Understanding HD: Workflow & Media Management

Workflow & Media Management

Media Types
Compression Types
Data Management
File Systems
Storage Types
Downloading with Confidence
Naming Conventions

Workflow & Media Management

Workflows
The Online / Online Workflow
SxS, P2 or ProRes
The Offline / Online Workflow
AVCHD, P2, ProRes
The RAW Offline / Online Workflow
RED R3D
Archiving Options

Recording Media

Codec Comparisons in 1080

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
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

Codec Comparisons in 1080

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

Codec Comparisons in 1080

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

Codec Comparisons in 1080

XDCAM EX - 1920x1080 8 bit 4:2:0 YCbCr
Long GOP at 35 Mb/s
DVCPRO HD - 1280 x 1080 8 bit 4:2:2 YCbCr
I-Frame at 100 Mb/s
AVCHD / AVCCAM - 1920x1080 8 bit 4:2:0 YCbCr
Long GOP at 24 Mb/s

Codec Comparisons in 1080

XDCAM HD - 1440 x 1080 8 bit 4:2:0 YCbCr
Long GOP at 35 Mb/s
Canon SLR H.264 - 1920 x 1080 8 bit 4:2:0 YCbCr
Long GOP at 40-50 Mb/s
HDV - 1440 x 1080 8 bit 4:2:0 YCbCr
Long GOP at 25 Mb/s

RAW Video Formats

RED R3D (RedCode) - Compressed 12 bit RAW video - Various
Data 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

Basic Workflow: Downloading

Footage comes in on either the
original Media or on a Hard Drive.

Use a support device to mount the media to your

editing station or mount the hard drive directly.

Transfer the original footage off the cards onto a

hard drive. It is important to retain the original
material for archival.

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

Basic Workflow: File Systems

File Systems
UDF
Universal Disk Format
No file size limitation
Supported by MOST computers

Basic Workflow: File Systems

File Systems
HFS+
Hierarchical File System - Mac OSX
No file size limitation
Natively supported by Macs only
Use MacDrive on PCs

Basic Workflow: File Systems

File Systems
NTFS
New Technology File System
Windows NT, XP, Vista, 7
No file size limitation
Natively supported by PC only
Use Tuxera NTFS for Mac or Paragon

Basic Workflow: Downloading

Footage comes in on either the
original Media or on a Hard Drive.

Use a support device to mount the media to your

editing station or mount the hard drive directly.

Transfer the original footage off the cards onto a

hard drive. It is important to retain the original
material for archival.

Basic Workflow: Downloading

Card Readers

P2 Reader
CF Card Reader

SxS Card Reader

Basic Workflow: Downloading

Card Readers

XDCam Disc Reader

SSD Reader

RED SSD Reader

Basic Workflow: Downloading

Card Readers

Sonnet QIO

Basic Workflow: Downloading

Card Readers / Download Station

Nexto NVS2525

Basic Workflow: Downloading

Footage comes in on either the
original Media or on a Hard Drive.

Use a support device to mount the media to your

editing station or mount the hard drive directly.

Transfer the original footage off the cards onto a

hard drive. It is important to retain the original
material for archival.

Basic Workflow: Hard Drives

Single Disk Storage - One Drive Spinning
RAID
Redundant Array of Independent Disks
Safer than single disks (not RAID 0)
Larger capacity
Faster Access

Basic Workflow: Hard Drives

Types of RAIDs
RAID 0
Fast put no fault tolerance
RAID 1
AKA - Mirrored Disks
RAID 5
Fast and fault tolerant

Basic Workflow: Downloading

Connection 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

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 Edit
1 for Backup?

Basic Workflow
One Card = One Folder

Move everything on the card to its own folder

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

Video Formats & Workflow

Questions?

Workflow Types
Each project has its own workflow but here are a couple
that 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.

Workflow Types
Online / 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

Basic Workflow: Final Cut Pro

Final Cut Pro
Tapeless Ingest in Final Cut Pro

Designate a Media Drive to set as Final Cuts Capture Scratch

location. Final Cut will need to Re-Wrap or convert all the
footage, which makes another full copy of the original.

Log & Transfer

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

Basic Workflow: Final Cut Pro

Log & Transfer allows you to preview media and
Review
Footage
can besub-clipped,
reviewed onand
the
ingest. Footage:
Footage can
be logged,
laptop
by utilizing
clip browsing software from
renamed
before ingesting.
Panasonic and Sony.

Clips from attached P2,SxS,

and AVCHD cards should
appear right away. Otherwise
use the Add Folder option to
specify footage on a Hard Drive

When logging is complete click

on Add Clip to Queue and
Ingest will begin.

Basic Workflow: Final Cut Pro

Log & Transfer will quickly ingest some footage if it is supported
Review
Footage:
Footage
can be reviewed
on the
natively,
such as
DVCPRO
HD, XDCAM
EX, and AVC-Intra.
laptop
by utilizing
browsing
software from
However
the AVCHD
willclip
need
to be converted.
This process can
and depending
Sony.
take a Panasonic
fairly long time
on your computer.

ProRes 422 / AIC

Once Ingest is complete, START EDITING.
Oh.. but what about XDCAM HD Discs? Well there is something for
that too.

Basic Workflow: Final Cut Pro

Sony has their own Logging software called XDCAM Transfer. It
Review
Footage:
Footage
can be
reviewed
theDiscs and
works much
like Log
& Transfer,
but only
with
XDCAMon
Pro
laptop
by utilizing
clip browsing
softwareImport->XDCAM.
from
SxS Cards.
Launch
it from Final
Cut by choosing
Panasonic and Sony.

If a ProDisc is mounted on
your computer it should show
up automatically, if not you
can add XDCAM HD or
XDCAM EX footage manually.

Rename Clips, Subclip and

Add Meta Data to your
footage. Then Click Import
to convert to Quicktime for
editing.

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

Workflow Types
Offline / 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

Basic Workflow: Avid Media Composer

Avid Media Composer 6
Tapeless Ingest in the latest Media Composer

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

Avids AMA (Avid Media Access)

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

Basic Workflow: Avid Media Composer

Avids AMA lets you link directly to the
Reviewfootage
Footage:
Footage
can beNo
reviewed on the
original
and
edit natively.
laptop by utilizing
clip browsing
software from
re-wrapping
or transcoding
footage.
Panasonic
and Sony.
Including
support
for AVC-Intra.

AMA will ask if the footage

should be brought into the
active 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.

Basic Workflow: Avid Media Composer

Avid can even edit AVC-Intra natively
Review
Footage:
Footage
can be reviewed on the
on
most fast
computers.
Native
laptopspeeds
by utilizing
clipworkflow.
browsing software from
editing
up the
Panasonic and Sony.
Clips from AMA Linked Volumes
appear in yellow.
Using Avids powerful
Consolidation tool, footage can
be transcoded into a variety of
different codecs including low
resolution (offline) files. Avid will
keep track of the volumes so a
full resolution (online) cut can be
created.

Workflow Types
RAW Offline or Online Editing
What is RAW?
Sensor data, not video.
Footage needs to be converted to video.
Lower Resolution for offline editing
Conformed for finishing
Higher Resolution for online editing
Finished at High Quality

Workflow Types
RAW Offline or Online Editing
Advantages
RAW footage has a great deal of adjustment
possibilites.
Usuall Higher Resolution
Disadvantages
Video conversion is time consuming

Other Workflows
Red Raw into FCP & AVID

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

File are stored in R3D format with Proxy data included.

Bring into RedCine X to apply quick color

adjustments from MetaData and scale
image as needed.

Other Workflows
Output ProRes 422 HQ or DNX HD.
Improve speed with the Red Rocket

Edit in FCP or AVID in their native compression formats or

edit from the Proxy material in FCP.

Finish with color correction software,

directly linking to the original R3D files.

Other Workflows
Convergent Design
nanoFlash
Copy data from Compact Flash card onto a Hard Drive. Files are
either in MXF or MOV format.

Edit Natively in MOV in FCP OR Avid in MXF

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

Other Workflows
ProRes Recorders into FCP

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

Copy files directly from recording media into FCP

Edit Natively in FCP in ProRes 422

Other Workflows
ProRes Recorders into FCP

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

Copy files directly from recording media into FCP

Bring in files through AMA and convert to

DNXHD

Video Formats & Workflow

Questions?

Archive Flow
Aquisition
Editing
Archiving

Storage Options
Data tape
Hard disk or RAID
Optical Disk
Video tape
Combination of the above

Hard Drives
Good capacity
Dropping in price
Increasing capacity
FRAGILE

DVD / Blu-Ray
Relatively small capacity (DVD - up to 8.5GB, BluRay - up to 50GB)
New and not time-tested
Easily scratched
Cheap

XDCAM ProDisc
Cheap
Relatively small capacity - similar characteristics as BluRay
23 Gb, 50 Gb, 128Gb
Protected

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

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

100k
cycles

100k
cycles

10k cycles

10K
cycles

50 Years

1.2 Gb/s 1.2 Gb/s

144 Mb/s

150 Mb/s 140 Mb/s