

Natively supported by Mac’s only

Use MacDrive on PCs


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Basic Workflow: Downloading

Footage comes in on either theoriginal Media or on a Hard Drive.

Use a support device to mount the media to yourediting station or mount the hard drive directly.

Transfer the original footage off the cards onto a

hard drive. It is important to retain the originalmaterial for archival.


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Card Readers

Sonnet QIO


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Card Readers / Download Station

Nexto NVS2525


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Footage comes in on either theoriginal Media or on a Hard Drive.

Use a support device to mount the media to yourediting station or mount the hard drive directly.

Transfer the original footage off the cards onto a

hard drive. It is important to retain the originalmaterial for archival.


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Basic Workflow: Hard Drives

Single Disk Storage - One Drive Spinning

RAIDRedundant A rray of Independent Disks

Safer than single disks (not RAID 0)

Larger capacity

Faster Access


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Basic Workflow: Hard Drives

Types of RAIDs

RAID 0

Fast put no fault tolerance

RAID 1

AKA - Mirrored Disks

RAID 5Fast and fault tolerant


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Basic Workflow: DownloadingConnection Maximum Speeds

FireWire 400 - 400 Megabits/sec

USB 2.0 - 480 Megabits/sec

FW 800 - 800 Megabits/sec

eSATA - 3-6 Gigabits/sec

Thunderbolt - 10 Gigabits/sec


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Basic Workflow: Offloading

Offloading Data Accurately / Safely is Key

Human Error is the number 1 point of failure

Mark Full Cards / Empty Cards

1 Card = 1 Folder Rule

How many copies? How paranoid are you?

1 for Archive / 1 for Edit1 for Backup?


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Basic Workflow

One Card = One Folder

=Move everything on the card to its own folder


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Basic Workflow: Off Loading

Copying files can be tricky

Changing file systems is trickier

Copy vs Disk Image

Software to consider

Shot Put Pro

Sony / Panasonic / RED / Canon Software Anything with a CRC check


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Video Formats & Workflow

Questions?


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Workflow Types

Each project has it’s own workflow but here are a couplethat we see more often.

Type of Editing:

Offline Editing - Editing at a Lower Resolution

Online Editing - Editing at Full Quality

Now all, or most, data is readily available at full resolution,but offline editing is still popular.


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Workflow TypesOnline / Online Editing

Footage is edited at full resolution.

Advantages:

No time spent converting / conforming footage

Finish as you go - Color Correction on the fly

Disadvantages:

Requires a lot of FAST & BIG drives

Hard to process in NLE


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Basic Workflow: Final Cut Pro

Designate a ‘Media Drive’ to set as Final Cut’s Capture Scratchlocation. Final Cut will need to Re-Wrap or convert all the

footage, which makes another full copy of the original.

Final Cut ProTapeless Ingest in Final Cut Pro

Log & Transfer

P2, SxS, and AVCHD footage are imported through Log &Transfer. JVC Footage can be edited natively if in MOV format.


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Review Footage: Footage can be reviewed on the

laptop by utilizing clip browsing software fromPanasonic and Sony.

Log & Transfer allows you to preview media andingest. Footage can be logged, sub-clipped, andrenamed before ingesting.

Clips from attached P2,SxS,

and AVCHD cards shouldappear right away. Otherwiseuse the Add Folder option to

specify footage on a Hard Drive

When logging is complete clickon ‘Add Clip to Queue’ and

Ingest will begin.


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Log & Transfer will quickly ingest some footage if it is supportednatively, such as DVCPRO HD, XDCAM EX, and AVC-Intra.However the AVCHD will need to be converted. This process cantake a fairly long time depending on your computer.

ProRes 422 / AIC

Once Ingest is complete, START EDITING.

Oh.. but what about XDCAM HD Discs? Well there is something forthat too.


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Sony has their own Logging software called XDCAM Transfer. Itworks much like Log & Transfer, but only with XDCAM Pro Discs andSxS Cards. Launch it from Final Cut by choosing Import->XDCAM.

If a ProDisc is mounted onyour computer it should show

up automatically, if not youcan add XDCAM HD or

XDCAM EX footage manually.

Rename Clips, Subclip and Add Meta Data to your

footage. Then Click Importto convert to Quicktime for

editing.


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Workflow Types

Online / Online Editing in FCP

Import footage with Log & Transfer

Keep footage at Full Quality

EDIT

Color Correct / Sound Edit

Export Final Product


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Workflow TypesOffline / Online Editing

Footage is edited to lower resolution.

Advantages:Small / slower drives required for editing

Less taxing on the computer

Disadvantages:

Must be conformed back into online edit

More time consuming and complicated


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Basic Workflow: Avid Media Composer

Avid will work with most of the codecs natively. So no need foran additional media drive, but a back up is always suggested.

Avid Media Composer 6Tapeless Ingest in the latest Media Composer

Avid’s AMA (Avid Media Access)

P2, XDCAM HD, SxS, AVCHD, RED and AVC-I footage is linkeddirectly into Avid with AMA.


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Avid’s AMA lets you link directly to theoriginal footage and edit natively. Nore-wrapping or transcoding footage.

Including support for AVC-Intra.

AMA will ask if the footage

should be brought into theactive bin or if the user wants to

create a new bin.

When Link to AMA is selected Avid will have select the media

from your hard drive.


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Avid can even edit AVC-Intra nativelyon most fast computers. Nativeediting speeds up the workflow.

Using Avid’s powerfulConsolidation tool, footage canbe transcoded into a variety of

different codecs including lowresolution (offline) files. Avid willkeep track of the volumes so a

full resolution (online) cut can becreated.

Clips from AMA Linked Volumesappear in yellow.


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Workflow Types

RAW Offline or Online Editing

Advantages

RAW footage has a great deal of adjustmentpossibilites.

Usuall Higher Resolution

Disadvantages

Video conversion is time consuming


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Other Workflows

Copy the footage to a hard drive for ingest and backup.

File are stored in R3D format with Proxy data included.

Red Raw into FCP & AVID

Bring into RedCine X to apply quick coloradjustments from MetaData and scaleimage as needed.


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Other Workflows

Copy data from Compact Flash card onto a Hard Drive. Files areeither in MXF or MOV format.

Convergent Design

nanoFlash

Edit Natively in MOV in FCP OR Avid in MXF

Files are in XDCAM format and will work natively in both NLEs.


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Other Workflows

Record directly into ProRess 422 HQ, 422, LT, or Proxy

Copy files directly from recording media into FCP

ProRes Recorders into FCP

Edit Natively in FCP in ProRes 422


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Other Workflows

Record directly into ProRes 422 HQ, 422, LT, or Proxy

Copy files directly from recording media into FCP

ProRes Recorders into FCP

Bring in files through AMA and convert toDNXHD


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Video Formats & Workflow

Questions?


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Archive Flow

Editing

Aquisition

Archiving


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Storage Options

Data tape

Hard disk or RAID

Optical Disk

Video tape

Combination of the above


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Hard Drives

Good capacityDropping in price

Increasing capacity


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DVD / Blu-Ray

Relatively small capacity (DVD - up to 8.5GB, BluRay - up to 50GB)New and not time-tested

Easily scratched

Cheap


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XDCAM ProDisc

CheapRelatively small capacity - similar characteristics as BluRay

23 Gb, 50 Gb, 128Gb


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LTO 4 & LTO 5

IT industry standard for over 20 years

Good capacity (LTO4 - 800GB, LTO5 - 1.5TB)Backwards compatible

Long lasting (proven)

Cache-A LTO4 or LTO5

LTO4 Tape $25 / LTO5 Tape $60


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Archive Comparisons

Capacity (MB/minutes)Cost/Cost per minute

Life Expectancy

Computer transfer rate

P2-E SxS-1 XDCAM Disc SDHC LTO5

32GB/ 32min

32GB/ 100min

50GB/ 100min

32GB/ 133min

1.5TB/ 1500min

$14 $5.50 $0.56 $0.32 $0.04

100kcycles

100kcycles

10k cycles10K

cycles50 Years

1.2 Gb/s 1.2 Gb/s 144 Mb/s 150 Mb/s 140 Mb/s

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