Harris File Interchange presentation from the ... - SBE Chapter 24
Harris File Interchange presentation from the ... - SBE Chapter 24
Harris File Interchange presentation from the ... - SBE Chapter 24
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Society of Broadcast Engineers<br />
David Veldman<br />
Technologist-Digital Media and<br />
Workflow<br />
<strong>File</strong> formats in<br />
Broadcast Video<br />
UwnArpipng <strong>the</strong><br />
msytrey!<br />
assuredcommunications <br />
assuredcommunications
• 1<br />
$$$<br />
Content<br />
• 2<br />
• 3<br />
Time<br />
business school says:<br />
‘Follow <strong>the</strong> money’<br />
journalism 101 reminds us that:<br />
‘Content is King’<br />
And Mr. Benjamin Franklin remarked that:<br />
‘Time is Money’<br />
<strong>the</strong>n…would it not be prudent to assume:<br />
that in order to gain financial growth, we should carefully,<br />
expeditiously and with format integrity remaining a top priority, watch and<br />
follow <strong>the</strong> flow of content (media assets; be that video, audio, files,<br />
scripts, stories and even databases) throughout <strong>the</strong> ENTIRE production<br />
process, and doing so, use <strong>the</strong> ‘less is more’ approach with available<br />
technology?<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications <br />
14-Feb-12
The Broadcasters Community of <strong>the</strong> World (COW)<br />
Hi all,<br />
Broadcast <strong>File</strong> Format<br />
by Katie Mims on Oct 2, 2008 at 3:09:11 am<br />
I'm venturing into my first experience with broadcast video. Previously, everything I've done has been for <strong>the</strong> web, DVD or large<br />
screen projection.<br />
“The last person I spoke with at <strong>the</strong><br />
I just spent two weeks in <strong>the</strong> Caribbean islands doing hurricane relief work, and several of <strong>the</strong> local stations want to air a short<br />
video I've put toge<strong>the</strong>r. I wanted to get some feedback on my workflow, and find out if <strong>the</strong>re is a better way to be going about<br />
this in order to get <strong>the</strong> best quality possible.<br />
station said an MPEG2 was a good file<br />
Shot on: HDV 1080p<strong>24</strong>, Sony HVR-V1U<br />
Captured as HDV<br />
Edited on a 1080i60 timeline<br />
to go with…”<br />
The last person I spoke with at <strong>the</strong> station said an MPEG2 was a good file to go with, but I did a test run of it and <strong>the</strong> quality<br />
didn't excite me at all. There were image issues, especially on fast pans etc.<br />
" If <strong>the</strong>y want a file, try to send <strong>the</strong>m <strong>the</strong><br />
My friend also gave me <strong>the</strong>se guidelines: " If <strong>the</strong>y want a file, try to send <strong>the</strong>m <strong>the</strong> native file format that you're editing. Make<br />
sure your whites are under 100%, 30 seconds of tone, 5 seconds of slate, 8 second countdown (<strong>from</strong> 10 to 2, leave <strong>the</strong> last two<br />
full seconds black)<br />
Tone should be at -20 and do not let your program go over -6, average should be around -10, speaking should never fall under -<br />
18 - keep it closer to -10 -12. You might need a compressor for <strong>the</strong> voice, we usually do."<br />
native file format that you're editing…”<br />
So, advice on what I can do to preserve <strong>the</strong> picture quality, and can anyone tell me if <strong>the</strong>re's a better file.<br />
Thanks in advance!<br />
Peace and Love,<br />
Katie<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications <br />
14-Feb-12
AGENDA<br />
• The multitude of file formats ‘Out There’<br />
• To and From<br />
– Acquisition to edit to Air<br />
• Common Pitfalls<br />
– A.K.A “Bang your head against a brick wall in order to astound and<br />
amaze your peers at <strong>the</strong> amount of blood that you can tolerate dripping<br />
into your eyeballs before you scream *@!#!%^;)*!! ”<br />
• Format (in)dependence<br />
• The ‘Holy Grail’ in <strong>the</strong> land of Nirvana<br />
• Solutions for Your environment<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
The multitude of file formats ‘Out There’<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
The multitude of file formats ‘Out There’<br />
First public<br />
Creator/Maintainer<br />
release date<br />
Codec<br />
lib<strong>the</strong>ora<br />
(Theora) Xiph.org 9/25/2002<br />
diracresearch<br />
(Dirac)<br />
Schrödinger<br />
(Dirac)<br />
x264<br />
Xvid<br />
FFmpeg<br />
(libavcodec)<br />
BBC Research<br />
Department 9/17/2008<br />
Latest<br />
stable<br />
version<br />
1.1.1<br />
(2009)[3]<br />
1.0.2<br />
(2009)[5]<br />
License<br />
BSD-style [4]<br />
MPL 1.1, GNU<br />
GPL 2, GNU LGPL<br />
2.1<br />
MPL 1.1, GNU<br />
GPL 2, GNU LGPL<br />
2, MIT License<br />
Patented compression formats<br />
none[*]<br />
none<br />
Compres<br />
sion<br />
method<br />
Lossy<br />
Lossy/los<br />
sless<br />
1.0.9<br />
none<br />
Lossy/los<br />
David Schleef 2/22/2008 (2010)[5] 2, MIT License sless<br />
r1376<br />
Lossy/los<br />
GNU GPL MPEG-4 AVC/H.264<br />
x264 team 2003 (2009) [6][7] sless<br />
1.2.2<br />
GNU GPL<br />
MPEG-4 ASP<br />
Xvid team 2001 (2009)[8]<br />
Lossy<br />
MPEG-1, MPEG-2, MPEG-4 ASP,<br />
H.261, H.263, VC-3, WMV7,<br />
WMV8, VP5, VP6, MJPEG etc.<br />
0.5.1 GNU LGPL<br />
Lossy/los<br />
FFmpeg team 2000 (2010)[9]<br />
sless<br />
FFavs<br />
MPEG-1, MPEG-2, MPEG-4 ASP Lossy/los<br />
GNU LGPL<br />
(libavcodec) FFavs team 2009 0.0.3[10]<br />
etc.<br />
sless<br />
Forbidden Technologies<br />
Blackbird<br />
Proprietary<br />
Blackbird<br />
plc 2006-01 2<br />
Lossy<br />
DivX DivX, Inc. 2001 7.0 (2009) Proprietary MPEG-4 ASP, H.264 Lossy<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
The multitude of file formats ‘Out There’<br />
Codec<br />
Creator/Maintainer<br />
First public<br />
release date<br />
Latest stable<br />
version<br />
License Patented compression formats Compressi<br />
on method<br />
DivX ;-)<br />
3ivx<br />
Nero Digital<br />
ProRes 422 /<br />
ProRes 4444<br />
Sorenson Video<br />
Sorenson Spark<br />
VP3<br />
VP4<br />
VP5<br />
VP6<br />
VP7<br />
a hack of Microsoft's MPEG-<br />
4v3 codec [11][12] 1998<br />
3ivx Technologies Pty. Ltd. 2001<br />
Nero AG 2003<br />
3.20 alpha[13]<br />
(2000)<br />
5.0.2<br />
(2007)[14]<br />
Proprietary<br />
Proprietary<br />
Microsoft's MPEG-4v3 (not MPEG-4<br />
compliant)<br />
MPEG-4 ASP<br />
Lossy<br />
Lossy<br />
Unknown Proprietary MPEG-4 ASP, H.264 [15] Lossy<br />
Proprietary<br />
Unknown<br />
Apple Inc. 2007 Lossy<br />
Sorenson Media 1998<br />
Sorenson Media 2002<br />
On2 Technologies 2000<br />
On2 Technologies 2001<br />
On2 Technologies 2002<br />
On2 Technologies 2003<br />
On2 Technologies 2005<br />
Proprietary<br />
Proprietary<br />
BSD-style [4]<br />
Proprietary<br />
Proprietary<br />
Proprietary<br />
Proprietary<br />
Sorenson Video<br />
Sorenson Spark<br />
none[*]<br />
VP4<br />
VP5<br />
VP6<br />
VP7<br />
Lossy<br />
Lossy<br />
Lossy<br />
Lossy<br />
Lossy<br />
Lossy<br />
Lossy<br />
VP8<br />
On2 Technologies (Now<br />
bought by Google ) 2008<br />
BSD-style<br />
VP8<br />
Lossy<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
The multitude of file formats ‘Out There’<br />
First public Latest stable<br />
Creator/Maintainer<br />
License Patented compression formats Compressi<br />
release date version<br />
Codec<br />
on method<br />
DNxHD Avid Technology 2008 Proprietary VC-3 Lossy<br />
Cinema Craft Encoder SP2<br />
TMPGEnc Free Version<br />
Windows Media Encoder<br />
Cinepak<br />
Custom Technology<br />
Corporation 2000<br />
Pegasys Inc. 2001<br />
Microsoft 1999<br />
Created by SuperMac, Inc.<br />
Currently maintained by<br />
Compression Technologies,<br />
Inc.[18]<br />
Intel Corporation, currently<br />
offered by Ligos<br />
1991<br />
1.00.01.09<br />
(2009)[16]<br />
2.525.64.184<br />
(2008)[17]<br />
9 (2003)<br />
(WMV3 in<br />
FourCC)<br />
1.10.0.26<br />
(1999)<br />
Proprietary<br />
Proprietary<br />
Proprietary<br />
Proprietary<br />
MPEG-1, MPEG-2<br />
MPEG-1, MPEG-2<br />
WMV, VC-1, (in early versions MPEG-4<br />
Part 2 and not MPEG-4 compliant<br />
MPEG-4v3, MPEG-4v2)<br />
Unknown<br />
Indeo Video<br />
Proprietary<br />
Indeo Video<br />
Corporation 1992 5.2<br />
Lossy<br />
TrueMotion S The Duck Corporation 1995 Proprietary TrueMotion S Lossy<br />
RealVideo<br />
RealVideo<br />
Proprietary<br />
H.263, RealVideo<br />
RealNetworks 1997 10[19]<br />
Lossy<br />
ACT-L3<br />
Huffyuv<br />
Lagarith<br />
Streambox<br />
Template:02-<br />
21-03<br />
Ben Rudiak-Gould 2000<br />
Ben Greenwood 10/4/2004<br />
Template:3.4<br />
(2009)<br />
2.1.1<br />
(2003)[20]<br />
1.3.20<br />
(2009)[21]<br />
Proprietary<br />
GNU GPL 2<br />
GNU GPL 2<br />
Unknown<br />
none<br />
none<br />
Lossy<br />
Lossy<br />
Lossy<br />
Lossy<br />
Lossy<br />
Lossless<br />
Lossless<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
The multitude of file formats ‘Out There’<br />
Name and file<br />
extension, if<br />
different<br />
Standard<br />
owner<br />
Support for<br />
B-frames<br />
Variable bit<br />
rate audio<br />
Variable<br />
frame rate<br />
<strong>Chapter</strong>s<br />
Subtitles<br />
Video formats<br />
supported<br />
Audio formats<br />
supported<br />
Metadata/Tag<br />
s supported<br />
Supports<br />
Menus (like<br />
DVD)<br />
3GP 3GPP Yes Yes Yes ?<br />
3GPP Timed<br />
Text<br />
H.263, MPEG-4<br />
Part 2 and<br />
H.264/MPEG-4<br />
AVC<br />
AMR-NB, AMR-<br />
WB, AMR-WB+,<br />
AAC, HE-AAC<br />
and HE-AAC v2<br />
? No<br />
3G2 3GPP2 Yes Yes Yes ?<br />
Advanced<br />
Systems<br />
Format (.asf,<br />
.wma,<br />
.wmv)<br />
3GPP Timed<br />
Text<br />
Microsoft Yes Yes Yes Yes Yes<br />
AVI Microsoft Yes[1] Yes[2] Yes[3]<br />
DivX Media<br />
Format (.divx)<br />
Yes, via third<br />
party<br />
modifications<br />
Yes, via third<br />
party<br />
modifications<br />
DivX, Inc. Yes Yes Yes Yes Yes<br />
H.263, MPEG-4<br />
Part 2 and<br />
H.264/MPEG-4<br />
AVC<br />
Almost anything<br />
through VFW or<br />
DMO; H.264/AVC<br />
is problematic<br />
Almost anything<br />
through VFW;<br />
H.264/AVC is<br />
problematic due<br />
to <strong>the</strong> limited B-<br />
frame support [4]<br />
AMR-NB, AMR-<br />
WB, AAC, HE-<br />
AAC, EVRC,<br />
EVRC-B, EVRC-<br />
WB, 13K<br />
(QCELP), SMV or<br />
VMR-WB<br />
Almost anything<br />
through ACM or<br />
DMO; Vorbis is<br />
problematic<br />
? No<br />
Yes ?<br />
Almost anything<br />
through ACM;<br />
Vorbis is<br />
not officially No<br />
problematic [5]<br />
MPEG-4 Part 2<br />
video encoded to MP3, PCM, AC-3 ? Yes<br />
meet DivX profiles<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
The multitude of file formats ‘Out There’<br />
Name and file<br />
extension, if<br />
different<br />
Standard<br />
owner<br />
Support for<br />
B-frames<br />
Variable bit<br />
rate audio<br />
Variable<br />
frame rate<br />
<strong>Chapter</strong>s<br />
Subtitles<br />
Video formats<br />
supported<br />
Audio formats<br />
supported<br />
Metadata/Tag<br />
s supported<br />
Supports<br />
Menus (like<br />
DVD)<br />
EVO MPEG Yes Yes Yes Yes Yes<br />
MPEG-2 Part 2,<br />
H.264/MPEG-4 AVC,<br />
VC-1<br />
F4V (Flash Video) Adobe Systems Yes ? Yes ? ? H.264/MPEG-4 AVC<br />
FLV (Flash Video) Adobe Systems Yes ? Yes No No<br />
Matroska (.mkv,<br />
.mka)<br />
MCF<br />
CoreCodec,<br />
Inc.[11]<br />
BSD-style license<br />
for specs, GNU<br />
for tools<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications <br />
Sorenson, VP6,<br />
Screen Video,<br />
H.264/MPEG-4<br />
AVC [7][8]<br />
AC-3, E-AC-3,<br />
Dolby TrueHD,<br />
Linear PCM, DTS,<br />
DTS-HD, MPEG-2<br />
Part 3<br />
? Yes<br />
MP3, AAC, HE-<br />
AAC [6] Yes ?<br />
MP3, Nellymoser,<br />
ADPCM, Linear<br />
PCM, AAC [9] ,<br />
Yes No<br />
Speex [10]<br />
Yes Yes Yes Yes Yes virtually anything virtually anything Yes<br />
MP4 MPEG Yes Yes Yes<br />
MPEG Video <strong>File</strong><br />
(.mpg, .mpeg)<br />
currently under<br />
development by<br />
CoreCodec[12]<br />
? ? ? ? ? ? ? ? No<br />
1) In specially<br />
formatted text<br />
track<br />
(QuickTime); 2)<br />
In userdata atom<br />
(started by Nero<br />
Digital) can't<br />
interact with <strong>the</strong><br />
sceneDescriptio<br />
n, or via<br />
segmentDescript<br />
or<br />
ttxt, VobSubs<br />
with private<br />
objectTypeIndic<br />
ation not usable<br />
with <strong>the</strong><br />
sceneDescriptio<br />
n (started by<br />
Nero), BIFS<br />
MPEG-4 ASP,<br />
H.264/MPEG-4 AVC,<br />
H.263, VC-1, Dirac,<br />
o<strong>the</strong>rs[13]<br />
MPEG Yes Yes Yes No No MPEG-1, MPEG-2[14]<br />
MPEG-2/4 (HE)-<br />
AAC, MPEG-1/2<br />
Layers I, II, III<br />
(MP3), AC-3, Apple<br />
Lossless, ALS, SLS,<br />
Vorbis(with<br />
private<br />
objectTypeIndicati<br />
on), o<strong>the</strong>rs [13] Yes Yes<br />
MPEG-1 Layers I,<br />
II, III (mp3), o<strong>the</strong>r<br />
formats only in<br />
private streams:<br />
LPCM [15] No No
The multitude of file formats ‘Out There’<br />
Name and file<br />
extension, if<br />
different<br />
MPEG program<br />
stream PS (.ps)<br />
Standard<br />
owner<br />
Support for B-<br />
frames<br />
Variable bit<br />
rate audio<br />
Variable<br />
frame rate<br />
MPEG Yes Yes ?<br />
<strong>Chapter</strong>s<br />
Only in private<br />
streams - used<br />
in VOB files on<br />
DVDs<br />
Subtitles<br />
Only in private<br />
streams - used<br />
in VOB files on<br />
DVDs<br />
Video formats<br />
supported<br />
MPEG-1, MPEG-2,<br />
MPEG-4 Part 2[14]<br />
MPEG-1, MPEG-2<br />
Part 2, MPEG-4 ASP,<br />
Audio formats<br />
supported<br />
MPEG-1 Layers I,<br />
II, III (mp3), o<strong>the</strong>r<br />
formats only in<br />
private<br />
streams:AC-3,<br />
LPCM, DTS [15]<br />
MPEG-1 Layers I,<br />
II, III (mp3), AAC,<br />
o<strong>the</strong>r formats in<br />
private streams:<br />
AC-3, LPCM,<br />
Metadata/Tags<br />
supported<br />
No<br />
Supports<br />
Menus (like<br />
DVD)<br />
Only in private<br />
streams - used in<br />
VOB files on<br />
DVDs<br />
MPEG transport<br />
possible via<br />
MPEG Yes Yes Yes No<br />
H.264, o<strong>the</strong>r formats<br />
stream TS (.ts)<br />
ETSI EN 300 743<br />
in private streams:<br />
No No<br />
VC-1, Dirac[16]<br />
DTS [16]<br />
AC-3, DTS, LPCM,<br />
BDAV MPEG-2<br />
Blu-ray Disc<br />
MPEG-2 Part 2,<br />
Dolby Digital Plus,<br />
transport stream<br />
Yes ? Yes Yes Yes<br />
Association<br />
H.264, VC-1 DTS HD, Dolby<br />
(.m2ts)<br />
Lossless<br />
? ?<br />
MXF SMTPE Yes Yes Yes ? Yes Virtually anything Virtually anything Yes No<br />
Theora, Dirac, Vorbis, FLAC,<br />
Ogg<br />
OggUVS, MNG and Speex, CELT, CMML, Ogg<br />
Xiph.org, patentfree<br />
Kate<br />
Ogg Writ, Ogg<br />
Yes[1] Yes Yes Yes<br />
o<strong>the</strong>rs [17][18] , almost OggPCM [17][18] , Skeleton, Vorbis<br />
anything through almost anything comment [19]<br />
No<br />
VFW through ACM<br />
Quicktime (.mov,<br />
.qt)<br />
Apple Yes Yes Yes Yes Yes<br />
Limited to what is<br />
available to <strong>the</strong><br />
QuickTime codec<br />
manager<br />
RMVB RealNetworks Yes ? Yes ? Yes RealVideo 8, 9, 10<br />
VOB+IFO DVD Forum Yes Yes No Yes Yes<br />
MPEG-2 Part 2,<br />
MPEG-1 Part 2<br />
Limited to what is<br />
available to Sound<br />
Manager or<br />
CoreAudio<br />
(HE)-AAC, Cook<br />
Codec, Vorbis,<br />
RealAudio<br />
Lossless<br />
AC-3, Linear PCM,<br />
DTS, MPEG-2 Part<br />
3, MPEG-1 Layer II<br />
Yes<br />
No<br />
? No<br />
WebM WebM Project Yes Yes Yes ? ? VP8 Vorbis ? ?<br />
No<br />
Yes<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
The multitude of file formats ‘Out There’<br />
Lossy compression<br />
Lossless compression<br />
MP3 WMA RealAudio Vorbis Musepack AAC AC-3 DTS APE FLAC ALAC SHN WavPack<br />
MLP /<br />
Dolby<br />
TrueHD<br />
QuickTime Yes Yes ? Yes ? Yes Yes ? ? Yes Yes ? ? No No<br />
AVI Yes Yes No No No Yes [20] Yes Yes No No No No No<br />
Matroska Yes Yes Yes Yes<br />
Scheduled<br />
[21]<br />
MP4 Yes Yes No Yes ? Yes<br />
DTS-<br />
HD<br />
Yes Yes Yes No Yes No No Yes Yes Yes<br />
Yes<br />
[22]<br />
Yes No No Yes No No No No<br />
MXF Yes No No ? ? Yes Yes Yes No No No No No Yes Yes<br />
Video formats<br />
supported<br />
MPEG-<br />
1<br />
MPEG-2<br />
MPEG-4 (A)SP<br />
H.264/MPEG-4<br />
AVC<br />
VC-<br />
1/WMV<br />
RealVide<br />
o<br />
Theora<br />
QuickTime Yes Yes Yes Yes Yes ? Yes<br />
AVI Yes Yes Yes<br />
Problematic,<br />
limited B-frame<br />
support[4]<br />
Yes No Yes<br />
OGM Yes Yes Yes Yes Yes ? Yes<br />
Matroska Yes Yes Yes Yes Yes Yes Yes<br />
MP4 Yes Yes Yes Yes Yes[23] No No<br />
MXF Yes Yes Yes Yes Yes No ?<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
A media <strong>File</strong> is organized <strong>from</strong> outside<br />
to inside<br />
• The NLE/Graphics/Server <strong>File</strong> System: Microsoft NTFS, Solaris ZFS, Linux<br />
ext2/ext3, Apple HFS or specialized.<br />
• The Media <strong>File</strong> Format: AVI, QuickTime, MXF, MPEG, GXF or LXF.<br />
• The Media Essence Type: Audio / Video compression type.<br />
• The <strong>Interchange</strong> Mechanism: e.g. Sharing via Network Attached Storage (NAS) or<br />
Storage Area Network (SAN) through use of <strong>File</strong> Transfer Protocol (FTP) ,<br />
Common Internet <strong>File</strong> System (CIFS) or Network <strong>File</strong> System (NFS).<br />
NLE/Graphics/Server <strong>File</strong> System<br />
Microsoft NTFS, Solaris ZFS, Linux ext2/ext3, Apple<br />
HFS, Proprietary<br />
Media <strong>File</strong> Format<br />
Proprietary, QuickTime MOV,<br />
AVI, MXF,<br />
GXF, LXF.<br />
Media Essence Type<br />
AVCi, MPEG2, DV,<br />
JPEG2000, MPEG4/H.264<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
A media <strong>File</strong> is organized <strong>from</strong><br />
outside to inside<br />
• Metadata<br />
– Timecode, Reel, Info, User defined fields<br />
• External Metadata: XML or XMP or o<strong>the</strong>r<br />
• Static Metadata: elements within <strong>the</strong> file<br />
• Real time: Elements within <strong>the</strong> container or in <strong>the</strong> media itself<br />
• Container (Wrapper)Types<br />
– Custom/non Standard corporate file types:<br />
– ARI, GEN, ARC, etc<br />
– Standardized file types:<br />
– AVI, MOV, WAV, MXF, LXF, GXF<br />
etc<br />
• Essence or Content<br />
MPEG-2, MPEG-4, H.264, etc<br />
Container<br />
Video<br />
Stream<br />
Audio<br />
Stream<br />
MetaData<br />
<strong>Harris</strong> Proprietary Information<br />
assuredcommunications
To and From<br />
Acquisition to Edit to Air<br />
Production Post production Playout Broadcast<br />
H.263 WMV < 1Mb/s<br />
MPEG-4<br />
Flash < 1Mb/s<br />
Internet/mobile H.264 WMV 2Mb/s-5Mb/s WMV 2Mb/s-5Mb/s<br />
Beta SP DV MPEG-2 IBP 8Mb/s-15Mb/s MPEG-2 2.5Mb/s-5Mb/s<br />
DV AVC-Intra DV H.264 1Mb/s-3Mb/s<br />
DV50 MPEG-2 I-frame 50Mb/s<br />
IMX<br />
MJPEG<br />
SD<br />
P2<br />
Baseband 270Mb/s<br />
DV HD DV HD MPEG-2 15Mb/s-20Mb/s<br />
MPEG-2 MPEG-2 HD 8Mb/s-300Mb/s H.265 8Mb/s-16Mb/s<br />
HD<br />
HD<br />
Baseband 1.5Gb/s MPEG-2 HD 20Mb/s-80Mb/s<br />
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Codec (in)Dependance<br />
• One cannot stress enough how important <strong>the</strong> CODEC is<br />
in <strong>the</strong> workflow<br />
•It’s extremely easy (and quick) to<br />
translate metadata (think of your<br />
contacts file when porting <strong>from</strong> one<br />
application (Microsoft Outlook) to ano<strong>the</strong>r<br />
(Blackberry/iPhone) contacts<br />
•Containers (Wrappers) are<br />
easily exchangeable (watch out for<br />
possible metadata loss!)<br />
•It’s when a CODEC change<br />
(Transcode) needs to take place that<br />
errors are typically introduced<br />
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Common Pitfalls<br />
• QuickTime *.MOV extension (QuickTime is not QuickTime)<br />
• NB! *It’s just a wrapper* but where is it’s header?<br />
• In <strong>the</strong> header section up front<br />
• In <strong>the</strong> body section? Some servers fail when it’s buried too deep<br />
down in <strong>the</strong> file -due to incomplete file parsing routines/techniques<br />
• Where did it come <strong>from</strong> is usually a good clue of format.<br />
• Look/ask for what <strong>the</strong> essence is inside<br />
• XDCamHD 35 (4.2.0) or 50 (4.2.2)?<br />
• DVCProHD 50 or DVCproHD100<br />
• AVI, IMX30/40/50?<br />
• ProRes<br />
• Watch out for QuickTime Reference files.<br />
• Disk-efficient file points to various bits of <strong>the</strong> captured video, which<br />
doesn't render until you use <strong>the</strong> QTRM to produce ano<strong>the</strong>r file via<br />
Compressor.<br />
• Where is it going to? (final destination)<br />
• Playback Server is going to be somewhat restricted on final file format<br />
(codec)<br />
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Common Pitfalls<br />
• Media eXchange Format *.MXF extension<br />
• All too often it’s assumed that MXF is MXF…<br />
• MXF is only <strong>the</strong> wrapper and <strong>the</strong>re is many different vendor<br />
specific variances, interpretations and implementations of this<br />
wrapper (<strong>Harris</strong>=*.LXF, GVG=*.GXF) Due to undefined MXF definition<br />
• NEVER assume that if your video server (or NLE) shows in it’s<br />
GUI that it can import (or even export) MXF, that it will work <strong>the</strong><br />
first time. Watch out for Versionitis!<br />
• Check for <strong>the</strong> origination device and it’s export codec used<br />
• I.e. FCP export via Apple Compressor and using ProRes.<br />
• Where is it going to (final destination)<br />
• Common server file types accepted:<br />
• SD-AVI, IMX, DV, DVCPro, Mpeg-2<br />
• HD-XDCamEX, XDCamHD35/50, DVCProHD 50/100,<br />
Mpeg-2 w/various GOP’s, H.264/AVC-Intra<br />
• **Watch out for metadata mapping when exchanging<br />
between devices (especially in transcode processes)**<br />
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Common Pitfalls<br />
• Transcoders (Hardware)<br />
• Quick, Easy but expensive alternative to ‘getting it right <strong>the</strong><br />
first time’<br />
• Telestream’s FlipFactory – great but you pay for each<br />
decode type. Don’t pay for unnecessary transcode ‘codecs’<br />
• Rhozet’s Carbon Coder, ProStream - competetive<br />
• 1 million o<strong>the</strong>r software only engines out <strong>the</strong>re vying for your<br />
attention, time and money.<br />
• Transcoders (Software)<br />
• CPU intensive (need for speed factor), Easy and inexpensive<br />
alternative to hardware solutions.<br />
• MainConcept is <strong>the</strong> ‘Swiss Army Knife’ of NLE codecs with an<br />
anything in-anything out repertoire.<br />
• Marquis Broadcast’s Medway exploits <strong>the</strong> Avid file I/O<br />
accessibility issues with <strong>the</strong> closed DNx/DNxHD codec AND<br />
has great workflow media management tools too! (but not always<br />
necessary)<br />
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Format (in)dependence<br />
• Look for manufacturers who can and are willing to assist in<br />
alleviating <strong>the</strong> devices, mechanisms and enhance (shorten and<br />
tighten) <strong>the</strong> workflows in-between origination and on-air devices.<br />
• Be overly cautious of <strong>the</strong> device that professes to ‘do-it-all’-Make<br />
<strong>the</strong>m prove it first.<br />
– Do <strong>the</strong>y offer a wide range of codec export support?<br />
• (more arrows in your export quiver to better integrate with a minimal<br />
CODEC supported playback server) Automate/Batch export?<br />
– Does <strong>the</strong> playback device offer a wide range of import codec file<br />
type support or is it fairly proprietary? (Supports only a few file<br />
types only.)<br />
• Again, don’t assume MXF is <strong>the</strong> killer “FIX” to cover your situation.<br />
Ensure <strong>the</strong> header and container is compatible with <strong>the</strong> downstream<br />
device’s import capabilities.<br />
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It is a riddle wrapped in mystery inside an<br />
enigma; but perhaps <strong>the</strong>re is a key –<br />
’UNOBTANIUM’<br />
• Resolve yourself to <strong>the</strong> fact that:<br />
– There is no single file type that is going to suit all your needs.<br />
– Acquisition (Camera)<br />
• News = XDCamEX18/35. XDcamHD35/50. DVCProHD50/100<br />
• Studio = DVCproHD100. AVC-Intra<br />
– Editing (Production)<br />
• News = XDCamEX18/35. XDCamHD35/50. DVCProHD50/100<br />
• Studio =Apple Pro Res. Avid DNxHD. DVCProHD. XDCamHD50<br />
• Promo =Apple Pro Res. Avid DNxHD.<br />
– Playback (Air)<br />
• News/Promo = XDCamEX18/35. XDcamHD35/50. DVCProHD50/100<br />
• Spot/Commercial = MPEG-2. MPEG-4 AVC/H.264.<br />
– Storage (Archive)<br />
• MPEG-2 Low bitrate + Long GOP, MPEG-4<br />
FYI* AVC-Intra and DVCProHD use I-Only compression, while HDV uses Long GOP compression. The MPEG-4 AVC/H.264 standard<br />
encompasses both methods.<br />
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Solutions for Your environment<br />
• IRT (Institut für Rundfunktechnik ) - MXF Analyzer<br />
– Perform self tests via ‘lite’ version<br />
– Offer a test service for both encode and decode<br />
• MOG Solutions – <strong>the</strong> Scribe Pro, <strong>the</strong> Scribe<br />
– Considered to be <strong>the</strong> industry’s definitive authority in MXF<br />
domain<br />
– Tool to create and play MXF and GXF files in your desktop environment.<br />
– Allows annotation of MXF files with rich metadata descriptions.<br />
• MXFWrapper<br />
• MXFUnWrapper<br />
• MXFMetaUpdater<br />
• MXFDirectShowFilter<br />
• MXFPartialRestore<br />
• MXF::SDK<br />
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Solutions for Your environment<br />
• Reactor9 – MXFInsight (http://www.reactor9.com/)<br />
– Professional grade deep drill-down visual MXF analysis<br />
• MXF4MAC – MXF Mac Based tools<br />
– MXF Info and MXF Info Lite<br />
• Name<br />
• Modified Date and Time<br />
• Operational Pattern<br />
• Essence Containers (Codec, Format)<br />
• Creator (Company, Product, Version)<br />
• Number of Tracks<br />
• Edit Rate<br />
• Duration<br />
• Start Timecode<br />
– MXF4Mac – P2 native in Final Cut Pro<br />
– Atomic Fusion – Avid OP-Atom a/v merge into Final Cut Pro<br />
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Solutions for Your environment<br />
• FFMpeg – ffmpeg, ffserver, ffplay<br />
– ffmpeg is a command line tool to convert multimedia files between<br />
formats.<br />
– ffserver is a multimedia streaming server for live broadcasts.<br />
– ffplay is a simple media player.<br />
• FF Media Broadcast (alternative broadcast centric spin off of ffmpeg)<br />
– Import your files in Final Cut Pro or AVID Media Composer by<br />
• Creating XDCAM HD422 files in .mov or .mxf<br />
• Creating XDCAM IMX/D-10 files in .mov or .mxf<br />
• Creating AVID DNxHD files in .mov<br />
– Transcode your MPEG-2 4:2:2 Transport stream files containing S302M<br />
audio.<br />
– Transcode your AVCHD Camera files correctly.<br />
– Merge and split your audio tracks.<br />
– Create QuickTime files containing time code tracks.<br />
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Solutions for Your environment<br />
• AVIDemux<br />
– Avidemux is a free video editor designed for simple cutting, filtering and encoding<br />
tasks. It supports many file types, including AVI, DVD compatible MPEG files,<br />
MP4 and ASF, using a variety of codecs. Tasks can be automated using<br />
projects, job queue and powerful scripting capabilities.<br />
• AVIMasterGUI<br />
– Mux, Demux, Encode, Decode, <strong>File</strong> analysis, Audio and Video syncronization,<br />
more…<br />
• Good reading material<br />
– “Being Digital” by Nickolas Negroponte<br />
– “Live. Local. BROKEN News” by <strong>the</strong> Senior Strategists of AR&D<br />
• Apple Compressor w/Automator<br />
– Spend <strong>the</strong> time learning <strong>the</strong> pkg. and use it to get editors to export a proper file<br />
<strong>the</strong> first time every time-take <strong>the</strong> guess work out.<br />
– Use profiles and let Automator do <strong>the</strong> scripted work and export/ftp<br />
– Check to see if Server manufacturer has an export plug in for Final Cut Pro<br />
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So……<br />
• Know your particular device/s file type capabilities<br />
– NLE’s can generally handle almost any file type in or out but this is where<br />
<strong>the</strong> confusion starts (too many options across too many file types)<br />
– Servers are less capable on file i/o. If attempting import/export for <strong>the</strong> first<br />
time, get a sample file to <strong>the</strong> manufacturer for testing. If you don’t have <strong>the</strong><br />
analysis tools, <strong>the</strong>y certainly will (should!) be able to help you debug <strong>the</strong><br />
file’s headers, containers, wrappers and essence.<br />
– DG FastChannel/Pathfire, Pitchblue file content need transcoding as most<br />
servers cannot directly import <strong>the</strong>se files due to ei<strong>the</strong>r/or <strong>the</strong> MPEG-4<br />
AVC/H.264 files at a data rate of 15 Mbps or more AND <strong>the</strong> handling of <strong>the</strong><br />
metadata for <strong>the</strong> CBS automation and trafficking needs required parsing for<br />
this file type. Expect future device maturity.<br />
– If it has scripting/macro capabilities…….make/take time to exploit <strong>the</strong>m.<br />
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Acknowledgements<br />
• Sony Broadcast, Panasonic Broadcast, JVC, <strong>Harris</strong><br />
• FF Media Broadcast (www.stream0.org)<br />
• ffmpeg (http://www.ffmpeg.org/)<br />
• MOG-Solutions (www.mog-solutions.com/)<br />
• Pro-MPEG Forum (www.pro-mpeg.org)<br />
• SMPTE (www.SMPTE.org)<br />
– Containers SMPTE 379M, 381M, 383M .<br />
– Metadata, Dictionary, Registry SMPTE 380M, 436M, RP210, RP2<strong>24</strong><br />
• Codec Seminar by Chris Reynolds on YouTube<br />
(http://www.youtube.com/watch?v=lRlMC2of15o )<br />
• Broadcast Engineering (http://broadcastengineering.com)<br />
• IRT (Institut für Rundfunktechnik)<br />
• Wikipedia (http://en.wikipedia.org/wiki/Comparison_of_container_formats)<br />
• James Brooks, Drastic Technologies<br />
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Thank-You<br />
Questions?<br />
assuredcommunications <br />
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Quote of <strong>the</strong> day. Anyone? Anyone?<br />
In 1930, <strong>the</strong> Republican-controlled House of Representatives, in an effort<br />
to alleviate <strong>the</strong> effects of <strong>the</strong>... Anyone? Anyone?... <strong>the</strong> Great Depression,<br />
passed <strong>the</strong>... Anyone? Anyone? The tariff bill? The Hawley-Smoot Tariff<br />
Act? Which, anyone? Raised or lowered?... raised tariffs, in an effort to<br />
collect more revenue for <strong>the</strong> federal government. Did it work? Anyone?<br />
Anyone know <strong>the</strong> effects? It did not work, and <strong>the</strong> United States sank<br />
deeper into <strong>the</strong> Great Depression. Today we have a similar debate over<br />
this. Anyone know what this is? Class? Anyone? Anyone? Anyone seen<br />
this before? The Laffer Curve. Anyone know what this says? It says that<br />
at this point on <strong>the</strong> revenue curve, you will get exactly <strong>the</strong> same amount<br />
of revenue as at this point. This is very controversial. Does anyone know<br />
what Vice President Bush called this in 1980? Anyone? Something-d-o-o<br />
economics. "Voodoo" economics.<br />
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