3D Creation is (not quite) Consumer
This more of a tech note than dissertation.
JVC, Hyundai, Sony, Panasonic, and the like – are all coming out with 3D monitors. And they’re all flat. And they’re all shiny and sleek. Other subjective features aside, many of the ones you’ve been eyeballing don’t quite cut the mustard when used in the edit bay. Here’s why:
- Frame Rate. Sure, if you’re in the 29.97 / 59.94 world, you’re most likely OK. But if you’re in the 23.98 realm – Be careful! Consumer and pro-sumer 3D monitors often have HDMI input. HDMI is traditionally a consumer and pro-sumer video transport mechanism, so it only stands to reason they would be found on the monitor. Some oddball frame rates – such as 23.98PsF – are not a consumer frame rate. In fact, the HDMI 1.3 spec doesn’t even allow for it. Thus, if you are working in Avid or Final Cut Pro (for example) – and you’re trying to achieve that film look with 3D – that deal you got on your cheap(er) 3D monitor may have served to bite you later. I’ve recent run into this situation with the JVC 463D10U.
Word to the wise: check the spec of the monitor you are buying to ensure it handles any of the frame rates and resolutions you could possibly use.
Solutions / Triage: Cross or down-convert on the output. Avid, for example, can cross convert 1080p 23.98 to 1080i 59.94 or 720p. These are more standard resolutions which a larger variety of monitors can handle. Outboard devices can also handle this, such as the AJA HI5 3G. This unit takes your HD-SDI output (Mojo DX, Nitris DX, Kona3) and does the conversion from 23.98PsF to 23.98p AND converts to HDMI. $690.00 solution. - Type of 3D playback: Passive / Active. I’m not about to launch into the pros and cons of each format but I will tell you what is downwind: Glasses Price. Passive glasses are cheap (in some cases, less than $10, I’ve seen decent paper framed ones – for $1 a piece) Active glasses are over $100 each. So, be aware of the added cost if going active and you have a large viewing audience.
Solutions / Triage: Glasses are probably the least of your concerns – as Active vs Passive is a very old argument – with no clear-cut winner. Decide on what format looks best to you (and the people paying your rate) and find a monitor that handles that. - Flavor of 3D compression. Avid, for example, uses a product called Metafuze to marry left eye and right eye into 1 HD frame size – to constrain to the limits of the Avid software. This yields 2 full frames squashed into 1 full frame, yielding a side by side, over/under, or interlaced image. Aside from losing half the resolution from the get go, this also presents the dilemma “which format should I choose?” Your 3D monitor will tell you. Some monitors only understand, for example, side by side. Thus, if you’ve used Metafuze and encoded into over/under, you now have media that your monitor cannot display properly. That was a waste of time, eh?
Word to the wise: Always verify what you shoot – how you edit – how you view – and how you output – are all the same, or, at least can play together nicely.
Solutions / Triage: Cine-Tal’s Davio, is a hardware based solution utilizing software libraries. One of the libraries handles 3D and can convert inbound baseband 3D video signals into other flavors: side by side can become over/under, for example. You can also split single link to dual link for legacy 3D projection gear. Expect to spend $2500 for the box, and $2500 for the 3D library. DoReMi also has the Dimension-3D box, which reportedly has similar abilities.
- 2D vs. 3D Media. Some 3D monitors easily display a separate 2D image, or a separate 3D image. Taking a 3D image and “muting” one of the eyes – therein lies the challenge. Many monitors cannot eliminate the “combined” 3D image in order to view strictly one eye – 2D. Having this ability is useful in the edit bay, when A) wearing the glasses gives you a headache while you edit B) glasses cut down on light getting to your eye, yielding a darker than usual edit bay and C) you look like damn fool.
Solutions / Triage: Currently, to accomplish this in Avid you would need to keep 2 versions of media – 2D and 3D – and relink to each set of media when wanting to view the appropriate output, or buy extra hardware (see Cine-tal’s Davio, above). Avid’s hardware cannot alter the output of the 3D signal in terms of swapping single frame arrangement or muting eyes (those setting you see in Avid, those are for the Composer Window – Sorry!). I understand Hyundai’s latest 3D monitor has the ability to mute an eye during 3D playback.
- 3D Editing Support. As of this writing (early July, 2010), ONLY Avid has a complete end to end 3D editiorial and finishing solution. While there are other solutions that can trick editorial softs into pseudo 3d editing, or to simply finish 3D after editorial Avid is the only complete end to end solution.
Solutions / Triage: How much time do you want to waste attempting to Rube Goldberg a 3D workflow, only to have the kluge be unsupported when it blows up? If you’re doing a complete project – editing and finishing – stick with the most solid solution.
Avid 5.0, ProRes, and You
I’ve been getting massive web traffic and emails from people looking to use ProRes within Avid, as well as outputting ProRes from Avid. With Avid Media Composer 5.0 due to be released next month, the two playing nice with one another will be paramount. I drew up this short Q&A for fellow coworkers at Key Code Media, and I thought I’d share it here.
- Can Avid 5.0 on Mac or PC play Pro Res?
Yes, provided you have a recent version of Quicktime (free) installed. This is required by Avid for installation. - Can Avid 5.0 EXPORT into ProRes?
Mac: Not Natively, but yes. Apple allows for any machine (Mac or PC) to PLAY ProRes with a current version of Quicktime, or with the free ProRes decode codecs from apple.com. However, ENCODING into ProRes is limited to the OS having certain software(s) installed.This includes 1 of the following:
- Final Cut Pro
- Final Cut Server
- Logic Pro
- Compressor
These apps install the proper ProRes component, which is needed for ProRes encoding. There are sneaky ways around this without installing one of the 4 apps, however they all violate Apples EULA and are illegal, and can also be unreliable.…thus, don’t do it.
PC: No. Apple has not made it possible for any software manufacturer to do a software ProRes encode on a PC platform.
- If I have ProRes in my timeline (Mac or PC) and create an effect, how does it render?
Good Question. On both Mac and PC – even if you have one of the 4 apps above installed, Avid 5.0 will NOT render into ProRes. If you look in your media creation settings, Avid will default to another codec. - Then, how do I get my Avid project to FCP and vice versa?
Wes Plate at Automatic Duck has you covered. Automatic Duck provides for both of these scenarios.- Avid to FCP: http://automaticduck.com/products/pifcp/
- FCP to Avid: http://automaticduck.com/products/pefcp/
Keep in mind, these are NOT yet (as of 5/20/10) qualified for Avid 5.0. Usage of Automatic Duck with legacy media (OMF, MXF) may require some transcoding to work within the other editing system. Depending on the workflow, the Automatic Duck software may be able to handle the transcoding for you. See the README for each plugin.
Remember, all of this is based on an Avid 5.0 Beta – at least 30 days from release. Features are of course, subject to change. However, I do not forsee anything changing, due to Apple’s licensing.
On a side note, I am really, really excited about Avid 5.0. NAB 2010 had me geeked, the beta has me jazzed, and I think this is one of the best steps Avid has taken in many years.
DIGITAL PRODUCTION BUZZ: Trends at NAB 2010: Openness
Listen to the report from the NAB BuZZ: nabbuzzshow.com; Tuesday, 5pm show.
or
See my article from POST Magazine here.
Transcript:
There’s been an emerging trend in the post realm over the past few years and it’s not surprising that this year at NAB continues this trend…the trend of openness. While companies and their technology proved to be much more initially lucrative when they were a closed ecosystem – the backlash from dead bolting ones product proved not only to be a revenue suck, but also caused the perception of arrogance or even ignorance. The collective grumbling from the user communities of these products seems to have finally fallen on sympathetic ears, and a whole host of cross-armed, head shaking entrenched old world practices are now replaced and subsequently embrace the notion of collaboration and not confrontation.
Many examples can be found from some of the juggernauts at this years NAB. As reported here on BuZZ, Avid is now warmly welcoming several other players. With the adoption of Matrox’s MX02 Mini, editors now have an inexpensive, yet high quality output device from Media Composer – something users have been clamoring for since day one. Until now, this functionality was only available on Avid hardware at 10X the cost. Plus, the opening of Avid’s AMA to QuickTime, ensures that just about any video file that you may come across can now play natively within your timeline, thus negating the need to exclusively use Avids MXF or OMF file structure. Yes, this does mean that Avid’s biggest competitors video du jour ProRes, can be now be played within Avid.
Many examples can be found from some of the juggernauts at this years NAB. As reported here on the NAB BuZZ, Avid is now warmly welcoming several other players. With the adoption of the Matrox MX02 Mini, editors now have an inexpensive, yet high quality output device from Media Composer – something users have been clamoring for since day one. Until now, this functionality was only available on Avid hardware at 10X the cost. Plus, the opening of Avid’s AMA to QuickTime, ensures that just about any video file that you may come across can now play natively within your timeline, thus negating the need to exclusively use Avid’s MXF or OMF file structure. Yes, this does mean that its biggest competitors video du jour Pro Res, can be now be played within Avid.
Next, we have Squarebox’s CatDV – a fantastically robust digital asset management solution. CatDV not only organizes, catalogs and manages data, but also has the ability to utilize the video data by creating Final Cut Pro sequences from collections of clips within it’s database. It also can generate Avid compatible files and sequences. This allows for an extremely easy interop between your NLE of choice and the asset management system. As an added bonus, its database can utilize databases created from other asset management solutions.
Root6’s Content Agent – which is an intelligent node based encoding solution, announced the new ability to partner with and even utilize one of it’s competitors products - Telestream’s Episode Engine. This powerful combination allows for the Windows based Content Agent to encode into ProRes. With the Apple imposed limitation of only being able to decode ProRes on a PC, Content Agent becomes the first OS agnostic transcoding platform. All with help from its market share rival.
These are just a handful of examples hopefully paving the way for the future of the industry: collaboration for the benefit of your user base.
Hear that Apple?
My NAB 2010 Hit List
Once a year, us posties flock to our mecca, and plant ourselves within the bowels of sin city to suckle from the geek teet, and bask in all it’s acronym run glory. We spend too much on cheap food. We spend way more on alcohol, and desperately try and find which one of the vendors will have the best afterparty. Walking each hall and floor tenderizes our feet as if Rocky Balboa was in training. We hoard swag in the several free branded bags slung over both shoulders. We shout over the tens of thousands of other people asking the same questions, and demand specifications about balsawood products that won’t ship until next year. We play business card roulette and find out who is where. We reminisce about older, bulkier and more expensive technological solutions, the same way we’ll chuckle over this years offerings in 10 years.
Aren’t you psyched? I’ve been packed since Thanksgiving.
I’m lucky enough to be a part of many of the vendor meetings (yes, I still feel lucky) to hear some behind the scenes and roadmap information. This year, I even get the added bonus to be a special corresspondant for the Digital Production BuZZ; the official (and on the show floor) podcast of NAB. With this impending information overload, I’ve made a short list of the biggies I need to be sure to check out.
AJA: PCIe cards with 3G. That would be friggin’ sweet. Imagine your Kona 3 having two 3G outputs. This kind of bandwidth would allow for for Dual Link 4:4:4 and perhaps even full frame Left and Right Eye 3D – at resolutions at or above 2K. Michael likey. I’m also hoping to see a more enhanced KiPro; perhaps a more robust web interface for metadata, extra storage, and *maybe* other codecs.
Avid: Of course. With Apple (still) not having a booth, that leaves Avid as the sole NLE juggernaut on the floor. Due to NDA, I have to dance around the Media Composer 5.0 offerings, but I am excited about what will be shown. Several game changers, in terms of media usage, management, and viewing. Avid is really making a push, across the board, to be a bit more open. Kudos. I’d love to see Metafuze become (easily) cluster-able, and be a bit more efficient – if that is, indeed, how Avid will continue to utilize 3D. The smell of a Unity revamp is in the air, and I can only imagine an ISIS / Unity / Cuisinart hybrid.
Blackmagic: DaVinci. Lots of rumors about what the product is being morphed into since the purchase. What will Resolve become?
NewTek: TriCaster, natch. The Standard Definition units and now the XD300 are some of the few products in the past few years that have really knocked my nerd socks off. We lost 3 baseband inputs when the jump was made to HD – but I completely understand the limits of technology. To do all TriCaster does – in real time – hey, ya gotta make some sacrifices. A guy can hope that a unit with more inputs will be available. I’d also love to see an easier way to make 3D sets; much like the old Virtual Set Constructor NewTek had. However, perhaps an app that allowed for HD virtual set construction with user defined areas for super imposition / PIP, as well as reflections – like their pre-baked sets have. Creating these without Lightwave would be a huge benefit.
Cineform: I am totally in love with Neo3D for stereoscopic monitoring in Final Cut Pro. I’m hoping for a more reliable way to reconform, rather than just pulling timecode from the “paired” file. I’d also love to see distributed encoding into the cineform codec, so we can flip files faster. Perhaps the ability to have different views between the Canvas and the video hardware I/O output. Maybe more editing ability – like the 3D Stereo Tool box plug-in has.
Root6: I’ve been jonesin’ for the ability to have web based interaction with Content Agent. I’m also hoping to see some abilities to utilize more P2 based file formats that we use here in the States, but hasn’t taken off in the UK. I’d also like to see the incorporation of Digital Rapids 3.x software into the fold. Stream 3.0 introduced a host of features, and Content Agent is still utilizing Stream 2.5.x.
CatDV: Another piece of enabling software that is part DAM/MAM and part friggin’ awesome. I don’t expect anything more than further ass kicking. Automatic Duck: Wes has always been finding new and creative ways for project and media interchange. I can only hope that he’s been a bloodhound on the Avid 5.0 scent and will be ready to rock and roll. (If not – Wes, call me Monday at 9.01am. I have some ideas. We’ll make MILLION$).
Telestream: Can’t say much. Just go to the booth. Game changer(s).
Apple: Yes, I know you don’t have a booth, but you WILL be there…in some suite. A shiny one, I bet. Lurking. Taunting. iPadding. I’d love to nibble on the cheese in the mousetrap of Final Cut Pro and Final Cut Server. Who am I kidding? It won’t happen. But I can hope that maybe after the 5th or 6th round of Apple martinis, something will slip. And if that fails, there’s always roofies and knifepoint.
Autodesk: SMAC – Smoke 2010 for Mac OS X – is generating a ton of buzz. I’m hoping more modules will be written, and enhanced codec support.
Facilis: File Level locking is here! Hooray! But not for everyone. Mac 64 bit, and a few other choice configs – not so much. What say you, Facilis?
Assimilate: Lucas Wilson is the MAN. When he and Tony get together, stars align. Plus, their boss is named Taco… 
How can that trifecta be ignored? I’m gonna be looking for additional hardware options and configs for Scratch, and perhaps a wee bit more editorial options and project interchange. Howabout more efficient use of the Red Rocket card and hey RED, howabout stability on a Mac?
Other Hot Topics I’ll be sniffing out:
Easier and less expensive Blu-ray authoring for Mac and PC.
Larger Stereoscopic monitors at lower price points, both in Active and Passive varieties.
Anyone who wants to buy me a drink.
It Came From The Searches Volume 2
Matt Stratton turned me on to Clicky Stats awhile ago, and through Clicky, I’m able to see what web searches come up with my blog as a result. I also see when these searches lead them to my blog – but then they leave because they didn’t find the answer. I thought since the search engines think I already have it on my site, perhaps I should. Below is a sampling of the search queries (that I can decipher from cryptic keyword searches) that my website supposedly already has the answers for. So, I present to you:
It came from the Searches, Volume 2.
March 10th, 2010 – March 18th, 2010.
optimum use of cores on macpro using redrushes
As many as humanly possible. Unfortunately, Red Rushes is not as optimized as it could be, so there will be plenty of horsepower left over, even when red rushes is chugging away. We have to wait for Red to enable distributed transcoding, or, use another encoding solution.
FinalCutServer Slows down
What is slow? The transcoding? Check in / check out? Network traffic will slow check in / check out. Background processes and concurrent users will slow down Final Cut Server – especially if transcoding is happening in the background.
“Prores Avid Import” , “importing FCP into Avid MC” , “convert DNXhd to pro res 422” , “how to import mac prores into avid”
Right here: http://michaelkammes.com/editorial/getting-final-cut-pro-projects-andor-media-into-avid-media-composer/
P2 or DNxHD?
What flavor of P2? You can edit more tracks within Media Composer in real time with DNxHD. You also have more latitude when color grading and compositing, but files sizes are traditionally larger (assuming DNxHD 145 or greater).
unity nab rumours
Yeah, sorry. NDA.
avid dnxhd convert to prores
I assume you are on a PC. Windows cannot encode into ProRes – Apples limitations. If you’re on a Mac, you can export to ProRes from the Export menu, and change your codec / compression to ProRes.
Avid-qualified Windows-based with quad core processors
http://www.avid.com/products/Media-Composer-Software/system-requirements.asp
I will caution that if this a single quad (and not a dual quad) then only the newest Nehalem based Processors (HP z400, for example) can handle DNxHD encoding in RT.
Avid Mass Storage
Avid has several flavors of their own storage –VideoRaid SR (local) and Unity (shared) and ISIS (enterprise shared). However, Avid can use just about any storage that your OS can understand. I recommend firewire400 at the bare minimum (no USB) and esata, infiniband, or fibre if you can afford it.
“michael kammes”, “mkdc”, “micahel kammes”, “Michael Kammes Burbank”
Why yes, that’s me. Whats up? Say hi to your mother for me.
“DNxHD PE codecs IN FCP 6” , “quicktime output avid media composer for final cut hq“
Ya gotta download them.
http://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=263545
FCP can export to any codec QuickTime understands…so, once you download the codec you’re golden. Keep in mind , this will export a DNxHD .mov file, NOT a DNxHD .mov in an MXF wrapper, which is what Avid needs to understand a file without transcoding or a quick import.
getting broadcast quality for fcp mov
That’s tough. ProRes is not a SMPTE standard, therefore, delivering a ProRes file will never be required for a broadcast deliverable. So, you can either A) lay it off to tape or B) transcode to a SMPTE compliant file. DNxHD, for example, is a SMPTE standard. DNxHD 145 closest in quality to ProRes 422.
“”final cut” network storage best practice” , “final cut server edit in place”
Permanent storage, like fibre. FCSvr does not like storage to go offline. Ever. Thus, get permanent storage, and set it as an “Edit in Place”, so FCSvr does not need to copy media to and from it to do conversions. EiP tells FCSvr that the storage is permanent. I recommend a RAID and several spindles, A) for speed B) for redundancy and C) faster performance for multiple users.
inexpensive final cut pro server
Buy a new, base level Xserve. Buy a 10 seat FCSvr license, buy a small RAID5 array, and buy Matt Geller’s book “Getting Started with Final Cut Server.” For anything more advanced, you’ll probably have to contract out.
the best fibre storage for final cut server
How much do you need? I’ve always been a fan of Sonnet or G-Tech.
better than final cut server
CATDV, in most cases. http://www.squarebox.co.uk/
edit in place final cut server rights share
If I understand this correctly…. Yes, you need to have Read AND Write permission to any volumes FCSvr will use. Yes – even if you don’t intend on writing to the volume, you still need that ability. It’s a limitation of FCSvr.
mxf wrap dnxhd
High(er) end encoding solutions can handle it, like most of Telestreams product line.
do stereoscopic 3d mxf files take up more storage space
Nope. Avid dumps half of the picture information to get to signals (left eye and right eye) into 1 HD Frame size. The remaining 2 halves, when combines, equal one regular frame. Thus, same file size.
“avid media” samba share
Nope, can’t do it – if you’re trying to share an OMFI or MXF folder within Avid.
Mac Pro 8 Core 2.93 Nehalem install red rocket
Red Rocket is not entirely stable on Mac, and the workflow is kluge. Wait a little bit.
difference between pro res 422 & pro res 422HQ
Higher bitrate. Both are 10bit, but HQ has the ability for higher quality because of less compression.
quality loss transcode to 220x?
What was the original source? If uncompressed, you should see no difference on the scopes.
“Ruby on rails and final cut server” , “final cut server Web-Based Review and Approval issues”
One of my favorite “wow!”s during a demo. Ruby on Rails released a “module” for FCSvr which gives basic functionality and framework for a web based review and approval process. It’s buggy and kinda unreliable, but gives people a GUI concept of what FCSvr can do.
dnx36 file format
Great Avid Offline Codec. Not broadcast quality, but looks great. DNxHD36 is for 23.976fps material, DNxHD45 is for 29.97fps material – but both belong to the DNX36 family.
optimum compressor config for final cut server
Use those virtual clusters!
http://www.kenstone.net/fcp_homepage/compressor_multi_cores_stitzer.html
http://www.fcsoutlet.com/home/Studio_Outlet/Entries/2008/9/1_Virtual_Clusters_-_Compressor.html
Hum in Avid sdi Mojo analog audio signals
Sounds like (ha!) you have unbalanced audio going into your Mojo SDI. This is common – with no ground, hums (60Hz, usually) often occur because of dirty power and/or a power cable being to close to your audio gear. Put a ground lift on your AC plugs or power-strips
encode red r3d episode engine
As long as you have the codecs on your machine, yes. However, it’s the Wavelet extraction only, at 2K.
final cut pro and avid unity bugs
Decreased performance for starters. But that’s been known. Expect a 20-30% speed drop-off when using FCP on Unity.
p2 versus xdcam HD in Avid MC 4.0.5 2010
What flavor of P2? I like how XDCAM HD 35mbit looks compared to DV100. However, I like the way AVC based P2 Media looks, but it needs transcoding (for now)
“Macbook Pro”+”dual boot”+Avid+FCP
Yes! I do it on my laptop. You need to blow your HDD and OS away, and partition the drive off into at least 2 partitions, and install an OS on each one. Then, install FCP on one partition and Avid on the other. I do this so I can independently update my OSes without hosing up the other. Hold down the Apple key on boot to select which partition to boot into.
HD AT dnx36 broadcast quality
No. DNxHD145 is the baseline for broadcast quality. Yes, you can transcode DNX36 material to DNX145, but while that may meet the deliverable spec, it won’t look good.
final cut server metadata dnxhd
If it’s DNxHD in an MXF wrapper – no. Final Cut Server cannot parse all of the metadata in an MXF wrapper –currently.
“mac mini” NLE
Yikes. Holy horsepower Batman. You’re gonna need it, and the mini doesn’t have it. I’m not even sure FCP will install.
edit dnxhd in fcp
Not natively. Downlaod the DNxHD codecs, and put the timeline in unlimited. Or, pre-render into Pro Res for an easier time editing.
Getting Final Cut Pro projects and/or media into Avid Media Composer
I’m sitting at my desk last week when my phone rings – caller ID tells me it’s an associate from my hometown of Chicago. No sooner do I lift the receiver do I hear
“I win!”
Bewildered, I respond with a puzzled “Excuse me?”
“I win!” he repeats. “I knew you’d go Hollywood!”
Now this puzzles me. Not only because TMZ and perezhilton.com are blocked at work, but that very day I was looking into flights to visit family and friends in Chicago, as well as planning my next trip from the Valley to Buena Park for some much needed Portillo’s. In fact, not to much earlier that day I had made a decent Chicago pun. (There are four directions in Chicago: Northside, Southside, Westside, and the Lake.)
“You swore you’d remember your roots, man. But I read your blog, and you’re talking about stuff we’d probably never do in the Midwest.”
“Well, some would…” I rationalized.
“Hardly. Didn’t you used to say the difference between L.A. and Chicago was a million dollars and 6 frames? All of your stuff revolves around those two things.”
“Yeah, well…some people out here do 29.97…”
He cuts me off. “They’re called Tape Ops.”
(We both chuckle. Post geeks are an odd squad.)
So, in this post, I’ll be backing off the Hollywood-centric workflows, asinine acronyms, and strings of polysyllabic words and going back to some grass-roots issues.
On any given project, there are many editors, in many disciplines, and spread across many miles. Therefore, getting YOUR stuff to work with THEIR stuff is imperative. Thus, I present to you the best ways to get Final Cut Pro projects and/or media into Avid Media Composer.
First, it’s important that we understand how Avid deals with media. As of March 2010, Avid understands media in 4 formats. This may very well fluctuate in the next few months**, but for now, Avid understands media thusly:
- Native Avid media – that is, captured by Avid. Nowadays, this is usually in Avid’s DNxHD codec, which is analogous to ProRes – see chart below. Avid, during capture into DNxHD, wraps this file in an MXF wrapper. In legacy systems, instead of MXF, this would be a standard definition file in an OMF format. This media is understood natively by Avid, and requires no other transcoding or re-wrapping for usage within Avid.
- Quicktime Media encoded with Avid’s DNxHD codec (with a .mov extension). Avid can see this file, but will want to “wrap” it into an MXF wrapper before utilizing it within Avid. This is not instantaneous, but is faster than a straight file import / conversion because it is not re-encoding the media. Avid calls this a “fast import”. **
- Via Avid’s AMA – Avid Media Access. (v. 3.5 and above). P2, XDCAM, and GFCAM are understood natively (but ONLY camera native files with the mxf wrapper and original file hierarchy) **
- Other Quicktime Media NOT encoded with the DNxHD codec, but still understood and playable by your Quicktime player. Provided the codec is installed on your Avid machine, Avid can see it, but needs to import (transcode) and wrap the file into an MXF wrapper. This is the longest of the techniques.
Knowing these rules, we can build several workflows which enable a FCP Project – or just the media – to get into Avid.
Just Media from FCP to Avid: Easiest Method (and Free!)
Media from FCP to Avid (click to enlarge)
- Download the Avid DNxHD Codecs (http://www.avid.com/dnxhd/ ) onto your Mac. This enables FCP, Compressor, or any other encoding application on your same Mac to encode into DNxHD. (Remember DNxHD is a codec, so it can have a “.mov” extension).
- Export your timeline into a comperable DNxHD .mov format (see chart). This yields a file with a .mov extension, but encode with a DNxHD codec.
- This file can be seen by Avid, who will then “fast import” it (wrapping it into an MXF wrapper), allowing you to use it in the most efficient way on the timeline.
GOTCHA: You can, of course, bypass the entire download of DNxHD codecs, just just export from FCP using the same codec FCP is using in the timeline. This, however, complicates things for the Avid user. What if they do not have the same codec you are using within FCP? Worse yet, what if the codec you export with requires the other user to pay to get the codec? For example, DVCProHD is not free for a PC! Companies like Calibrated Software (http://www.calibratedsoftware.com/) charge $69 for a plugin to simply decode the file. Rule Of Thumb: Make it as EASY as possible for the next person to use your media.
ADVANCED USERS: From FCP, export a QT Reference. Use your clustered or more robust encoding solution to encode into a .mov DNxHD file. Quite possibly, your encoding solution may allow you to even wrap the DNxHD file into an MXF wrapper (OP1a compliant) which makes importing into Avid even faster! (see #1)
Project AND Media from FCP to Avid (slightly not free)
Project & Media from FCP to Avid (click to enlarge)
- Purchase and download Automatic Duck Pro FCP Export ($495) http://automaticduck.com/products/pefcp/
- Download the Avid DNxHD Codecs (http://www.avid.com/dnxhd/ ) onto your Mac. This enables FCP, Compressor, or any other encoding application on your same Mac to encode into DNxHD. (remember DNxHD is a codec, so it can have a “.mov” extension)
- Within FCP, export using Automatic Duck (see movie here: http://automaticduck.com/products/pefcp/FCPtoAvidwitMedia.mov). In short, Automatic Duck creates a Project file Avid can understand, and you have the option within the export of converting the media to DNxHD AND wrapping it into an MXF wrapper. All are read natively by Avid. ALL IN ONE STEP. Can you dig it?
GOTCHA: (for you advanced users) This process can be slow, as Automatic Duck handles the media transcode and re-wrap. This is a single threaded process, and cannot be done by another application. This may yield a wait for longer form / media heavy projects. In addition, there are a handful of effects that may not transfer over. Check Automatic Duck’s documentation for limitations.
ADVANCED CONCEPT: Use Automatic Duck to export the Project. Manually take the FCP Media and transcode into DNxHD or MXF wrapped DNxHD with your favorite encoder. Take the converted Project file and media to the Avid. Open the Project, and manually re-link to the transcoded media. Depending on if the FCP media was wrapped in a MXF wrapper, Avid will either import it instantaneously, or necessitate a wrap into MXF. While this may save time on the front end (manually doing the encode into DNxHD), you will lose that time by needing to manually re-link to the media within Avid. Plus, you lose tons of metadata. I am not a fan of attempting this. But I will be glad to charge you for consulting on it.
NOTE: This workflow ensures the most amount of metadata transferring over. Sure, you can save yourself $495, and try to work some magic with a generic EDL. I’ve had zero consistent success with this, and only massive amounts of metadata loss, headaches, and a severe limitation in terms of effects transferring over. Take it from Nancy Reagan: JUST SAY NO.
FOOTNOTE: Quality loss is always a big concern. There are hundreds of codecs out there – so I cannot possibly mention each one. However, I can tell you what standard codecs in FCP equate to what codecs in Avid:
| Avid “family” Codec*** | FCP Codec | Notes |
| DNxHD36 | ProRes Proxy | Best for film/ video offline, archival for reference, digital asset management (DAM / MAM) |
| DNxHD115 | ProRes LT | DVCPROHD-like. Lightweight, used as a balance between quality and efficiency. |
| DNxHD145 | ProRes 422 | Television broadcast quality baseline |
| DNxHD220 / DNxHD220x | ProRes 422 HQ | 220 is 8-bit. 220x and HQ are both 10-bit, and therefore have greater latitude for color grading and motion effects. |
| DNxHD??? | ProRes 4444 | Lowest level of compression (highest quality). ProRes 4444 has an alpha channel; Avid currently has no equivalent. |
**Most likely in mid 2010, the line between #2 & #3 will become blurred. That is, AMA being enabled to understand ANY codec Quicktime can read. This means that Avid can play almost any media file you throw at it, so long as Quicktime on the same machine can play it. While this is a fantastic concept, Avid will always perform better when dealing with multiple streams of video when all formats are in an Avid codec. Avid only guarantees 3 streams of broadcast quality video via AMA, and I do not expect that to change once AMA is opened up fully to Quicktime.
***Avid’s DNxHD codec has “families”, for ease of use (snort) in terms of naming conventions (left column above). Depending on your frame rate, the bitrates (the last numeric digits) of the file can fluctuate slightly. For example, DNxHD36 is for 23.976 fps material. This “family” also encompasses 29.97 fps material encoded with the same codec, yet yields a file (technically) at DNxHD45. Yes, I know: uber-confusing. Look for a blog post on this soon.
Hope this helps. Have any input? I’d love to hear it.
Avid Media Composer Cheatsheet Version 4.0.4
Avid creates a document for us tech folk, commonly known as the Avid Cheat Sheet. It’s a “living” document with install / tech gotchas, links, and tech goodness for the new version of Media Composer. It is absolutely essential for building, optimizing, and configuring an efficient (and sometimes even functional) Avid system. Here is latest version for 4.0.4.
*This document is applicable for Avid Media Composer 4.0.5 as well. Check out the slight changes in the Avid Media Composer 4.0.5 README for more information.
Avid Media Composer Cheatsheet Version 4.0.4
DIGITAL PRODUCTION BUZZ Interview Summary – 3/4/10
Digital Production Buzz – http://www.digitalproductionbuzz.com
March 4th, 6pm PST
Hosts: Larry Jordan and Michael Horton
Listen Here: (15 min) Michael Kammes on the Digital Production Buzz
Below are links to some of the companies, products, techniques, and workflows we discussed during the interview.
- Key Code Media: Industry leader in digital media – acquisition through post production: consulting, sales, integration, installation, training, and service. http://www.keycodemedia.com
- Automatic Duck: Conversion software to interchange between your Avid and FCP projects. http://automaticduck.com/products/
- Avid AMA: Avid Media Access, which allows Avid to edit and use XDCAM, P2 and GFCAM natively in Avid – no transcoding! BUilt into all flavors of Avid Media Composer: http://www.avid.com/ama/
Stereoscopic / 3D:
- Using MetaFuze to create Avid compliant Stereoscopic files : http://www.avid.com/metafuze/
- Using a pre-release of REDCINE-X to create Avid compliant Stereoscopic files: http://www.red.com/support/index
- Cine-tal Davio: The Davio allows LUTs to be applied in Real Time, as well as decode (Stereoscopic) 3D signals, via HD-SDI & 3G. http://www.cine-tal.com/products/davio_main.asp
Increasing productivity & collaboration and handling data redundancy in post:
- Cache-A: Portable network based back-up appliance for media and files, onset or In the bat to LTO4A digital tape: http://cache-a.com/ Also, I have a video about it at: http://michaelkammes.com/post-production/video/
- StorageDNA: Point to Point accelerated transfer of data, with delta differencing and automation; a true replacement for FTP: http://storagedna.com/
Avid Quicktime Codec Update v2.2.1 & Avid 4.0.5
I post this here as the last time there was a codec overhaul, massive problems occurred with Avid Unity and QT Reference file encoding.
And it was thus said by Avid:
The QuickTime codecs v2.2.1 addresses an issue encountered in Avid Media Composer v4.0.5, Avid Symphony v4.0.5, and Avid NewsCutter v8.0.5 in which DVCPro, MPEG, and Avid DV exports result in black video. See KB Article 350631 for additional information regarding this issue. Mac and PC versions of the installers can be downloaded below. For more information about these codecs visit the Avid QuickTime Codecs LE 2.2.1 Specifications page. For complete install instructions, reference the ReadMe file below.
Downloads:
Avid Codecs LE v2.2.1 ReadMe
Avid Codecs LE v2.2.1 Installer Mac
Avid Codecs LE v2.2.1 Installer PC
It came from the Searches Volume 1
I’m on a plane from Vegas – after nerding out at the Digital Signage Expo. It’s a full circle, having been christened into Digital Signage around 2002 with Graybow. Glasfire (3M’s Vikuiti), if any of you remember. In any event, this short 50 minute jaunt from Vegas to Burbank gives me time to write a quick blog.
Matt Stratton turned me on to Clicky Stats awhile ago, and through Clicky, I’m able to see what web searches come up with my blog as a result. I also see when these searches lead them to my blog – but then they leave because they didn’t find the answer. I thought since the search engines think I already have it on my site, perhaps I should. Below is a sampling of the search queries that my website supposedly already has the answers for. So, I present to you:
It came from the Searches, Volume 1.
dnx-36 firewire 400 and bandwidth requirements DNX36
Yes, DNxHD36 (aka DNx36) can certainly work through a firewire400 pipe. DNxHD36 runs at a 36mbps, while firewire400 has a theoretical max of 400mbps. This makes firewire400 a fine choice as a transport for DNx36 offline workflows.
29.97 and dnx36
This is a source of confusion for many Avid users, and I’m in the process of authoring a blog on this. DNxHD36 is a “family” according to Avid. While the “36″ label refers to the data rate for 23.976 material, the DNxHD36 “family” codec can be applied to 29.97 material. This would be technically known as DNxHD45 (45mbps as opposed to 36mbps).
“episode engine” cpu restriction
This is kind of vague. Within Episode, you can assign priority of encodes and cpu usage. Quicktime already is pretty poor with processor usage to begin with, however.
Metafuze Lossy?
Yes. After all, you’re transcoding from one codec to another – there will always be quality loss. In addition, DNxHD is a lossy codec – so, yes.
edit room day rate
This varies wildly. Depends what gear is in the room, what the room is used for (editorial, audio, finishing, color, etc.) your experience, and geographical location – and hell, what your rent is! Normally a reputable rental rate at a good facility would be a couple hundred bucks per hour or even much more. As a side note / soap box, don’t sell out the rest of the industry by undercutting other facilities. Talent and experience are worth the money. That’s a majority of what the client is paying for – not the gear. By undercutting everyone else, the industry is forced to adopt your lower rate as a standard, then everyone has to drop their prices. And the cycle continues. You’re shooting yourself in the foot.
Does clipster support facilis
Clipster runs on Windows XP 64bit, which Facilis has a client for. Fibre is the best choice (Ethernet won’t deliver the bandwidth needed), and it should be a recent version of Facilis software to enable file locking – volume locking will cause organization issues, but can be done.
convert red footage cluster setup
I wish I could do it better than these guys have:
http://www.kenstone.net/fcp_homepage/compressor_multi_cores_stitzer.html
http://www.fcsoutlet.com/home/Studio_Outlet/Entries/2008/9/1_Virtual_Clusters_-_Compressor.html
fcserver script
Good luck. Most everything is manual at this point. Try CATDV as a more GUI based alternative.
QIO-PCIE sonnet tech
The QIO comes with either a PCIE host card or a E34 (Express slot) host card. Unveiled at NAB 2009, and finally shipping now! Mac only support for now. List Price is about $1000.
FTP, KiPro
Well, once the KiPro encodes to ProRes, you can certainly FTP the file – although it’s gonna be huge. Your best bet is to offload it to a portable drive for transport or use a transfer solution like StorageDNA.
share msm database avid
I can only assume you’d like two or more machines to access the same Avid Database at the same time, in order to share media. Nope – the functionality you are attempting to do is achieved through Avid Unity, ISIS, and Interplay.
final cut server frontend
Final Cut Server (FCSvr) clients have a front-end based in Java; it looks the same on Mac or PC – and the administrator can restrict what functions a client can have. A popular alternative is creating a web page interface which ties into the database and media of FCSvr. The functions on thew web page are usually limited and typically only used for “review and approval” functionality. Several companies out there can create a custom web based interface – although it is far from cheap.
episode pro pro res 422
Yes, If Episode is running on a Mac, you can encode and decode into any of the flavors of “ProRes” (1 word). Decoding is only available (currently) on the Windows version.
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