Post Workflow notes:
Post Production Services
Co-located with its joint venture partner DxD Different by Design, together HD Cinema offers extensive HD, 2K, 4K and 3D stereo post production services.
Tape formats include HDCAM SR, HDCAM, DVCPro HD, Digital Betacam ( NTSC or PAL), DVCAM, HDV
Data Services for Sony XDCAM optical disks, XDCAM files from SxS, RED .R3D, ARRI UDF files from Alexa.
Online services using MacPro/AJA Kona 3/Final Cut Pro based systems $ 200 - $300 /hr
Data capture from all HD video formats $ 100 - $ 150/hr
3D Stereo post $ 100 - $350/hr
call for rates for other services
3D stereo dailies for BluRay or DVD screening
QC quality control certification for broadcast deliverables
Tape Duplication and Conversions
• HDCAM SR or HDCAM clones
• HD to SD down conversions
• HDV to other HD format conversions
• PAL > NTSC.......NTSC > PAL
• Tape to DVD
• DVD Duplication
Recent Post Projects
with Greg Lanesey and Matt Radecki Director and Producer credits
ARRI Alexa workflow
Standard Sony 32GB SxS cards hold about 20 minutes of HD footage
With the Direct to Edit feature, the Alexa records to SxS memory cards in the 10 bit Apple ProRes HQ codec with options for either 422 and 4444. This format is native to Apple Final Cut Pro, and can also be ingested natively in a Quicktime wrapper to the latest version of Avid Media Composer.
ARRI UDF Universal Disk Format icon shows up on your drive. Copy all the clips and the index.xml file into a separate folder for each card
For Final Cut
Standard XML 2.0 data file on every card (index.xml) simplifies post, import it by using
File > Import > XML, a dialog box comes up asking you to set a destination project, then √ the boxes for
√ Reconnect to Media Files
√ Include Markers
√ Include Audio/Video Effects
then all your clips will show up in the bin
.Gary Adcock Creative Cow link for more details on ARRI Alexa and workflow
In the future there will be Uncompressed ARRIRAW (.ari) files and Uncompressed HD recording with the Alexa. Glue Tools has a toolkit for ARRIRAW and Alexa LogC Pro Res.
The Alexa dual link output can also record to a Sony HDCAM SR field recorder, as well as digital recorders from S-two, Codex, and Cinedeck.
RED Workflow There are pathways for Apple/Final Cut Studio 2/Color, Adobe CS5, and Avid Media Composer. Discussions regarding RED post workflow are also at the REDUSER.net forum.
REDCODE RAW recorded as .R3D files
You can download the free RED Final Cut Studio installer and others on the support page at RED
There are whitepapers included that tells you in great detail about RED workflows.
REDCINE-X download the operations guide, opens REDCODE RAW video recorded as .R3D files, allows 1st light color correction. Exports to a variety of outputs including Quicktime, TIFF, DPX
now with Epic support
HD Cinema offers rentals of the RED Rocket card for high speed conversion of .r3d files to ProRes HQ. PCI-e card mounts in Intel Mac Pro towers. Requires download of drivers and firmware
ROCKETCINE-X no longer supported by RED
RED Final Cut Studio installer includes Quicktime Codec, Color plug-in, workflow whitepaper
The Maxx Digital Mobile Rocket chassis for the RED Rocket card allows you to take the card into the field in a package smaller than a Mac Pro by plugging into a Macbook Pro with an Express 34 card slot.
Accelerates the full debayer and Full debayer scaled to 1K playback through the laptop
MPEG-2 Long GOP, standard MXF Material Exchange Format
Sony Microsite for XDCAM includes links for Sony XDCAM Browser version 1.00 (XDB1) which allows Intel Mac or PC to view clips on a laptop or desktop; Sony XDCAM Transfer version 2.12 (PDZ-VX10) which is a Plug-in for Final Cut Pro on the Mac. All these are free downloads.
based on Solid State SxS removable media,
removable, re-writable Optical Media, prices are if you buy direct from videotape suppliers
Sony PFD23A2 23GB disks 85 min ~ $20-25 ea
Sony PFD50LA2 50GB disks 185 min ~ $60-65 ea
Download/Copy from the Sony F800 camera, or from the Sony PDW-U1 drive
iLink/Firewire interface, or USB 2.0
Sony PDW-U1 Drive Software for Intel Macs allows you to rent our PDW-U1 drive to ingest and backup all your XDCAM disks onto hard drive drives, and also to take your SxS media and record to Optical Media for archiving. Since hard drives are at risk for freezing up over a period of years this is an excellent way to preserve your media.
MAC and PC Interchange:
Telestream Flip4Mac WMV Components for Quicktime allow import and export of WMV files on your Mac. The Flip4Mac exports can be used with QuickTime Pro, Final Cut Pro, Compressor
Apple ProRes article by Gary Adcock
[Excerpt] ...while DVCProHD and Long GOP Mpeg files can offer exceptional quality for acquisition, their use in post could be a detriment to achieving high quality work. ProRes was designed to be the highest quality intermediate codec to keep the postproduction workflow data at 10bit quality, yet at a low enough bandwidth to be usable for the majority of FCP users.
Data rate for 10 bit ProRes HQ for 1080/23.98 is about 24.75 MB/s or 220 Mbits compared to uncompressed 199 MB/s or 1.5 Gb/s
This is a higher data rate than 8 bit HDCAM at 136 Mbits or DVCPro HD at 100 mbits.
ProRes SQ note: Gary Adcock's testing found that when the camera native codecs (DVCPROHD, HDV or SxS cards with MPEG-2) were converted to ProRes in software they universally ran better when using the Standard version of ProRes rather than choosing the HQ version.
Output of ProRes HQ out of our workstations with AJA Kona 3 cards records to HDCAM SR at 440 Mbits data rate.
3D Stereo Workflow
If you have genlocked your 2 HD Cameras with file based recording, and slaved time code, whether you shot side-by-side or on a mirror rig we can take your files and provide a range of services.
Cineform Neo3D v5 is one of the software tools that we use.
ReMaster (Mac) and HD Link (PC) software that is included with Neo3D creates a single file with left and right eye video for 3D stereo playback in a single .AVI or .MOV wrapper. Works with Final Cut Pro, Adobe Premiere Pro, Avid MC v5, or Sony Vegas.
First Light software, also contained in Neo3D, allows adjustments within certain limits for:
Crop/Zoom including pan and scan
Color Correction to match cameras, supports our Tangent Wave control surface
Ghost Busting to reduce high-contrast ghosting
Floating Windows to correct for Edge Violations
3D Stereo Mastering to HDCAM SR
With a dual link AJA Kona 3, real time capture and playback of dual channel HD SDI from our Sony SRW-5800 vtrs is accomplished using Cineform Neo3D.
3D Stereo Post with the Panasonic 3DA1 AVCCAM
The AG-3DA1 records 1920 x 1080 pixels in AVCHD PH mode, based on MPEG-4 AVC/H.264 High Profile. AVCHD provides both high image quality and a low data rate.
PH mode was developed by Panasonic exclusively for AVCCAM professional video production. Boasting 24 Mbps (average: 21 Mbps), which is the maximum bit rate for the AVCHD format.