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.
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.
NAB 2009: Wrap Up
Thousands of vendors, and hundreds of thousands of square feet later, I am back in SoCal, with some highlights from the 2009 NAB convention.
Sonnet: Following the success of the F2 portable RAID HDD solution, the previously announced F3 is slated to finally begin shipping by 5/15. The F3, like the F2, is designed for road warriors who routinely deal with vibration, cramped quarters, and who rely on RAID storage and high bandwidth performance. The F3 features multiple interface compatibility, including USB, Firewire 400 & 800, eSATA, and works fantastically with the Mac Book Pro. I frequently use the F2 when on mobile demos with my MBP, and easily get 120MB/Sec.
 |
|
|---|
On the desktop side, an update to the R400Q “family”, is the R400QR5. Same form factor, only now with more storage space AND with RAID 5. This inexpensive mass storage we’ve used for inexpensive 2K playout. Using Machina software (free from AJA) with an AJA card, along with this Sonnet storage is a very inexpensive 2K playout solution. Turning an assist station or even a machine in your machine room into a layoff/back system is now possible – on the cheap.
Qio, a multi-format card reader (P2, SxS, 21 other various formats) features Read and Write ability to the aforementioned formats, all I one box, and under $1K. Simple and elegant.
One down note: I have been a proponent of the Sonnet CPU upgrade cards for some time (I cut feature films on my Quicksilver Mac for many years past what the system should have been able to handle; a single proc 733MHz for $600 became a Dual 1.8GHz with their Encore/Duet upgrade). It appears that this is no longer a focus of Sonnet, and is being phased out until remaining stock is sold. Bummer.
AJA: New products, natch. Of notable mention: The KiPro, Kona LHi, IO Express, and several converters.
The Ki Pro is a portable recording device that takes in SD/HD-SDI, HDMI, and analog formats and records the footage directly to ProRes to an onboard HDD. This makes post much easier – no more RT capture or mixing formats in a timeline. Control via a laptop or iPhone (WiFi) is also supported.
The IO Express, aside from appearing unsuspecting, packs a punch. As the name suggests, it is a little brother to the IO HD. Designed for mobile usage, it’s ExpressCard or PCIe interface allow for SD/HD-SDI and LTC/Ref input, and Component, Composite, HDMI, and unbalanced audio output. I see this being extraordinarily useful in file-based workflows and for inexpensive, yet high quality video monitoring. It was in a glass case on the show floor, so ship date is up in the air.
A gap in the AJA product line was HDMI monitoring. None of the I/O cards had the ability for HDMI output with (of course) an AJA converter. With the lowering of the price for their base model card (LSe or LSe) there was a $1400 gap in product pricing as well. Enter the LHi, bringing some features from the Kona3 (RT up / down / cross converting) and adding HDMI 1.3 in and out plus the new(er) 3G SDI protocol.
I’d also recommend checking out 2 of their new converters, the Hi5-3G, which converts the previously mentioned 3G SDI protocol (simply: Dual SDI, commonly used for 4:4:4, on one SDI spigot) to HDMI v1.3 with analog audio. This is excellent, as many camera manufacturers (Sony, for example) are adopting 3G. AJA also showcased the HDP2, which converts SD/HD-SDI to DVI-D and HDMI; perfect for converting your baseband output to a digital display.
|
|
|
|---|
|
|
|
|---|
It’s no secret that I’ve been a huge Facilis fan for quite a while. Not only is the performance well above par, its simplicity for the end user (as well as administering) is unmatched. The only downside was that is volume locking – not file locking – which made it an immediate no-go for some shared storage environments. Although showcased last year, the reseller meeting and booth this year focused heavily on the file locking ability of the new software release, v. 4. Although strictly on the Windows side until Q4, the file locking seems to work well – and was demonstrated mimicking the shared project ability of Avid. A first, as no other SAN solution offers the same concurrent project sharing as Unity. I am, however, concerned how it’s done. With a fibre jumper cable of 3 meters looped back to itself on the client? That concerns me as a band-aid type feature. With Apple support not planned until Q4, I’m worried that there still may be some bugs or hurdles that may not be effectively overcome. Facilis is on a roll, and I’d hate to see such a rich feature set, such as file locking, falter.
Avid: I find it difficult to put into words just how disappointed I was in a good portion of the “offerings” Avid had at NAB.
The Avid Reseller Meeting, a closed door event strictly for…well, Avid Resellers, consisted of 2 hours of lecturing about the restructure of Avid internally, aligning all of the product lines under Avid as a brand rather than Avid “overseeing” the other acquired names. “New Thinking” redux, me thinks. We’ve seen a huge change in personnel and positions from a reseller viewpoint – and we understand that changes of this scale require time and patience. I don’t believe it’s an understatement to be concerned about these changes and what the future holds for Avid.
Avid rolled out a new logo , website, as well as tiered support contracts…very similar to Apple’s Enterprise support contracts, based on uptime and “levels” of urgency. The new logo reminds me of something from Tron; I am not pleased.
As far as new tools, Avid announced support for Final Cut Pro on Unity and ISIS. I caught wind of this several months ago, but didn’t think it would be rolled out this quick, and apparently without any restrictions or throughput limitations.
The floor show was excellent, however, showing interop with Media Composer, Video Satellite and ProTools. Cutting 3D picture, adding sound effects, music, and roundtripping them all in a 10 minute show was fantastic.
I think perhaps holding off on v3.5 for 45 days until NAB may have given Avid more of a Shock and Awe factor at the show. But hey, that’s me.
Autodesk: Great booth! Autodesk showcased their previously announced Flare (insert obligatory Office Space joke here), a software only visual effects package, which contains many of the same features found in their Flame and Inferno systems, which cost up to 80% more. For assist stations, or junior effects jockeys, this would be fantastic. I understand, however, this is only available to facilities that already have Flame or Inferno in their workflow.
Fairlight and Euphonix: Both now have their controllers able to manipulate Final Cut Pro – albeit expensive, they can control the UI. Suggested to Fairlight: if Avid and Digi have Video Satellite, what about using Fairlight to control Final Cut Pro as a Video Satellite-esqe workflow?
RED ROCKET: more info as it becomes available, from POST magazine:
- R3D Decode, debayer and playback high quality realtime 4k at 30fps (or 5K at 25fps).
- Will accelerate FCP, Premiere, After Effects, RED Alert!, REDCINE, REDrushes or any application using the REDCODE SDK.
- PCI-Express, Output interfaces will include Quad-DVI and Quad-HD-SDI. Works with Mac, PC and Linux.
- Under $5k.
This is the same technology that DVS is showing at the show on their Clipster system. What this means is that 4K realtime from small files is an affordable reality. This also means that almost any third-party post tool can become 4K enabled.
More information as I sort through my notes!
UPDATE: More Extensive RED Benchmarks
**v 1.1 – added RedRushes for DNx36 & 220 & Pro Res 422 HQ batch encoding
I’ve decided to expand my testing after inquiries regarding other encoding solutions…and it developd into benchmarking single & batch encode times into various codecs with various encoding solutions.
Specs, standards and universal notes:
2.93 GHz MacPro, 6GB RAM.
10.5.6 / QT 7.6
Avid Codecs 2.0 (shipped with Media Composer family 3.5+)
All media local on OS Drive.
R3D Proxy _H quality was used for all tests.
Builds tested: 16, 17, 18.
10 clips ranged from 00:26 seconds to 04:31. Median was 02:19. Since every editor’s batch will be different, this was a ballpark for an average shoot.
All clips were resized to full frame HD frame sizes during encoding. As a side note, the frame resizing from the native 2048 x 1024 to HD frame sizes was not a significant factor in the delta for encode times.
No LUTs or image adjustments (aside from resizing) were used.
Pro Res 422 HQ -The highest quality compressed HD codec that Apple offers. Exceeds Broadcast standards.
DNx36 is 1080i/29.97 8bit. The lowest resolution of HD Avid offers. Used for offline editorial.
DNx220x is 720p/59.94 10bit – The highest quality compressed HD codec that Avid offers. Exceeds Broadcast standards.
REDCODE RAW Quicktime Codec: 3.5.0
FCP: v6.05 (FCStudio 2)
RED Final Cut Studio installer 1.0
RedRushes: v3.60
Compressor: v3.05
Compressor Local Virtual Cluster: 16 instances, all local.
Episode Pro (Desktop): v5.1
Episode Engine (16 Processor License): 5.1.2. Split and Stitch disabled, as there seems to be a bug in the stitch process.
Final Cut Pro L&T: Batch not applicable; Log & Transfer only processes 1 file at a time. DNxHD codecs are not traditionally used within FCP.
Red Rushes: Batch not applicable, only 1 file processed at a time. Quarter Res Debayer Quality.
Compressor: Batch not applicable, only 1 file processed at a time.
Episode Pro: Batch not applicable, only 1 file processed at a time.
Findings:
Amazingly, those of you who use Final Cut Pro as your editor will find you have the seemingly fastest encoder out of the bunch – and free. It does require some basic setup to get the cluster working – and is known to be flakey, but seemed to be a rockstar during my testing.
It should be noted that the free RED codec for Mac OS – REDCODE – is *still* a Quicktime component. That means no matter what encoder you use, the QT component will be the bottleneck. In addition, whatever bottleneck Redcode with QT causes, it’s only part of the equation: The codec (in this case, ProRes and DNxHD) you are encoding to must be written to be able to take advantage of multi threading.
RedRushes utilizes REDline as their encoder, and seems to be the best at utilizing available CPU horsepower. It averaged 15-20% more processor usage at any given moment then any other non batch encoder (FCP L&T, non VC Compressor, and Episode Pro). That being said, this was usually only around 50-55% at best. Batch encoders seemed to be able to take advantage of the remaining processor cycles, although Compressor with a VC seemed to be average 95-100%, whereas Episode Engine lagged behind between 80-85%. Unfortunately, the Stitch function of Telestream’s Split & Stitch technology seemed create a playable but greenscreen media file after stitching, so that feature had to be omitted. This feature may yield better results.
Pro Res 422 HQ, across the board, yielded slower encode times. Avid DNx220 would be the Avid equivalent to ProRes 422 HQ (although, technically, it should be vice versa) and was always done quicker. This is by no means a visual quality test, this was raw speed.
Although I cannot prove it (aside from my results here) it seems some encoders just “play well” with some codecs and data rates (i.e. high compression/low data rate DNx36 vs. lower compression / high data rate DNx220 & ProRes 422 HQ). This contrasts with the Episode Family, whose encode times were pretty similar across codecs.
All testing was done local (internal OS drive), as the differences in mass high speed storage varies from user to user and therefore difficult to baseline. I define mass high speed storage as RAID sets with Firewire eSATA, Fibre, or SCSI connection. While I expect times to be similar when Firewire/USB drives are used as the source drive (as most batch encoders write locally to a cache for processing, then write back out to the destination drive), I certainly expect encode times to decrease when mass high speed storage is used, as larger files require more time to write after the encode is done and the cache has to copy out to the destination drive. I do not expect this to be drastic, but it may save a few minutes each hour.
I attribute the increased times with batch encoding with Compressor with VC to this. (I know there is a Cluster option setting for this, however altering it seems to break the Virtual Cluster) I could have decreased the encode time by up to 20% if the application did not have to write out locally, as the merging of the distributed quicktime segments took almost as long as the length of the clips (RT) themselves.
When batch encoding with Compressor, it’s important to remember that the application is splitting the transcode up to the available processors. This is great if a batch of 2 clips are the same length, but if one clip is, lets say, 1 minute longer than the other, then the longer clip will no longer benefit from the distributed encoding when the first is finished. Normally this is only an issue at the tail end of a batch encode (as once one encode finished, another will start). For long encodes, this bares mentioning.
Across the board, encode times are cut in 1/2 to 3/4 from the last gen of Mac Pro (Harpertown, 3.2Ghz 8 core)..making the new Mac Pro, in the RED realm, a great investment for high volume encoding.
It should also be noted that even though some of the more expensive encoders (Episode Family) are not the fastest, the increased encoding options and variables, codec support, templates, watch folders, and bells and whistles they contain may be worth the investment.
http://www.telestream.net/pdfs/datasheets/EpisodeSeries_Format_Support.pdf
As of this writing,Telestream’s Desktop Products: Episode & Episode Pro will run you $495 / $995, based on options and their Enterprise line Episode Engine & Episode Engine Pro runs $3950 / $8450.
Final Cut Studio 2 (with compressor) is $1299.
RedRushes is a free download from red.com.
Questions? Comments?
Review: Root6 Technology’s ContentAgent
Everyone has an encoder nowadays. Final Cut Studio has shipped compressor for years. Avid ships with Sorenson Squeeze, and I typically suggest some flavor of Telestream’s Episode family line. All of these have varying degrees of quality and format support, and some go even above the call of duty with watch folders.
One fatal flaw is that they all rely on someone else’s engine with which to encode through. Quicktime. Quicktime, while being the pipe which leads to all things NLE, becomes vary narrow when it comes to efficient processor usage. In fact, it’s pretty bad.
Ever viewed your system processing usage while encoding? So much to be desired.
Root6 Technology, a player in the encoding and media market for over 6 years now, (BeamTV) has taken an innovative approach to this problem thus created an intelligent workflow device.
ContentAgent, at its core, is a software application, which can dig its claws into several hardware components. Utilizing Root6’s solution to the Quicktime Bottleneck: their Platinum Encoder, it can regulate CPU usage during encodes. Intelligently, ContentAgent farms out processor cycles for single or multiple encodes, understanding the limitations of each codec so as to efficiently disperse the workload across available resources. ContentAgent also has the added ability to utilize GPU horsepower on a per encode process.
By way of comparison, an Avid on 8 core 3.2 GHz MacPro is processing RED files around 5:1 RT. (1 minute of footage = 5 minute encode). ContentAgent is encoding that file in approximately 2:1 (DNX36). It should be noted that Avid is simply utilizing the QuickTime wavelet extraction files – not the R3D file. ContentAgent has full R3D support. This yields better quality at a faster pace.
ContentAgent RED Workflow
While that certainly enhances the turnaround time for encodes, it doesn’t solve the issue of baseband encodes. This is where ContentAgents hardware hooks become that much more powerful. Utilizing a Digital Rapids I/O card, either in an SD or HD Flavor – the ContentAgent now has the functionality of batch or crash capture and layback from any SD or HD deck source with RS422 control.
So, now we have an encoding solution that is faster than most anything else out there AND can pull tape. What else can it do?
Glad you asked.
Avid, for all its ability, has always had a proprietary media management system. Depending on whom you ask, this is a curse or a blessing. As it pertains to raw media files, it requires virtually all media (exception: AMA Volumes in v3.5) to be used in an Avid timeline to be encoded into OMF or the newer MXF format. This ties up a considerable amount of time on a billable suite. ContentAgent has the ability to encode media into OMF and MXF formats (even in the DNxHD codec) so as to bypass the “wrapping” OMF/MXF encode Avid does with non Avid Media. This means instantaneous media access in the suite. Those of us on Unity will appreciate the ability of ContentAgent to write the data to the Unity database for even faster usage.
Store
Metadata, especially when going tapeless, is almost as important as the pixels themselves. Getting the metadata inherent in the filename AND header (*cough* RED *cough*) becomes a massive chore when the file conversions are not followed precisely. ContentAgent has remedied that as well, utilizing an SQL database as the system’s backend to store and manage all data imported or encoded for referencing. This means the link between the 2 files (pre and post encode) plus all pertinent data located within those file can be referenced (or in some cases, parsed) by 3rd party applications.
Oh yeah, ContentAgent has that feature, too. XML schemas; which enable custom XML files to be written, containing the data from the pre and post encoded file, ready to dish out to applications supporting it. While not the easiest to understand, the functionality is there.
Those of you who have edited on higher end finishing applications (Autodesk, for one), or even some DVD authoring applications (DVD Studio pro, for one), may be familiar with the concept of node based editing. That is, each node (or “room”) contains parameters for a specific task. The results of that node can then be fed to single or multiple other nodes, where the process continues. This means intelligent, decision based workflows, easy troubleshooting and – drum roll – automation. Watch folders, FTP, file copying, status emails, copy / delete responses – all handled by developing these node based actions – called workflows. Once a workflow is devised, it can be saved and utilized by a few button pushes later. This means your Tape Operator in your Core can initialize a workflow without reinventing it. User permissions and a user interface with larger buttons create an environment designed for touch panel usage in a machine room.
Content Agent Workflow
Support for other hardware interop include Rimage support, for automating CD and SD and Blu-Ray DVDs with disc graphic design capability – either local or over a network. Another facet of this is the ability to create basic DVD menu layouts, with slates, watermarks, and chapter breaks. While rudimentary, for dailies and simple, trackable dupes, this fits the bill.
DVD Authoring Pane (Click to Enlarge)
DVD Label Editor (Click to Enlarge)
Saving you the headache of building some kluge machine is the fact that ContentAgent is built upon the same machine your PC Avid or Autodesk products are using. HP Workstation CPUs. As of this writing, the XW 8600 running Windows XP SP2 is the current config. The addition of 4 15K SAS drives allows for the system to capture uncompressed HD locally prior to encode. With the software understanding any volume the OS sees, shared storage is always an option. Facilis and Unity showed no issues. ContentAgent utilizes the ATI Fire GL card for its GPU acceleration. My tests have shown a 10-15% speed increase when this is enabled.
So, what are the downsides?
- Support. 8 hour time difference from SoCal to SoHo means some delays in troubleshooting. U.S. Support is very knowledgeable, but spread thin.
- Interface. Although it is designed purposely for pudgy fingers on a touch panel, it’s decidedly not Mac / not PC interface takes away some typically standard conventions on where to click next.
- Modular. Many of the codecs and abilities ContentAgent has are built upon a basic licensing structure. Pay to play. This means a system, after all is added up, (qualified computer and varying degrees of software licenses) can run the gamut: Between $30K-$50K. However, in all fairness, no other application – or collection thereof – can do all of this so as eloquently as ContentAgent.
Update: With NAB around the corner, updates promised in 2.5 and 3.0 software include: distributed encoding (Content Central) to further utilize horsepower on multiple machines, most notably, Blade servers. Blu-Ray authoring support is also in Beta.
*Obligatory Disclaimer: My opinion on the technology contained therein is independent of my affiliation with the reseller of this product.
RED: Make Bleeding Edge Cutting Edge
The RED camera system has revolutionized the industry, however, with every revolution there are speed bumps. Decoding the REDCODE file (natively, or utilizing the camera generated wavelet proxy files) can be a lengthy process. A solution is to bring the bleeding edge down to cutting edge. Merge old with the new.
Let the cinematographer use the RED camera, but instead of relying on the RED digital files, run a HD-SDI line out from the RED camera to an HDCAM deck. Then, run a line from the production mixers recorder to the HDCam deck. Viola! You now have your “telecined” dailies – utilizing RED glass – with audio. HDCAM is obviously HD, and is no slouch in the quality department. The metadata embedded in the digital files, coupled with a well marked slate can be used to matchback from the HDCAM footage later if it’s determined that you need the 4K image. Most RED shot projects rarely are projected above HD, and thus will not benefit from a larger frame size which the RED file gives you. The only exception would be an effects heavy project, which always benefits from more pixels.
Deciphering the RED File Name
By following the diagram above, much of the data utilized in your RED filename can be deciphered by simply understanding the information contained within the filename. Many times, your NLE will simply parse the information found in the filename, and populate the appropraite columns in your Bin/Browser. This information can also be used if the link between the offline and online media is lost, and the files need to be located manually. Graphic Courtesy of avid.com
-
Follow Me
