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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

AVID DNxHD / DNxHR + RED DSMC2

Jarred Land

Jarred Land

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We are very proud to welcome Avid DNX to the DSMC2 family. DNxHR and DNxHD will be enabled in camera @ NAB.


http://www.studiodaily.com/2016/01/red-weapon-scarlet-w-and-raven-to-support-avid-dnxhr-and-dnxhd/

RED DIGITAL CINEMA AND AVID ANNOUNCE AVID DNxHR AND AVID DNxHD CODECS COMING TO RED’S DSMC2 LINE OF CAMERAS.

Today, RED Digital Cinema and Avid announced that Avid DNxHR™ and Avid DNxHD® recording formats will be coming to RED’s DSMC2™ line of professional cameras – WEAPON, SCARLET-W and RED RAVEN. This addition brings yet another powerful and intuitive workflow option to professionals shooting on this latest generation of RED cameras.

Avid DNxHR and Avid DNxHD are renowned for their ability to reduce storage and bandwidth requirements, and Avid DNxHD has been accepted by the Society of Motion Picture and Television Engineers as the foundation format for the VC-3 standard. Additionally, these formats offer seamless direct-to-edit experiences for professionals looking to keep the highest image quality possible, while leveraging the investments they’ve made in Avid in-house production systems.


“We give shooters yet another extremely popular format option by getting Avid natively part of our camera workflow,” says Jarred Land, President of RED Digital Cinema. “With the ability to shoot REDCODE RAW simultaneously alongside Avid DNxHR and Avid DNxHD, they are getting the best of two worlds from both the acquisition and post perspectives. This collaboration between RED and Avid is going to be music to the ears for a lot of the industry, and I could not be happier."


“For years, people have been shooting on RED and then editing within Avid software solutions,” says Louis Hernandez, Jr, CEO of Avid Technology. “Now, with Avid codecs being an in-camera tool within RED’s cameras, it ensures that the mutual customers of both RED and Avid have a much more seamless integration for their projects. And that is something we are all very excited about here at Avid."


The Avid DNxHR and Avid DNxHD formats will be added to the already impressive simultaneous recording capability that RED’s DSMC2 cameras currently offer via REDCODE RAW® and Apple ProRes formats. Avid DNxHR and Avid DNxHD will be made available via a firmware upgrade in mid-2016.
 
Now we're talking. Our cameras haven't even shipped, and they're already getting upgraded features via firmware. ;)

Thanks Red!
 
Huge sonic boom. This will be such a welcomed addition to the workflow. Especially for those in the Avid world and PC world.

Spoiling us with recording format/codec options is a good thing.
 
Coolers. Never been an avid fan butfiles that can be opened on all platforms is a good thing.
 
This is awesome news Jarred! I'm happy to see Red and Avid making this a reality. The more options, the better for everyone.

The only caveat for those that will offer this option to productions is that many times the actual deliverable that editorial needs is an MXF with dailies look and a window burn, as well as sound synched. Not that it's really a Red issue, it's a workflow issue. And the DNX still might speed up that workflow by eliminating need to debayer RED R3D.

Anyway, I'll look forward to testing all of this out and I'm very happy that RED now has all of the main options covered with R3D, ProRes, and DNxHD/HR.
 
Steve Sherrick said:
This is awesome news Jarred! I'm happy to see Red and Avid making this a reality. The more options, the better for everyone.

The only caveat for those that will offer this option to productions is that many times the actual deliverable that editorial needs is an MXF with dailies look and a window burn, as well as sound synched. Not that it's really a Red issue, it's a workflow issue. And the DNX still might speed up that workflow by eliminating need to debayer RED R3D.

Anyway, I'll look forward to testing all of this out and I'm very happy that RED now has all of the main options covered with R3D, ProRes, and DNxHD/HR.
Click to expand...

Thats what the OMOD is for. I'm sure Mark will chime in!
 
Bob Gundu said:
Thats what the OMOD is for. I'm sure Mark will chime in!
Click to expand...
I want to make sure I don't derail this thread with negativity because what RED is doing is exactly what people have asked for. This announcement is awesome news!

What I'm referring to is what I typically encounter in dailies workflows:
- Apply looks
- Sync Sound (Either in dailies app or in Avid)
- Scene take renaming (this happens automatically via BWF in most of the tools I use)
- Window burn (this can get complicated because some of the editors I have worked with are very picky about how this info is displayed. In one case we had to customize the dailies software so that it could match exactly what he wanted. When you win a couple of Oscars, you get to call the shots)
- Deliver DnXHD 36 MXF (sometimes DxX115)

As far as I know OMOD does not do that but if it does, then I need to take a closer look at that because clearly I haven't understand the concept from the get go. :-)
 
THIS IS GREAT NEWS!!! All my clients are Avid based, so for fast turnarounds...this will be fantastic!!

Question - I'm assuming DNX will be in a quicktime wrapper (which is awesome). Would the cameras ever be able to do straight MXF at some point? Love to know more about that!

best
 
In the famous last words of the great philosopher, Jon of Lil'

"Aww skeet skeet skeet"
 
Fantastic Jarred. The addition of ProRes was a huge step; adding the Avid codecs completes the package as far as giving all of the "yes" answers to the agencies and producers we work with (and their clients). Thank you!
 
Steve Sherrick said:
I want to make sure I don't derail this thread with negativity because what RED is doing is exactly what people have asked for. This announcement is awesome news!

What I'm referring to is what I typically encounter in dailies workflows:
- Apply looks
- Sync Sound (Either in dailies app or in Avid)
- Scene take renaming (this happens automatically via BWF in most of the tools I use)
- Window burn (this can get complicated because some of the editors I have worked with are very picky about how this info is displayed. In one case we had to customize the dailies software so that it could match exactly what he wanted. When you win a couple of Oscars, you get to call the shots)
- Deliver DnXHD 36 MXF (sometimes DxX115)

As far as I know OMOD does not do that but if it does, then I need to take a closer look at that because clearly I haven't understand the concept from the get go. :-)
Click to expand...

Mark hinted on Facebook that the SDI will be able to burn data on the video. Granted, its not on the internal files in the camera as you would like.

"Did somebody say per-frame lens data -focus distance and iris - burn in over SDI output? ‪#‎OMOD‬ ‪#‎NAB2016‬"
 
Steve Sherrick said:
I want to make sure I don't derail this thread with negativity because what RED is doing is exactly what people have asked for. This announcement is awesome news!

What I'm referring to is what I typically encounter in dailies workflows:
- Apply looks
- Sync Sound (Either in dailies app or in Avid)
- Scene take renaming (this happens automatically via BWF in most of the tools I use)
- Window burn (this can get complicated because some of the editors I have worked with are very picky about how this info is displayed. In one case we had to customize the dailies software so that it could match exactly what he wanted. When you win a couple of Oscars, you get to call the shots)
- Deliver DnXHD 36 MXF (sometimes DxX115)

As far as I know OMOD does not do that but if it does, then I need to take a closer look at that because clearly I haven't understand the concept from the get go. :-)
Click to expand...

I think in this case it would make sense to take the high bitrate DNxHD or DNxHR files and transcode them out to your dailies format, rather than the tackling the .R3Ds which may take more processing grunt - especially if you are talking fast turn around broadcast workflows where you won't ever go back to the R3Ds.

I don't imagine in camera functionality being there for full offline proxies functionality in this generation of equipment personally, although with things like Fool Control and a little more work I feel like we are probably one camera generation away from that being a possibility (or maybe even something that could be unlocked internally with firmware upgrades in the Weapon eco system - but that might be a stretch.)

This seems much more how you can fit a R3D into EFP/Broadcast workflows natively, while still offering the R3D files for later use. This particularly makes sense for EFP kits shooting promo material/additional camera for sporting events/highlight packages etc whose material is also going to go into archive. Get the drop in functionality of the DNxHD or Prores workflow for the fast turn around event side of production, but the R3D's for the high quality archive and ancillary.
 
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