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Interesting announcement from Black Magic
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Ben Scott, What did you mean?
Did you mean delivering a DNxHD MXF to Adstream? That’s how I took it, if you didn’t mean that, please clarify.
Thank you.
Jeremy
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Interesting announcement from Black Magic
by John Christie on Nov 16, 2011 at 12:55:20 amBlack Magic just released a few software updates and this one caught my eye:
HyperDeck Studio
We have been asked by a lot of HyperDeck Studio users about compressed video recording, and we have been working hard on this. We are announcing today that we will support DNxHD recording and playback to MXF files. These are fully compatible with Media Composer 6 and are a broadcast industry standard.
If this was a year ago, don’t you think it would have been ProRes rather than DNxHD? Black Magic ain’t no dummies, they can see which way the pendulum is swinging.
Cheers
John C
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•Re: Interesting announcement from Black Magic
by Ben Scott on Nov 16, 2011 at 3:41:44 amshame ad stream wont accept MXF yet but does prores
once its a file deliverable for tapeless delivery it becomes far more interesting
all down to where you deliver to
but yes useful for avid
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•Re: Interesting announcement from Black Magic
by Brian Mulligan on Nov 16, 2011 at 6:37:17 amDG Fastchannel accepts DNxHD.
Brian Mulligan
Senior Editor – Autodesk Smoke
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Re: Interesting announcement from Black Magic
by Craig RussillRoy on Nov 16, 2011 at 12:02:06 pmHey Ben !
Happy to chat to you on your requirements – we mention ProresHQ on our delivery spec but work hard on integrating with you.
I have been at Adstream for 10 years now and we have seen a lot of codecs come and go – coming from a Post Production background myself I am always keen to test technologies, but on the other hand we need to rope in all the codecs we accept or our tech specs would be 1000s of pages !
As Adstream has 40 offices around the world what neck of the world are you in ?
Adstream London, England
4 x Mac Pros, FCP7, 4 x Flip Factories, 35 x Rhozet Carbon Coders, Offices Globally
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I know you don’t believe me Michael but I know the difference in codecs and containers
Read those comments I just posted all in one go.
Blackmagic recording DNxHD MXF as a “broadcast standard” and Ben saying too bad Adstream won’t accept MXF.
If Ben had a hyperdeck/FCP and a capture card, he could record his project to a DNxHD MXF.
I connected the dots. Forgive me.
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By the way, have you ever delivered to Adstream, Michael?
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[Daniel Frome] “C’mon ’twas a joke. No wonder they us avid people are a little slow :p”
I need to further clarify that “Reveal File” works only when selecting one clip at a time. And also the MXF folder retains the tape names not the clip names, despite the fact that when “revealing” effects and file-based clips you get their names in there. So you’re quite right, Avid people must be slow, the reason why it took us a while to ramp up to 64b, I guess.
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Nope. Is there something I missing about its delivery? Sounds like it requires specific codecs – I couldn’t find any delivery requirements on their website.
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Michael Hancock
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[Jeremy Garchow] “I know you don’t believe me Michael but I know the difference in codecs and containers”
I know you know the difference. In the case of the Hyperdeck, though, it’s an acquisition container and it sounds like its specifically for Avid (or uncompressed Quicktime for the rest of the world). If it’s Avid specific it’s likely not OP-1A, but OP-Atom. So that’s not a deliverable MXF container that I’m aware of. Broadcasters would want OP-1A with audio and video interleaved into one file, right?
[Jeremy Garchow] “If Ben had a hyperdeck/FCP and a capture card, he could record his project to a DNxHD MXF. “
That would mean he loads his sequence in FCP, patches his output card to the deck, fires the deck up and does a tape type layoff while the deck does a realtime transcode and rewrap to DNxHD MXF – then he’d have to pull the SSD from the hyperdeck and pop it into his system and transfer the MXF off (the audio and video would probably be separate since it’s Avid style MXF), then upload those MXF files to whoever gets the final deliverable, where they would run it through a system to cache it into their playback system.
Wouldn’t a File–Export DNxHD Quicktime be better?
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Michael Hancock
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They accept a variety of codecs.
Just wondering if you had been through the process is all.
[Michael Hancock] “Nope. Is there something I missing about its delivery? Sounds like it requires specific codecs”
Below is a list of our preferred formats:
MPEG-2 Program Stream
50Mbps CBR I frame only
Profile: 422P@ML
Frames: 25 fps
Colour Sampling: 4:2:2 (4:2:0 will not be accepted)
Video Size: 720 x 576 (720 x 608 including vertical blanking interval) Field: Upper field first (odd)
MPEG Audio Layer-2 Bit rate: 384kbps Sample Rate: 48Khz Stereo8 bit Uncompressed QuickTime
625/50
Frames: 25 fps
Frame size: 720 x 576 (16:9fha) Colour sampling: 4:2:2 (YUV) Field: Upper field first (odd) Audio: Integer (Little Endian) Sample rate: 48Khz
Sample size: 16 bit
Stereo
Apple Pro Res (HQ)
625/50
Frames: 25 fps
Frame size 720 x 576 (16:9fha) Field: Upper field first
Colour sampling: 4:2:2
Audio: Integer (Little Endian) Audio sample rate: 48Khz Sample size: 16 bit
Stereo10 bit Uncompressed QuickTime
625/50
Frames: 25 fps
Frame size: 720 x 576 Colour sampling: 4:2:2 (YUV) Field: Upper field first (odd) Audio: Integer (Little Endian) Sample rate: 48Khz
Sample size: 16 bit
StereoQuickTime Wrapped IMX50
625/50
Frames: 25 fps
Bit rate: 50 Mbps
Frame size: 720 x 576 (16:9fha) Field: Upper field first (odd) Colour sampling: YUV422P Audio: Integer (Little Endian) Audio sample rate: 48khz Sample size: 16 bit
Stereo -
DNxHD in MOV (the only way I’ve ever had media sent to me from an Avid) can be played with standard desktop tools, and it can be fast-imported (rewrapped, not re-encoded) into Avid.
The HyperDeck is recording for direct-to-edit, though. On Avid, that means DNxHD MXF. It’s doing its job.
I also agree with the other posters that DNxHD, regardless of container, is more “open” than ProRes.
That said, I agree with Jeremy’s general point — it’d be great if MXF were more accessible with standard desktop tools. The industry’s reliance on Apple’s QuickTime is staggering when there’s an open, SMPTE-standard container format like MXF available. Especially given how convoluted MXF is, better desktop support would be a big deal.
Walter Soyka
Principal & Designer at Keen Live
Motion Graphics, Widescreen Events, Presentation Design, and Consulting
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[Michael Hancock] “Broadcasters would want OP-1A with audio and video interleaved into one file, right?”
I would think so. And is that an option with Avid? No? Isn’t that what the release alludes to? Avid would do well to open this up if we are entering the age of DNxHD. Right?
[Michael Hancock] “Wouldn’t a File–Export DNxHD Quicktime be better?”
From an Avid, yeah. If I am entering the age of DNxHD and I am not going to buy an Avid, I can’t do this and I don’t have a way to wrap to MXF whatever the pattern, using QT can be funky. I’d rather use hardware, and I’d rather be able to deliver what is required. If dnxhd movs are easier, why is it so hard without an Avid?
I use KiPros for ProRes deliverables all the time and I use FCP. Sometimes, the KiPro is easier, especially when doing conversions in hardware in real time with tc and deck control.
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