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Transkoder 2017 Introduction

About Transkoder (TKD)

Transkoder is based on COLORFRONT’s award winning On-Set Dailies architecture and uses cost-effective, commodity hardware to deliver faster-than-real-time processing to transcode, decode, convert, wrap and process files to various high-end formats.

Transkoder 2017 is the latest release of COLORFRONT’s mastering system for digital cinema and high-end UHDTV production. COLORFRONT Transkoder is the ultimate tool for DCP and IMF mastering, offering the industry’s highest performance JPEG2000 encoding and decoding, 32-bit floating point processing on multiple GPUs, MXF wrapping, accelerated checksums, encryption & decryption, IMF/IMP and DCI/DCP package mastering, editing and versioning.

Transkoder 2017 adds features such as Dolby Atmos ® audio and Dolby Vision ® HDR encoding, per frame metadata to OpenEXR, Civolution NexGuard forensic watermarking, audio level meter and vectorscope, CIE XY HDR analyzer, automatic calculation of MaxFALL / MaxCLL values to be inspected in a graph window for SMPTE ST 2086:2014.

Advanced DCP/IMF mastering features include Time Text format (SMPTE-TT), closed caption and subtitles, including keyframe animated PNG/text based subtitles, insert editing, bitrate and PSNR analysis, two pass encoding with PSNR and bitrate targeting, package validation with logging and reporting and international language support.

Running on the latest PC and Mac platforms, such as the latest Supermicro and HP Z840 workstations and the Mac Pro, Transkoder 2017 allows online editing of RAW camera data, converting to various output formats, color grading and mastering for HDR and rendering various 2K/4K/UltraHD high-end delivery and mezzanine formats.

Key Features of Transkoder 2017

  • DCP, IMF

    Industry-leading IMF and DCP mastering, authoring, validation, and QC tool. Supports the latest specifications, including HDR.

  • Performance

    4K DCP/UHD IMF and HEVC encoding at 100+FPS

  • RAW Support

    Highest quality RAW deBayering from and camera including ALEXA65, Varicam 35, Red Weapon 8K

  • COLORFRONT Engine

    32-bits per channel managed look pipeline built on ACES 1.0

  • Watermarking

    NexGuard forensic watermarking from Civolution with extreme performance even in 4K

  • High Dynamic Range

    Dolby Vision ® support and industry-leading HDR mastering tools

  • Dolby Atmos ®

    Transkoder is certified to create DCP’s with Dolby Atmos ® audio

  • Dual UHD/4K Output

    2x simultaneous real-time 4K video outputs for concurrent HDR / SDR mastering

  • PC, Mac And Cloud Platforms

    Runs on off-the-shelf PC and Mac workstations, not on obsolescence-prone, proprietary hardware. Transkoder also runs on cloud instances to be used with the REST API.

Features available only in the Windows version
  • Flexible GPU configuration for best performance

  • AS-02 and some flavours of Op1a creation

  • DirecTV deliverables

  • Fox Archive MXF encoding

  • Dolby Vision mastering features

  • Cut timeline based on light level

  • HDR-10plus light level statistics

  • Hardlink support on network storages (for IMF and DCP mastering workflows)

  • Avid Interplay Checkin

  • Dailies feature set (On-Set Dailies features) for Transkoder users

  • ARRI De-Bayer Algorithms (ADA)

  • Dual Video Output

  • NexGuard forensic watermarking

The Mac HW platform performance is subpar compared to the Windows configuration.

Accessing the Transkoder Website

All of the information with regard to COLORFRONT Transkoder software application can be found at the COLORFRONT Transkoder website, http://www.transkoder.com and in the Help Center at http://support.colorfront.com/hc.

Contacting Customer Support

To get support the most efficient way please collect the following items and attach to your request. Details on where to find these files are explained here.

  • Transkoder log file saved right after the issue.

  • Crash dump files (see details below).

  • Export of the problematic project (use the File menu to export to a .zip file)

  • Any possibly related non-sensitive metadata or sample files.

COLORFRONT Transkoder Support contact points are:

Web:

http://support.colorfront.com

Help Center:

http://support.colorfront.com/hc

Client Downloads:

http://www.colorfront.com/osd

Email:

support@colorfront.com

Phone (US):

+1 310 736 1036

Phone (EU):

+36 1 880 3970

Skype:

colorfrontdev

About COLORFRONT

COLORFRONT, based in Budapest, Hungary, is one of Europe’s leading post production facilities. The company was founded by brothers Mark and Aron Jaszberenyi, who together played a pivotal role in the emergence of non-linear DI. The company’s R&D team earned an Academy Award for the development of Lustre, Autodesk’s DI grading system, and a Primetime Engineering Emmy for COLORFRONT On-Set Dailies. Combining this in-depth expertise with a pedigree in the development of additional cutting-edge software, COLORFRONT offers today’s most advanced technologies for scanning and recording, DI grading, conforming, digital dailies, VFX, online and offline editing, cinema sound mixing, mastering and deliverables. For more information please visit http://www.colorfront.com.

1. Installation and Configuration

This chapter describes the setup of the supported hardware platforms, the installation procedures of necessary driver components, third party software, and the Transkoder application itself.

1.1. System Requirements

Transkoder runs on Apple OS X and Microsoft Windows and supports either OpenCL™ or CUDA® for rendering.

The HP Z820, HP Z840, and Supermicro 7048GR-TR workstations, with a minimum of 64GB RAM are the supported PC configurations.

Currently we only support 8+ GB cards from the last two generation, so Maxwell Titan-X, M4000, M5000, M6000, M60, and Pascal 1080, 1080 Ti, Titan X Pascal, Titan Xp, P4000, P5000, P6000.

Processor: Dual Intel Xeon E5-2697 V3

Graphics: Two NVIDIA Titan-X (Pascal) or 1080Ti GPUs are required. With an additional P4000 card playback performance and stability can be further improved.

For UHD IMF work the more powerful Supermicro configuration needs to be used. It is more capable of high performance GPU processing (eg. UHD / 4K workflows, J2K processing).

Video: Video output via HD-SDI requires video card. Currently, AJA Corvid 88, Kona3G, Kona4 and Blackmagic Design video cards are supported.

Monitor: A screen resolution of at least 1920 x 1080.

Storage: Transkoder uses open storage for media, and the system needs to have fast enough storage for real-time playback and for highest rendering speed.

Operating system: 64-bit version of either Windows 7 SP1 Professional, Windows Server 2008 R2, or Windows 10 Pro.

The recommended PCI card order in the HP Z820 workstation is the following:

Slot# Slot Type Card

1

PCI-E3.0 x4 in physical x8

Empty

2

PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

3

PCI-E3.0 x8 in physical x16

This slot is covered by the NVIDIA Titan-X (Pascal) / 1080Ti GPU installed in slot 2.

4

PCI-E3.0 x16

Video card

5

PCI-E3.0 x4 in physical x8

Storage controller card [Optional]

6

PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

7

PCI 32/33

This slot is covered by the NVIDIA Titan-X (Pascal) / 1080Ti GPU installed in slot 6.

Please make sure to use NVIDIA Titan-X (Pascal) / 1080Ti cards with active cooling.

Processor: Dual 14 core Intel Xeon E5-2697 V3 processors.

Graphics: Two NVIDIA Titan-X (Pascal) or 1080Ti GPUs are required.

For UHD IMF work the more powerful Supermicro configuration needs to be used. It is more capable of high performance GPU processing (eg. UHD / 4K workflows, J2K processing).

Video: Video output via HD-SDI requires video card. Currently, AJA Corvid 88, Kona3G, Kona4 and Blackmagic Design video cards are supported.

Monitor: A screen resolution of at least 1920 x 1080.

Storage: Transkoder uses open storage for media, and the system needs to have fast enough storage for real-time playback and for highest rendering speed.

Operating system: 64-bit version of either Windows 7 SP1 Professional, Windows Server 2008 R2, or Windows 10 Pro.

The recommended PCI card order in the HP Z840 workstation is the following:

Slot# Slot Type Card

1

PCI-E3.0 x4

empty

2

PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

3

PCI-E3.0 x8 in physical x16

This slot is covered by the NVIDIA Titan-X (Pascal) / 1080Ti GPU installed in slot 2.

4

PCI-E3.0 x16

Storage controller card [Optional]

5

PCI-E3.0 x8

Video card

6

PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

7

PCI 32/33

This slot is covered by the NVIDIA Titan-X (Pascal) / 1080Ti GPU installed in slot 6.

Please make sure to use NVIDIA Titan-X (Pascal) / 1080Ti cards with active cooling.

Supermicro SYS-7048GR-TR Recommended Configuration

Processor: Dual 14 core Intel Xeon E5-2690 v4 processors.

Graphics: Four NVIDIA Titan-X (Pascal) or Four 1080Ti GPUs are required.

Video: Video output via HD-SDI requires video card. Currently, AJA Corvid 88, Kona3G, Kona4 and Blackmagic Design video cards are supported.

Monitor: A screen resolution of at least 1920 x 1080.

Storage: Transkoder uses open storage for media, and the system needs to have fast enough storage for real-time playback and for highest rendering speed.

Operating system: 64-bit version of either Windows 7 SP1 Professional, or Windows 10 Pro.

The recommended PCI card order in the Supermicro 7048GR-TR workstation is the following:

Slot# Slot Type Card

11

PCI-E3.0 x8

Storage controller card [Optional]

10

PCI-E3.0 x8 in physical x16

Video card

9

PCI-E3.0 x4 in physical x8

Empty

8

PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

6

PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

4

PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

2

PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

Windows 10 systems using 4 GPUs need to be upgraded to 128GB system memory. This is essential for the GPU based JPEG2000 encoding and decoding.

Please make sure to use NVIDIA Titan-X (Pascal) / 1080Ti cards with active cooling.

Processor: Dual 14 core Intel Xeon Gold 6132 processors.

Graphics: Four NVIDIA Titan-X (Pascal) or Four 1080Ti GPUs are required.

Video: Video output via HD-SDI requires video card. Currently, AJA Corvid 88, Kona3G, Kona4 and Blackmagic Design video cards are supported.

Monitor: A screen resolution of at least 1920 x 1080.

Storage: Transkoder uses open storage for media, and the system needs to have fast enough storage for real-time playback and for highest rendering speed.

Operating system: 64-bit version of Windows 10 Pro.

The recommended PCI card order in the Supermicro SM-7049GP-TRT workstation is the following:

Slot# Slot Type Card

JPCIE11

CPU2 SLOT11 PCI-E3.0 x4 in physical x8

Empty

JPCIE10

CPU2 SLOT10 PCI-E3.0 x16

Storage controller card [Optional]

JPCIE9

CPU1 SLOT9 PCI-E3.0 x16

Video card

JPCIE8

CPU2 SLOT8 PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

JPCIE6

CPU2 SLOT6 PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

JPCIE4

CPU1 SLOT4 PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

JPCIE2

CPU1 SLOT2 PCI-E3.0 x16

NVIDIA Titan-X (Pascal) / 1080Ti

Windows 10 systems using 4 GPUs need to be upgraded to 96GB system memory. This is essential for the GPU based JPEG2000 encoding and decoding.

Please make sure to use NVIDIA Titan-X (Pascal) / 1080Ti cards with active cooling.

Currently the new Apple Mac Pro 6.1 with Dual AMD D700 GPUs with a minimum of 32GB RAM is the supported Mac configuration.

The Mac version of Transkoder is missing some features compared to the Windows version. Please check the limitations here.

D700 Apple Mac Pro 6.1
Mac Pro 6.1

Workstation: The new Mac Pro 6.1 D700 with 2.7GHz 12-core processor with 30MB L3 cache, 32GB RAM or above.

Processor: 2.7GHz 12-Core Intel Xeon E5-2697v2 processor.

Graphics: Dual AMD FirePro D700 12GB GPUs for display and image processing.

Storage: Transkoder uses open storage for media, and the system should have fast enough storage for real-time playback and for the best rendering speed.

Video: Video output via HD-SDI requires AJA Io 4K.

Operating system: Mac OS X 10.10 or higher.

Supported Thunderbolt external devices: AJA IO4K, AJA T-TAP, Sonnet Echo Express III-D Supported external devices inside an external box such as a Sonnet Echo Express III-D: RED ROCKET-X, ATTO, or Myricom cards.

1.2. Video Output

The supported AJA devices are:

  • Corvid88

  • Kona4

  • Kona3G

  • Io4K

  • IoXT

  • T-Tap

Transkoder uses all Blackmagic devices through the same API, so the below list of supported devices may not complete:

  • Ultra Studio Mini Monitor

  • Decklink Extreme 4K.

A few video i/o specific features are only available on AJA devices, so in general this is the recommended brand. The AJA only features are:

  • 12 bit color depth 2

  • modes above UHD 30 FPS 2

  • halved HFR mode 2

  • Dual video out modes 1

  • UHD on two cables 2

  • Dual 4K or UHD video at up to 60FPS3

  • 2SI support

  • RGB over 3G Level A mode

  • RS422 control

  • SDI embedded time code

  • More than 8 SDI embedded audio channels

  • HDR10 / HLG HDMI signaling

  • Dolby Vision HDMI Tunneling

  • 8K video out

  • Stereo Mode

  • External sync

  • LTC

1: Corvid88 or dual Kona4 system only
2: Kona4, Corvid88 or Io4K only
3: Dual Kona4 system only

1.3. Installation Step-by-Step

Log-in to the Help Center at http://support.colorfront.com/hc and navigate to the Download section. In this section (https://support.colorfront.com/hc/en-us/categories/115001258983-Download) there are step by step istructions and download links to all necessary components.

1.3.1. Installation Instructions for Windows

Installation Components to Download
Windows Installation Components (applies to the latest published revision)

Windows All Versions

Installer Package Name

Comment

osdxxxxx_2017_beta2.msi

Transkoder 2017 software installer

AJA_DesktopSoftware_Win_v13.0.x.zip

AJA installer for Kona3G / Kona4 / Corvid88

Avid_Codecs_LE_2.3.9_Win.zip

Avid QuickTime codec installer

Blackmagic_Desktop_ Video_Windows_10.4.1.zip

BlackMagic installer for BMD video cards

NVIDIA driver version required 378.92. For the latest cards not compatible with this driver, please use 382.05.

NVIDIA driver installer for NVIDIA GFX cards

QuickTimeInstaller_7.79.exe

Quick Time codec installer

RED_Rocket-X_Installer_v2.1.34.zip (This driver includes the recommended 1.4.22.18.3 firmware.)

RED Rocket-X driver installer

xampp-win32-7.1.7.exe for new Transkoder 2017 installations, and xampp-win32-1.7.2.exe for Transkoder 2016 builds.

XAMPP installer

Installation Prerequisites

Make sure that HyperThreading is enabled in the BIOS.

On Supermicro configurations with 4 GPUs please adjust the following BIOS settings:

  • Numa: Disabled

  • VT-x, PCIe bootrom: Disabled

Driver and Third Party Application Installation
  1. Download and install the appropriate NVIDIA GPU driver for the specific windows version as listed in the table above titled Windows Installation Components

  2. Adjust the NVIDIA parameters in the NVIDIA Control Panel by navigating to 3D Settigs > Manage 3D Settings > Global Settings tab and make the following changes:

    • CUDA - GPUs - All

    • Multi-display/mixed-GPU acceleration - Single display performance mode

    • OpenGL rendering GPU - Quadro M6000

    • Power management mode - Prefer maximum performance

    • Vertical Sync - Use the 3D application setting

  3. Adjust the NVIDIA parameters in the NVIDIA Control Panel navigate to 3D Settings > Configure Surround, PhysX > PhysX Settings

    • Change the Processor setting to CPU

  4. Install QuickTime.

  5. Install the Avid Codec Pack.

  6. Install the XAMPP package if it is not installed already.

Important! Please read!

The re-install of XAMPP will likely destroy all databases causing project and or metadata loss! Please make sure to back them up ahead of time.

For systems acting as the database server, please install the XAMPP package. This will install PHP, MySQL, Apache on your system. Make sure the Apache and the MySql services are running in the XAMPP control panel.

  1. Install the appropriate video drivers if using any of these add-on cards:

    • AJA Kona3G

    • AJA Kona4

    • BMD

Installing Transkoder

To install or reinstall Transkoder on Windows, double click the osdxxxxx_2017_beta2.msi file and follow the prompts.

The installer creates both an On-Set Dailies and a Transkoder icon on the Desktop. This makes it easy to launch either OSD or Transkoder without changing licenses or setting up custom shortcuts.

Icons installed on the Desktop
Icons installed on the Desktop

The Transkoder executable file osd.exe can be found in C:\Program Files\OSD2017\bin\ folder.

1.3.2. Installation Instructions for OS X

Installation Components to Download
OS X Installation Components

Installer Package Name

Comment

osdxxxxx_2017_beta2.pkg

Transkoder 2017 software installer

Avid_Codecs_LE_2.3.9_Mac.zip

Avid Codec installer

AJA_Mac_Retail_13.0.x.pkg.zip

AJA io4K driver

Blackmagic_Desktop_Video_Macintosh_10.4.1.zip

Blackmagic Decklink driver

RED_Rocket-X_Installer_v2.1.34.zip (This driver includes the recommended 1.4.22.18.3 firmware.)

RED Rocket-X driver installer

xampp-macosx-1.7.3.dmg

XAMPP installer, please use this version for new Transkoder 2017 installations. Transkoder 2016 builds have it built into the Transkoder software installer.

Installation Prerequisites
  1. Update OS X to at least the version 10.10, or above

  2. Once updated to OS X 10.10 or greater, set the Allow applications downloaded from field value to Anywhere under OS X System Preferences  Security & Privacy.

Driver and Third Party Application Installation
  1. Install the Avid codecs.

  2. Install the appropriate drivers if using any of these add-on cards:

    • AJA card: install the AJA Kona 3G driver.

    • Blackmagic DeckLink: install the DeckLink driver.

    • Red Rocket-X: both the latest driver as well as the firmware need to be installed.

Make sure to install or upgrade the firmware first, and the driver afterwards using the versions listed above.

  1. Make sure the Use all F1, F2, etc. keys as standard function keys checkbox under the Keyboard tab of the OS X System Preferences  Keyboard settings is checked.

  2. Make sure the Web Proxy Server checkbox under the Proxies tab of the Advanced.. window of the OS X System Preferences  Network settings is unchecked.

  3. Install the XAMPP package if it is not installed already.

Important! Please read!

The re-install of XAMPP will likely destroy all databases causing project and or metadata loss! Please make sure to back them up ahead of time.

In order to run the database server must be reachable, by default it is localhost. Make sure your firewall settings do not prevent this.

For systems acting as the database server, please install the XAMPP package. This will install PHP, MySQL, Apache on your system. Make sure the Apache and the MySql services are running in the XAMPP control panel.

Installing Transkoder

To install or reinstall Transkoder on OS X, double click the osdxxxxx_2017_beta2.pkg file and follow the prompts.

The installer creates both an On-Set Dailies and a Transkoder icon in the Applications/OSD2017/bin folder. This makes it easy to launch either OSD or Transkoder without changing licenses or setting up custom shortcuts.

The Transkoder executable file OSD.app can be found in the /Applications/OSD2017/bin/ folder.

Please make sure in the XAMPP controller that the mysql and the Apache daemons are running.

1.4. Reinstallation or Upgrade

1.4.1. Reinstallation

To reinstall Transkoder, skip to the section titled Installing Transkoder [Windows] [OS X].

1.4.2. Upgrading

If upgrading, make sure to run the newer version of the installer when following the instructions in the section titled Installing Transkoder [Windows] [OS X].

Upgrading Database Scripts on a Centralized DB Server

To upgrade the database scripts when the database server is running on a centralized Linux database server, first upgrade Transkoder on the workstation. Then copy all the directories and scripts from the htdocs folder to the /var/www/html folder on the Linux database server.

For Example
Windows

C:\xammp\htdocs\

Mac OS X

/Applications/XAMMP/htdocs

For the running projects, copy and overwrite scripts from \htdocs\baseproject\ to the folder of the project under ..\htdocs.

1.5. Background Render Installation

The Transkoder Background Render application is installed along with the Transkoder installation package into the render sub-folder of the installation folder.

The Transkoder Background Render application is launched from the bin sub-folder of the render folder:

For Example
Windows

C:\Program Files\OSD2017\render\bin\rendertray.exe

OS X

/Applications/OSD2017/render/bin/rendertray.app

The rendertray application is configured to start and stop automatically when the user logs on and off.

The background service can also be controlled manually. Launching the tray application starts the background render service, and quitting the tray application stops the background render service.

The tray application is called "OSD Background Render" in the service list.

1.5.1. Configuring Background Render

Transkoder Background Render can be configured as follows.

You may need to modify the parameters of CommandLine section in MonitorService.ini under "render\bin" folder.

You can find the OSD Background Render configuration file on Mac OS X as /Library/LaunchDaemons/com.colorfront.osd.renderqueue.plist This file is the same as 'monitorservice.ini' on Windows.

  • Make sure .plist file has -rw-r—​r-- permission. If not, then set it as follows: sudo chmod 644 /Library/LaunchDaemons/com.colorfront.osd.renderqueue.plist

  • If the .plist file is not loaded, you can load it using this command: launchctl load \~/Library/LaunchDaemons/com.colorfront.osd.renderqueue.plist

  • Set the address of your database server as the -h parameter and also check the database user name and password - these are fugu / fugu by default - using the -u and -p options.

For Example

-h 192.168.1.1 -u root -p password -d projects -t renders -r C:/Program Files\OSD2017 -h localhost -u root -p password -d projects -t renders -r C:/Program Files\OSD2017

Similarly to the main TKD application, the IP address (or host name) of the database server must be set in the startup_template.xml of TKD Background Render application under "render\config" folder. This template will be used to generate the startup.xml for the background render jobs. Enable "BackgroundRenderCompatible" under Settings/Startup tab, if you want to use Background Render on the same system as the Master application.

If the Background Render is to be used on the same machine as the Master Application, the system memory should be upgraded to at least 32GB!

1.6. Application Removal

1.6.1. Removing Transkoder on Windows

You can remove Transkoder from "Control Panel\All Control Panel Items\Programs and Features" of Windows 7 or Windows 10.

1.6.2. Removing Transkoder on OS X

Make sure to create a backup of your lut, and dvd folders before removing Transkoder.

If using a software license, which is not stored on a dongle, make sure to create a backup of your license folder as well.

Move the /Applications/OSD2017 folder to Trash.

1.7. Control Panels

Transkoder will work with the Tangent Element, Wave, or Ripple control panels.

Tangent Element TK
Tangent Element TK Panel
Tangent Ripple Panel
Tangent Ripple Panel
The Tangent Element Tk and Tangent Element Mf is a nice combination for grading and transport control.

1.8. Licensing

1.8.1. Licensing Overview

Transkoder can be licensed with either a software license or with a Hasp Sentinal dongle.

The software license can be used only on the machine that it was created for, while the dongle can be moved between systems.

Software licenses need to be renewed once every quarter (3 months), while licenses used together with the Hasp Sentinal dongle need to be renewed only after a full year.

Licensing Method Quick Comparison

Comparison of the Licensing Methods

License Method ID Format Machine Restriction License Renewal Installation Method

Software

Host Id with Numbers and Letters

Valid Only for a specific Machine

Every Quarter (3 Months)

Copy to the license sub-folder of your installation folder.

Please refer to the the section titled License Installation: Software Method for details.

Hasp Sentinal Dongle

Dongle ID Number with Numbers Only

May be moved between systems using the dongle

Once a Year

The license is loaded on to the Hasp Sentinal dongle using Colorfront License Utility.

Please refer to the the section titled License Installation: Hasp Sentinal Dongle Method for details.

1.8.2. Obtaining the Host ID

  • If Transkoder is launched without a license present, it will display NO VALID LICENSE FOUND! and the host ID.

    Host ID
  • Transkoder will then exit and automatically copy the host ID to the clipboard.

  • If a dongle is present, but does not contain a valid Transkoder license, the dongle’s ID number will be used instead of the machine’s host ID and will be made up of numbers only.

  • If no dongle is present, the machine’s host ID will be used and be made up of numbers and letters.

1.8.3. Requesting a Valid License

Please email either the Hasp Sentinal dongle’s Id number or the machine’s host ID to support@colorfront.com to receive a valid license. The license file will be sent as an email attachment named osd.lic.

Demo or Evaluation License

The procedure for obtaining a demo or evaluation license is the same as for a normal license. Please contact support@colorfront.com for more information.

1.8.4. License Installation

License Installation: Software Method

The Colorfront Transkoder software license file is a plain text file containing the license string. It must be named osd.lic and placed in the license sub-folder of the Transkoder installation folder.

For Example
OS X

/Applications/OSD2017/license/osd.lic

Windows

C:\Program Files\OSD2017\license\osd.lic

Please refer to the the Appendix Troubleshooting section titled Software License is Received as Text in case the license is sent as text instead of an attachment.
License Installation: Hasp Sentinal Dongle Method
  1. Plug the Hasp Sentinal (USB) dongle into the workstation where you have a valid license.

  2. Start the Colorfront License Utility executable.

  3. Load a license file or copy-and-paste a license code that you received via e-mail.

  4. Double check that the dongle’s Host ID and the license code’s first three (or two) characters are the same, otherwise the licensing will not work.

  5. Upload the license to the dongle by pressing the Upload to dongle button and use it in any machine where you want to.

If the workstation doesn’t see the Dongle, please click on the Refresh button. Please refer to the the Appendix Troubleshooting section titled Issues with the Dongle if the problem persists.
Transkoder automatically reads the license from an inserted dongle and ignores the computer’s osd.lic file.

The license is loaded on to the Hasp Sentinal dongle using Colorfront License Utility which is found in the bin sub-folder of the Transkoder installation folder.

For Example
OS X

/Applications/OSD2017/bin/

Windows

C:\Program Files\OSD2017\bin\

Colorfront License Utility
The first 12 numbers of the license should match the dongle’s ID number.

1.8.5. License Renewal

Starting with Transkoder 2017, there is a simple one button solution which automatically refreshes the license string on the dongle.

1.8.6. Understanding the license key code text

The first three character section of the license code is the host ID (of the computer or of the dongle). This is followed by the start and the end date of the license validity. Next is the ID of the software package. This is followed by the machine ID and the start date again, and finally the key code string.

1.8.7. Background Render Licensing

If you have valid Transkoder license, then you can use TKD Background Render application with the same license on that system.

Render only systems, nodes in a local render farm or virtual machines in the cloud may have a render only licenses. In case of local render nodes either license files, or dongles can be used. Transkoder will not run with the user interface if a render only license is installed.

2. Projects

Work in Transkoder is done via projects. A project is used to manage a collection of assets, their metadata, timelines, bins and encoder settings. While there are a few global settings in Transkoder like tool presets or project templates, most of the configuration parameters are saved within the project. Transkoder projects are stored in a database - exluding saved high resolution stills, and can be exported and imported on another system. Projects do not contain a copy of any media, only links to files on a file system.

2.1. Creating a New Project

To create a new project:

  1. Launch the Transkoder

  2. Click on the current project’s name to enter the Project Load Page

  3. Click on the Create New Project button

  4. Enter a project name in the next screen shown:

    Transkoder Project Name Entry
    Transkoder Project Name Entry
  5. Press the ENTER key after having entered a project name.

  6. If needed adjust the project name by double clicking on it. Projects can be re-labeled after being created, please refer to "Renaming a Project After Project Creation" for more information.

  7. Set the desired default Resolution of the project. This drives the resolution of the default Reframe node and can be adjusted globally, or clip based later. Clicking on the number values on either side of the letter "x" will permit the entry of a custom value for the resolution, but this value will be validated by Transkoder and rejected if not valid.

  8. Click on the FPS selector to set default playback frame rate of the project.

  9. Click on the Color Correction paramater to define the desired default node pipeline. For more information on these pipeline presets please refer to the Color Science chapter.

  10. If needed choose a Template project to use the settings, node pipelines and encoder settings of a previously saved project template. This will override the paramters set above.

  11. Click on the Launch Project button.

    Transkoder Launch Project
    Transkoder Launch Project

Once a new project has been created and launched, an initial view will be presented:

Transkoder Initial View
Transkoder Initial View

As the new project is empty, and empty timeline and Bin Window is shown. One can import media into the bin and build timelines using them (for more detail please jump to "BinWindow" and "Timelines") or can go to the timeline menu and import a CPL.

While hovering over blue text editable parameters turn yellow.

2.2. Project Load Page

The Load Page is where the project’s Timelines, Bins, Cards etc. are listed, and can be launched, renamed, or deleted. For more information on these items jump to the "Main Load page". By clicking on the project name the Project Load Page opens, where one can rename, delete, create new projects or load another existing project. Clicking again the project name one can return to the main Load Page.

The Show Timelines Ordered field in the USER tab of the Preferences page is used to specify sorting order of projects and timelines. They may be sorted alphabetically or by time last modified in ascending or descending order. Transkoder also displays the last modification date.

2.2.1. Loading an Existing Project

Click on the project name in the list on the right and click Load Project on the bottom, or simply double-click the project name in the list.

2.2.2. Deleting a Project

To delete a project:

  1. If it is not the current project to be deleted select the project in the list

  2. Click on the Delete Project label located on middle left hand side.

    • To confirm the deletion, click on the Yes, delete project label.

    • To cancel the deletion, click on the No, cancel delete label.

This will remove the project from the database and cannot be undone, but will not erase any of the project’s assets.
Transkoder Deleting a Project
Transkoder Deleting a Project

2.2.3. Renaming a Project

To rename a project after it has been created, or launched:

  1. Return to the Project Page.

  2. Click on the Rename Project label located on the middle left hand side.

  3. Modify the previously entered project name to the new one desired.

  4. Press the ENTER key.

A renamed project is different from a project created originally with the proper name. The URL of the project scrips, the location of the project specific PHP scripts on the database server and the database name in the - central or local - database is not going to be changed. By renaming the project a new "alias" will be created for it, which overrides the original project name within the application.
Transkoder Renaming a Project
Transkoder Renaming a Project

2.2.4. The Project Info Page

The Project Info page displays an overview of the settings chosen during project creation. Some of the settings, such as default playback frame rate and resolution can be adjusted here, some settings such as the project path can be only inspected. To view the Project Info page go to the Project Page and click on the Project Info label located on the left hand side. To close the Project Info page click on the Done label located on the bottom left hand side to return to the Project Page.

Transkoder Project Info Page
Transkoder Project Info Page

2.2.5. Save Project as Template

To make it easier to set up new projects users can save project templates. By saving a project as a template, later on users can create new projects easily with matching settings. The following attributes will be stored:

  • Project settings (TAB page)

  • Node pipeline templates for all camera formats

  • Global node template

  • List of encoders on the Encode Page

2.2.6. Promote a Project Created in a Earlier Version

To avoid compatibility issues the project list does not show projects created with an earlier major version. It is possible to promote a project though, so it appears in the new version, hiding it in the old one. The is because only forward compatibility is guaranteed. To promote the project please follow these steps:

  • Open the database through phpMyAdmin. On a local machine this is localhost/phpmyadmin

  • Open the Projects database on the left pane

  • Open the projects table within this database and locate the project in the table

  • Click on the pencil icon in the corresponding row

  • Increase the version number in the ProjectVersion field. For example replace OSD_V4 with OSD_V5.

2.3. Main Load Page

The Main Load Page is an interface to create and access different timelines in the current project. For accessing the different timeline types use the tabs on the top of the sceen, the list of the respective entries will be listed on the right. Each tab has it’s own relevant context menus no the left hand side.

Transkoder Project Page - Timeline list
Transkoder Project Page - Timeline list
It is possible to load custom timelines, CPLs or bins from withing the Bin Window as well. For more info jump to "BinWindow".

2.3.1. Timelines

This tab includes custom timelines (aka Cuts) created by the user, as well as conformed or imported timelines such as CPLs, EDLs or Final Cut XMLs. Upon initial import of EDLs, or FCP XMLs through the timeline menu, the corresponding entry in the list will be indicated as "NEW". Loading such a timeline will trigger the conform.

Under this tab the following operations are available:

Create New Timeline

For creating new timelines and is located on the middle left hand side.

Import CPL

Imports a DCP or IMP CPL. The name of the timeline will be the Content Title.

Rename Timeline

Renames the currently selected timeline.

Delete Timeline

Deletes a timeline.

Load With Handle

For loading all the sources of a conformed timeline, such as an EDL or Final Cut edit with handles. This option is only available after the initial load. The handle length is defined in the Conform tab of the settings page. Loading an EDL with handles also eliminates retimes.

Load Timeline

Loads the selected timeline.

2.3.2. Bins

Bins are collections of clips that Transkoder is able to load and render, please refer to the section titled "Bins" for more information. This are not "edits", so clips in a bin timeline cannot be trimmed or cut.

Under this tab the following operations are available:

Ingest Media

Opens Copy Central to copy media into the project.

Load Bin

For loading a bin and is located on the bottom left hand side. It becomes visible as a context menu when a bin name is highlighted.

2.4. Cards / Dates

This tab is relevant for dailies workflows. If the user opens a project in Transkoder that was created either by On-Set Dailies (as a dailies project) or Express Dailies, this list will show the cards parsed into the database or found in the folder structure within the project. By clicking on the Cards tab again the list switches to the Date list. For more information consult the On-Set Dailies user guide.

2.5. Project VTRolls

Similarly to Cards, this tab is relevant for dailies projects. In On-Set Dailies, in a dailies project operators can organize media into virtual rolls called VTRolls as the unit of delivery. These can be access though this tab.

2.6. Project XML

Whenever a timeline is loaded in Transkoder there is a temporary XML file generated. The project XML list displays these recent temp files. It is possible to load these temporary xml timeline files at a later time in XML load mode.

This feature is used primarily for engineering/support purposes. In this load mode, the timeline and grades are loaded from temporary cache files instead of the database.
These xml files may be out-of-date compared to the database and they are not saved back to the database.

3. Bins

Bins are collections of clips that Transkoder is able to load and render. There are auto-generated smart bins, such as the Master bin with all media in the project, and user bins that the operator can create. All bins can be sorted based on any metadata and flexible search expressions can be used to find any media easily.

The Bin Window, in particular the Master Bin is the primary interface to manage video, audio and titles within the project. User created timelines, or Cuts, and CPLs are also listed in the this window. These are different comparede to Bins in the sense, that these timelines are not a simple collection of media, but a specific edit of the events. One can still inspect the contents of these timelines, both video, audio and titles. Any bin or timeline can be loaded by selecting it and pressing Ctrl+L.

3.1. Managing Bins in the Bin Window

The Bin Window is made up of two main areas:

Selection Pane

The Selection Pane contains the Library, Generated, User, Cuts, CPL, Days, and Looks entries and is located on the left hand side of the BinWindow.

Asset list

contains the list of Video, Audio, and Text assets belonging to each entry in the Selection Pane and is located on the right hand side of the BinWindow.

To open the BinWindow if it is hidden, press ALT+J or use the Window menu.
Transkoder The Bin Window
Transkoder The Bin Window

3.1.1. Adding a New Bin

To add a new bin:

  • Click on the small ⊕ (PLUS SIGN) button in the bottom left corner of the Selection pane.

    A new bin with the name "Bin_2" will be created in the User bin list.

  • Double click on the name of the new bin to rename it

  • Drag media from the timeline, from other bins or from a file browser into this bin to populate it.

Transkoder Adding a New Bin
Transkoder Adding a New Bin

3.1.2. Removing a Bin

To remove a bin:

  • Highlight the bin to be removed by clicking on the bin name in the Selection Pane located on the left hand side of the BinWindow.

    • Click on the small ⊖ (MINUS SIGN) button in the bottom left corner of the Selection pane.

      or

    • Press the CTRL+BACKSPACE key combination.

When removing bins no clip is removed from the database, the clips are simply removed from the bin.

3.1.3. Renaming a Bin

To rename a Bin:

  1. Double-click or ALT+click the name of the bin to be removed in the Selection Pane located on the left hand side of the BinWindow.

    A text entry cursor will appear at the end of the currently entered bin name.
  2. Modify the previously entered bin name to the new one desired.

  3. Press the ENTER key.

Transkoder Renaming a Bin
Transkoder Renaming a Bin

3.2. Managing Assets within Bins

3.2.1. Adding Assets to Bins Via the Filesystem

To add assets to bins via the file system, click on the small ⊕ (PLUS SIGN) button in the bottom left corner of the BinWindow asset list and a filesystem browse dialog will appear on the screen. Browse to the asset to be added and click on the OK button.

Transkoder BinWindow Adding Assets
Transkoder BinWindow Adding Assets

Assets can also be added by dragging from any filesystem browser and dropping onto the Bin Window.

3.3. Adding Assets to Bins from the Thumbnail Timeline

To add assets to bins from the thumbnail timeline, drag one or a selection of thumbnails from the bottom thumbnail timeline to the large empty area in the bin window.

To drag multiple thumbnails use CTRL+click for selecting the thumbnails from the thumbnail timeline.

3.3.1. Removing Assets from Bins

To remove assets from bins, highlight the assets to be removed and press CTRL+BACKSPACE while the mouse pointer is within the Bin window or click on the small ⊖ (MINUS SIGN) button in the bottom left corner of the BinWindow asset list.

3.3.2. Searching Clips within a Bin

Users can filter the contents of a bin by entering "google-like" search queries in the search field located along the top of the BinWindow. For instance one can easily find all DPX sequences in the project by simply typing "*dpx" in the search field of the master bin. To find all "A" camera clips one would type "CamRoll=A*". For the exact syntax and list of available keywords refer to the Appendix section titled "BinWindow Search Query Keyword List" and "BinWindow Search Query String Rules".

Transkoder Search in the Bin Window
Transkoder Search in the Bin Window
The search expression is evaluated in real time as the search string is being typed into the search field.

3.3.3. Sorting Query Results

The second input field located to the right of the search field is used to sort the results. Multiple sorting can be done using a comma-separated field list. One can use any metadata associated to the clips to sort them. A sorted list can be later manually reorganized to fix any sorting issue.

Example Sort Expression

CamRoll,Length

Transkoder Sort Clips in a Bin
Transkoder Sort Clips in a Bin

3.3.4. Copying Assets Between Bins

To copy assets from one bin to another:

  1. Open the source bin by double-clicking on the bin name.

  2. Select the assets to be copied by clicking on them, making sure to CTRL-click if selecting multiple clips for copying.

  3. Drag and drop the asset(s) on to the name of the target bin.

Transkoder BinWindow - Dragging Video and Audio Between Bins
Transkoder BinWindow - Dragging Video and Audio Between Bins

3.3.5. Revealing Clips in an External File Browser

When working with previous projects, it may be helpful to easily find where project clips are located in the file system. The File  Reveal Selected Clip in Browser menu item will do just that. This function opens a new external file browser window showing the location of the selected clips in the file system up to a maximum limit of 5 external file browser windows. It works with clips selected in either the Bin window or the timeline.

On Windows, the external file browser is Explorer and on OS X the external file browser is Finder.

3.4. Changing the BinWindow Layout

3.4.1. Hiding or Showing the Selection Pane

To hide or show the Selection Pane:

  • Click on the leftmost icon in the upper right corner of BinWindow.

    Click on it again to return to the previous state.

Transkoder BinWindow - Hidden Selection Pane
Transkoder BinWindow - Hidden Selection Pane

3.4.2. Thumbnail View

To Switch the asset list in the BinWindow to the Thumbnail View:

  • Click on the middle icon in the upper right corner of BinWindow.

    This is the default view and displays a thumbnail of the asset with the asset Name underneath.
Transkoder BinWindow - Asset List Thumbnail View
Transkoder BinWindow - Asset List Thumbnail View

3.4.3. Details View

To Switch the asset list in the BinWindow to the Details View:

  • Click on the rightmost icon in the upper right corner of BinWindow.

    This view displays a thumbnail of the asset with the asset Name, Clip Name, LabRoll, MediaPath, TCin, Duration, Length, Framerate, and Channels to the right of the thumbnail for video and MediaPath, AudioFile TCin, Duration, SoundRoll, Samplerate, Name, Channels, and LabRoll for audio.
Transkoder BinWindow - Asset List Details View
Transkoder BinWindow - Asset List Details View

3.4.4. Filtering Based on Asset Types

To hide or show video assets in the BinWindow asset list:

  • Click on the Video button on the top right hand side.

    Click on it again to return to the previous state.

Transkoder BinWindow - Hidden Video Assets
Transkoder BinWindow - Hidden Video Assets

To hide or show audio assets in the BinWindow asset list, click on the Audio button on the top right hand side. Click on it again to return to the previous state.

Transkoder BinWindow - Hidden Audio Assets
Transkoder BinWindow - Hidden Audio Assets

To hide or show subtitle and caption assets in the BinWindow asset list, click on the Text button on the top right hand side. Click on it again to return to the previous state.

3.4.5. Selection Pane List

To hide a selection pane list, position the mouse cursor over the entry to be hidden. A label titled Hide will appear to the right of the entry to be hidden. Click on Hide label.

Transkoder BinWindow - Hide Selection Pane List
Transkoder BinWindow - Hide Selection Pane List
Transkoder BinWindow - Hidden Selection Pane List
Transkoder BinWindow - Hidden Selection Pane List

To show a selection pane list, position the mouse cursor over the entry to be shown or unhidden. A label titled Show will appear to the right of the entry to be shown. Click on Show label.

Transkoder BinWindow - Show Selection Pane List
Transkoder BinWindow - Show Selection Pane List

4. Timelines

Pressing ALT+i the timeline window shows up. This is a standard graphical representation of media on the current timeline, including all types of files. The Timeline Window is not a floater window, it is always docked on the bottom the UI. On the top of the timeline there is a configrable metadata bar. To change the displayed metadata entries adjust the metadata/MetadataOverlay setting in the TAB page.

Transkoder Single Track Timeline with Condensed Audio Tracks
Transkoder Single Track Timeline with Collapsed Audio Tracks

4.1. Multitrack Timeline

In Transkoder the user can add any number of audio or video tracks. Reel markers or subtitle elements can be also added to their dedicated tracks, all events can be manipulated and edited the same way. To add a new video track use the shortcut ALT+v and to add a new audio track use ALT+SHIFT+v.

Transkoder Multitrack Track Timeline
Transkoder Multitrack Timeline

When multiple video track files are preset the following view modes or Timeline Modes can be activates from the Timeline menu:

  • Enable Vertical Editing - This is the default editing mode for most editing applications, where the user sees the image from the highest video track.

  • Enable All Tracks As Source - Enabling this one will see all of the video tracks as input sources in the node page. This allows the combination of multiple source files from the video tracks, eg. to calculate PSNR to measure similarity.

  • Enable DualTrack - In this mode Transkoder will do vertical editing with the V1 and the selected track. So, basically the user will see the clips from the selected track. But if there is a gap on the selected video track, clips from the V1 track will be shown.

When the operator needs to collapse the video tracks, the Merge Down Track option can be used from the Timeline menu. This operation will merge down the selected track to the lower track, potentially overwriting clips.

4.1.1. Compositing with Alpha Channel

One can composite a clip with alpha channel over the V1 track. Please load a QT ProRes 4444 clip with alpha into the bin, and add to the V2 track. Make sure the Enable Vertical Editing is on in the Timeline menu. Users can disable this feature by selecting the V2 clips and clicking on the "Timeline/Toggle Transparency of Selected Clips" menu item.

Title composited over the V1 video media
Title composited over the V1 video media

4.2. Timeline Auto Edit Function

Some deliverable formats require specific slate/bars/black configuration at the head of the timeline, and a predefined timeline time code. The Auto Edit window can be used to make it easy to create such timelines and can be accessed by selecting the Edit  Auto Edit menu option.

The Auto Edit Window
The Auto Edit Window

The Auto Edit window has a pop-up selector where one can choose any of the pre-defined presets. The timeline configuration is defined by a string of specific, easy to use keywords:

  • BLACK: Black frames without audio.

  • BARS: Color bar with 1Khz audio.

  • SLATE: This should refer to an existing Burnin preset, like "5s SLATE MYSLATE" where MYSLATE is an existing burnin node preset already saved in the database. The event will be a black image with the corresponding burnins visible. One can use fixed strings or keywords like $TRT$ or $maxfall$ and $maxcll$.

  • PROGRAM: Defines the start time code of the main program.

  • FREEZE: Freezes the last frame of the program for the given time.

One can edit this string to create any custom preset and simply save it for later use.

For Example
2s black,3s bars,program 01:00:00:00,5s black

2 seconds of black followed by 3 seconds bars and tone. Program starts at 1 hour, followed by 5 seconds black

5s10 black,1 bars,1s23 black,program 02:00:00:00

5 seconds and 10 frames of black followed by a single frame bars and tone, effectively a 2-pop. Program starts at 2 hours

5s SLATE MYSLATE, 5s black,program 01:00:00:00

5 seconds slate, where the "design" of the slate is coming from a burnin preset called "MYSLATE". Then 5 seconds black before the program.

Timeline corresponding to the string *2s black,3s bars,program 00:01:00:00,5s black*
Timeline corresponding to the string 2s black,3s bars,program 00:01:00:00,5s black

Any new project by default has a Black and a Color Bar event in the master bin, that can be stretched to the desired length manually as well on the timeline.

4.3. Audio Channels

To collapse or expand the audio channels in the Timeline window please double-click on the header area of the audio track.

Transkoder Single Track Timeline with Video and Audio Tracks
Transkoder Single Track Timeline with Video and Audio Tracks

4.4. Adding and Manipulating Clips

The drop-to-position menu item or the V shortcut will place the currently selected clips in the Bin window to the playhead position. Depending on Ripple is On or Off clips on the timeline will be shifted, or overwritten. Drop-to-TC mode will force clips to be dropped at the - record - position defined by the timecode of the clip. This mode can be adjusted from the Menu, or using a small icon on the top-left corner of the timeline window.

When working with previous projects, it may be helpful to easily find where project clips are located in the file system. The File  Reveal Selected Clip in Browser menu item will do just that. This function opens a new external file browser window showing the location of the selected clips in the file system up to a maximum limit of 5 external file browser windows. It works with clips selected in either the Bin window or the timeline.

On Windows, the external file browser is Explorer and on OS X the external file browser is Finder.

Navigation on the timeline is possible using the mouse, keyboard shortcuts or control panel. There are two different types of timeline views to help navigation and operations such as finding shots, copying grades or editing events. On the right side of this bar is the EDIT/GRADE switch which controls how mouse interaction should work:

  • EDIT mode: basic editing operations are possible with the mouse, such as reorganizing clips, moving or trimming

  • GRADE mode: color correction settings can be dragged from a clip to others

4.4.1. EDIT mode

  • Changing timeline area size - click the upper edge of the timeline area ( A ), hold down the mouse button while moving the mouse up and down over the timeline area.

  • Changing track size - click the upper edge of the track ( B ), hold down the mouse button while moving the mouse up and down over the timeline area

  • Navigation is possible by left dragging just above the clips where the timecode track is shows

  • To move the tracks up and down in the window, right-click drag up and down the track headers (V1,A1,A2…​)

  • Horizontal scrolling - press and hold the right mouse button, while moving the mouse to the left/right over the timeline area

  • Zoom in/out - press and hold the CTRL key and the right mouse button, while moving the mouse up and down over the timeline area

  • To fit the timeline into the timeline area press C key while the mouse pointer is over the timeline window

  • To select multiple clips press and hold the CTRL key and drag over the clips to be (de)selected

  • Trimming the clip - click the left/right edge of the clip ( D ), hold down the mouse button while moving the mouse to the left/right

  • Moving the clip - click the clip itself, hold down the mouse button while moving the mouse to the left/right, or drag&dropping to another timeline track

Flexible Speed Assignment

Transkoder has functions to deal with clips shot at frame rates different than the project frame rate. The operator could either incrementally increase or decrease the speed by a factor of two, or use the Edit  Compensate Offspeed menu option. The latter adjusts the speed of the clip, so it plays real time in the project. However, it does not work if there was no proper metadata indicating the recording frame rate.

edit change speed 01
Menu items to manage clip speed

The operator can also adjust the speed of the clip manually by choosing the Edit  Set Custom Speed menu option. This opens up a new window where any speed factor can be entered or a preset can be chosen.

edit change speed 02
Flexible speed assignment

A value of 100 means no speed change and can be used to reset the clip to the original speed.

4.4.2. GRADE mode

Please keep in mind that grading in Transkoder is done either by running it as On-Set Dailies, or activating the grade mode on the time line.

Transkoder Grade Mode on the Timeline
Transkoder Grade Mode on the Timeline

In grade mode the user can drag and drop color correction settings from a single clip on the timeline to the still store/look store or to one or multiple clips on the timeline. Please see the section titled Applying / Reapplying Grades for more information.

4.5. Thumbnail Timeline

Transkoder Thumbnail Timeline
Transkoder Thumbnail Timeline

For color correction the thumbnail timeline may be a better choice. Press NUMPAD 1 to open/close the thumbnail timeline, where each clip is represented by a single thumbnail, regardless of it’s length. The timeline can be moved by right dragging it. There are graphical indicators over the thumbnail that show if a clip is synced (green/red bar) or if the clip has been graded (rainbow bar). Clips can be selected by control clicking on a single thumnail, or pressing CTRL while dragging over a number of clips. Drag the upper edge of the rows of thumbnails to resize it. Click any thumbnails to jump to the middle of that clip. The current clip has an outline around its thumbnail on the thumbnail timeline.

A full screen version of this timeline is also available by pressing NUMPAD 3. Pressing the CTRL+PLUS or CTRL+MINUS keys will resize the thumbnails larger or smaller. Click with the mouse or press the UP ARROW or DOWN ARROW keys to move between clips. The selected clip can be played on the broadcast monitor. Click on any of the thumbnails and press the NUMPAD 3 key again, to return to the selected clip in the main display.

4.6. Basic navigation

Keyboard:

Keyboard Shortcut Action

SPACE

Start or Stop playback

LEFT ARROW or RIGHT ARROW

Advance to the previous or next frame

SHIFT+LEFT ARROW or SHIFT+RIGHT ARROW

Advance to the previous or next frame with audio playback

UP ARROW or DOWN ARROW

Advance to the previous or next clip

j

Play backward

k

Pause playback

l

Play forward

Tap j or l repeatedly

Increase the rate of rewind or fast forward

Hold j and k

Play backward in slow motion

Hold k and l

Play forward in slow motion

Hold k and tap j or l

Advance by single frames backward or forward

Mouse:

  • Left-mouse drag within the main display to scrub picture.

  • Middle-mouse drag: direct jump. Dragging near the left side of the screen to jumps to the beginning of the timeline, dragging near the right side of the screen to jump to the end of the timeline.

4.6.1. Go to Time Code with Hot-key

To directly navigate to a specific time code, simply press the NUMPAD Decimal Point to turn on the TC entry mode, type in the time code, and press ENTER. To jump forward use +1202 (jumps forward 00:00:12:02), to jump backwards, use a minus sign instead of a plus sign. To jump to a specific time code simply enter it 12512 (corresponds to 00:01:25:12).

If you set the Frame Entry Mode setting of the GUI sub-page of the Preferences page to TC or Frames, you can enter both frames by pressing a number such as 123 or a time code by pressing 12.02 (12 + Numpad Decimal Point + 02) corresponding to "00:00:12:02".

4.7. Main Viewer

  • Hold down the CTRL key and right-click drag upward to zoom out or shrink the main image around the cursor position.

  • Hold down the CTRL key and right-click drag downward to zoom in.

  • Right-click and drag to move the image.

  • Double right-click to fill the screen and center the image.

  • Press the c key (while mouse pointer is over the image) to toggle center/fit mode

4.7.1. Control of the Pixel Interpolation in the Main Viewer

It is possible to control what magnifying filter to use in the viewer: nearest neighbor (to see individual pixels) or linear filtering for smooth images. This option is available in the View  Zoom or in the GUI section of the settings page. The shortcut to toggle the interpolation mode is ALT+W

Different interpolation modes when zoomed in.

Nearest Neighbor Zoom, 250 Linear Zoom, 250

4.8. Edit Decision List Handling

4.8.1. Loading EDLs

Transkoder is capable of conforming basic EDL timelines, ones without dissolves and fades. First the EDL files need to be imported to the database, either by auto-upload from the "edl" folder under the date folder, or via the project web page. As soon as the EDL is in the database it will show up in the load page under the Cuts tab. EDLs that are uploaded but not yet loaded (eg. Conformed) will be indicated as NEW. To load an EDL with handles, first it needs to be loaded normally, as NEW type of EDLs are not listed in the "load Cut w/ Handle" list.

When Transkoder conforms the timeline and some shots fail to match, warning message is displayed and printed into the console and the log file. One can investigate the missing shots based on the tapename and timecode information. Most often the EDLMatchTapeName / EDLMatchTimecode settings are not set properly, or the EDL contains shots that are not in the project database of the current project.

4.8.2. Export EDL

It is possible to eport a basic EDL directly by using the File  Export Cut  EDL menu option. If there are grading nodes used on the timeline compatible with CDL, these will be exported as well. The tape name in the EDL will be generated based on the metadata specified in the Rendered Media Tape Name \ AleTapeName field specified on the Encode sub-page of the Preferences page. Please make sure to adjust the EDLTapeNameLength setting on the METADATA sub-page of the Preferences page if you want to truncate the tape name to be compliant with the old CMX 3600 format.

4.8.3. Conform Settings

To control the conform process please adjust the settings under Settings/Conform tab:

  • EDLHandle: if an EDL is loaded with handle, Transkoder attempts to add extra frames to the head and tail of each shot. If the source does not contain enough frames (eg. EDLHandle is set to 20 but there are only 6 extra frames) the handle will be shorter.

  • EDLMatchTapeName: This metadata will be matched to EDL TapeName. If set to Custom, then the EDLMatchCustomTapeName is used.

  • EDLMatchTimecode: EDL Timecode will be matched to this TC in the database

  • EDLMatchRelativeTC: to be used only if the TapeName uniquely identifies the shot, and the source TC in the EDL is a timecode relative to the first frame of the given clip. This often happens in some file based workflows where there is no time-of-day timecode available (eg. DSLR or consumer cameras).

4.8.4. Removing EDLs from the Database

By deleting a conformed cut timeline on the load page, the EDL becomes new. This effectively undoes the conform step. To completely remove it from the database it needs to be deleted again. 'NEW' type of cuts will be completely removed from the database upon deleting them.

4.8.5. Cut Timeline with EDL

The Timeline  Cut Timeline with EDL menu option parses the EDL and executes a cut operation at the editing points defined by the record start/end time codes in the EDL.

5. Processing and Color Science

5.1. The Node Page

The Node page contains the flexible node pipeline which makes it possible to easily customize the image processing chain.

The left pane of the node page represents the source image buffers.

The right pane contains the result image buffers that can be displayed or encoded into any format.

Transkoder Node Page
Transkoder Node Page

5.1.1. Processing Template Wizard

The flexible node pipeline allows you to fully customize your color/image processing pipeline for every camera format in your project. When loading any type of media for the first time, the system auto-creates a pipeline based on the project’s color correction settings. By pressing SHIFT+o the pipeline wizard opens where users can create pipeline presets by specifying the source color space and the grading color space. With this wizard one can create a color pipeline that is guaranteed to have the proper color science.

The desired input color space, such as Log, LogC or RED define the type of the source footage. Upon pressing SHIFT+o this pop-up auto adjusts to match the current clip. The grading color space selector, such as Colorfront Engine, Camera HDR, Mastering HDR, ACES, Log, Lin (or ARRI Look in case of using ARRI footage) defines how the colors are manipulated with the color correction node. Please refer to the chapter titled Color Grading for more information.

Transkoder Wizard to create a proper pipeline that can be later modified
Transkoder Wizard to create a proper pipeline that can be later modified

The node pipeline may be adjusted, and new templates may be defined at any time, even after using the Processing Template Wizard.

5.1.2. Node Pipeline

By pressing ENTER one can inspect the node pipeline. Every node represents some image processing operation. Each clip has it’s own a node pipeline. Nodes left the gray separator line are specific to the given clip, nodes right to the separator line - including the results - are coming from a global template (often referred as the view template). When the user loads a clip for the very first time (the clip is "NEW" on the load page) there isn’t any clip specific nodes saved to load. In this case Transkoder loads the clip specific nodes from the grade template. Each camera format may have it’s own grade template, which allows to deal with different colorspaces and geometric properties. The current camera format can be inspected on the node page.

Transkoder Node pipeline of LogC in a
Transkoder Node pipeline of LogC in a "Lin" project where the color correction is done in Rec709/Video gamma

5.1.3. Grade Template

To successfully use this very valuable feature one needs to understand the role of the Grade template and the Viewing template.

Looking at the node page you can see the media source on the far left, and processed image format(s) on the right. The node pipeline in the middle consists of two types of nodes: * nodes left to the separator line are saved per shot * nodes right to the separator are global nodes, they are saved per-project

The Grade Template is an XML file containing the "default" set of grading nodes for each camera format. Thus if you load a "new" timeline, the grade template will be applied to the clips. However, from that point on those nodes will be saved in the database and can be adjusted per-clip. This also means that changing the grade template has NO effect on shots already saved in the database.

Please note the red rectangle on the node page. Nodes inside this box are the creative grading nodes, which are saved per clip, as it is left to the separator line. Creative grading nodes are updated when the user drag-n-drop grades from one clip to the other on the timeline, or from the stillstore to the timeline. Typically raw nodes - containing camera metadata needed to interpret the image in a technically correct way - are saved per clip, but should not be altered by applying different looks, so they are outside of the red box. To move a node in or out the red box press the v key while the node is highlighted, and then save the grade template (for details refer to section Altering Templates).

5.1.4. Viewing Template

Global nodes are right to the separator line. These are typically image processing nodes after the the color correction adding global burnins, applying color space transformations for viewing and rendering and resizing. The results on the right pane of the node page are also part of the viewing template. Nodes in the viewing template are global, these nodes are always loaded regardless of what the timeline type is.

5.1.5. Altering Templates

When loading any camera format for the first time in Transkoder the Processing Pipeline wizard windows automatically pops up. Creating the node pipeline with this window will generate proper node templates. Please note, that for the second, third etc. time the pipeline window is used to define the node structure, the global nodes are not overwritten not to destroy used defined burnin or LUT setups. However, if the user changes the "color correction mode" on the pipeline wizard (like from Log to Aces), the global nodes need to be overwritten. This is not recommended to do during a running project.

Altering the grade template manually

Sometimes it is needed to change the node structure manually. However, it is strongly recommended to finalize the nodes in the grade template at the beginning of the project and avoid changing it during a project. To add/remove a clip specific nodes from the left side or move nodes in or out the red box and save this change in the grade template (so any new footage of the corresponding camera format loads this this setup in the future) please follow these steps:

  • Load a "new" timeline (or a timeline without any creative grade on it) of the camera format you need to adjust.

  • Execute the changes to the grading nodes

  • Make sure all nodes are at their default setting (eg. there is no color correction)

  • Press SHIFT+t to save the grade and the viewing template

this will overwrite all the grading nodes on the timeline destroying color correction setups and setting them to their default values
Altering the viewing template manually

If the global nodes need to be adjusted (such as burnin text or position, resize parameters) or new global nodes are needed (such as a new result or a new LUT) use the SHIFT+y combination to save the Viewing template. This only saves the global nodes without distroying any of the per-shot node settings. If you simply adjust any of the global nodes, but do not save it explicitely with SHIFT+y, your changes will be lost upon next reload.

5.2. Editing Nodes

You can add new node, if you move your mouse to the Node Area of the Node Page (dark gray area in the middle of the screen) and press the a key. Tool List window appears, and you can select the desired node from the list. To select nodes, hold down the CTRL key and click the selectable nodes. Nodes can be deleted by holding down the CTRL key, and drawing a line through the node while holding down the right mouse button.

Node Operations window appears by pressing the h key on the Node Area. You can perform the following operations on the selected nodes:

  • Duplicate Selected Tools

  • Delete Tools

  • Delete Tools On All Shots

  • Copy to Selected Shots

  • Copy to All Shots

5.3. Node Selector Floating Window

It is not necessary to enter the node page to select a node, or keep pressing the g button to cycle through nodes. By pressing ALT+g, a small Node Selector floating window opens containing a list of nodes in the pipeline. A single click is all that is needed to directly select any node.

Node Selector Floating Window to Quickly Access Nodes
Node Selector Floating Window to Quickly Access Nodes

5.3.1. Editing Output Result

Adding New Result

You can add Result, if you move your mouse to the Result Area of the Node Page (light gray area on the right) and press the a key.

Selecting Result

Result can be selected by clicking the left mouse button. If you hold down the CTRL key and select the result, then the result is selected for comparison. Results can be compared by pressing SHIFT+F1 - SHIFT+F4.

Deleting Result

Result can be deleted by holding down the CTRL key, and drawing a line through the result name while holding down the right mouse button.

Enable Result to Video Output

To enable the Result to the video output, select the desired result by right-clicking while holding down the SHIFT key.

6. Color Grading

Transkoder has a flexible image processing pipeline, thus allowing different styles of color correction. When setting up a project, it is important to decide upon the desired grading color space, and CC (color corrector) tool(s).

6.1. Grading Color Space

The grading color space is decided upon at project creation time, so it is important to choose the appropriate grading preset. Transkoder auto-creates a corresponding color pipeline based on the color space of the media loaded after project creation. The image processing in Transkoder is calculated in 32 bit floating point precision per-channel and all pipelines are designed to avoid any unwanted clipping or quantizing.

Specifying the grading color space upon creating a new project
Specifying the grading color space upon creating a new project

Whatever setting is used to create a project, Transkoder allows the user to adjust or redefine the color pipeline for every media format independently. The options for color grading are:

  • Colorfront Engine: This is a custom Colorfront designed pipepine. Color grading is executed in a log color space (CF Log) that is ideal for this purpose. The tone mapping from this log color space to Rec709 video (or any other display color space) is executed though a Look Blender node, where the operator/DIT/DOP may blend different tone mapping curves.

The Colorfront Engine color pipeline auto-created for LogC media
The Colorfront Engine color pipeline auto-created for LogC media
  • Camera HDR: This pipeline is identical to the Colorfront Engine pipeline, but the default output is set to Rec.2020 PQ HDR.

  • Mastering HDR: This pipeline adds only a single HDRSDRRemap node to use for any brightness remapping.

  • ACES: This is the color pipeline recommended by the Academy ("Academy Color Encoding System"). Media is graded in a log color space (ACES Proxy) and then - using a synthethic film-like tone mapping curve - converted to video Rec709.

  • Arri Look: This pipeline is fully compatible with the color processing of the Alexa. If round-tripping of look files is a requirement this pipeline is recommended.

  • Arri Amira: This pipeline is the.

  • ARRI ALF-2: Arri Look File v2, or ALF-2 is supported both with ProRes and Arri RAW .ari files. This color pipeline contains a CDL color correction in the camera native Log-C color space, and in the QuickTime ProRes a custom Lookup Table to map to Rec.709 video color space and optionally a wide gamut color space conversion as well, and in Arri RAW a single Lookup Table.

    Creating a new project with ALF-2 color pipeline
    Creating a new project with ALF-2 color pipeline

    Embedded look information stored in the file header is automatically applied to the clips. When using an ALF-2 project, the node pipeline contains a CDL node in the camera native LogC color space, and an ALF-2 node to apply the LogC to Rec.709 / Wide gamut output LUT. If there is a wide gamut LUT present, it can be activated on a per-clip basis using the Active LUT selector on the ALF-2 node.

    ALF-2 color pipeline for ProRes source.
    ALF-2 color pipeline for ProRes source.
  • Lin: In this mode the color correction is done in "video" (Rec709/Video Gamma) color space. The auto-created pipeline converts all media to Rec709 and the grading node is at the end of the chain. It is recommended to use the Color Decision List or the RGBLin grading nodes.

  • Log: Color correction is applied to the Log images, even if the input media is not log (eg. GoPro). This quarantees a unified workflow, so color corrections copied from one shot to the other have the same effect. All media is converted to Rec709 at the end of the chain.

  • Native: In this mode, Transkoder does not apply any color space conversion by default. All media is treated in it’s native color space. LUT nodes may be used to apply any custom lookup table.

6.2. Color Grading Tools

The auto-created pipelines include a color correction tool, but it is possible to change them or use a combination of color correction nodes. For details refer to the Tools/Nodes on the Node Page chapter. The available color grading tools are:

  • ACES CDL: This is a Color Decision List node to be used in a ACES pipeline. The input image is supposed to be light linear and this tool maps it to ACES proxy to apply the slope/offset/power values there.

  • CDL: The is the standard Color Decision List compatible grading node. Individual and master slope/offset/power paramters and the saturation may be adjusted. Files with the *.CC file extension are also supported.

  • CFPrimary: Colorfront designed shadow/midtone/highlight specific advanced color corrector, where the cut-off points and transition softness of these ranges are adjustable. Ideal for log color correction.

  • CameraColor: Allows adjustment of camera "RAW" settings - even if the media is not shot as raw - such as: exposure, color temperature, tint. This tool is part of the Colorfront Engine pipeline and is supposed to operate on CF Log images.

  • CFSector: Colorfront designed grading tool to control individual sectors of: red, yellow, green, cyan, blue, and magenta.

  • Curve: Simple curve tool to re-map the master or individual channel intensities of the image.

  • LookBlend: Part of the Colorfront Engine pipeline, this tool lets the user mix different tone mapping operators to achieve the desired look. As an example, one may balance between the tone mapping effect of the ACES color transforms and a traditional film stock. These operators, or looks are high precision floating point mappings.

  • Primary: The legacy version of CFPrimary for shadow/midtone/highlight grading in log.

  • PrinterLights: The classic printer light adjustment tool.

  • RGBLin: Lift/Gain/Gamma operator, mostly used for "video style" color correction. This is fully compatible with the Color Decision List but offers a different set of controls.

Customizing the color grading toolset
Customizing the color grading toolset

6.3. Using the Color Grading Tools

Most often color correction is executed on some control panel, such as the Tangent Element panel set.

The mouse and keyboard may also be used for grading, in connection with the Heads Up Display for the tool: press the h key, or swipe left of the screen to open the HUD.

The g key cycles through the HUD tabs.

Use the number keys 1 to 9 to select the specific parameter or parameter set to change, and drag the mouse across the screen. Press the 0 (or the corresponding number again) to return to navigation mode. This allows fine master and balance adjustments while focusing on the image. To visualize the current color correction using the Color Circle tool, press NUMPAD 6.

6.3.1. Color Grading with the HUD

One of the common grading tools in Transkoder is the CDL (Color Decision List) node. Please refer to the section titled Grading Tools for details on a variety of other grading tools supported by Transkoder. Open the HUD by pressing the h key.

HUD Color Tab - Color Grading with the CDL Node Tool
HUD Color Tab - Color Grading with the CDL Node Tool

There are individual controls for each RGB color channel and a master control which moves all three color channels simultaneously.

The Power sliders work in reverse. Gain increases towards the left.

An overall saturation control is at the bottom.

Drag a slider or double click on the numeric value to the right of the slider to manually enter a value.

CONTROL-click a slider to reset it.

At the bottom are the following buttons:

Button Keyboard Shortcut

UNDO

PAGE DOWN

REDO

PAGE UP

BYPASS

b

RESET

r

Close the HUD by pressing the h key again.

Using the Color Circle Tool

To open the Color Circle tool, press the NUMPAD 6 key.

Color Circles Tool
Color Circle Tool
  • To adjust the tint, use the mouse to move the dots in the center of the color circles.

    • Move the dot towards the tint you wish to add, or away from the tint you wish to remove.

    • The further from center the dot is, the more of the color tint is added.

  • To adjust the gain, move the sliders on the right edge.

  • Click and drag any of the numeric fields to adjust individual values.

Color Grading with the Keyboard and Mouse

The easiest way to grade without using a dedicated grading panel is to use the HUD with the number keys on the main keyboard.

  • To select the master Slope slider, press the 1 key.

  • To select the three Slope RGB sliders, press the 2 key.

  • To select the master Power slider, press the 3 key.

  • To select the three Power RGB sliders, press the 4 key.

  • To select the master Offset slider, press the 5 key.

  • To select the three Offset RGB sliders, press the 6 key.

  • To select the Saturation slider, press the 7 key.

  • To adjust the selected sliders, click and drag over the entire area of the main display.

  • To adjust the gain, make sure that the master slider is selected, drag towards the left or right.

  • To adjust the tint, make sure that one of the RGB sliders is selected and drag in the same direction as the Color Circles.

  • To return to normal, press the 0 key or the previously selected number again.

Using the Sector Grading tool

The Sector Grading tool allows for brightness and hue control over very narrow color bands.

HUD Color2 Tab - Color Sector
HUD Color2 Tab - Color Sector

When the Sector Grading tool is active, the NUMPAD 6 Color Circle tool becomes the Color Sector Wheel.

Color Sector Wheel
Color Sector Wheel
  • To open the Sector grading tool, click on the HUD Color tab a second time..

  • To change the brightness of a color band, adjust the sliders on the right.

  • To change the hue and saturation, click and drag the individual color band pucks.

    • To change the hue, drag a puck towards the left or right.

    • To reduce the saturation, drag a puck towards the center.

The sector color corrections are not represented in the ASC CDL values that are passed into an AVID ALE.

6.3.2. Look Stores (Still Stores)

Color grading may be saved in the Look Stores (NUMPAD 2), that stores both the color parameters and the still image of what the currently graded frame is. There are direct shortcuts on the control panels as well for saving and recalling to/from the Look Store. The mouse may be also used to drag a color grade from the timeline to the Look Stores, or back. There are currently three different Look Stores, one may toggle between them by clicking on the colored rectangles on the left edge of the Look Store:

  • Green - Global Look Store: Whatever is saved in this look store is available from all timelines.

  • Blue - Daily Look Store: This option is to be used to store looks of a specific day in a dailies process.

  • Red - Import Look Store: Look files - such as CCCs, CCs, CDLs, CDL-EDLs, reference still images, Colorfront EMDs or LUTs - from the looks folder are imported into this stillstore.

The Bin window ALT+j may also be used as a look store. If the timeline is in grading mode, simply drag a clip from the bin to the timeline to apply color correction.

Please refer to the section titled Look Store Shortcuts for helpful keyboard Shorcuts when dealing with a large number of looks (stills).

6.3.3. Look Presets in the LookEditorWindow

Transkoder supports a look-based workflow where named looks may be saved and recalled by the function keys F1 to F12. To open the Look Preset window, press SHIFT+i.

Look Presets in the Look Editor Window
Look Presets in the Look Editor Window

The current grade can be stored in a Look slot by selecting the Look number button and clicking the Save button. Saved looks can be named by clicking in the label field, entering the desired name, and pressing the ENTER key. The name will be saved in the database. If you press the e key, you may also see the look name in the upper left corner of the screen. To rename a look, click on the look name and enter a new name. Press the ENTER key when finished.

Grades can be applied to the current clip by selecting the Look number and clicking the Load button or pressing the appropriate F1 to F12 function key. This will to apply Look1 - F1, Look2 - F2 and so on.

To use even more predefined looks, save them by pressing CTRL+1 to CTRL+12, and recall them by pressing SHIFT+1 to SHIFT+12.

Automatic Application of Looks Based on Metadata Name

It is possible to auto-apply looks saved from the Look Editor Window to clips based on metadata names. To set this up:

  • make sure the grade / LookReferenceMetadataName setting is set to the metadata name you wish to drive the automatic application (this could be any metadata name available for the shot, like Scene, Take, Slate, ClipName etc.)

  • open the Look Presets window and save the looks such that the look names match the corresponding metadata driving the automatic application

After this has been set up the operator can load any timeline and choose the Grade / Apply Looks to All Shots menu item to apply the looks based on the metadata field set up in the tab page.

6.3.4. Global Looks in the HUD Presets Panel

Storing Global Looks in the HUD Presets Panel
  1. Open the grading HUD

  2. Click the PRESET button at the bottom of the HUD to open the Presets panel

  3. Click the PLUS key or the PLUS SIGN to store the current look in to the presets.

    Hold the OPTION key and click on the preset name to edit the preset name. Hold the CONTROL key and click on a preset’s name to delete it. Simply click on a preset name to apply it to the current clip.

Since HUD presets are Global, they will appear in all projects.

6.3.5. Using Dual Playheads for Comparisons

Transkoder has dual playheads that allow for two different locations on the timeline to easily be compared.

  • To view the first playhead, press the LEFT SQUARE BRACKET ([) key.

    • The thumbnails will show a blue outline.

  • To view the second playhead, press the RIGHT SQUARE BRACKET (]) key.

    • The thumbnails will show a yellow outline.

  • To toggle between the two playheads, press the BACKSLASH (\) key.

  • To split the screen between the two playheads, press SHIFT+BACKSLASH (\) or SHIFT+F6.

  • To rotate the split line, hold the SHIFT key and drag the mouse towards the left or right.

  • To change the position of the split, drag the blue dot.

  • To navigate that side of the split, select either playhead.

Dual Playheads Split
Dual Playheads Split

Transkoder may display a single color channel.

  • To show the red channel only, press SHIFT+F9.

  • To show the green channel only, press SHIFT+F10.

  • To show the blue channel only, press SHIFT+F11.

  • To show the luminance only, press SHIFT+F12.

  • To show the normal color display again, press SHIFT+F1.

Save the current clip still as a 1920x1080 JPEG to…​ /Library/Application Support/TKD/stills/, by pressing CONTROL+SHIFT+s

6.3.6. Using the Analyzer

  • To open or close the built in floating scopes, collectively known as the Analyzer, press CONTROL+h.

  • To select between waveform, parade, vectorscope or histogram displays, with or without colors, use the Window  Analyzer Mode menu entry.

Analyzer and Vectorscope
Analyzer and Vectorscope
  • To resize the Analyzer, drag the lower right corner.

The Scopes display the full range internal RGB color space.

Analyzer in RGB mode
Analyzer in RGB mode

6.4. Animation of Keyframes

The animation or automation system of Transkoder is based on segments separated by transition areas. Parking on any frame within such segment and changing the node parameters will affect all frames within that range.

The beginning of the animation transition range is marked by moving the playhead to the desired position and pressing a. The end of the animation transition range is marked by moving the playhead to desired position and pressing a again. This will divide the shot into three parts: before the animation transition range, the animation transition range, and after the animation transition range. The animation itself is configured by specifying the desired color science settings for both before the animation transition range, and after the end of the animation transition range. The animation transition range will interpolate between the two settings. It is possible to create multiple animation transition ranges for each shot, by repeating the procedure. Each animation transition range will be animated as specified.

Animation of Keyframes Timeline View
Animation of Keyframes Timeline View
Reverting to the original grade.
  1. Press the a key to set a keyrame at that point before changing the grade.

  2. Jump the playhead to the previous keyframe by pressing the COMMA key or next keyframe by pressing the PERIOD key.

  3. Remove all keyframes within the current clip, and keep the current grade at the playhead position by pressing SHIFT+a.

Animation in Transkoder is done on a per node or node group level and not in a channel specific way. Key frames are chosen from the currently active node. The Animation Keyframes field in the Advanced Settings section of the Grade sub-page of the Preferences page, can be used to specify how the keyframes are created. The available options are Individual, Group, and All. For the Individual option, only the currently selected node settings will be animated using the animation transition range. For the Group option, the settings of nodes of the similar type as the currently selected node will be animated, such as color correction. For the All option, the settings, of all the nodes will be animated.

The settings can not be adjusted inside the animation transition range.

6.5. Grading Navigation and Shortcuts

There are several keyboard shortcuts which help navigation and grading.

6.5.1. Grading Timelines

Grading Timelines Shortcuts
Shorcut Function Note

NUMPAD 1

Thumbnail timeline

Each shot is represented by a small thumbnail image, regardless of the shot length.

NUMPAD 2

Look Store timeline

Please refer to the Look Stores section.

NUMPAD 3

Big thumbnail timeline

You may scroll the timeline with a right-click drag, or "shuttle" by holding the SHIFT key and right-click dragging to left or right to move the timeline backward or forward.

6.5.2. Applying / Reapply Grades

The user interface of Transkoder has been designed to allow the operator to import, apply or copy grades very easily. Color grades may be dragged from one clip to another, by using the mouse. They may be dragged from the Lookstore to the Timeline or from between two timeline clips. Also multiple clips may be selected, by holding the CTRL key and clicking on individual thumbnails or swiping over them. This way, the selected clips will be highlighted, and when a color grade is dragged to one of the clips, it will be applied to all of the selected clips. Some of these operations are also mapped to the MF Element panel. Clips on the timeline with grades will display a rainbow stripe at the top of the thumbnail.

Grade Management - Thumbnail Drag
Grade Management - Thumbnail Drag
  • To copy a grade from one clip to another, drag and drop one thumbnail on top of another.

  • To select or deselect a thumbnail, CONTROL-click on it.

  • To select or deselect the current clip, press the n key.

  • To select or deselect all the thumbnails in the current timeline, press CONTROL+a.

  • To select or deselect the current clip and all clips to the left, press SHIFT+LEFT SQUARE BRACKET.

  • To select or deselect the current clip and all clips to the right, press SHIFT+RIGHT SQUARE BRACKET.

  • To clear all selections, press CONTROL+a two times.

Selecting multiple thumbnails
Selecting multiple thumbnails

Any thumbnail or look dragged onto a group of selected clips will update them all.

Transkoder will display yellow dividing lines between groups of thumbnails that share the same Scene number. This makes it easy to grade the first clip for a given Scene, select the remaining members and copy the grade.

The operator may also build a series of grade versions, or a "stack" of grades which is very easy to recall at any time. To update the thumbnail and add the current grade as a new version, press the END key, s key, or FUNCTION+RIGHT ARROW. To open the grade version stack, click the current thumbnail. When exiting the timeline the latest current version of the grade is always added to this stack.

Grade Version Stack
Grade Version Stack

Further options when working with the grade stack:

  • To apply the grade to the main image, click on any thumbnail grade in the stack.

  • To close the thumbnail grade stack, click the thumbnail again.

  • To select the previous grade in the stack, press the DELETE key.

  • To select the most recent grade, press the HOME key or the x key.

A by-product of this feature is the playhead position for this clip is remembered only so long as the playhead is not moved again within this clip. This allows you switch to the Big Timeline and click on the thumbnail to jump to that frame. In the Big Timeline you may play anywhere within the clip and still click to return to the poster frame. This feature may be used to mark slates and sync audio as previously mentioned.

6.5.3. Grading Quick Memory Slots

There are also 3 quick memory slots. Save grades by pressing NUMPAD 0+NUMPAD 7, NUMPAD 0+NUMPAD 8, or NUMPAD 0+NUMPAD 9 into slots 1, 2, or 3 respectively. Recall grades by simply pressing NUMPAD 7, NUMPAD 8, or NUMPAD 9.

6.5.4. Look Store Shortcuts

There are a number of useful shortcuts to work with the look stores (still stores). These are essential when working with hundreds of frames of looks:

Look Stores Shortcuts
Shortcut Function

NUMPAD 2

Open/Close the Look Store Timeline

NUMPAD 4

Full screen look store

Hold NUMPAD 5

Recall the look store look for visual comparison

CTRL+BACKSPACE

Delete look (mouse pointer should be over the look store)

ALT+UP ARROW

Jump to next look

ALT+DOWN ARROW

Jump to previous look

ALT+LEFT ARROW

Move look store left by one frame

ALT+RIGHT ARROW

Move look store right by one frame

ALT and Middle-Click drag

Direct (fast) move of the look store

6.6. Importing Looks, LUTs, Grades, and EMDs

External looks, Look Up Tables, grades, and EMDs, created with either third party or Colorfront products, may be easily imported into Transkoder by browsing to the looks folder using the Grade  Import Looks Folder menu option for looks and LUTs, and browsing to the emd folder using the File  Import Looks  From EMD Folder menu option for EMDs.

The list of supported look files are:

  • CDL’s (individual ASC CDL grades in XML format)

  • CCC’s and CC’s (Color Correction Collection - multiple ASC CDL grades in one file)

  • CDL EDL (EDL with ASC CDL grades included and will automatically apply to clips with correct timecode)

  • ARRI Looks (in XML format)

  • DPX, JPG and TIFF stills.

In addition to the above, varying LUT formats and Colorfront EMD files are also supported by Transkoder for grading.

6.6.1. Loading 3rd Party Look-Up Tables

All of the most popular LUT formats are supported for import, with flexible LUT sizes. The only limitation of LUT data size is that they should fit into gpu memory beside all the other processing data, so multiple gigabytes of different LUTs will not work, but 100 MB will.

Currently, the following Look-Up Table formats are supported by Transkoder:

  • Luther ASCII 17x17x17 (.txt)

  • Autodesk Lustre 17x17x17 LUT format (.3dl) 8 Colorfront’s own 3dmesh LUT format (.3dmesh)

  • Cube 3D LUT format (.cube) 8 1dlut (limited to 1024 levels) and 1dcurve formats

LUT files must be placed in lut directory under the install home. In Transkoder, LUT node must be added to your project pipeline, press h for displaying the HUD, then select the desired LUT. By adding LUT node left to the grey line, it may vary on a shot-by-shot basis.

Please do not copy CDL, CCC, CC, CDL-EDL, reference stills or Arri Looks files into the luts folder, it is only for Lookup Tables. To use these files please refer to the next sections.

6.6.2. Importing ASC Color Decision List

The American Society of Cinematographers Color Decision List (ASC CDL) is a format for the exchange of basic primary color grading information between equipment and software from different manufacturers. Transkoder may import Color Decision Lists coming from other grading systems. The Slope, Offset and Power parameters, as well as Saturation are all supported, as long as there is a CDL or an RGBLin node in the pipeline.

Loading these looks, the CDL/CCC/CC files, or CDL-EDL (EDL files with embedded CDL information) in Transkoder is done by browsing to the looks folder using the Grade  Import Looks Folder menu option.

If a reference still of matching name is also there, the system will show the looks with the correspinding still. If there is no still, Transkoder will use whatever reference image it finds.

An CDL-EDL will auto apply the grades if the clip timecode matches the EDL and value of the Apply Looks field is set to enabled in the Grade sub-page of the Preferences (TAB) page.

CMX EDL with inline CDL parameters sample:
TITLE:   0214  VFX TEST 01 EDL
FCM: NON-DROP FRAME
001	LR229	V	C	09:00:00:00 09:16:53:05 01:00:00:00 01:16:53:05
*ASC_SOP ( 1.19 1.20 1.38 ) (2.19 2.22 2.38 ) (3.19 3.22 3.38 )
*ASC_SAT 4.41
002	LR230	V	C	10:00:00:00 10:21:30:06 01:16:53:05 01:38:23:11
*ASC_SOP ( 5.16 5.22 5.38 ) (6.19 6.22 6.38 ) (7.16 7.22 7.38 )
*ASC_SAT 8.41
The ASC-CCC format contains multiple CDL XML chunks that Transkoder imports.
<ColorDecisionList xmlns='urn:ASC:CDL:v1.01'>
    <ColorDecision>
        <ColorCorrection id="test_cc.101">
            <SOPNode>
                <Slope>1.04 1.21 1.2</Slope>
                <Offset>0.017 -0.0456 0.045</Offset>
                <Power>0.987 1.03 0.974</Power>
            </SOPNode>
            <SatNode>
                <Saturation>1</Saturation>
            </SatNode>
        </ColorCorrection>
        <ColorCorrection id="test_cc.102">
            <SOPNode>
                <Slope>0.987 1.03 0.974</Slope>
                <Offset>1.04 1.21 1.2</Offset>
                <Power>0.017 -0.0456 0.045</Power>
            </SOPNode>
            <SatNode>
                <Saturation>1</Saturation>
            </SatNode>
        </ColorCorrection>
    </ColorDecision>
</ColorDecisionList>

6.6.3. Importing Arri Look Files

From ARRI ALEXA SUP 4.0, Look XML File support is available on ARRI ALEXA, which means that look XML files may be uploaded to the camera. These looks may be applied in the camera either to the monitoring output or the recorded media. If looks are not baked into the recorded files but only used for monitoring, Transkoder may apply the very same color transforms to the recorded media based on metadata travelling in the files or based on look XML files.

Loading these xml look files together with an optional matching still (DPX, TIFF, JPG, or PNG with matching file name), in Transkoder is done by browsing to the looks folder using the Grade  Import Looks Folder menu option. If the project is set up in the ARRI Look Colorspace mode, and if the media contains Arri look metadata, it will be automatically applied to the HUD CDL values and the Printer Lights and Saturaton settings.

ARRI Looks - Metadata Label
ARRI Looks - Metadata Label

To auto-apply Arri Look to ProRes or raw media from the header, no extra look files are necessary. The complete look is stored in the file headers as well.

6.6.4. Importing Reference Stills

Loading these 10 bit uncompressed DPX image files, TIFF reference image files, or JPG/PNG look files in Transkoder is done by browsing to the looks folder using the Grade  Import Looks Folder menu option.

When Transkoder loads any imported still image or look file, it applies the color pipeline that is defined in the project. Because different camera formats may have different pipelines, Transkoder uses the one created first. This means that any color or geometric correction used for camera original processing saved as template, will apply to the stills as well. If this pipeline is not suitable for the stills, it is possible to change this behaviour by following the below steps:

Creating a new color pipeline for stills.
  1. Create a new temporary card (folder) in the <ProjectBasePath>/<TransferDate>/<Format>/my_stills/ format, such as projects/my_project/20171002/my_still_format/my_stills/ in any date folder in the project.

  2. Copy some ProRes media, or any media of your choice that has the same color and framing as the reference stills to this card.

  3. Launch Transkoder and load this card so that Transkoder may detect a it as a new camera format (my_still_format) and create a new pipeline.

  4. Set up the parameters of the pipeline, making sure to also save the template with SHIFT+t.

  5. Exit to the load page.

  6. Set the value of the Pipeline for Imported Looks field under the Advanced Settings section of the BASE sub-page of the Preferences page (TAB) to my_still_format.

After this all stills should load with the pipeline you have set up.

6.7. Exporting Looks and Grades

  • Exporting Look-Up Tables: Look-Up Tables are easily exportable by adding a LUT renderer in the encode (p) page. Just like any other encoder, the name of the generated LUT files may be customized from metadata.

  • Exporting CDLs: Transkoder may export individual CDLs for every clip by adding the corresponding metadata deliverable.

  • Exporting CDL-EDLs: The ASC-CDL parameters are passed to AVID MediaComposer and are available there as metadata, and may be later exported from MediaComposer in a CMX-EDL for finishing, allowing for a full CDL pipline using Transkoder through Dailies and Editorial to final grading. To embed the CDL information in the ALE file enable "AleCDL" parameter on the Settings/Encode tab. ALE files are auto-generated when rendering Avid DNxHD deliverables, and may also be rendered separately by adding the corresponding metadata encoder.

  • Exporting Arri Look files: Transkoder may export individual look xmls for every clip by adding the corresponding metadata deliverable. The Arri Alexa round tripping works correctly if Arri Look pipeline is used.

  • Exporting Reference Stills: If you save your look to the Blue - Daily Look Store, then it is automatically exported as a JPEG image with both grade and viewing LUT applied as well as a DPX image with color grading applied only under <ProjectBasePath>\thumbcache folder.

6.8. EMD (Express Metadata)

Colorfront’s EMD file is a proprietary metadata file that describes everything that Transkoder knows about a clip and all the work that has been done to it.

6.8.1. EMD Workflows

EMD (Express MetaData) files are clip specific sidecar files using XML encoding to track media metadata as well as grading information. All metadata associated with the clip (eg. scene,take,card name, timecode), original file metadata (as visible in the SHIFT+u window) as well as color grading and node setup data. The EMD file does not contain global nodes, such as burnin node setups and grade version history.

There are a number of ways EMDs may be used, such as:

  • Exporting looks from On-Set Live to Transkoder.

  • Exchanging Color and metadata in a Colorfront product environment.

  • Using EMDs through the DMS XML format.

The EMD files are the same, the workflow is slightly different.

Exporting looks from On-Set Live to Transkoder

As On-Set Live operates on a live video feed which may or may not have rich metadata, it is not possible to generate EMDs for recorded clips with matching file names. Instead EMDs exported from Live contain a timecode, which may be used to auto-apply these to the recorded clips in Transkoder or other Colorfront products. Colorfront products which support importing EMD based looks from On-Set Live, are Express Dailies, On-Set Dailies, and Transkoder.

For a dailies workflow in Transkoder, the EMD files exported from On-set Live need to be placed in the looks folder under the current transfer date folder. These are automatically parsed upon loading any card from that specific date. If Auto Apply Looks option is enabled the looks from the EMDs are auto-applied to the clips based on timecode matching. The EMD timecode needs to be earlier than the (source) end timecode of the clip. If Auto Apply Looks is not enabled or timecode based matching is not successful these looks are also listed in the Red - Import Look store (NUMPAD 2) from where the user may manually apply them by dragging to the clips.

By selecting the Grade  Import Looks Folder menu option, any folder may be used to populate the Red - Import Look store.

EMDs may be manually applied to the shots by dragging and dropping them.

Color and Metadata Exchange in a Colorfront Product Environment

A robust workflow exists for taking metadata (audio sync, scene, take, QC comments) and grading info from one Colorfront product based system to an other. By selecting the File:  Export EMD menu option, an emd folder is created, (..\projects\<project name>\<TransferDate>\emd) and the files for all the clips are exported there. The file name of the EMD will match the file name of the source video clips (corresponding to the ClipName metadata in the database). By copying these emd files to the emd folder of another station and loading a New card into the project, the data from the EMD will auto apply. The matching is based on file name, so make sure not to rename the EMDs.

Using EMDs through the DMS XML format

DMS files are simple XML files defining a timeline with multiple video events and their corresponding color grade by means of EMD files. Below is a sample DMS XML illustrating how clips may be loaded into Transkoder with grades defined in an EMD file:

DMS XML sample:
<project name="mytest">
  <timebase tb="24"/>
  <timecode tc="NDF"/>
  <width w="1920"/>
  <height h="1080"/>
  <pipeline type="ACES"/>
  <clip>
    <name LabRoll="testroll" VTRoll="vt test"/>
    <emd file="c:/emd/sony.emd"/>
    <clipname file="C:/projects/multicam/20120303/sonyF55_raw/A001C004_120104DZ.mxf"/>
    <timecode in="00:00:00:00" out="00:00:00:00"/>
  </clip>
  <clip>
    <emd file="c:/emd/red.emd"/>
    <clipname file="C:/projects/multicam//20120303/EPIC_SAMPLE/A001_L010_0909HR.RDC/A001_L010_0909HR_001.R3D"/>
  </clip>
  <clip>
    <emd file="c:/emd/prores.emd"/>
    <clipname file="C:/projects/mixed/20131313/mixed/B067/a382c001_110727_r24j_002.mov"/>
    <timecode in="11:19:31:17" out="11:19:31:17" dur="00:00:20:00"/>
  </clip>
  <clip>
    <clipname file="C:/projects/multicam/20120305/arriraw/ArriRaw/s001/1-1_A001.%07d.ari" start="5" end="24"/>
    <timecode dur="00:00:20:00"/>
  </clip>
</project>

6.8.2. Exporting EMD

Exporting EMD files
  1. Select the File  Export Looks  From Timeline as EMD menu option to export individual EMD files for every clip in the current timeline.

    EMD files are exported to the emd sub-folder inside of the TransferDate folder.

Archiving EMD files
  1. Archive or rename the emd sub-folder inside of the TransferDate folder to backup your work at any time.

    This is easier than backing up the database, and much easier to restore.

EMD files contain the grade, clip metadata, zoom settings, and audio sync. The EMD files do not contain global settings like burn-ins and preferences.

6.8.3. Importing EMD

Importing EMD files
  1. Copy the EMD files into the emd sub-folder within the TransferDate folder.

  2. Open the All Takes timeline.

  3. Select the File  Import Looks  From EMD Folder menu option.

EMD files are an excellent way to move work between two workstations. Two workstations could share the same storage. One workstation could sync and grade, and then export the EMD files. The other workstation could load the same media and import the EMD files, and then add burn-ins and render.

EMD files and still images are loaded into the Red - Import Look store when importing looks from On-Set Live, Colorfront’s live grading application. Make sure to place EMD files and .sdi stills into the emd sub-folder of the TransferDate folder.

7. Tools/Nodes on the Node Page

Transkoder has many tools which can be connected in a flexible way on the Node pipeline. For an indepth description of the purpose and functionality of specific nodes, please refer to the List of Tools section of this chapter.

7.1. An Introduction to Tools/Nodes

The Node Page is accessed by pressing the ENTER key. The left-hand side will show the Source image, the right-hand side will show one or more Result renders, and the middle will show a flexibly configurable node pipeline which graphically represents the image processing workflow. Each node is an image processing element, which can be configured to use predeterimend defaults or per-shot settings.

7.1.1. Tool Controls on the HUD

The Heads-Up Display, aka HUD, is used to adjust settings for the various tools/nodes used by Transkoder. Double-clicking on a node or selecting it by single click and pressing the h key, will bring up the corresponding HUD. Pressing the h key additional times will cycle make the HUD cycle through the controls for all the nodes on the pipeline. It is possible to view the HUD on the main screen as well as the node page.

Transkoder BinWindow - HUD on the Node Page
Transkoder BinWindow - HUD on the Node Page

By dragging the sliders the user can adjust the controls individually. By clicking on any slider while holding the CTRL key resets it to the default values. To set the control to a specific number please double-click the slider, and a text input field comes up. Here the operator can enter any specific number.

For more precise control of the sliders and to be able to "balance" RGB group of sliders one can attach the mouse pointer to them and adjust the numbers by dragging the mouse over the screen. For this press 1, 2, 3 etc. buttons, the connected sliders will be highlighted. If two or three sliders are highlighted it is possible to balance the components without changing the overall gain.

7.1.2. Tool Presets

On the bottom of the HUD window the tool specfic presets can be accessed by clicking on the Preset title. These are global to all projects of the current database server. Tool presets are named set of parameters the the user can easily save and recall. Typical uses-cases include frequently used burnin presets, format specific framing settings or even color grades.

To save the current parameters as a preset press the little + button. To rename the preset click on it’s title while holding the Alt button.

To recall presets simply hold the left mouse button and hover over the presets to apply them real time, interactively. This way it is very easy to quickly find the right one.

7.1.3. Undo / Redo / Reset / Bypass

Undo and redo operations accessed from the HUD are not specific to the node, these are stepping in the grade history in general. This meand pressing Undo will eliminate the latest change done in some other node as well.

The reset button however is specific to the current node. Click the Reset button reverts all parameters to their default state, with a few exceptions:

  • Camera raw nodes (such as Red, SonyRaw, ArriRaw) will default to the camera metadata

  • The HDRSDR Remap node will reset the sliders, but not change the colorspace settings

  • The DolbyVision node will reset the creative trimming sliders but not reset or remove the L1 level statistics

7.1.4. Automation of Grading / Zoom

It is possible to automate the grading or zoom settings. Please refer to the section titled Animation of Keyframes for more informatin.

7.2. List of Tools

7.2.1. Colorspace Tools

Transkoder has been developed so that all the tools use the full RGB range internally.

Colorspace Tools
Tool Name Tool Description

ARRILook

Part of the ARRILook pipeline and maps Log C color to Rec. 709.

ARRIRAW

Required for ARRIRAW debayer pipelines and it controls the debayer metadata.

Amira

Required for the pre-ALF2 color pipeline and maps Log C color to Rec 709. using the 3dmesh LUT metdata contained in the Amira source assets.

ColorConv

A "Swiss Army knife" color conversion tool used to map from any colorspace representation to any other colorspace representation.

DisplayLookHDR

The final node of the Colorfront Engine pipeline which maps from the Colorfront internal colorspace to the viewing colorspace. This tool supports both PQ (Perceptual Quantizier) and HLG (Hybrid Log-Gamma) encoding. HLG mode implements the variable HLG transfer function as per the recent standard with advances handling of out-of-gamut colors.

F5RAW

Required for Sony F5RAW debayer pipelines. It is the first node in the pipeline and controls the debayer metadata.

F55RAW

Required for Sony F55RAW debayer pipelines. It is the first node in the pipeline and controls the debayer metadata.

F65RAW

Required for Sony F65RAW debayer pipelines. It is the first node in the pipeline and controls the debayer metadata.

HDR_IDT

This is an Input Device Transform, at the begining of the ACES workflow pipeline, which maps source HDR assets into the ACES colorspace and encoding specifications.

HDRSDRRemap

This a proprietary Colorfront tool which maps from HDR to SDR and the other way around. It uses custom algorithms based on human perception to flexibly do the mapping without harming the color, tone or saturation of the input while preserving the original creative intent. This tool supports both PQ (Perceptual Quantizier) and HLG (Hybrid Log-Gamma) encoding. HLG mode implements the variable HLG transfer function as per the recent standard with advances handling of out-of-gamut colors.

HDR10plus

HDR10plus is an open standard for dynamic HDR metadata. In contrast to static HDR10, this standard provides a per-scene dynamic tone mapping curve so TV sets are able to apply a proper remapping of bright pixels that would clip without adjustment. Transkoder on the Windows platform can generate this metadata and also apply the remap itself to the image.

LUT

This is needed for applying LUTs. They must first be made available to Transkoder according the the procedure in the section titled Loading 3rd Party Look-Up Tables in the Grading Chapter.

Matrix

This is a 3x3 matrix multiplication of the RGB values method used to specify a custom color mapping.

LUTACES

This is used to apply ACES compliant LUTs. They must first be made available to Transkoder according the the procedure in the section titled Loading 3rd Party Look-Up Tables in the Grading Chapter.

ODT

This is an Output Device Transform, at the end of the ACES workflow pipeline, which maps from the Reference Rendering Transform display-referred result to the viewing colorspace used on a given output device.

ODTInv

If the viewing colorspace of a given external device was mapped to using ODT, it can be inverted back to the Reference Rendering Transform display-referred colorspace, used in the ACES workflow pipeline, by using this tool.

RED

Required for RED debayer pipelines and it controls the debayer metadata.

RRT

This the part of the ACES workflow pipeline used to map from the scene-referred ACES colorspace to a display-referred colorspace.

RRTInv

This tool is used to invert the display-referred colorspace back into the scene-referred ACES colorspace.

VideoRange

This is a flexible range conversion tool allowing the conversion between legal (a.k.a video) and full or to any custom range. If loading legal range source assets, which are not detectable by Transkoder, then the VideoRange tool should be used as the first node after the source to convert to the full range used by all the tools internally. If, however, a legal range resulting render is desired, then the VideoRange too should be used as the last node before the result render to conver from the full range to the legal range.

7.2.2. Grading Tools

Grading Tools
Tool Name Tool Description

CDL

This is the American Society of Cinematographers Color Decision List which is used to exchange color grading information.

CFPrimary

This is a Colorfront proprietary shadow highlight LOG color correction tool.

CameraColor

This simulates physical camera based exposure and temperature on any given image asset.

HDR

This uses a simple highlight boost to convert from SDR to HDR.

CFSector

The legacy Colorfront Sector tool, which is part of the Colorfront Engine, allows for the selective modification of color sectors, including saturation, color, hue or brightness.

CFSector2

The next generation Colorfront Sector tool, which is part of the Colorfront Engine, allows for the selective modification of color sectors, including saturation, color, hue or brightness.

Skintone

This is a skintone enhancement tool, which is a part of the Colorfront Engine, allows for the simple correction of problematic skintones without the use of color keys or shapes. It works by collapsing the tones which are near skintone toward the actual skintones, with the ability to specify either warmer or colder tones.

Curve

This is a flexible curve tool which uses four point graph to remap brightness.

LookBlend

This is a creative mixer and creater tool, and is one of the main components of the Colorfront Engine. It is similar to the RSD tool in the ACES workflow.

PrinterLight

This is a traditional PrinterLight offset tool.

RGBlin

This is a Lift, Gamma, Gain type of color correction tool.

DolbyVision

This is a tool for Dolby Vision metadata adjustment and creation tool including creative adjustments and statistics.

7.2.3. Enhance Tools

Enhance Tools
Tool Name Tool Description

AddGrain

This tool adds film grain.

BlurMix

This is a blur tool which also allows all sourts of visual effects.

Detail

This is a detail enchancement tool.

Gradient

This color gradient overlay creative tools.

LensDistort

This is a lens distorion , and a geometric effects tool.

SoftFilter

This tool allows for the control of the amount, blur, range, and saturation of a soft filter.

Sharpen

This tool adds a sharpen filter.

Vignette

This tool is used darken the sides and corners of the image source.

7.2.4. Mask Tools

Mask Tools
Tool Name Tool Description

GradientMask

This tool allows for the creation of a gradient type mask.

HueKey

This tool is used to adjust hue based color key for color seperation.

MaskOps

This tool allows for the application of logical operation on other masks such as the GradientMask, HueyKey. etc.

Shape

This tool allows for the drawing of basic shapes to be used for masks.

VignetteMask

This tool allows for the creating of a vignette shaped mask.

7.2.5. Transform Tools

Transform Tools
Tool Name Tool Description

Crop

This is a basic image cropping tool.

DVE2D

This is a basic image transform tool allowing for the rotation with or without autozoom, flip x, flip y, pan x, pan y, rotation and zoom. For rotation, please use the Reframe tool since it has better performance.

Reframe

This is the preffered tool for image geometry correction including offest, zoom, letterbox, pan, tilt, etc.

Resize

UltraScaler

This is a special Colorfront proprietary 2X scaler tool with advanced detail and edge preservation, which can create 4K from HD, or 4K scope from scope, etc. It is the best quality upscale tool.

Zoom

This is a legacy simple zoom tool with pan x, and pan y support.

7.2.6. Other Tools

Other Tools
Tool Name Tool Description

Analyze

This is a tool for using the Analyzer tool on any of the Node page pipeline nodes as opposed to the result render.

Calibration

FrameBlend

This is a Colorfront proprietary tool, which is used to flexibly blend consecutive frames,, on ARRIRAW, Panasonic VRAW.

Burnin

This is a text burnin tool.

Subtitle

This is a required tool for subtitle rasterization from the subtitle track.

SubtitleHDR

This is a required tool for subtitle rasterization from the subtitle track for HDR content.

PSNR

This is a required tool for manually calculating PSNR statistics.

Bitrate

AlphaAdjust

This tool allows the adjustment of the Alpha channel.

Split

The SplitView tool combines the two input images in different split modes, making it the ideal tool to compare different image processing pipes on the same input image.

7.3. Colorspace Tools' HUD Controls

7.3.1. ARRILook (Legacy workflow)

This is a node in the ARRI ALEXA camera ARRILook (legacy) workflow pipeline. It is used for mapping from the source media Log C image format to the Rec. 709 image format. The ARRILook node is automatically created as the second of the three grading nodes of the ARRILook (legacy) workflow pipeline, with the first being the PrinterLight node and the third being the CDL node.

Transkoder ARRILook Pipeline creation
Transkoder ARRILook Pipeline creation

The Knee and Roll slider controls are used to refine the highlight and shadow handling.

The LutFromMedia field is used to determine if any potentially present LUT metadata from the source footage is to be used in the mapping.

The Matrix field value is On by default which means that the Log C color primaries are mapped to Rec. 709 color primaries.

In some rare cases it may be desirable to preserve the native Log C camera color primaries, and this may be done by setting the Matrix field value to Off. For expert use only!

The Saturation slider control is used to control the intensity of colors and the value is automatically adjusted if LUT metadata is present in the source image and enabled via the LutFromMedia field.

Transkoder ARRILook Node Controls HUD
Transkoder ARRILook Node Controls HUD

7.3.2. ARRIRAW

The ARRIRAW node is used to configure the color transformation process of the the ARRIRAW image format debayering into a working RGB image format with the help of source image metadata and the application of color science based tools. The controls in the node itself are automatically set to the values contained in the source image metadata and they may be overridden using these controls.

The ASAPreset field is used to retroactively adjust the camera sensor sensitivity, with either predefined values or a Custom value which can be configured using the ASA slider control directly below it.

The whitebalance may be adjusted with the ColorTemp field using either predefined values or a Custom value which can be configured using the CustomTemp slider control directly below it.

The Tint slider control is used to increase or decrease the lightness of the colors.

The Sharpen slider control is used to increase or decrease the percieved sharpness of the image through the use of edge sharpening.

The Apply field is used to apply the adjusted settings to selected, or to all shots.

Transkoder ARRIRAW Node Controls HUD
Transkoder ARRIRAW Node Controls HUD

7.3.3. Amira

The is a node in the pre-ALF2 Amira camera Amira (legacy) workflow pipeline. It is used for mapping from the source media Log C image format to the Rec. 709 image format using a 3dmesh LUT which is contained as metadata in the source image. The Amira node is automatically created after the CDL grading node of the Amira (legacy) workflow pipeline.

The Target field value is automatically set to the Default Rec709 value for mapping from the Log C colorspace of the source image.

Transkoder Amira Node Controls HUD
Transkoder Amira Node Controls HUD

7.3.4. ColorConv

This node is a "Swiss Army knife" color conversion tool used to map from any colorspace representation to any other colorspace representation.

Transkoder ColorConv Node Controls HUD
Transkoder ColorConv Node Controls HUD

7.3.5. DisplayLookHDR

This is the final node of the Colorfront Engine pipeline which maps from the Colorfront internal colorspace to the viewing colorspace. This tool supports both PQ (Perceptual Quantizier) and HLG (Hybrid Log-Gamma) encoding. HLG mode implements the variable HLG transfer function as per the recent standard with advances handling of out-of-gamut colors.

Transkoder DisplayLookHDR Node Controls HUD
Transkoder DisplayLookHDR Node Controls HUD

7.3.6. F5RAW

This node is required for Sony F5RAW debayer pipelines. It is the first node in the pipeline and controls the debayer metadata. The ExpIndex, Matrix, ColorDistCorr, and GammaCurve controls are used to customize the debayering process.

Transkoder F5RAW Node Controls HUD
Transkoder F5RAW Node Controls HUD

7.3.7. F55RAW

This node is required for Sony F55RAW debayer pipelines. It is the first node in the pipeline and controls the debayer metadata. The ExpIndex, Matrix, ColorDistCorr, and GammaCurve controls are used to customize the debayering process.

Transkoder F55RAW Node Controls HUD
Transkoder F55RAW Node Controls HUD

7.3.8. F65RAW

This node is required for Sony F65RAW debayer pipelines. It is the first node in the pipeline and controls the debayer metadata. The ExpIndex, Matrix, ColorDistCorr, and GammaCurve controls are used to customize the debayering process.

Transkoder F65RAW Node Controls HUD
Transkoder F65RAW Node Controls HUD

7.3.9. HDR_IDT

This node is a tool for an Input Device Transform, at the begining of the ACES workflow pipeline, which maps source HDR assets into the ACES colorspace and encoding specifications.

Transkoder HDR_IDT Node Controls HUD
Transkoder HDR_IDT Node Controls HUD

7.3.10. HDRSDRRemap

This node is based on the advanced color volume transformation engine used to map between HDR and SDR colorspaces. It can also be used for converting between HDR and HDR such as from 1,000 nits to 100 nits Rec.709 or between different flavours of HDR including 4,000 or 1,000 nits PQ or Hybrid Log-Gamma (HLG). Simulating an SDR image on an HDR monitor is also possible using the HDRMode field options. Please refer to the High Dynamic Range (HDR) section for more informatin on HDR in general, and specifically SDR ←→ HDR and HDR ←→ HDR conversions.

Transkoder HDRSDRRemap Node Controls HUD
Transkoder HDRSDRRemap Node Controls HUD

7.3.11. HDR10plus

HDR10plus is an open standard for dynamic HDR metadata. In contrast to static HDR10, this standard provides a per-scene dynamic tone mapping curve so TV sets are able to apply a proper remapping of bright pixels that would clip without adjustment. Transkoder on the Windows platform can generate this metadata and also apply the remap itself to the image. This node is used to simulate the HDR10+ processing, when initialized the output is the remapped PQ image. To initialize the HDR10+ node please load the dynamic metadata from a JSON file using the corresponding option from the Timeline menu.

The "Percentile" Order field is used to determine the list of percentage values which are used to calculate percentiles for HDR10+. For more details please refer to the HDR10+ Alliance.

Transkoder HDR10plus Node Controls HUD
Transkoder HDR10plus Node Controls HUD

7.3.12. LUT

This is a general LUT node where the operator can select a Lookup Table from the list of pre-installed files or from any custom one. Such LUTs can be copied into the LUT folder within the install home, and they will appear here. Supported formats at varying sizes include:

  • 3DMESH

  • LUT

  • 3DL

  • CUBE

  • ACES CLF

Transkoder LUT Node Controls HUD
Transkoder LUT Node Controls HUD

7.3.13. Matrix

This is a technical tool to apply a 3x3 linear matrix transformation to the RGB color vectors. The matrix entries are driven by the sliders with corresponding names. By default this is the identity matrix.

Transkoder Matrix Node Controls HUD
Transkoder Matrix Node Controls HUD

7.3.14. LUTACES

This node works will Aces CLF LUT files, these need to be copied into the aceslut folder under the install home.

Transkoder LUTACES Node Controls HUD
Transkoder LUTACES Node Controls HUD

7.3.15. ODT

Last node in the ACES pipeline, the Output Device Transform. It’s input must be the RRT, it’s output color space corresponds to some physically realized output device with limited gamut and dynamic range.

Transkoder ODT Node Controls HUD
Transkoder ODT Node Controls HUD

7.3.16. ODTInv

This is the inverse of the ODT above. Used only for advanced color pipeline design.

Transkoder ODTInv Node Controls HUD
Transkoder ODTInv Node Controls HUD

7.3.17. RED

This node serves as the interface to the RED debayer settings. Configurations set up here apply to how the Red images are extraced from the source files. The Color and Gamma options are global to the project, these are the same controls as in the Red section of the Camera settings in the TAB page.

Using the RMD button the operator can save back the metadata to the RMD sidecar files, so the customized settings can travel further with the original media.

This node does not do actual pixel processing, it even works when not connected to the processing chain.

Transkoder RED Node Controls HUD
Transkoder RED Node Controls HUD

7.3.18. RRT

The Reference Rendering Transform (RRT) is part of the ACES pipeline, it converts the scene-referred colorimetry to display-referred, and resembles traditional film image rendering with an S-shaped curve. It has a larger gamut and dynamic range available to allow for rendering to any output device (even ones not yet in existence).

Transkoder RRT Node Controls HUD
Transkoder RRT Node Controls HUD

7.3.19. RRTInv

Simply the inverse of the above RRT node. This tool is used only in custom color pipeline designs.

7.3.20. VideoRange

Tool to apply range mappings: legal/head range to fill and vica versa. Using the preset drop down selector one can pick one of the standard remappings, but it is also possible to adjust the sliders to control exactly what is happening.

The Clip options allow for clipping the super-white and super-black color values.

Transkoder VideoRange Node Controls HUD
Transkoder VideoRange Node Controls HUD

7.4. Grading Tools

7.4.1. CDL

This node is used to adjust colors in a variety of colorspaces such as Log C and Rec. 709 as specified by the American Society of Cinematographers. It is used in a variety of predefined workflow pipelines.

Transkoder CDL Node Controls HUD
Transkoder CDL Node Controls HUD
CDL in ARRILook (Legacy) Workflow Pipeline

This is a node in the ARRI ALEXA camera ARRILook (legacy) workflow pipeline. It is used to adjust the colors in the Rec. 709 aka video colorspace. The CDL node is automatically created as the third of the three grading nodes of the ARRILook pipeline, with the first being the PrinterLight node and the second being the ARRILook node.

CDL in Amira (Legacy) Workflow Pipeline

The is a node in the pre-ALF2 Amira camera Amira (legacy) workflow pipeline. It is used to adjust the colors in the Log C colorspace. The CDL grading node is automatically created before the Amira node of the Amira (legacy) workflow pipeline.

7.4.2. CFPrimary

This is a Colorfront designed shadow/midtone/highlight specific advanced color corrector, where the cut-off points and transition softness of these ranges are adjustable. Ideal for LOG color correction.

Transkoder CFPrimary Node Controls HUD
Transkoder CFPrimary Node Controls HUD

7.4.3. CameraColor

This tool is part of the Colorfront Engine color pipeline and is supposed to operate on CF LOG images.

Full scene referred linear light adjustments are used to compensate for scene lighting intensity and color temperature. This is the equivalent of adjusting the photons landing on the camera sensor. It uses familiar terms such as F-stops and color temperature in Kelvin. The tool works the same way with any camera as the input providing a unified approach to grading input images from various sources. For example, a 1 stop adjustment applied to an ARRI Alexa will have the same effect when applied to a SONY or RED camera. Rather than having to use standard creative color correction tools - like other systems do - this tool is designed to deal with a specific need quickly and efficiently.

Transkoder CameraColor Node Controls HUD
Transkoder CameraColor Node Controls HUD

Automatic camera matching is available to quickly and accurately compensate for different lenses and filters. To match one image to another first park on the reference frame, press the Pick button a click on a color sample. Ideally on a grey patch of a Macbeth chart. Then part on the clip to be adjusted, press Balance and sample the same color with a mouse click. To balance an image without a reference simply skip the first step, enable Balance and click on a 18% grey patch.

7.4.4. HDR

This node is used to convert from SDR to HDR via a simple highlight boost. The Brightness, Higlight, and Boost slider controls are used to control this remap and the On/Off button of the V2 field controls the algorithm used for this conversion. The default value is On indicating that V2 of the algorithm is being used instead of the legacy V1 algorith.

Transkoder HDR Node Controls HUD
Transkoder HDR Node Controls HUD

7.4.5. CFSector

This node is the legacy Colorfront designed grading tool to control individual sectors of red, yellow, green, cyan, blue, and magenta.

Transkoder CFSector Node Controls HUD
Transkoder CFSector Node Controls HUD

7.4.6. CFSector2

This node is the current Colorfront designed grading tool to control individual sectors of red, yellow, green, cyan, blue, and magenta.

Transkoder CFSector2 Node Controls HUD
Transkoder CFSector2 Node Controls HUD

7.4.7. Skintone

This node is a sophisticated toolset, only available in Colorfront Engine projects, and is used to adjust skin tones with control of tonal variation, hue, and color. As the Amount slider is increased the hue of skin tone colors are “pulled” towards a reference skintone while not changing their brightness. To adjust the tone of this target color the Tone slider should be used. The Color slider is used to adjust the saturation of the skin tones. This adjustment is not limited by any shape or spatial mask, and is a very effective tool to fix skin tone problems.

Skintone Node Controls
Amount

Controls the strength of the effect.

Tone

Controls the tone of the target skintone and is where the colors are pulled towards a reference skintone.

Color

Controls the saturation of the final skin tones.

Transkoder Skintone Node Controls HUD
Transkoder Skintone Node Controls HUD

7.4.8. Curve

This node provides a simple curve tool to re-map the master or individual channel intensities of the image.

Transkoder Curve Node Controls HUD
Transkoder Curve Node Controls HUD
Tonality Adjustment Using the Curve Window

In addition to the Curve node too, it is possible to adjust tonality using the Curve window which may be accessed by pressing SHIFT+z or clicking on the Window  Show Curve Window menu option. The image tonality is displayed as a diagonal line. The top right corner is used to manipulate highlights and the bottom left corner is used to manipulate shadows. As you move the line or the point on the line, the image tonality is adjusted. The adjustments may be made each RGB channel individually or combined.

Tonality Adjustment Using the Curve Window
Tonality Adjustment Using the Curve Window

7.4.9. LookBlend

As part of the Colorfron Engnine pipeline this node lets the user mix different tone mapping operators to achieve the desired look. As an example one can balance between the tone mapping effect of the ACES color transforms and a traditional film stock. These operators, or looks are high precesion floating point mappings.

Transkoder LookBlend Node Controls HUD
Transkoder LookBlend Node Controls HUD

7.4.10. PrinterLight

This is a node in the ARRI ALEXA camera ARRILook (legacy) workflow pipeline. It is used to adjust the intenstity of the Log C RGB color primaries. The PrinterLight node is automatically created as the first of the three grading nodes of the ARRILook pipeline, with the second being the ARRILook node and the third being the CDL node.

Transkoder PrinterLight Node Controls HUD
Transkoder PrinterLight Node Controls HUD

7.4.11. RGBlin

This node is a Lift/Gain/Gamma operator, mostly used for "video style" color correction. Fully compatible with CDL but offers a different set of controls.

Transkoder RGBlin Node Controls HUD
Transkoder RGBlin Node Controls HUD

7.4.12. DolbyVision

The Dolby Vision node is the interface to create dynamic HDR Dolby metadata, and also it is a processing node to apply the Dolby Vision remap, aka soft-CMU. When working on a timeline with dynamic metadata from an XML source (orange) or an IMF asset (yellow) the sliders on the node are disabled.

To create Dolby Vision metadata within Transkoder first the statistical "L1" metadata needs to be initialized, for this please press the Init button. As soon as the bottom three slides are initialized, the Dolby Vision metadata in the node becomes valid.

Controls:

  • Target Display selector: this button shows for which target display we define the metadata for. It is possible to adjust multiple display specific trims, the user needs to select the one to be refined and explixitely enabled it. When the Dolby Vision color remapping is active, and this selector changes, the display target for the remap also updates. However, one can change the target display on the TAB page without adjusting this selector.

  • Lift / Gamma / Gain / ChromaOffset / Saturation: sliders to creatively "trim" the Dolby Vision remapping.

  • Image Aspect: every now and agan there will be some special shots in the timeline with custom active image aspect ratio. With this slider this can be finetuned on a per shot basis.

  • Enabled: metadata will include trim values for the selected target display. The 100-nit target display is always defined.

Statistics:

  • Init: updates the L1 statistical metadata on the selected shots.

  • Copy: copies the L1 metadata from the current shot to the selected ones

  • Avg: averages the L1 metadata across the selected shots.

Transkoder DolbyVision Node Controls HUD
Transkoder DolbyVision Node Controls HUD

7.5. Enhance Tools

7.5.1. AddGrain

This nod is used to generate film grain on top of the images and is controlled with following settings:

AddGrain Node Controls
Amount

Controls the strength of the effect

Blur

Controls the separation of the shadow/midtone/highlight ranges, less blur means sharper separation.

Size

Size of the grain particles

Saturation

Puts Saturation back to where the Blur effect decreased it.

Shadow

Grain strength in the shadow range

Midtone

Grain strength in the midtone range

Highlight

Grain strength in the highlight range

Transkoder AddGrain Node Controls HUD
Transkoder AddGrain Node Controls HUD

7.5.2. BlurMix

Transkoder BlurMix Node Controls HUD
Transkoder BlurMix Node Controls HUD

7.5.3. Detail

Transkoder Detail Node Controls HUD
Transkoder Detail Node Controls HUD

7.5.4. Gradient

The Gradient effect is similar to a vignette effect, but it applies a localized color adjustment typically on the top of the image using a smooth linear transition. This effectively simulates real optical graduated filters, a popular tool to darken the overly-bright sky area to achieve a more even exposure of the image.

Mix: overall strength of the effect. Softness: the size of the transition range. Position: the position of the mask. Rotation: orientation control of the gradient effect.

Transkoder Gradient Node Controls HUD
Transkoder Gradient Node Controls HUD

7.5.5. LensDistort

Transkoder LensDistort Node Controls HUD
Transkoder LensDistort Node Controls HUD

7.5.6. SoftFilter

This node is used to create a soft effect which reduces the image sharpness is controlled with the following settings:

SoftFilter Node Controls
Amount

Controls the brightness of the effect.

Blur

Controls the effect spread.

Range

Controls whether to apply the effect only to highlights or to midtones/shadows as well.

Saturation

Puts Saturation back to where the Blur effect decreased it.

Transkoder SoftFilter Node Controls HUD
Transkoder SoftFilter Node Controls HUD

7.5.7. Sharpen

Transkoder Sharpen Node Controls HUD
Transkoder Sharpen Node Controls HUD

7.5.8. Vignette

Transkoder Vignette Node Controls HUD
Transkoder Vignette Node Controls HUD

7.6. Mask Tools

7.6.1. GradientMask

Transkoder GradientMask Node Controls HUD
Transkoder GradientMask Node Controls HUD

7.6.2. HueKey

Transkoder HueKey Node Controls HUD
Transkoder HueKey Node Controls HUD

7.6.3. MaskOps

Transkoder MaskOps Node Controls HUD
Transkoder MaskOps Node Controls HUD

7.6.4. Shape

Transkoder Shape Node Controls HUD
Transkoder Shape Node Controls HUD

7.6.5. VignetteMask

Transkoder VignetteMask Node Controls HUD
Transkoder VignetteMask Node Controls HUD

7.7. Transform Tools

7.7.1. Crop

Transkoder Crop Node Controls HUD
Transkoder Crop Node Controls HUD

7.7.2. DVE2D

Transkoder DVE2D Node Controls HUD
Transkoder DVE2D Node Controls HUD

7.7.3. Reframe

For good quality scaling please make sure to use this node on some logarithmic or Rec709 images. Scaling light linear images may cause severe aliasing neat edges.

Transkoder Reframe Node Controls HUD
Transkoder Reframe Node Controls HUD

7.7.4. Resize

Transkoder Resize Node Controls HUD
Transkoder Resize Node Controls HUD

7.7.5. UltraScaler

Transkoder UltraScaler Node Controls HUD
Transkoder UltraScaler Node Controls HUD

7.7.6. Zoom

The Zoom node is used to zoom the image in or out with the Zoom slider, or move the image left/right or up/down with the Pan and Tilt sliders.

Transkoder Zoom Node Controls HUD
Transkoder Zoom Node Controls HUD

7.8. Other Tools

7.8.1. Analyze

The Analyze node is used as part of the functionality of the Analyzers in the Analyzer Window. When used with an Analyze node, the Analyzer Window will show the values of the video at the actual placement of the Analyze node along the render pipeline. For more information on the use of Analyze nodes, yes, including multiple nodes, together with the Analyzer Window, please refer to the section titled Analyzers and Analyze Nodes.

Transkoder Analyze Node Controls HUD
Transkoder Analyze Node Controls HUD

7.8.2. Calibration

Transkoder Calibration Node Controls HUD
Transkoder Calibration Node Controls HUD

7.8.3. FrameBlend

Transkoder FrameBlend Node Controls HUD
Transkoder FrameBlend Node Controls HUD

7.8.4. Burnin

The Burnin node is used to configure burnins. Six different text based burnins, and one mask based burnin may be configured this tool. Up to two different texts may be specified for each text based burnin using the Text1, and Text2 fields respectively. The content maybe chosen from a list of keywords or manually entered. The Font, Position, Offset, Alignment, Transparency and Intensity for both text and background, and Drop Shadow are all configurable. The burnins also may be cofigured to appear for the length of the entire timeline or fade after a specified ForFrames number of frames (flash burn). Specifying -1 for the value of the ForFrames field will make the burnin appear for the full length of the render. Specifying a positive whole number, will make the burnin fade away afterthe specified number of frames. If zero is specified, the burnin will appear and imediately start to fade. The fade is smooth and takes some time to completely finish.

Transkoder Burnin Node Controls HUD
Transkoder Burnin Node Controls HUD

To manually configure the text to be displayed, select the Custom option from the Text1, or Text2 field and then double click the Text which has appeared in the main display window. The keywords may also be entered here in the $keyword$ format.

Transkoder Burnin Node Keywords
Transkoder Burnin Node Keywords

For the list of supported keywords please check the Appendix.

7.8.5. Subtitle

The Subtitle node is used to adjust the physical characteristics of the subtitles or captions. Adjustments may be made to the Position, Alignment, Border, Shadow, various Colors, and Offsets. In addition, it can be used to apply the changes all the subtitles or captions by pressing the to all spots, specify whether to encode the text as either Subltitles or Captions, and whether to show the subtitles only on the forced display via the OnlyForcedDisplay field.

Transkoder Subtitle Node Controls HUD
Transkoder Subtitle Node Controls HUD

7.8.6. SubtitleHDR

The SubtitleHDR node is used to adjust the physical characteristics of the subtitles or captions for HDR content. Adjustments may be made to the Position, Alignment, Border, Shadow, various Colors, Offsets, Colorspace, and Brightness. In addition, it can be used to apply the changes all the subtitles or captions by pressing the to all spots, specify whether to encode the text as either Subltitles or Captions, and whether to show the subtitles only on the forced display via the OnlyForcedDisplay field.

Transkoder SubtitleHDR Node Controls HUD
Transkoder SubtitleHDR Node Controls HUD

7.8.7. PSNR

The PSNR node is used to determine the fidelity of the rendered result image as compared to the original source image. It used a Peak Signal-to-Noise Ratio methodology to make this determination. For more information on this tool including a description of workflow, please refer to the PSNR Analysis section of the QC Tools chapter.

Transkoder PSNR Node Controls HUD
Transkoder PSNR Node Controls HUD

7.8.8. Bitrate

When playing media files with bitrate data (eg. IMF compositions) the operator can inspect the current numbers not only in the Graph Window, but also on the Bitrate node as well. It shows the bitrate information on the current frame, a moving window average and the average of all frames. The average numbers are based on the frames already played (and not the complete timeline).

Transkoder Bitrate Node Controls HUD
Transkoder Bitrate Node Controls HUD

The Bitrate Histogram window shows a historgram that is also computed based on the frames processed by the node, so it "builds up" data during playback.

Transkoder Bitrate Histogram
Transkoder Bitrate Histogram Window

7.8.9. AlphaAdjust

Transkoder AlphaAdjust Node Controls HUD
Transkoder AlphaAdjust Node Controls HUD

7.8.10. SplitView

The SplitView node combines the two input images in different split modes, making it the ideal tool to compare different image processing pipes on the same input image.

Available options are:

  • Vertical

  • Horizontal

  • Butterfly

  • Checkerboard

  • Side-by-Side

Transkoder SplitView Node Controls HUD
Transkoder SplitView Node Controls HUD

7.9. Predefined Workflow Pipelines

7.9.1. ARRILook (Legacy) Workflow Pipeline

The ARRILook (Legacy) Workflow Pipeline is made up of three automatically created grading nodes. The PrinterLight node which is used for Log offset, the ARRILook node which is used for mapping from Log C to Rec.709, and the CDL node which is used for Rec. 709 color correction.

7.9.2. Amira (Legacy) Workflow Pipeline

The Amira (Legacy) Workflow Pipeline is made up of an automatically created CDL grading node followed by the Amira node. The CDL node is used of Log C color correction, and the Amira node which is used for mapping from Log C to Rec.709.

8. Rendering

Transkoder has a hybrid CPU/GPU architecture. Image processing with floating point precision, and JPEG2000 encode and decode are all gpu accelerated. Other encoding processing such as Avid or QuickTime encoding is done on the CPU. The architecture also allows for multiple paralell result renders to be done at the same time with different framing, resolution, colorspace, etc. possible for each result.

To start a standard render, press CTRL+r.

If, however, rendering DCP or IMF, it is recommended to use the Finalize page instead. The Finalize page is where the DCP/IMF package settings, including, but not limited to, audio, subtitles, metadata can be configured. Once the package configuration has been completed, rendering and package finalization may be automatically started from the Finalize page as well. For more information regarding DCP or IMF rendering, please refer to the DCP and IMF Mastering chapter.

8.1. Creating multiple results on the Node Page

The Node page is a freely configurable rendering pipline. Bring up the Node page by pressing the ENTER key and then moving the mouse pointer to the right hand side and pressing the a key to add a new result. To add a new Node, move the mouse pointer to the middle of the Node page, and press the a key. The nodes can then be connected to the desired results. The grading and viewing templates can be saved by pressing SHIFT+t. Please refer to the Node Page chapter for more information on proper configuration of Nodes. Results with various resolutions, burn-ins, colorspace, etc. can all be configured for paralell encoding by using the appropriate nodes.

8.2. Encoders on the Encode Page

To add the desired encoding to a result, bring up the Encode page by pressing the p key and clicking in an empty row of the table to the right of the particular Result. A structured 2 level list of Encoders will appear. Multiple Encoders may be added to any result and they may be removed by highlighting them and pressing the BACKSPACE key. Encoders in the list include Video, Audio and Metadata encoders.

8.2.1. Configuring Encoders

Once an encoder has been added, the right hand side will display a comprehensive and encoder specific configuration pane, which can be scrolled up or down by holding down the right mouse button while moving the mouse up or down. The encoding table in the middle of the screen will contain a list of columns with the most frequently used settings which are common to most encoders. The columns from left to right are:

#

This indicates the encoder number for the particular result.

On

This indicates if the encoder is enabled or disabled for the particular render.

Encoder Format

This indicates the particular encoder format, such as Avid DNxHR HQX that was chosen from the encoder list when it was added to the result.

Container

This indicates the file container / wrapper format such as .mov, .mxf, etc.

Codec

This indicates the name of the actual codec used to encode the particular result render.

Resolution

This indicates the resolution of the particular result render. Possible values which maybe fixed or multi-select, are codec dependent, and may include Auto, Project, or a choice of specific resolutions. Choosing the Auto setting, will use the result’s resolution, while Project will use the project’s resolution.

Bitrate

This indicates the bitrate the encoder uses.

FPS

This indicates the framerate of the video of the encode of the particular result render. Clicking on the field will cycle through the available values. If the difference between the encoder an Project/Timeline framerate is 1000/1001, then the audio will automatically be adjusted and also be reflected in the Sound field.

Selected

This indicates if the render should include All Takes, Selected.

(This is used in OSD Dailies when the Select Flag, aka Circle Take is used to mark clips. This is not the same selection as highlighting a clip in the timeline window. )

Files

This indicates if the files created by the render will be Per Timeline, or Per Shot. The Per Timeline setting will create a single file for the result, while Per Shot setting will create a file for each clip.

The Render Shot Bounderies setting on Encode tab of the Settings Page (TAB) determines how the shot boundaries of the rendered files will be defined. The possible values are V1Track, VerticalEditing, and ReelMarkers. Please refer to the Encode tab section of the Settings Page chapter for a detailed explanation of this setting.

Sound

This indicates if the sound was Normal, Pulldown, or Pullup.

Mix

This indicates which audio mixdown will be used by the result render. The possible values are the same as the actual mixdown list. XML indicates the predefined mixdown in the encoder preset.

Slate

This is used OSD Dailies in legacy VTRoll workflows. If the encoder has this option enabled, the automatically generated slate shots (bars, black, slate) will be included in the render.

PostProcess

Custom post process scripts.

File

This indicates the file path and the name of the file that will be created by the result render.

Double click on the File field in the table or single click the FILE PATH field in the encoder configuration pane to edit this value. A popup window will appear with the top half containing an Edit Render Path section for editing the file path and name using keywords and a browse button for modifying the render target folder.

The bottom half contains a Final Render Path section previewing the actual resulting render path and file name. The preview only shows the name of the first shot if using the Per Shot value of the File setting.

8.2.2. Forensic Watermarking

An invisible forensic watermarking is supported by many of the encoders in Transkoder. It is used to trace the origin of a media asset. NexGuard (Civolution) forensic watermarking is the watermarking method integrated into Transkoder.

To enable the forensic watermarking, set the WATERMARKING field to On and specify the desired ID into the PAYLOAD ID field in the encoder configuration pane.

The forensic watermarking feature may only be enabled if the Transkoder workstation also has a NexGuard (Civolution) license installed.

Civolution NexGuard Watermarking Manager Interface

There is an interface in Transkoder for managing the communication with a remote NexGuard manager. Using this interface, the operator has access to a database of registered titles and thus can query the relevant key for the content. The encode process also communicates to the manager and reports the render progress and status.

First the manager needs to be enabled on the Tab settings page and the necessary address, user name and password needs to be entered. If this is not enabled the operator can manually enter the payload ID in the encoder settings on the P page.

Configuring the connection to the NexGuard Manager on the Encode tab
Configuring the connection to the NexGuard Manager on the Encode tab

When adding any encoder that supports invisible watermarking (Avid DNxHD and DNxHR, H.264, DPX, ProRes, IMF) please enable the WATERMARKING switch on the P page. The manager interface will be shown, with all selectors auto-populated based on information fetched from the server. The user can select item from the list under Title, Customer or Recipient or start typing in, and the system will auto-fill. When the text entry starts the list of items are automatically filtered in the drop-down list, so it should be easy to find any item even if the initial list of options is long.

The interface for the NexGuard Manager
The interface for the NexGuard Manager

The Job Name field is populated based on the file name defined in the encoder, but the user can edit this. During the encode process this Job Name will be communicated back to the server along with the render status.

8.2.3. Timecode and Reelname in Rendered Files

The majority of encoders support timecode metadata and most of them also support the reelname as weel.

For any encoder that supports timecode metadata, it is possible to set which timecode metadata will be added to the result renders by specifying the desired timecode in the Rendered Media TC field on the ENCODE sub-page of the Preferences page. The available timecodes are:

Rendered Media TC Description

SourceTC

The timecode of the source clips currently on the timeline.

VTRollTC

The timecode used for legacy tape based dailies workflows.

RecordTC

The timecode as present on the actual project timeline.

RecordTC30DF

The timecode as present on the actual project timeline when being rendered with pulldown.

Manual

The timecode as specified in the Custom Encode TC field value.

For any encoder that supports reelname metadata, it is possible to set which reelname metadata will be added to the result renders by assigning the desired reelname to the Rendered Media Tape Name field on the ENCODE sub-page of the Preferences page.. The available reelnames are:

Rendered Media Tape Name Description

SourceContainer

This is the name of the folder media assets on the timeline.

VTRoll

This is used for legacy tape based dailies workflows.

CamRoll

This option may be used if the source file metadata contains the CamRoll values.

Filename

The is the filename of the media assets on the timeline.

SourceReelName

This option may be used if the source file metadata contains the ReelName values.

RenderFileName

This is the result render filename as configured in the File fields of the Encode page.

8.3. Encoder Categories

The Encode page in Transkoder contains an Encoder List with the following categories of encoders:

Encoder Category Description

Avid

High Definition related AVID encoders

AvidSD

Standard Definition related AVID encoders

QuickTime

Apple ProRes related encoders

Disc

DVD and Bluray related encoders

HEVC

High Efficiency Video Coding a.k.a. H.265 encoders

Web

Web related encoders

Apple

Apple related encoders

Broadcast H.264

H.264 a.k.a AVC related encoders

Image

Image related encoders

Audio

Audio only related encoders

DCI

DCP related encoders

IMF

IMF releated encoders

JPEG2000

JPEG2000 related encoders

AS02

AS-02 related encoders

Metadata

Metadata only related encoders

Others

Other type of encoders

Below is a detailed breakdown of the encoders listed in each category and their descriptions.

8.3.1. Avid Encoder Category

The Avid encoder category in the Encoder List is a list of codecs which support the MXF (OP-Atom) file type that is used as the native file format for Avid Media Composer. To ensure the necessary metadata is made available for an Avid Media Composer base workflow it is recommended to used these codes with the MXF (OP-Atom) file type.

The MXF (OP-Atom) file type will render seperate but cross referencing *.mxf files for both audio and video assets, while the (MXF) OP-1A file type will render a single *.mxf file containing both audio and video assets.

The MOV (Quick Time) file type will render a *.mov file containing both audio and video assets.

Using any of the encoders in the Avid encoder category will result in the rendering of an ALE file which is a plain-text *.csv type file which contains a comprehensive list of the metadata available for the project. For information on configuring the ALE file, please refer to the ENCODE sub-page of the Preferences page Chapter. The *Rendered Media TC* field also in the ENCODE sub-page, allows for configuring which TC to use as the main timecode for the rendered files.

All the encoders in this category with the exception of the Legacy SD encoders support a choice of either 16 or 24 bit audio bit depth.

The DNxHR encoders provide an automatic bitrate adjustment depending on the desired FPS (frame rate).

By default, all Avid encoder category encoders, default to Video Range for color processing, but this may be changed to Full Range. Transkoder uses Full Range for all internal processing and will only remap to Video Range during result rendering if the encoder setting is configured as Video Range.

It is possible to cycle between the different encoders of a particular family such as DNxHD and DNxHR by selecting the desired encoder from the TYPE field in the Encoder configuration pane on the right hand side.

If after rendering, the files need to be placed into Avid Interplay, please configure the Interplay related fields as described in the Setting up Avid Interplay in Transkoder 2017 Appendix Chapter.

The Avid Encoder Category

Avid DNxHD (Digital Nonlinear Extensible High Definition)

Encoder Name/Family

Project Format

Pixel Format

Note

720p

720p 59.94fps

8-bit/10-bit YUV 4:2:2

145Mbit/220Mbit

HD

1080p 23.976fps/24fps/59.976fps

8-bit/10bit YUV 4:2:2

36Mbit - 220Mbit

HD

1080p 23.976fps

10-bit RGB 4:4:4

440Mbit

Avid DNxHR (Digital Nonlinear Extensible High Resolution)

Encoder Name/Family

Project Format

Pixel Format

Note

DNxHR

2K/UHD/4K 23.976/24/25/29.97/48/50/59.94fps

8-bit/12-bit YUV 4:2:2

DNxHR LB/SQ/HQ/HQX

DNxHR

2K/UHD/4K 23.976/24/25/29.97/48/50/59.94fps

12-bit RGB 4:4:4

DNxHR 444

Avid Legacy SD ( Standard Definition)

Encoder Name/Family

Note

DV25

Used for Avid Legacy DV SD workflows

Audio

Audio only (AvidAudio) rendered into a seperate .mxf file

QuickTime Avid PAL/NTSC DV

Used for Legacy Avid PAL/NTSC SD workflows

Avid Uncompressed

Encoder Name/Family

Project Format

Pixel Format

Note

1:1 10bit RGB

1080i 59.94fps

10-bit RGB 4:4:4

Used for archival purposes

Avid XDCAM

Encoder Name/Family

Project Format

Pixel Format

Note

XDCAM 50mbit

1080p 23.976fps/24fps/25fps

8-bit YUV 4:2:2

Avid XDCAM 50mbit

8.3.2. AvidSD Encoder Category

The AvidSD encoder category is a list of lower than HD resolution encoders which only support the MXF (OP-Atom) file type that is used as the native file format for Avid Media Composer. They are mostly NTSC and PAL format types with together with a 1080p proxy format. This is useful for workflows which require high levels of compression of both audio and video to deal with lots of source material such as reality shows.

The AvidSD Encoder Category

Encoder Name/Family

Project Format

Note

H264 1.5Mbps

PAL 25/NTSC 29.97

352x288/352x240

10:1

PAL 25/NTSC 29.97

720x592/720x496

20:1

PAL 25/NTSC 29.97

720x592/720x496

15:1s

PAL 25/NTSC 29.97

352x296/352x248

10:1m

PAL 25/NTSC 29.97

288x296/288x248

800kbps

Proxy 1080p

480x270

8.3.3. QuickTime Encoder Category

The QuickTime encoder category is a list of Apple ProRes and associated Quick Time encoders which all use the MOV (Quick Time) file type which is the native format of Final Cut. To get a comprehensive list of the metadata available for the project, add the desired encoder (Final Cut X or Final Cut 7 format XML) from the Metadata Category in the Encoder List.

The Avid NTSC DV and Avid PAL DV encoders are the two exceptions. They are optimized for Avid Media Composer compatibility. Please use the NTSC DV and PAL DV encoders if not using an Avid workflow for maximum compatibility.

Apple ProRes Encoder Configuration Pane Options

If a 23.976 FPS project needs to be delivered as 59.94i, the PULLDOWN field value needs to be adjusted to the desired setting. Possible values are 2:3, 2:3:3:2, 3:2, and Off. The 3:2 pulldown pattern is the one most commonly used. It is only possible to enable pulldown for 4:2:2 encoders and doing so will make the result render interlaced. The FRAME TYPE field allows for the selection of either interlaced field 1 or interlaced field 2 when deciding on the dominant frame, meaning whether interlaced field 1 or interlaced field 2 will be displayed first.

If using pulldown with a dropframe enabled time code, and there is a need to start the interlace cadence, meaning to set the start of the first interlaced frame at a particular time, the KEEP START TC field value should be set to On, and the desired start time should be entered in to the PDSYNC TC field.

To enable the forensic watermarking, set the WATERMARKING field to On and specify the desired ID into the PAYLOAD ID field in the encoder configuration pane.

The forensic watermarking feature may only be enabled if the Transkoder workstation also has a NexGuard (Civolution) license installed.

By default the ProRes encoders map all the incoming metadata (that is metadata from the source file, visible in the Shift+U Metadata Inspector) to the header of the output file. This can be disabled using the Copy Metadata option.

All the encoders in this category support a choice of either 16 or 24 bit audio bit depth which can be set in the AUDIO BITDEPTH field in the encoder configuration pane.

The byte order of the audio may also be selected in the AUDIO ORDER field. The possible options are LittleEndian, BigEndian, LittleEndianV2. LittleEndianV2 is only to be used when there is a need to maintain legacy compatibility.

The Apple ProRes encoders support PCM, AC3 and E-AC3 audio types, and the Audio Type field may be used to select the desired type. If AC3 or E-AC3 is selected, the audio bitrate may be set with the AUDIO BIT RATE field.

The MULTI TRACK field is used to enable or disable the placement of audio tracks into either multiple individual tracks or a single track with multiple channels respectively.

The Range field is used to flag the signal range of the encoded file. Options are None, Full, and Video. This setting only effects metadata and changing it will not apply any range conversion.

To turn on HDR processing, select the desired HDR processing mode from the MASTERING field. Possible options are Rec2020_PQ_1000, P3D65_PQ_1000 or custom defined modes. The Framing field value also needs to reflect the project framing so that Transkoder can correctly calculate the light levels, etc needed for HDR processing. Possible options are Full frame, Pillarbox (1.33), Side Matted (1.66), Letterbox (2.35), Letterbox (2.39), Letterbox (2.40), and Matted (1.85). A PDF report containing HDR processing and Lighting information may be generated by selecting the PDF value for the HDR REPORT field.

The QuickTime Encoder Category

Apple ProRes YUV Colorspace

Encoder Name/Family

Project Format

Pixel Format

Note

Apple ProRes 422 Proxy/422LT/422/422HQ

SD-8K+

8-bit/10-bit YUV 4:2:2

Visually lossless for 4:2:2 material.

AMAZON UHD HDR ProRes 422 HQ (Auto)

UHD

8-bit/10-bit YUV 4:2:2

Apple ProRes 422HQ (Auto) which is configured to AMAZON’s UHD HDR requirements.

Apple ProRes RGBA Colorspace

Encoder Name/Family

Project Format

Pixel Format

Note

Apple ProRes 444

SD-8K+

8-bit/10-bit/12-bit with 16-bit for Alpha Channel RGBA 4:4:4:4

Visually lossless for 4:4:4:4 material.

Apple ProRes XQ

SD-8K+

8-bit/10-bit/12-bit with 16-bit for Alpha Channel RGBA 4:4:4:4

Visually the same as Apple ProRes 444 with almost double the data rate to support HDR images.

Quick Time Legacy SD ( Standard Definition)

Encoder Name/Family

Resolution

Note

PAL DV/NTSC DV

720x576/720x480

Used for Legacy PAL/NTSC SD workflows

Avid Avid PAL DV/NTSC DV

720x576/720x486

Used for Avid Legacy PAL/NTSC SD workflows

8.3.4. Disc Encoder Category

The Disc encoder category is a list of encoders which are used for creating disc based media such as DVD and Blu-ray discs.

The DVD authoring workflow in Transkoder was created for dailies review allowing for the creation of a simplistic dailies reivew dvd. Transkoder is NOT a DVD mastering tool.

DVD Generation

For generating a DVD ISO image, first, the desired clips need to be rendered in to MPG deliverables on Encode page.

Once the MPG deliverables have finished rendering, bring up the Finalize page by pressing SHIFT+d and specifying DVD as the value for the ENCODER TYPE field.

In the Source field, specify the source of the DVD, which can be either the actual Timeline content, or any Transfer Date.

The DVD may be made to play automatically by specifying On for the value of the AutoPlay field.

If Transfer Date is specified for the value of the Source field, the desired Transfer Date may be selected from list of possible dates in the Date field. Since the DVD authoring workflow is intended for dailies work, the Date field will not be automatically populated with any possible transfer dates when specifying Transfer Date for the value of the Source field in Transkoder.

A simple autogenerated menu may be added by specifying On for the value of the Menu field.

The generated clips may either remain unsorted, or be sorted according to the method specified in the Sorting field. Possible values are:

  • Unsorted

  • Scene/Take

  • CamRoll/Take

  • Scene/Slate/Take

  • Scene/CamRoll/Take

  • CamRoll/Scene/Slate/Take

The Final Name field is used for entering the ISO image name together with the .iso file extension. If no name is defined for the DVD, then timeline name or the date is added to the DVD ISO file name in the following manner:

  • DVD_VT001.iso where VT001 is the VTRoll name.

  • DVD_A67B.iso where A67B is the tape/labroll name.

  • DVD_Screener1.iso where Screener1 is the screener name.

  • DVD_20120123.iso 20120123 is the transfer date.

After the DVD finalization process is finished, the ISO file is placed in the "<project name>\<transfer date>\generated" folder, or the folder named in a custom defined render path.

BluRay Generation
The Disk Encoder Category
Encoder Name Resolution Note

MPG

720x480

DVD MPG

MPG 4:3

720x480

DVD MPG

M2V

720x480

M2V MPEG

M2V 4:3

720x480

M2V MPEG

BluRay

1920x1080

BLURAY

8.3.5. HEVC Encoder Category

The HEVC encoder category is a list of encoders which use the High Efficiency Video Coding codec. It is also callled H.265, or MPEG-H Part 2.

HEVC encoded results of any custom resolution may be rendered by setting the resolution to Auto. The default encoding is variable bitrate. Constant bitrate encoding may be set by specifying identical values for the BITRATE and MAXBITRATE fields.

The PERFORMANCE field is used to specify the desired encoding performance and file size versus image fidelity. Available values are Fastest, Fast, Balanced, Better quality, and Best quality, with the highest performance, smallest file size and lowest image fidelty for the Fastest value to the slowest porformance, largest file size and highest image fidelity for the Best quality value.

The NETFLIX HEVC QHD TS encoder uses a 10-bit 2160p setting with the possibility to encode in HDR. The MASTERING field is metadata used to specify the color primary of the mastering display.

The MASTERING field is metadata only and does not do any color primary conversion. The field value must accurately reflect the actual color primary of the input picture asset.

Rendering HDR will result in a HDR report and light level statistics being gathered. For more information on HDR and IMF, please refer to the chapter titled High Dynamic Range (HDR).

The FRAMING field is used to specify the aspect ratio of the active image area for use in calculating the accurate light level statistics for HDR results and as needed metadata by the IMF packaging standard.

Setting the High Tier field value to On will enable HEVC Level 5 High Tier encoding. It is set to Off by default.

The HEVC Encoder Category

Encoder Name/Family

Color Depth

Note

MP4

8-bit

480p/720p/HD/QHD

MP4 10 bit

10-bit

480p/720p/HD/QHD/QHD HDR

TS

8-bit

480p/720p/HD/QHD

TS 10 bit

10-bit

480p/720p/HD/QHD

NETFLIX HEVC QHD TS

10-bit

QHD

MKV

HD/QHD

8.3.6. Web Encoder Category

The Web encoder category is a list of encoders which use a variety of encoding methods to create preview or proxy media with high compression rate, suitable for Internet based streaming / download. Some of these templates are based on the specification of dailies review systems and have limited configurability.

The x264 opensource h264 encoder is an alternative encoder to the H264 encoder and is more configurable in this encoder category. The DAX, PIX, and COPRA encoders are automatically rendered with the necessary sidecar metadata used in their relative systems. The PIX encoder will even generate an executable file that can be used to upload the media assets to the PIX servers. For the PIX encoder it is possible to add TC information into the metadata by setting the Time Code For Web field value to On in the Encode sub page of the Preferences page. VP9 was initially used mostly for YouTube, but is now also used by an increasing amount of websites including Wikipedia, and Netflix which is aiming VP9 at mobile users.

The Web Encoder Category

Encoder Name/Family

Project Format

Note

COPRA4

576p/1080p

Used for the COPRA dailies online collaboration system.

DAX|D3

360p/720p/1080p

Used for the DAX dailies online collaboration system.

H264

540p/720p/1080p

H264 used for generic dailies online collaboration systems.

PIX

720p/1080p

Used for the PIX dailies online collaboration system.

MpegTSH264

540p

H264 is inserted into an MPEGTS container.

vp9

720p/1080p

Used by YouTube, Wikipedia and Netflix mobile.

X264

720p/1080p/UHD

Opensource alternative to H264 and is a bit more configurable. It can be used wherever H264 is not a hard requirement.

8.3.7. The Apple Category

The Apple encoder category is a list of encoders for AppleTV, iPad, iPod, and the ProRes. The AppleTV, iPad, and iPod encoders are all H264 set at specific Apple compliant resolutions. There are versions with preset 1920x1080 and Auto resolutions. The 1920x1080 versions will automatically render Full HD 1920x1080 without having to add a resize node to the pipeline on the Node Page. The Auto versions will render at the same resolution as the input or source material.

The Apple ProRes encoders support any resolution from SD to 8K and beyond at full resolution. The Apple ProRes 422 Proxy encoder is intended for low data rate offline workflows with full resolution video at 30% of the data rate of Apple ProRes 422. The Apple ProRes 422LT encoder is intended for workflows where storage and data rate are important considerations with a data rate of 70% of Apple ProRes 422. The Apple ProRes 422 encoder’s image quality is almost as good as Apple ProRes 422HQ, but at only 66% of the data rate. The Apple ProRes 422HQ encoder is visually lossless for 4:2:2 material. The Apple ProRes 444 encoder is visually lossless for 4:4:4:4 material. The Apple ProRes XQ encoder is visually the same as Apple ProRes 444 with almost double the data rate to support HDR images.

Apple ProRes Encoder Configuration Pane Options

If a 23.976 FPS project needs to be delivered as 59.94i, the PULLDOWN field value needs to be adjusted to the desired setting. Possible values are 2:3, 2:3:3:2, 3:2, and Off. The 3:2 pulldown pattern is the one most commonly used. It is only possible to enable pulldown for 4:2:2 encoders and doing so will make the result render interlaced. The FRAME TYPE field allows for the selection of either interlaced field 1 or interlaced field 2 when deciding on the dominant frame, meaning whether interlaced field 1 or interlaced field 2 will be displayed first.

If using pulldown with a dropframe enabled time code, and there is a need to start the interlace cadence, meaning to set the start of the first interlaced frame at a particular time, the KEEP START TC field value should be set to On, and the desired start time should be entered in to the PDSYNC TC field.

To enable the forensic watermarking, set the WATERMARKING field to On and specify the desired ID into the PAYLOAD ID field in the encoder configuration pane.

The forensic watermarking feature may only be enabled if the Transkoder workstation also has a NexGuard (Civolution) license installed.

By default the ProRes encoders map all the incoming metadata (that is metadata from the source file, visible in the Shift+U Metadata Inspector) to the header of the output file. This can be disabled using the Copy Metadata option.

All the encoders in this category support a choice of either 16 or 24 bit audio bit depth which can be set in the AUDIO BITDEPTH field in the encoder configuration pane.

The byte order of the audio may also be selected in the AUDIO ORDER field. The possible options are LittleEndian, BigEndian, LittleEndianV2. LittleEndianV2 is only to be used when there is a need to maintain legacy compatibility.

The Apple ProRes encoders support PCM, AC3 and E-AC3 audio types, and the Audio Type field may be used to select the desired type. If AC3 or E-AC3 is selected, the audio bitrate may be set with the AUDIO BIT RATE field.

The MULTI TRACK field is used to enable or disable the placement of audio tracks into either multiple individual tracks or a single track with multiple channels respectively.

The Range field is used to flag the signal range of the encoded file. Options are None, Full, and Video. This setting only effects metadata and changing it will not apply any range conversion.

To turn on HDR processing, select the desired HDR processing mode from the MASTERING field. Possible options are Rec2020_PQ_1000, P3D65_PQ_1000 or custom defined modes. The Framing field value also needs to reflect the project framing so that Transkoder can correctly calculate the light levels, etc needed for HDR processing. Possible options are Full frame, Pillarbox (1.33), Side Matted (1.66), Letterbox (2.35), Letterbox (2.39), Letterbox (2.40), and Matted (1.85). A PDF report containing HDR processing and Lighting information may be generated by selecting the PDF value for the HDR REPORT field.

The Apple Encoder Category

Apple Embedded Devices

Encoder Name/Family

Project Format

Note

AppleTV

720p/1080p

H264

iPad

576p/720p/1080p

iPod

640x360

Apple ProRes YUV Colorspace

Encoder Name/Family

Project Format

Pixel Format

Note

Apple ProRes 422 Proxy/422LT/422/422HQ

SD-8K+

8-bit/10-bit YUV 4:2:2

Visually lossless for 4:2:2 material.

AMAZON UHD HDR ProRes 422 HQ (Auto)

UHD

8-bit/10-bit YUV 4:2:2

Apple ProRes 422HQ (Auto) which is configured to AMAZON’s UHD HDR requirements.

Apple ProRes RGBA Colorspace

Encoder Name/Family

Project Format

Pixel Format

Note

Apple ProRes 444

SD-8K+

8-bit/10-bit/12-bit with 16-bit for Alpha Channel RGBA 4:4:4:4

Visually lossless for 4:4:4:4 material.

Apple ProRes XQ

SD-8K+

8-bit/10-bit/12-bit with 16-bit for Alpha Channel RGBA 4:4:4:4

Visually the same as Apple ProRes 444 with almost double the data rate to support HDR images.

8.3.8. The Broadcast H.264 Category

The Broadcast H.264 encoder category is a list of high bitrate / high quality encoders which use the H.264 codec and conform to various broadcast standards. It is also called Advanced Video Coding, MPEG-4 Part 10, or MPEG-4 AVC. These presets are often 10 or 12 bit formats, thus are not supported by some consumer players such as Windows Media Player or Quicktime Player.

The DirecTV 10bit MPEG-TS encoder uses AC3 encoded audio to provide for up to dual audio streams of 5.1 channel and stereo. An .scc format closed caption file is is also supported by specifying CC as the value for the SOURCE field in the encoder configuration pane. For the transport stream multiplexing, there is a new more reliable method which can be chosen by selecting the Ver2 value for the TSMUX TYPE field in the encoder configuration pane. Ver1 is the legacy version provided for backward compatibility.

To enable the forensic watermarking, set the WATERMARKING field to On and specify the desired ID into the PAYLOAD ID field in the encoder configuration pane.

The forensic watermarking feature may only be enabled if the Transkoder workstation also has a NexGuard (Civolution) license installed.

The XAVC encoder is a Sony developed recording format which uses level 5.2 of the H.264/MPEG-4 AVC. The CLASS field, found in the encoder configuration pane, is used to specify the desired resolution, encoding bitrate, and whether the bitrate should be constant or variable. The available values range from HD Class50 CBG to 4K Class 480 CBG, with VBR options for 4K resolutions. The Color field is used to set a metadata flag. The available otions are * Rec.709*, Rec.2020 HLG, * Rec.2020 PQ*, and P3 D65 PQ.

The Panasonic AVC Ultra encoder is a 4K format which uses up to the 4:4:4 Intra Predictive profile of the H.264/MPEG-4 AVC standard. The CLASS field, found in the encoder configuration pane, is used to specify the desired resolution, encoding bitrate. The available values range from 8-bit 4:2:0 720p -1080p AVCProxy to 12-bit 4K 2160p 4:4:4 AVCUltra4K.

The Broadcast H.264 Encoder Category

Encoder Name

Pixel Format

Note

HD/QHD H264 10bit

10-bit

5 Mbps/10 Mbps/15 Mbps HD/QHD MP4

HD/QHD H264 10bit

10-bit

5 Mbps/10 Mbps/15 Mbps/120 Mbps HD/QHD TS

DirecTV 10bit MPEG-TS

10-bit

120 Mbps QHD TS which complies with DirecTV standards.

XAVC

RGB 8-bit/10-bit/12-bit 4:2:0/4:2:2/4:4:4

HD-UHD MXF

Panasonic AVC Ultra

YUV/RGB 8-bit/10-bit/12-bit 4:2:0/4:2:2/4:4:4

720p - UHD MXF

8.3.9. The Image Category

The Image encoder category is a list of encoders which render each frame to an individual image file in various formats.

File sequence numbering may be customized by editing the value of the File Sequence Numbering field on the ENCODE sub-page of the Preferences page. Possible values are: Start with 0, Start with 1, Start with custom, From source, Source TC, and Record TC. If choosing the Start with custom value, the desired starting value needs to be set in the adjacent File Sequence Custom Start field.

The file name and path may be further customized by clicking on the …​ button of the File Path field on the encoder configuration pane and specifying the desired naming pattern in the Edit Render Path field. Keywords and leading zero padding may be specified in this field. The default leading zero padding is set to 7 and is written as %07d with d meaning decimal based integer value.

For the DPX encoder, it is possible to enable the use of the source DPX image header metadata by setting to On the Use Source DPX metadata field on the ENCODE sub-page of the Preferences page. If this setting is enabled, the source DPX image header is copied over to the result DPX image unchanged. If it is disabled, Transkoder generates the appropriate metadata from scratch.

To enable the forensic watermarking, set the WATERMARKING field to On and specify the desired ID into the PAYLOAD ID field in the encoder configuration pane.

The forensic watermarking feature may only be enabled if the Transkoder workstation also has a NexGuard (Civolution) license installed.

For the EXR encoder, it is possible to set the desired compression method by specifying it in the Compression field on the encoder configuration pane. The methods affect the files size, rendering time and system resource utilization during playback. The possible compression methods are:

Compression Method Compression Type Description

Uncompressed

Uncompressed

No compression will be used

RLE

Lossless

Run Length Encoder a simple lossless image compression format and is best used for encoding images mostly made up of sequences repetitive data such computer graphics, logos, etc.

ZIPS

Lossless

A deflate type compression method used on individual scanlines. This is not based on the popular ZIP file format.

ZIP

Lossless

This is an extension of the ZIPS compression method used on 16 scanlines at a time. This is the best method for computer rendered images which do not have added film grain.

PIZ

Lossless

This a a combined wavelet and Huffman compression method and is the best method for images with film grain.

PXR24

Lossy/Lossless

This converts data to 24-bit using rounding and then uses deflate compression. It is lossless for 16-bit floating point and 32-bit integer type images and is slightly lossy for 32-bit floating point type images.

B44

Lossy/Lossless

This compression method compresses blocks of 4x4 pixels from 32 bytes into 14 bytes. Images of 16-bit floating point type are compressed but 32-bit integer and 32-bit floating point type images are uncompressed. Compressed file size is identical for all images at a given resolution making it easier to plan file storage requirements and process real-time playback.

B44A

Lossy

This is an extension to the B44 tyep compression method in which 4x4 pixel blocks with identical values are compressed into 3 bytes instead of 14 bytes. This a more efficient method for imgages with large uniform areas.

DWAA

Lossy

A JPEG-like compressino format which compresses 32 scanlines at a time and provides for balancing the requirements of image fidelity and size.

DWAB

Lossy

This is an extension of the DWAA compression method used on 32 scanlines at a time.

For a more detailed explanation of EXR technical specifications including compression formats used, please refer to OpenEXR Technical Introduction pdf.

The EXR encoder also supports metadata injection by specifying the injection method in the Inject Metadata field on encoder configuration pane. The available injection methods are: All, or Custom, or Off which disables it altogether.

For ARRI type media assets, enabling metadata injection with the All setting, will enable the use of ARRI provided metadata mapping as long as the ArriMetadataBridge setting is enabled in the Tab page settings, Arri camera category. For all other type of media assets, enabling metadata injection with the All setting, will enable the automatic metadata mapping built in to Transkoder.

When using the Custom metadata injection method, the encoder will look for an XML file which maps the metadata types and values into OpenEXR metadata. The advantage of such an approach is that you are allowed to predefine your metadata names which can be based on the client’s naming conventions. Only those attributes will get exported which are defined in the mapper XML template, so it is up to the user which subset of available metadata will be injected.

The XML files need to be placed in the C:\Program Files\OSD2017\pymodules\scripts\EXRMetadata\ folder by default, but this folder may be changed by specifying a custom folder path using the Metadata Path field on the encoder configuration pane. If a valid path is set the injection will look for the XML metadata files inside the custom folder. If the path is invalid the encoder will revert to the default path.

The name of the XML file is based on the source camera format, which is is displayed on the left hand side of the Node page in brackets. The XML file must be named accoring to the following syntax: <cameraformat>_metadata.xml. The value used for <cameraformat> must be lower case and must not contain spaces.

For Example

If the camera format is ARRI RAW the name of the metadata mapper XML would be arriraw_metadata.xml. For more details please check the examples which get installed under the EXRMetadata folder above.

The injection workflow supports additional metadata which is not from the source. In order to define custom metadata the ForceInject attibue value needs to be set to True in the XML file. This will override the existing source metadata value if present. In the example below Aspect will get exported as 2.0, overriding the value coming from the footage. ForceInject will add the metadata if it does not exist in the source.

Sample EXR Metadata OpenEXR XML file
(1)

<Aspect AttributeType="float" AttributeNameInTranskoder="Width" ForceInject="True">2.0</Aspect>
<Attribute1 AttributeType="int" ForceInject="True">1</Attribute1>
<Attribute2 AttributeType="float" ForceInject="True">2.0</Attribute2>
1 OpenEXR XML Files containing EXR Metadata should be placed in the C:\Program Files\OSD2017\pymodules\scripts\EXRMetadata\ folder.

The JPEG2000 encoder is divided into two groups, DCI compliant and IMF compliant. For more information on the specifics of each, please refer to the DCI Encoder Category, and the IMF Encoder Category.

The Image Encoder Category

Encoder Name/Family

Project Format

Resolution

Note

DPX

Same Colorspace as Input 10-bit/12-bit/16-bit

Same as Result Render

EXR 16 bit half

Same Colorspace as Input 16-bit floating point half

Same as Result Render

JPEG2000 DCI Compliant

CIE XYZ/YUV 10-bit/12-bit

2K Scope/Flat/Full 4K Scope/Flat/Full

JPEG2000 IMF Compliant

Mono/YUV/RGB 10-bit Lossy/Lossless

HD-UHD+

Including Rev (App2E+)

TIFF

Same Colospace as Input 8-bit/16-bit

Same as Result Render

1FPS JPEG

Same Colorspace as Input Same Color Depth as Input

360p

MOV (Quick Time)

The DCI Encoder Category

The DCI encoder category is a list of encoder defaults of a JPEG2000 based encoder which creates DCI compliant DCP packages. The CIE 1931 XYZ colorspace is used with 4:4:4 chroma sampling and 12-bit color depth.

Although it is possible to render DCI compliant packages manually by using the encoders in this category, a much more convienient method is to render DCI packages via the Finalize page. For more information regarding DCP or IMF rendering, please refer to the DCP and IMF Mastering chapter.

For general JPEG2000 encoder settings, please refer to the JPEG2000 Encoder Category section.

If the Transwrap field value is enabled, which it is by default, and if the conditions are met for transwrapping, no JPEG2000 encoding will be done, the source will just be rewrapped into new MXF container. For more information transwrapping including what conditions need to be met, please refer to the Transwrapping section of the DCP and IMF Mastering chapter.

The GUARD BIT and DWTRESOLUTION fields represent JPEG2000 parameters and automatically have default values set depending on which encoder has been selected. To ensure maximum compatability during playback, it is recommended that all assets in a package have matching values. If the other assets in a package have values that deviate from the defaults, the GUARD BIT and DWTRESOLUTION field values should be adjusted to match those found in the pre-existing assets.

The Post Finalize field if enabled, will automatically finalize the DCP or IMF package using the current values entered on the Finalize page even if rendering with CTRL+r. If only the assets need to be rendered, please disable the Post Finalize field.

To enable Dolby Atmos™ for DCP packages, please set the ATMOS field value to Enabled, and make sure to add the MXF containing the Atmos sync signal to the 14th audio track on the timeline. For more information, please refer to the Dolby Atmos™ Audio section of the Audio Handling chapter.

The DCI Encoder Category

Audio Only MXF

Encoder Name

File Type

Note

Audio MXF

MXF

This will render an audio only MXF file.

Picture MXF

Encoder Name

Resolution

File Type

Note

2K DCP Scope

2048x858

MXF

2K DCP Flat

1998x1080

MXF

2K DCP Full

2048x1080

MXF

4K DCP Scope

4096x1716

MXF

4K DCP Flat

3996x2160

MXF

4K DCP Full

4096x2160

MXF

8.3.10. The IMF Encoder Category

The IMF encoder category is a list of encoder defaults of a JPEG2000 based encoder which creates IMF compliant packages.

For general JPEG2000 encoder settings, please refer to the JPEG2000 Encoder Category section.

The MAX BITRATE field is used to specify the maximum bitrate to be used for the encoder. The PROFILE field is used to specify the JPEG2000 Operating Level. The SUB LEVEL field is used to specify the JPEG2000 Operating Sublevel. The COMP TYPE field is used to specify the JPEG2000 Profile. The PIX TYPE field is used to specify the chroma subsampling and color bit depth.

To get a lossless result render, make sure to set the value of the SUB LEVEL field value to 0 and the COMP TYPE field value to IMF Reversible Profile. The MAX BITRATE field will automatically be disabled.

For more information regarding the possible field values and relationships between them, please refer to the Appendix Encoding Profiles chapter.

The COLOR SPACE field is metadata used to indicate the color space of the picture asset. Options Color3:HD709, and Color5:Rec2020 are Standard Dynamic Range colorspaces, while options Color6:P3D65 (HDR), and Color7:Rec2020 (HDR) are Perceptually Quantized High Dynamic Range colorspaces.

The COLOR SPACE field is metadata only and does not do any colorspace conversion. The field value must accurately reflect the actual color space of the input picture asset.

The MASTERING field is metadata used to specify the color primary of the mastering display. If left as the Default value, then this is controlled by the COLOR SPACE field value. Otherwise the desired color primary and nit (brightness) level must be specified with the MASTERING and MASTER BRIGHTNESS fields. Just like for the COLOR SPACE field, these values are metadata only and no conversion is done.

The QUANTIZATION is used to specify in metadata if the picture asset is using QE.1 (Legal range) a.k.a head range, or QE.2 (Full range) According to the IMF standard, all YUV encoded picture asscets are Legal range, while RGB encoded picture assets are almost alwys Full range. Occasionally it is necessary to create a Legal range RGB IMF package, such as the type used by the Warner Bros HDR preset. This is also a metadata only value and no conversion is done.

Rendering HDR will result in a HDR report and light level statistics being gathered. For more information on HDR and IMF, please refer to the chapter titled High Dynamic Range (HDR).

The Post Finalize field if enabled, will automatically finalize the DCP or IMF package using the current values entered on the Finalize page even if rendering with CTRL+r. If only the assets need to be rendered, please disable the Post Finalize field.

The FRAMING field is used to specify the aspect ratio of the active image area for use in calculating the accurate light level statistics for HDR results and as needed metadata by the IMF packaging standard.

The DOLBY VISION field is used to embed Dolby Vision™ metadata into the IMF result renders. For more information, please see the High Dynamic Range (HDR) chapter section titled Dolby Vision Workflows.

If the Transwrap field value is enabled, which it is by default, and if the conditions are met for transwrapping, no JPEG2000 encoding will be done, the source will just be rewrapped into new MXF container. For more information transwrapping including what conditions need to be met, please refer to the Transwrapping section of the DCP and IMF Mastering chapter.

The CPLLIGHT field is used to specify whether to add the light level statistics to the CPL. This field is only relevant for HDR workflows. Custom values may be specifed in the advanced settings MAXFALL override and MAXCLL override fields of the IMF subpage of the Preferences page.

The APPLICATION VERSION field is used to specifiy the relevant IMF standard that is to be rendered. Available options are App2 (legacy standard) and App2E+ (Current standard published in 2016). The default option is *App2E+. This is needed for IMF validation. For the IMF Cinema Mezzanine preset, the hardcoded option is App4 which was developed for cinema archival purposes. App4 uses 16-bit color depthRGB 4:4:4 chroma sampling with the XYZ colorspace to archive media with super high fidelity.

Colorfront is at the forefront of supporting new IMF application standards and developement work is started as soon as they are published, with actual implementation done almost immediately. Naturally, Transkoder is able to validate all new IMF application standards.

The IMF Encoder Category

Audio and Video

Encoder Name/Family

Project Format

Resolution

Note

YUV Lossless MXF

YUV 8-bit/10-bit/12-bit 4:2:2

HD/QHD

App2

YUV Lossy MXF

YUV 8-bit/10-bit/12-bit 4:2:2

HD/QHD

App2

RGB Lossless MXF

RGB 8-bit/10-bit/12-bit 4:4:4

HD/UHD

App2

RGB Lossy MXF

RGB 8-bit/10-bit/12-bit 4:4:4

HD/UHD

App2

FOX SDR YUV UHD Lossy MXF

YUV 4:2:2

UHD

App2E IMF package which complies with FOX standards.

FOX RGB Lossless MXF

RGB 8-bit/10-bit/12-bit 4:4:4

HD/QHD

IMF package which complies with FOX standards.

FOX HDR Lossless MXF

Same as Result Render

APP2E+ IMF package which complies with FOX standards.

SONY YUV Lossy MXF

YUV 4:2:2

HD/QHD

App2 IMF package which complies with SONY standards.

SONY HDR

Same as Result Render

App2E+ IMF package which complies with SONY standards.

NETFLIX YUV QHD Lossy

YUV 4:2:2

QHD

App2E IMF package which complies with NETFLIX standards.

NETFLIX HDR

Same as Result Render

App2E+ package which complies with NETFLIX standards.

ARD YUV HD Lossless MXF

YUV 4:2:2

HD

App2 IMF package which complies with ARD standards.

IMF REV

RGB 10-bit 4:4:4

Same as Result Render

App2E+

WARNER SDR/HDR Service Master

Same as Result Render

App2E+ IMF package which complies with WARNER standards.

8.3.11. The JPEG2000 Encoder Category

The JPEG2000 encoder category is a list of encoders which render result in to the JPEG2000 image format. The JPEG2000, DCP and IMF sequence encoders all share the same base settings to control the encode quality and size. The enoder settings may be configured on the encoder configuration page.

The Resolution field is used to set the resolution of the result render images. For DCP it is based on the DCI standards (2K/4K scope, flat, full), for IMF it is flexible up to the maximal resolution of the current IMF application. To make sure that no frames in the generated asset will exceed a certain maximum bitrate, specify the desired bitrate (Mbit) in the Bitrate field.

The Mode field dictates which JPEG2000 rendering mode Transkoder will use to render the results. These modes vary in performace as well as what quality or size constraint they attempt to meet. The available rendering modes are Constant Quality, Single-Pass Average, Multi-Pass Average, and PSNR-based Average.

The Constant Quality mode is the Standard DCP rendering mode which uses fixed quality settings for each frame. Adjustable settings for this render mode are Bitrate, which specifies the maximum permitted per frame bitrate, and Quality which specifies the JPEG2000 quality level to be use for the encode process.

For the Single-Pass Average mode, during the single-pass encoding phase this approach converges to the Average bitrate setting. This is achieved by internally adjusting the encoding settings based on the already processed frames. Adjustable settings for this render mode are Average bitrate, which specifies the average bitrate of the asset that is the target of this adaptive algorithm, Bitrate, which specifies the maximum permitted per frame bitrate, and Quality which specifies the JPEG2000 quality level to be use for the encode process.

For the Multi-Pass Average mode, during the second pass of the multi-pass encoding phase this approach converges to the "Average bitrate" setting based on the data stored in the first pass. The multi-pass approach is capable of distributing the bitrate in an optimal way compared to the single-pass approach where knowledge of the complexity for the full sequence is limited. Adjustable settings for this render mode are Average bitrate, which specifies the average bitrate of the asset that is the target of this adaptive algorithm, Bitrate, which specifies the maximum permitted per frame bitrate, and Quality which specifies the JPEG2000 quality level to be use for the encode process.

The PSNR-based Average mode will result in a package where the PSNR (Peak Signal-to-Noise Ratio) value for each frame will be between ["PSNR","PSNR"+"PSNRTolerance"] whenever it is possible. The PSNR is one way of measuring the difference between the original and the encoded image. Larger PSNR values indicate a better match or higher similarity between images. Adjustable settings for this render mode are PSNR, which specifies the low PSNR limit, below which, the render process increases the encoding quality if the PSNR of a frame indicates lower fidelity, PSNRTolerance, which defines the top PSNR limit by PSNR + PSNRTolerance, where if the image fidelity exceeds this limit the quality setting is decreased resulting in more compressed frames, and Bitrate which specifies the maximum permitted per frame bitrate.

If the Generate PSNR field value is enabled, Transkoder will generate the PSNR data during the encoding which gets saved into the render folder. This makes possible the per-frame PSNR based visual fidelity analysis of the encoded assets. Please note that this mode will affect the speed of the encoding since decoding of the rendered frame is necessary as well.

By default audio and video assets are generated, however this behaviour can be overridden by the Media Type field to render video or audio files only.

To enable the forensic watermarking, set the WATERMARKING field to On and specify the desired ID into the PAYLOAD ID field in the encoder configuration pane.

The forensic watermarking feature may only be enabled if the Transkoder workstation also has a NexGuard (Civolution) license installed.

DCP Specific Settings

For DCP specific settings, please refer to the DCI Encoder Category section.

IMF Specific Settings

For IMF specific settings, please refer to the IMF Encoder Category section.

The JPEG2000 Encoder Category

DCI

Encoder Name/Family

Resolution

Note

2K Scope/Flat/FUll

2048x858/1998x1080/2048x1080

J2KPSNR/J2KGPU

4K Scope/Flat/FUll

4096x1716/3996x2160/4096x2160

Mono 10bit Lossless

1920x1080

IMF

Encoder Name/Family

Project Format

Resolution

Note

YUV 10bit Lossless

YUV 10-bit 4:2:2

HD/QHD

YUV 10bit Lossy

YUV 10-bit 4:2:2

HD/QHD

RGB 10bit Lossless

RGB 10-bit 4:4:4

HD/QHD

RGB 10bit Lossy

RGB 10-bit 4:4:4

HD/QHD

REV

Same as Result Render

App2E+

8.3.12. The Audio Encoder Category

The Audio encoder category is a list of encoders which render the project audio to various audio formats. The Mixdown encoder will use an xml defined stereo mix by default, while the Multichannel encoder will use source audio files directly just like the Same As Source option in the Audio Mixdown window. It is possible to overwrite these default mixes for both Mixdown and Multichannel encoders by specifying a different value in the MIX field on the encoder configuration pane.

For Example

Specifying the sameAsSource value in the MIX filed of the Mixdown encoder will make it behave identically to the Multichannel encoder.

It may be useful to think of the Mixdown and Multichannel encoders as though they were the same encoder with different names which are configured by default to reflect this difference in names. mized to use any audio mixdown, irrespective of the encoder name.

Any audio mixdown may be specified for any of the encoders irrespective of the encoder name. Please refer to the section titled Audio Mixdowns for more information on creating custom audio mixdowns.

All of the encoders create separate files Per Shot, with the exception of the Mixdown and MP3 encoders which create files Per Timeline.

The Audio Encoder Category

Encoder Name

Bit Depth

File Type

Note

Avid Audio

16-bit / 24-bit

MXF

This is used for creating Avid Media Composer compatible audio files.

DCI Audio MXF

24-bit

MXF

This is used for creating separate audio MXF files for DCP packages.

Mixdown

16-bit

WAVE

This will create an automatic stereo mixdown of the audio found on the timeline in 16-bit audio.

Mixdown 24 bit

24-bit

WAVE

This will create an automatic stereo mixdown of the audio found on the timeline in 24-bit audio.

Multichannel

16-bit

WAVE

This will use the source audio tracks on the timeline to create a 16-bit multichannel audio asset.

Multichannel 24 bit

24-bit

WAVE

This will used the source audio tracks on the timeline to create a 24-bit multichannel audio asset.

MP3 Audio Mixdown

NA

MP3

This will create an automatic stereo mixdown of the audio found on the timeline in MP3 format.

8.3.13. The AS02 Encoder Category

The AS02 encoder category is a list of AS02 compliant encoders. Rendering AS02 assets is a two step process. First, the picture and sound are rendered into separate MXF files using the standard (CTRL+r) rendering process. Next, a master or parent MXF which references the separately rendered MXF assets needs to be created one folder level up by opening up the Finalize page (SHIFT+d), specifying AS-02 as the value for the ENCODER TYPE field and clicking on the Generate button.

When creating AS02 assets for HBO, it is necessary to make that there are 12 audio channels on the timeline. Rendering will result in a seperate picture, and 6 stereo audio MXF assets. Finalizing as described above will create the necessary hierarchical master MXF.

The AS02 Encoder Category

Encoder Name/Family

Project Format

Resolution

Note

YUV Lossless MXF

YUV 4:2:2

HD/QHD

AS02

YUV Lossy MXF

YUV 4:2:2

HD/QHD

AS02

RGB Lossless MXF

RGB 4:4:4

HD/QHD

AS02

RGB Lossy MXF

RGB 4:4:4

HD/QHD

AS02

HBO YUV HD Lossy MXF

YUV 4:2:2

HD

AS02 IMF package which complies with HBO standards.

8.3.14. The Metadata Category

The Metadata encoder category is a list of encoders which render the project metadata to various metadata formats.

The LUT type encoders are used to "bake-in" the color processing of the current timeline. This is used when the dailies colorist work is finished with the color processing, and the visual effects (VFX) work needs to match this result. The LUT is exported by the colorist, and imported in to the VFX workflow on top of the raw footage. It is also used when a specific look is designed by colorists for a motion picture. The LUT is exported for import onto the monitoring equipment for use during shooting.

LUTs may vary in size from 17x17x17 to 33x33x33 and the size is denoted in the encoder name.

The Node Pipeline XML may be exported by right clicking anywhere on node page and selecting the Tools  Load Pipeline from XML menu option in addition to using the Node Pipeline XML encoder. The Node Pipeline XML may be imported by right clicking anywehere on the node page and selecting the Tools  Load Pipeline from XML menu option.

The Metadata Encoder Category

Miscelaneous Encoders

Encoder Name

File Type

Note

CDL

CDL

This will extract CDL data present on the Node page pipeline, such as from the CDL, Printerlight, and RGBlin nodes.

ALE

ALE

This will render into desired file and folder the Avid metadata used in Avid Media Composer based workflows. This metadata is also automatically generated when using the Avid Category encoders, so this encoder is useful if the metadata needs to be made available in a distinct file and folder.

PSNR

PSNR

This encoder is needed for PSNR analysis. For more information on how to conduct PSNR analysis, please refer to the QC chapter section titled PSNR Analysis.

Bitrate data

Bitrate

Alexa XML

XML

This is used to create a metadata file for use with pre-ALF-2 Alexa workflows.

FCP 7 XML

XML

This is used to create a metadata file for use with Final Cut Pro 7 workflows.

Copra XML

XML

This is used to create a metadata file for use with Copra online review based workflows. This metadata is also automatically generated when using the Copra encoder, so this encoder is useful if the metadata needs to be made available in a distinct file and folder.

Colorfront EMD

EMD

Colorfront’s own sidecar type of metadata, containing all of the metadata from the database and the color correction pipeline as well. Please refer to the section titled EMD (Express Metadata) of the Metadata Appendix chapter.

Node Pipeline XML

XML

This is used to create a direct copy of the native metadata used in the entire Transkoder color pipeline. It is an excellent method of backing up or the archiving of the color processing pipeline for any given project.

LUT Encoders

Encoder Name

File Type

Note

3D Mesh LUT 17

3DMESH

A3D LUT 17

A3D

Lustre 3D LUT 17

LUT

Autodesk 3D LUT 17

3DL

Cube 3D LUT 17

CUBE

Panasonic 3D LUT 17

LUT

3D Mesh LUT 33

3DMESH

A3D LUT 33

A3D

Lustre 3D LUT 33

LUT

Autodesk 3D LUT 33

3DL

Cube 3d LUT 33

CUBE

ACES CLF LUT

CLF

8.3.15. The Others Category

The Others encoder category is a list of various encoders which do not fit into the other main categories. The CUSTOM H264 and CUSTOM MPEG TS encoders allow for extensive customization of most of the encoder parameters directly from the encoder configuration pane. An even deeper configuration with total control over the encoder parameters for these two encoders is possible by manipulating the encoder XML files.

The Transwrapping encoder is used for file sequence image assets such as DPX, TIFF, and EXR, or single file formats RED, Sony MXF RAW and ProRes encoded assets to allow for the direct copy of the picture essence from the source to the result without the need to re-encode and with no loss in image fidelity. This is especially useful when only shorter segment of a longer source asset needs to be created for a result, such as when sending specific scenes to the Video Effects teams. It is very high speed almost matching the speed of direct copying. For more information on transwrapping please refer the the section titled Transwrapping in the JPEG2000 encoding part of the DCP and IMF mastering chapter.

The Frame Light Level encoder will only provide appropriate frame light level statistics if the source picture essence is (SMPTE ST-2084) Perceptual Quantizer and Rec. 2020 based. Additionally the encoder must be run on full length uncut clips.

The Others Encoder Category

Video

Encoder Name

Color Space

Chroma Sampling

Color Depth

Resolution

File Type

Note

Hypercube

7680x4320

Hypercube

This generates media compatible with the 8K HyperCUBE player by rendering four quadrants of the 8K image into 4K 422 HQ ProRes files.

MPEG4 For External Muxing Wide

1024x576

H264

MPEG4 For External Muxing

768x576

H264

H264 LPCM 1080p

1920x1080

H264

The H264 LPCM 1080 encoder allows for the creation of 16-bit / 24-bit LPCM wave audio stream together with a Full HD picture.

BLU-RAY 1080P

1920x1080

BLURAY

DirecTV 10 bit MPEG-TS

10-bit

3840x2160

MPEG-TS

Custom H264

1280x720

H264

The Custom H264 encoder allows for a very thorough customization of the H264 encoder directly from the encoder configuration pane.

MPEG2 1080p

1920x1080

MPEG2

The MPEG2 1080p encoder allows for a customization of the MPEG2 encoder directly from the encoder configuration pane.

Custom MPEG TS

960x540

MPEG-TS

The Custom MPEG TS encoder allows for a customization of the MPEG2 encoder in a TS container directly from the encoder configuration pane.

VC2

1920x1080

VC2

This is also know as Dirac Pro.

FOX YUV HD Lossless Archive MXF

YUV

1920x1080

FOXIMF

This will create a losless Full HD result render which includes both picture and audio assets in a single MXF which is compliant with FOX specifications.

HBO Op1a MXF

1920x1080

HBOOP1A

This will create a Full HD result render which will match HBO specifications.

FOX YUV QHD Lossless Archive MXF

YUV

3840x2160

FOXIMF

This will create a result render which includes both picture and audio assets in a single MXF which is lossless QHD and matches FOX specifications.

FOX Proxy H264

1280x720

H264

This will create a result render which includes both picture and audio assets in a single MXF which is 1280x720 Proxy and matches FOX specifications.

RAW YUV 420 8/10 in 16bit

YUV

4:2:0

8-bit/10-bit in 16-bit

1920x1080

RAW

This will create a headerless RAW file containing YUV colorspace picture essence with either 8-bt or 10-bit color depth encoded in 16-bit chunks.

XDCAM MPEG HD422

YUV

4:2:2

8-bit

1920x1080

MXF

This will create a Full HD result render which will match Sony XDCAM MPEG HD422 specifications.

RAW YUV 422 10bit - V210

YUV

4:2:2

10-bit

3840x2160

RAW

This will create a headerless RAW file containing YUV colorspace picture essence with 10-bit color depth.

Netflix Proxy 720p 2.4Mbit

1280x720

H264

This will create a 720p Proxy result render which will match Netflix specifications.

File Related

Encoder Name

Note

TransWrap

This is used for file sequence image assets such as DPX, TIFF, and EXR, or RED and ProRes encoded assets.

CopyFileSeq

The CopyFileSeq encoder is used when it is needed to copy a result to some other arbitrary location in while it is being rendered.

MD5 Checksum

The MD5 Checksum encoder will create an MD5 hash checksum of the timeline contents.

Other

Encoder Name

Note

Frame Light Level

The Frame Light Level encoder is used to manually generate the frame light level statistics that are required for HDR 10 workflows and Dolby Vision. HDR and Dolby Vision based encoders autmatically generated this information.

Benchmarking pipeline

The Benchmarking pipeline is used to measure the theoretical maximum encoding capability of the workstation. No result rendering is actually done.

8.4. Custom Encoders / Deliverables

To define any custom encoding template that you can apply in any of your projects you need to do the following:

  • Open C:\Program Files\OSD2017\pymodules\lib\encodeTemplates.xml to see what are the default templates

  • Create a new custom version of the encode file (with the same XML structure as encodeTemplates.xml) and save it as C:\Program Files\OSD2017\customEncoders.xml. To make sure the new encode job names do not conflict with the default ones, you may use numbers above 100 for instance(job100, job101…​).

<encode>
    <job100 type="EncodeJob">
        <Enabled type="int">1</Enabled>
        <Description type="string">INHOUSE_FORMAT</Description>
        <ShortDescription type="string">MPEG2 HD</ShortDescription>
        <Container type="string">M2V</Container>
        <EncoderName type="string">MPEG2</EncoderName>
        <Profile type="string">high</Profile>
        <Width type="int">1920</Width>
        <Height type="int">1080</Height>
        <VideoBitRate type="int">200000000</VideoBitRate>
        <AudioBitRate type="int">0</AudioBitRate>
        <ResultFileName type="string">x:/inhouse_gen/$TransferDate$/$UniqueID$.m2v</ResultFileName>
        <ShotsToDiffFiles type="int">0</ShotsToDiffFiles>
        <ResultName type="string"> </ResultName>
        <FrameRate type="string">23.976</FrameRate>
        <PostProcessName type="string">upld.bat "$ScriptPath$" $FilledFileName$</PostProcessName>
        <PostProcess type="string"></PostProcess>
        <Sound type="string">no sound</Sound>
    </job100>
</encode>
  • It is possible to override the location of this XML containing the additional templates by editing the AdditionalTemplates field of the Encode sub-page of the Preferences (TAB) page.

To customize the encoders added to a specific project, edit the project’s encode.xml under ..\<project name>\osddata\<project name> which contains the actual deliverables. It has the same structure as customEncoders.xml shown above.

8.5. Setting Up Custom Pre- or Post-Scripts

There are two options to launch external scripts upon encoding: upon creating each encoded file, or upon finishing the complete encode job.

8.5.1. Upon creating each encoded file

If you open the pymodules\lib\encodeTemplates.xml under the install directory you see all the default encoders users can use. The encoders may have a "PostProcessName" tag or a "PreProcess" tag defined, which refers to a script to be triggered upon rendering an individual clip. A good example would be either the DVD encoder or any of the Avid MXF encoders. These short names refer to factory default scripts defined in \pymodules\scripts\scriptsdef.xml under the install home, but direct refereces to external batch files or executables are also allowed.

Do not change any files installed by the application installer!

To add your own post script that runs after generating each file we recommend to define your own deliverable template first. Please read the section "Adding your custom deliverable format" first.

As soon as you have your own deliverable template, and want to add your own post-process, you need to follow these steps:

  • create a batch file with your script

  • You can pass metadata to the batch files by using keywords like $VTRoll$ or $TransferDate$. Please check the scriptsdef.xml for examples.

  • Add the script path to the encoder’s PostProcessName tag in the customEncoders.xml you defined your own format in. (Do NOT edit the "PostProcess" tag, it is a temporary container for system use!) An example would look something like this:

<PostProcessName type="string">customEmail.bat "$ScriptPath$" "$FilledFileName$" "$Length$"</PostProcessName>

8.5.2. Upon finishing the complete encode job

If you press TAB and open up the "encode" tab, there is an EncoderPostBatch parameter. Here you can enter your batch file (with full path) and can also pass parameters using keywords like $ClipName$, $LabRoll$. The metadata will be taken from the first shot of the rendered timeline.

8.6. Render Menu

The Render menu is used to specify what gets rendered and also start, stop and restart the render job. The specific menu options are:

Render  Render Timeline

This will render the Timeline as is and can be started using the CTRL+r keyboard shortcut as well.

Render  Render Shot

This will render the shot at the playhead position.

Render  Render Highlighted

This will render all the highlighted shots. (Use CTRL click to select multiple shots.)

Render  Marked Clips

This is used to manually render clips marked while DCP or IMF finalizing, if during the finalizing process auto rendering was turned off.

Render  Render Selects

This is used in a dailies workflow to render clips which have been marked as Select in the metadata.

Render  Render Non-Selects

This is used in a dailies workflow to render clips which have not been marked as Select in the metadata.

Render  Continue Rendering

This is used to restart a stopped render job.

Render  Stop Rendering

This will stop the active render job and can be done using the ESC keyboard shortcut as well.

Render  Save Selected Encoder Preset

This is used to save any encoder as a custom preset by selecting the encoder on the Encoder page (p) and clicking on this menu option. The preset will be saved into the CustomEncoders.xml file and will be appended to the bottom of the Custom encoder category when adding a new encoder.

Render  Export Transkoder Receipt

This will export sample files needed for rendering using the REST API and can be done using the CTRL+SHIFT+x keyboard shortcut as well. Please refer to the TKD A PI Guide for more information.

8.7. Background Rendering

In Transkoder because rendering is done with heavy GPU utilization, background rendering must be either done using a seperate dedicated render node, or the user must enable rendering of the queued jobs after exiting the interactive application. Rendering in the background while Transkoder is running in the foreground on the same workstation is not supported.

If only one workstation is availble for both interactive work and rendering, one can queue up multiple render jobs by first disabling the render queue icon (grey color indicates the inactive state) and then submitting the tasks with ALT+r.

8.8. Render Queue

The Render Queue is a list of current and upcoming render jobs that have been queued up for processing. To access the render queue, navigate to the following address: http://$central_db_ip_address/render/ where $central_db_ip_address is the IP address of the central DB server. If the local host is being used for the render queue, then the render queue service tray application may be used to view the render queue on the local host. To access the render queue from the server or workstation that it is actually running on, navigate to the http://localhost/render/ address.

If using a dedicated (linux) db server for the render queue, please refer to the Appendix section titled Central DB Configuration for step-by-step setup instructions.

9. DCP and IMF Basics

Transkoder is able to play back, generate, verify and analyze IMF IMPs and DCPs, original versions as well as supplementals (version files). While the generation of such packages is often a "single-click" process, there are many ways to customize both the encoding and the packaging process.

Recommended Educational Reading

For a more detailed explanation of DCP concepts and terminology, please refer to Cinepedia.

The following chapters describe all the different aspects of rendering and package creation process. In Render Strategies through different use-cases the timeline configuration and the corresponding CPL structure is discussed. In JPEG2000 encoding the different options of the J2K encoder and various analysis tools are listed, finally the DCP and IMF chapters detail the corresponding specific mastering tools, such as encryption and KDMs for digital cinema or HDR options for IMFs.

Finalize window for IMF IMP
Finalize window for IMF IMP

User can import a CPL (either IMP or DCP) from the load page or from the Timeline menu. Import will generate a new timeline on the project page. The timeline’s name will be inherited from the corresponding PKL file’s ContentTitle. User can also import into an existing timeline. If the timeline is empty, Transkoder will conform the CPL data into it.

Importing DCP and IMP Packages from menu
Importing DCP and IMP Packages from menu

9.1. Setting up the Timeline

To create a DCP or an IMF package the timeline needs to be set up reflecting the final composition. Audio, video and if needed subtitle or closed caption components need to be in sync. For DCPs audio and video events need to be cut identically, to reflect the reel structure of the output. IMF packages do not have this constraint.

It is very common to have video and audio segments that are supposed to be in the encoded MXF files, but not in the final composition defined by the CPL. For this reel markers can be used. Anything outside of the reel markers will not be played back when playing the final CPL. Reels can be set up manually by defining in points by pressing the i key and out points by pressing the o key or the Timeline  Markers  Set Reel Markers In and Timeline  Markers  Set Reel Markers Out menu items. Reels can also be set up automatically in the Batch Edit window which is activated by pressing CTRL+E.

Timeline with three reels and reel markers
Timeline with three reels and reel markers

Positional markers can also be added to the Timeline, these will be saved in SMPTE DCPs and all IMF IMPs. These are accessible through Timeline  Markers menu option.

9.1.1. Building DCPs with Reels at Each TC hour

Transkoder also supports a workflow where DCPs are created using timelines where reels start at hours. It is also possible to round-trip these DCPs, eg. to import CPLs such that the MXF track files are automatically placed to the corresponding hour in the timeline based on the embedded time code. This way it is very easy to drop in inserts or apply changes to individual reels in a non-destructive way when making iterations to the OV package or when creating supplemental (VF) packages.

9.2. Render Strategies

There are two important areas in the user interface to control the mastering process: the timeline itself to design the final composition, and the Finalize page to drive the packaging. Basic metadata, settings, various aspects of the package to be generated, as well as render strategies can be defined here. By pressing the "Generate" button Transkoder checks the media on the timeline and assets already rendered, and if needed executes the render process and finalizes the package.

There are different workflows for typical use cases that apply to IMF and DCP mastering as well. These different workflows may require specific configuration of the clips on the timeline and the Finalize page also needs to be set up correctly. The following sections detail these workflows and the corresponding configurations.

9.2.1. Original Version

Original Version packages, aka OVs are complete packages, with all assets needed for the composition. When the timeline is set up, open the Finalize Window and set the package type to Original Version. An OV is either created from some video - DPX or TIFF mostly - and audio master files, or by replacing parts of another OV.

Finalize Based on Markers

There is a finalize strategy called "Per Marker MXFs". Using this strategy, the operator can control the clip structure of the final IMP by adding reel markers to the timeline. These markers will drive what frames need to be rendered into separate MXF video track files.

As the below example shows this can be used to flexibly wrap a number of clips into one MXF: the first reel marker spans over the first three video events, these will be rendered into one video MXF. The rest of the timeline is another marker indicating the second MXF in and out points.

Per Marker MXF render strategy
Per Marker MXF render strategy
OV from Master, Single Reel

When working with original masters to create a package, the timeline needs to be set up on the V1 video track, and in the finalize page the Source should be "V1 Track". If the final package is to be consisting a single picture and audio segment, set the Strategy to "Per-timeline MXF". This is typical to an IMF IMP. In this mode all frames are encoded into a single video MXF file, just like audio into a single audio MXF file. One can create a IMF OV with multiple audio tracks, for more detail refer to the IMF Audio configuration section of this document.

Single reel OV mastering
Single reel OV mastering
OV from Master, Multi-Reel

For multi-reel packages set the Strategy to "Individual MXFs" to preserve the clip structure of the original timeline. If the video and audio master contains parts - like frame counter and 2-pop - that are not intended to be seen in the final result reel markers can be set up. Make sure to enable Reels on the finalize page. Without reel markers the timeline edit points define the reel/segment structure of the final result.

Multi-reel OV mastering
Multi-reel OV mastering
OV by changing another OV, Single Reel

Often the Original Version package to be generated is based on another DCP or IMP. In this workflow it is recommended to have the original timeline on the V1 track and add the new video replacements to the V2 video track. This can be easily done by loading an original CPL, saving it as a new timeline and adding a new, empty video track for the changes, by pressing ALT+V. A typical use case would be the localization of a trailer: having the English master version on V1 the user can add the localized replacements to V2 and also potentially replace the audio. In this scenario on the Finalize page the Source needs to be set "V1 and selected track". If the final package is meant to contain a single audio and a single video asset, the "Per-Timeline" render strategy needs to be selected on the finalize page.

When rendering such timeline where parts of the source is coming from an already encoded package - either a DCP or an IMF IMP - transkoder automatically detects for each frame, whether it needs to be encoded, or it can re-use the original essence. This is called automatic transwrapping.

Changing parts of an OV to create a new OV (single reel)
Changing parts of an OV to create a new OV (single reel)
OV by changing another OV, Multi Reel

In case of working with multi-reel original packages, Transkoder can preserve the reel structure. DCPs by default are loaded with reel markers, meaning the complete assets are visible on the timeline, and reel markers are automatically set up corresponding to the composition. This allows an easy workflow to change the package without loosing any part of the assets, like the 2-pop which is essential to checking video and audio sync.

Regardless of using reel markers or not, choosing the "V1 Driven MXFs" one can finalize a package that maintains the reel/segment structure of the original CPL.

Changing parts of an OV to create a new OV (multiple reels)
Changing parts of an OV to create a new OV (multiple reels)

9.3. Version File / Supplemental Packages

Version File (VF) packages are supplementing other DCPs or IMF IMPs. A VF is defining a composition that uses assets from the package as well as assets from other packages, typically an Original Version. Thus, the VF package can be used to fix or alter another package without the need of media duplication. VF packages are most often used to define localized versions of titles with potentially parts of the video or the complete audio replaced, subtitles added.

To create a Version File package in Transkoder, the user first has to load an OV package. It is advised to save it as a new timeline, not to destruct the OV timeline. On this timeline the necessary edits need to be added. To replace parts of the video there are two options: add the inserts to the V2 video track, or directly editing the V1 track. The first approach has the advantage that the OV timeline remains intact. On the Finalize page the appropriate selection needs to be set in the Source popup button.

Regardless how video inserts are defined, there are two render strategies to choose from: individual MXF files, or all changes rendered into a single MXF. The first approach will generate a new MXF asset for each video insert. Please note, the VF package will not contain the assets of the OV package it was created based on.

Supplemental mastering with inserts on second track, rendering individual MXF files
Supplemental mastering with inserts on second track, rendering individual MXF files
Supplemental mastering from an edited timeline, rendering individual MXF files
Supplemental mastering from an edited timeline, rendering individual MXF files

To minimize the number of asset files in the package, the user can choose to render all inserts into a single, concatenated MXF file. This asset will contain all the frames of the inserts, with no gap. It is the CPL that defines the composition, and ensures the proper sections of the video asset is edited into the OV timeline.

Supplemental mastering from an edited timeline, rendering a single MXF file with all inserts
Supplemental mastering from an edited timeline, rendering a single MXF file with all inserts
Supplemental mastering with inserts on second track, rendering a single MXF file with all inserts
Supplemental mastering with inserts on second track, rendering a single MXF file with all inserts

9.3.1. Creating a VF from a VF Timeline

If generating a Version File (supplemental) package from a timeline that is a supplemental itself, the asset map of the original (OV) package needs to be manually specified, in order to create a new proper Version File (supplemental).

9.3.2. Deliver Complete Packages from Supplementals (VF)

The CPL merge window now has on option to deliver complete packages. With this enabled Transkoder delivers the package with all assets referenced from the composition(s). This allows complete package delivery from supplementals (VF).

The Include All Assets option in the CPL Merge window
The Include All Assets option in the CPL Merge window

9.3.3. Loading a VF for Editing

When loading a VF for editing, it is necessary to either load a OV first, or set Transkoder to search for missing assets by setting the value of Search Missing VF Assets field to On and specifying the appropriate search level in the VF Search Path Levels field on the DCP and IMF sub-pages of the Settings (TAB) page. Each level specified will search that many levels higher above the VF (currently imported CPL) asset folder. This search is recursive meaning it will search all sub folders as well.

9.3.4. Creating a VF Relative to a OV

It is possible to use the VFAssetSelection option to create a VF RelativeToCPL, or RelativeToSelectedIMP. (in the future we can add options like "manual")

RelativeToCPL compare the new timeline to the original CPL, and this delta should drive the packaging process.

RelativeToSelectedIMP Operator is always prompted to select the OV assetmap, and only new assets will be hard linked.

Use-Case 1: (Creating a VF from a VF timeline)
  1. Create an English OV.

  2. Create a German subtitled version VF.

  3. Load German VF and do some editing changes.

  4. Create another VF like this, but without the English files.

Use-Case 2: (Renaming a VF)
  1. Load VF

  2. Rename assets, by re-finalizing with different naming.

  3. Include the same track files in the new package as in the original VF.

9.4. JPEG2000 encoding

The JPEG2000 render engine is GPU accelerated and has a built-in transwrap feature to re-wrap the assets if possible without de-encoding and re-encoding. It is also possible to manually fine tune the encoder settings. All that is necessary is to bring up the Encode page by pressing the p key and adding a JPEG2000 format encoder. For more information on the JPEG2000 encoder configurable options please refer to the JPEG2000 encoder category section.

9.4.1. Transwrapping

By default all JPEG2000 encoders in Transkoder attempt to transwrap the video essence on a per-frame level. This means if the source frame is some J2K media, the encoder checks if that image essence is compatible with the encode parameters, and if so there is no decoding and encoding but the same essence is used for the output. This automatic transwrapping can be disabled on the Encode page (p) encoder configuration pane by setting the Transwrap field value to No wrap.

The criteria for transwrapping in case of DCP:

  • There must be no nodes on the node page altering the image (with the only exception of the Subtitle node)

  • Resolution should match

  • Color space should be DCI XYZ

The criteria for transwrapping in case of IMF:

  • There must be no nodes on the node page altering the image (with the only exception of the Subtitle node)

  • RGB vs YUV color encoding should match

  • Resolution should match

  • Color sampling and Quantization should match

  • Lossless vs lossy profile should match

As an example Transkoder can transwrap extremely fast DCPs from/to SMPTE or Iterop as well as from/to encrypted or non-encrypted.

9.4.2. Validation

Both DCP and IMF IMPs can be validated. Open the Validation window by pressing CTRL+d and start the process by pressing the Start button. Upon completion a detailed validation report will be generated, open it by pressing the Open button. The detailed validation steps are described in the QC Tools chapter in the section titled DCP and IMF Validation.

9.5. Bit-rate and PSNR Analysis Tools

The video content of DCP or IMP packages is typically encoded using a lossy J2K algorithm. By adjusting the quality setting of the encode process, either globally or per-frame, one can create different video assets of different sizes and quality. Being able to analyze the per-frame size and image fidelity of the packages is essential to be able to deliver optimal DCPs or IMFs. Transkoder allows the user to analyze any J2K asset using bit-rate and PSNR graphs, regardless what hardware or software generated the media.

9.5.1. The Graph Window

The Graph Window, which is opened by pressing CTRL+COMMA, allows the detailed inspection of the size and quality aspects of video assets, at a per-frame frame. When looking at bit-rate data the horizontal axis represent time - the play head indicator is also shown - and vertical axis correspond to the bit-rate values. That is, the required bits to encode a single frame. Higher values indicate larger corresponding image chunks.

Graph Window with Bit-rate Data
Graph Window with Bit-rate Data

On the right panel the exact bit-rate value is also shown for the current frame, as well as average, minimum and maximum values for the whole timeline. To inspect the bit-rate curve closely please hold CTRL and right-click drag the mouse up to zoom in and down to zoom out.

To be able to analyze the fidelity of the encoded frames in conjunction with the bit-rate data PSNR information is needed. This is a numerical representation where high values indicate close match, and low values indicate significant difference between the original and the encoded frames. Unlike to bit-rate data, PSNR data is not auto-generated for the MXF video assets as it requires extra decoding steps affecting the render performance. When rendering video MXFs one can turn on PSNR data generation on the encode page, but it may be generated separately as well. For details see section "Generate Bit-rate and PSNR Data for External Assets".

When PSNR and bit-rate data is loaded into the Graph View the size vs. quality balance of the encoded video asset can be inspected. The bit-rate graph above indicates how many bits are required to encode a frame (higher values indicate larger frames) while the PSNR graph below indicates the quality of the encoded frames (higher values indicate better match). Please note: Although a higher PSNR generally indicates that the reconstruction is of higher quality, in some cases it may not.

Graph Window with Bit-rate and PSNR Data
Graph Window with Bit-rate and PSNR Data
PSNR
Peak signal-to-noise ratio, often abbreviated PSNR, is an engineering term for the ratio between the maximum possible power of a signal and the power of corrupting noise that affects the fidelity of its representation. PSNR is most commonly used to measure the quality of reconstruction of lossy compression codecs (e.g., for image compression). The signal in this case is the original data, and the noise is the error introduced by compression. When comparing compression codecs, PSNR is an approximation to human perception of reconstruction quality. source: wikipedia

9.5.2. Analyze Transkoder Generated Assets

Upon encoding any DCP or IMF asset Transkoder saves the per-frame bit-rate of the files. Thus right after rendering, or when loading the assets to the timeline, the Graph window will automatically show the relevant data. To generate PSNR data the Generate PSNR switch needs to be turned on in the encoder parameters (P page).

The render performance is significantly hit when Generate PSNR is enabled, as the encode process needs to de-encode the encoded frames to be able to compare them to the original.

9.5.3. Generate Bit-rate and PSNR Data for External Assets

One can load any J2K encoded MXF asset to the timeline, add a Bit-rate metadata encoder to the P page and launch the render. This will generate a bit-rate file that is automatically loaded right after rendering.

To generate PSNR data create a timeline with two video tracks and load the reference / source images to one track, the encoded asset to the other. Enable the Timeline / Timeline Mode / Enable All Tracks As Source and then open the node page. You will notice that the other track is available as an input now in the node page. Add a PSNR node to the tree, and connect its two inputs to the two sources (representing the two video tracks). If multiple events are on the timeline press SHIFT+T to apply this node tree to all the shots. Now one can visually inspect the PSNR values by looking the the tool HUD and playing the footage, and also one can add a PSNR encoder on the P page and generate a PSNR data file by rendering the timeline. This resulting PSNR file will be associated with the clip on the V1 track, and will be automatically loaded upon render completion.

10. Digital Cinema Packages

OSD Transkoder is capable to play back, generate, verify and analyze all the various DCP formats:

  • encrypted and non-encrypted

  • Interop and SMPTE

  • flat, scope or full image aspect

  • 2K or 4K resolution

  • standard and high frame rate packages

  • subtitles support includes MXF, PNG, XML InterOp (Texas Instruments CineCanvas) and XML SMPTE (D-Cinema SMPTE 428-7)

  • support for Close Captions (MXF SMPTE Timed Text)

  • animated subtitles including depth

  • 2D or stereoscopic 3D packages

  • new original version or version file (supplementary packages)

  • various audio configurations and Dolby Atmos© support

  • KDM generation, including forensic watermarking

10.1. Auto-Finalizing DCPs

First create a timeline with picture and audio elements and make sure the timeline itself represents a valid cinema package, eg. all video events have corresponding audio events, and there is no audio cut point within the video events. Subtitle files can be imported into the master bin of the project just like any other media files, and these subtitle files can be dragged to the timeline creating subtitle tracks. These subtitle tracks can be edited just like any other media. The finalize window’s Subtitle option controls if the subtitle elements are included in the created package or not.

When using subtitles please make sure to have a subtitle node in the node pipeline to be able to see the subs or to render them into the picture. If the subtitles are not meant to be rendered into the video asset make sure to disable subtitles before auto-finalizing or rendering.

Picture and audio elements on the timeline may be already encoded, valid DCP assets - in this case the finalize process will not re-encode them - or may be of any format ( eg. TIFF or DPX sequences, WAV files or any other sources ). The finalize process automatically encodes the events that do not comply the DCP specification to be generated. If no reel markers are used, the reels in the DCP will correspond to the video events on the timeline.

After the timeline is set up and it represents the DCP one wish to generate, the Finalize window should be opened by pressing SHIFT+D. The configuration of the DCP to be generated can be done on the finalize window. The following options can be set also from the window. Territory, Rating, Movie Title, Annotation text, Issuer, Creator, Studio, Facility, Audio and Subtitle language. These parameters will be presented in the DCP xmls. DCI standard DCP Title is generated automatically with the given metadata, but user can also edit it manually.

Finalize window for DCP
Finalize window for DCP

The audio layout option sets the metadata describing the audio layout of the DCP. By default it is on Auto, meaning based on the number of channels Transkoder will use the most common corresponding audio layout. For instance finalizing a DCP with 8 channels of audio in auto mode will set the audio layout to "7.1 (SDDS)", however the operator may need to override this if the audio configuration is actually "5.1 with HI and VI".

If all parameters are set up as desired one can press the "Generate" button to launch the finalize process. If necessary, Transkoder will start the encode process to render and wrap the needed MXF files. As soon as the rendering is done, the necessary folders and XML files will be generated. The DCP xml files (PKL,CPL,Assetmap and Volindex) along with the symbolic links of .MXF files (and subtitle files if present) will be generated and copied into <sourceFolder>/dcp/<Title> subdirectory. Upon finishing the process, Transkoder will automatically import the CPL to the project Bin window.

10.2. Generating DCP assets manually

If the user needs to control the render process manually, or custom encode settings are needed, one can add manually a DCP encoder to the Encode page p and adjust the encode parameters. One can launch the render process by pressing CTRL+r. Next, the DCP can be finalized on the Finalize page, which can be opened by pressing SHIFT+d, without further encoding. Alternately, the Finalize page can be used to auto-render the necessary assets with the current encoder. To add a DCP encoder, open the Encode page by pressing the p button, and (CLICK) in an empty slot of the encode table from the DCI group add the required DCP encode preset.

The DCP specific encode parameters are:

DCI Type

Selects Interop or SMPTE DCP package type.

Encrypted

Encryption mode of the package.

Atmos

Enables Dolby Atmos© compatible packages.

10.3. Asset and XML Naming

The DCP finalize page contains a drop-down selection to control the asset naming in the final package. The options are the following:

ContentTitle

MXF track file names will be derived from the package Content Title

Default

Very similar to the Content Title preset, this is the current factory default.

SameAsSource

This will preserve the names of the source .mxf files as determined on the Encode page. If this needs to be customized, set the Mix field value for the IMF encoder to the desire mix and modify the file name in the Audio Path field as described in the IMF Specific Encoder Settings section.

UUID

This will use the UUID in the .mxf file names.

It is possible to adjust these naming patterns or introduce new ones by editing or adding new XML files to the folder …​\pymodules\dci\NamingPatterns. These XMLs contain the naming schemes for all kinds of files in the package, the file name itself is the name of the preset shown on the UI. A sample is shown below.

Naming Pattern XML definitions for DCP
<pattern type="Container">
  <user type="Container">
	<!-- user defined default/forced/custom keywords and values | [a...z,A...Z,0...0,_,-]	max 170 char-->
	<ext>mxf</ext>
	<!-- TKD keywords: $UUID$, $ContentType$, $Territory$, $Rating$, $MovieTitle$, $Issuer$, $AudioLanguage$, $TTLanguage$, $Supplemental$, $MediaType$, $ClipNumber$, $OriginalFilename$  -->
  </user>
  <assets type="Container">
	<Video type="string">$ContentTitle$_$ClipNumber#2d-1$.$ext$</Video>
	<Audio type="string">$ContentTitle$_$ClipNumber#2d-1$_audio.$ext$</Audio>
	<Atmos type="string">$ContentTitle$_$ClipNumber#2d-1$_atmos.$ext$</Atmos>
	<Subtitle type="string">$ContentTitle$_$ClipNumber#2d-1$_sub.$ext$</Subtitle>
	<Caption type="string">$ContentTitle$_$ClipNumber#2d-1$_cc.$ext$</Caption>
  </assets>
  <cpl>CPL_$UUID$.xml</cpl>
  <pkl>PKL_$UUID$.xml</pkl>
</pattern>

10.4. Color Transformations

By default Transkoder is configured to work in the P3 color space. This means all non-P3 image inputs need to be converted to the P3 color space using the CSC node. The DCP encode process will auto-apply the floating points precision P3 to DCI-XYZ color conversion, as well as the DCP decode process will generate a P3 image directly. For example when working with standard 709 video images a CSC node needs to be added to the image processing pipeline with the following settings:

  • InputCurve: Gamma 2.4

  • InputColor: Rec709

  • OutputCurve: Gamma 2.6

  • OutputColor: P3

Alternatively one can work in the native DCI XYZ aerospace, eliminating any color transformation. This is the recommended workflow for those working with DCDMs already mastered in the DCI-XYZ color space. For this please disable the DCI/XYZRGBConversion in the settings page. In this mode images will be displayed as XYZ on the computer monitor and on the SDI output, and all non-XYZ sources need to be mapped to the DCI XYZ color space for encoding.

Other supported color spaces are:

  • Canon C.Gamut

  • V-Gamut

  • VLog (new in the output options)

  • CanonLog2 (new in the output options)

10.5. Dolby Cinema DCP Mastering

Transkoder can add the Dolby EDR transfer function metadata to SMPTE DCP CPL files indicating PQ color encoding, which is necessary for Dolby Cinema playback. To enable this, set the value of the Dolby EDR transfer function option on the Finalize page to PQ10K.

Dolby Cinema Flag
Dolby Cinema Flag

This option enables the corresponding metadata indication in the CPL file. The source DCDM should be already in the proper PQ color space, mastered for 108 nits.

10.6. Stereo 3D DCPs

Please follow the next steps to create a Stereo 3D project and DCP in Transkoder:

  • Create a new project

  • Enable the stereo flag (TAB/Base -Stereo = On) right after creating the new project

  • Add left and right eye media to the V1 and V2 tracks of the timeline window. Make sure they are in sync.

  • Enable All tracks as source timeline mode in the Timeline Menu

  • Open the Finalize window and check if the stereo flag is enabled

Note: the Stereo flag is ENABLED, but it is always greyed out in the Finalize Window.

When working with 3D stereo MXF video track files there is only one track on the timeline, left and right eye are not separated on the V1 and V2 tracks. Because of this creating supplemental packages with video inserts should be done in two steps: first the operator needs to render the new 3D stereo MXF assets on a timeline with V1 and V2 containing the left and right eye DCDM. Then the rendered new assets can be used to edit them in to create a supplemental package.

10.7. KDM Generation for Encrypted DCPs

Auto-generated KDMs

Upon generating encrypted DCPs Transkoder auto-generates KDM files as well: one self-KDM which allows Transkoder to open the DCP and also there will be KDMs generated for every certificate (.pem file) listed in the KDM Certificates folder. KDMs generated for these user defined certificates will be placed in the deliveredKDM folder withing the project home, organized such that each CPL will have it’s corresponding subfolder. The location of these folders, as well as the validity period of the KDMs are configured on the DCI tab of the settings page which is opened by pressing the TAB key.

By default the self-KDM is issued for a global Transkoder certificate, thus it will allow any Transkoder system to play the DCP, and corresponding private key file is also present on the file system. This should be used only for testing. To generate a self-KDM that certifies the workstation only, dongle-locked certification is needed. For this please refer to section "Installing Dongle Locked DCI Certificate".

KDM Generator Window

Open the KDM Generator window from the Window  KDM menu or by pressing CONTROL+SHIFT+d keyboard shortcut. In this window the operator can choose any CPL from the project, configure the validity period - either by start and end date, or by start date and length and set the (UTC) timezone. Before pressing the generate button the certificate file(s) need to be selected, either a single one or a group of certificates.

Trusted Device List for KDMs

The KDM Generator window also includes a Trusted Device List. A TDL defines peripheral equipment connected to the digital cinema server, which may also have certificates for themselves. This feature allows the generation of KDMs for cinema players with dual projection system.

KDM Generator Window
KDM Generator Window

10.7.1. Importing Encrypted DCI Package

To successfully import and playback an encrypted DCP package with KDM, place the KDM into the master KDM folder of the project, which is by default <projectHome>/KDM. Encrypted packages, or assets generated by Transkoder do not necessarily need a self-KDM to be playable in the system: during encoding Transkoder saves the keys for each asset as an encrypted key file - called cfdigest - in a folder within the project home directory.

10.7.2. Installing Dongle Locked DCI Certificate

To generate a DCI certificate that is valid only for a current workstation with the Colorfront dongle connected, contact support (support@colorfront.com), and request a DCI certificate. Please include in your email your system ID (same as the one used for licensing) and the HASP Dongle ID. These can be accessed from the File  DCI  DCI License Info menu option. Colorfront will send a package of certificate files, which may be installed via the File  DCI  Import DCI License menu option or manually in the following way:

Manual installation of Dongle Locked DCI Certificate
  1. Make sure that the HASP dongle is plugged into the workstation and use the Import DCI License menu option to import the dci license file to the dongle.

  2. Copy the certificate pem files to <install_home>\pymodules\dci\certs\production

  3. If the plugged dongle contains a valid DCI license then the certificate under <install_home>\pymodules\dci\certs\production is used. This certificate is tied to the host and previously issued KDMs work only on the original workstation.

KDMs can be generated using the leaf.signed.pem from <install_home>\pymodules\dci\certs\production.

If the dongle is not plugged in or does not contain a valid DCI license, the pre-installed example certificate is used from <install_home>\pymodules\dci\certs\example. This certificate is not tied to the host so your issued KDMs will work on any transkoder machine.

KDMs can be generated using the leaf.signed.pem from <install_home>\pymodules\dci\certs\example.

The same certificate is used as the signer and server certificate.

10.7.3. Exporting DCI Certificate

To export the Transkoder station’s certificate navigate to File  DCI  Export DCI Certificate menu option.

If your Transkoder operates without a valid production certificate it will export the EXAMPLE certificate which is not secure. The exported file name will contain the type of the dci license (production/DEMO).

10.7.4. Optional Signing of DCPs

Transkoder is able to digitally sign DCPs with the following available behaviors:

On

This option will sign both encrypted SMPTE DCPs, and Interop DCPs, but some old players may have problems with signed Interop DCPs.

EncryptedOnly

This option will sign only encrypted SMPTE DCPs.

Off

With this option, the generated DCPs will not be signed.

The desired behavior may be selected by specifying the appropriate value for the WriteSignature field in the Advanced Settings section of the DCI sub-page of the Preferences (Tab) page.

Some old players may have problems with signed Interop DCPs!

10.8. Global DCP Settings

The following DCP parameters can be adjusted globally in the DCI sub-page of the Preferences page (TAB).

  • DCI Encryption

If ON, then new DCI deliverables added to the encode page will be initialized accordingly. This setting can later be adjusted on the encode page.

  • DCI Type

Defines the default standard of the DCI deliverables - SMPTE or INTEROP. This can be manually adjusted on the encode page for each encoder.

  • DCI Encryption Key Home

Location of the - encrypted - key files for encrypted content generated by Transkoder. Please note that without these files a KDM is needed to open the encrypted assets.

  • Import After Finalize

Enables the automatic ingest of generated DCPs.

  • Package Asset Creation

To save storage Transkoder by default does not copy the media assets into the generated DCP folders but creates hard links to the files. This way the packaging is faster, no extra storage is needed.

  • Package Asset Naming

If this is set to ContentTitle, Transkoder will rename the asset files upon DCP generation so they match the content title text. If set to AssetUUID OSD will rename the assets based on their UUID.

  • KDM Home

Defines the project specific path where Transkoder looks for the KDMs when playing back a DCP.

  • XYZRGBConversion

If this is set to On, Transkoder makes conversion from DCI XYZ to P3 RGB in case of DCP decoding and from P3 RGB to DCI XYZ in case of DCP encoding.

11. Interoperable Master Format (IMF)

IMF is a single, interchangeable master file format based on J2K compression to minimize storage requirement, allowing flexible versioning of the content. A single IMF package (IMP) may contain a variety of versions of the same content: different language, aspect ratios or playlists. It is loosly based on the DCP concept.

Transkoder supports the following IMP features:

  • HD, QHD and 4K

  • Application 2, Application 2 Extended, Application 2+ (revised) and Application 4

  • YUV and RGB

  • supporting wide range of frame rates for packages: 23.976, 24, 25, 29.97, 30, 48, 50, 59.94, 60

  • 10, 12 and 16bit

  • Lossy and Lossless profiles

  • available deliverables meet the requirements for the following IMF specifications: NETFLIX, FOX, SONY, WARNER.

11.1. IMF Specific Encoder Settings

MainLevel and SubLevel

In Application 2 and Application 2 Extended encoders the Broadcast Profiles can be set. In the revised App2E+ encoder the new IMF Main and Sublevels can be configured.

Mix

One can choose to generate multiple audio files for the final package. For this either the SameTracksAsSource mode should be activated, to have the same audio configuration in the IMP as on the timeline, or a custom multi-group mixdown should be selected. For more detailed information, please refer to the section titled IMF Audio Handling

Audio Path

If multiple audio files are rendered, their file name can be adjusted. Clicking on this item the path configuration window opens, where the file name can be re-configured using keywords, including language, label or track name.

Application

Sets the current IMF application level of packages as rendered by Transkoder. It indicates the level that the packages will comply with. This is denoted in the XML files and is essential for interoperability with other systems.

Framing

Sets the aspect ration of the active image area. This metadata is embedded in the final video XML files.

Color

The color space of the media. To generate an HDR IMP please set this to "Color7:Rec2020 (HDR)" which will trigger the HDR light level statistics computation as well as the HDR report generation.

HDR Report

If the Color parameter of the App2E+ encoder is set to Color7, there is a HDR report generated. With this setting this generation can be optionally disabled.

11.2. Global IMP Settings

The following IMP parameters can be adjusted globally in the Settings page / IMF.

  • FixTimecodeTrack

    • If this setting is on, OSD sets the frame rate of the timecode track in the audio mxf files instead of the sample rate.

  • HashType

    • Defines the checksum hash calculation algorithm for the CPL assets' Hash entry. Available options are SHA1 and SHA256.

  • Import After Finalize

    • Enables the automatic ingest of generated IMPs.

  • DirectRead

    • Parse the essence offset at load time and use it for later read.

  • MetaCacheDir

    • Directory where the IMF readcache files are saved. Cache files are used for enhanced playback.

  • Package Asset Creation

    • To save storage Transkoder by default does not copy the media assets into the generated DCP folders but creates hard links to the files. This way the packaging is faster, no extra storage is needed.

  • Package Asset Naming

    • If this is set to ContentTitle, Transkoder will rename the asset files upon DCP generation so they match the content title text.

11.3. Generating IMF resources

After creating a timeline with the image and audio content the user needs to add an IMP encoder to the Encode page p. The picture and audio resources at this point may contain extra head and tail, it is the finalization process defining the exact timeline editing points in the package. The rendering of the video assets is GPU accelerated, for optimal performance multiple high performance GPUs are recommended.

The NETFLIX specific encoder creates 6 channel audio if input is 6 ch, creates 2ch audio if the input is 2ch and creates a 6ch and a stereo audio file if the input is 8ch.

11.4. IMP Finalize

The finalization process consists of generating the necessary XML files for the IMF package and creating the package itself, and can be executed using the Finalize window which can be opened by pressing SHIFT+d. The user may choose the finalize the rendered MXF resources into an IMF package (without altering in and out points) or build a timeline with properly encoded MXF resources and finalize a package from the timeline. The latter workflow allows the flexible adjustment of media in/out points without re-encoding.

Finalize Window Configured for IMP IMF packages
Finalize Window Configured for IMP IMF packages

The following options can be set also from the window. Content Type, Territory, Rating, Movie Title, Annotation text, Issuer and Audio language. These parameters will be presented in the IMP xmls. IMF standard IMP Title is generated automatically with the given metadata, but user can also edit it manually.

Pressing "Generate" will generate an IMF package. The IMP xml files (PKL,CPL,OPL,Assetmap and Volindex) along with the symbolic links of .MXF files will be generated and copied into <sourceFolder>/imp/<Title> subdirectory. After the generating process, Transkoder will automatically import the CPL timeline.

Transkoder allows the user to edit the CPL manually, which invalidates the package, and then fix the hash and size values to reflect the edited files. The FixXMLs button is used to to update all the hash and size values in the CPL / PKL / Asset Map.

Fix Hash of IMP XML files after manual edit workflow:
  1. Generate the package.

  2. Open the XML files and edit them if needed.

  3. In the Validation window run the Transkoder test, it is expected to fail.

  4. Press the newly enabled Fix XMLs button.

  5. Re-run the validation. The package should validate.

Fix package after manual edit workflow
Fix package after manual edit workflow

11.4.1. Encode Tab on IMP Finalize Page

All J2K encoding parameters are mirrored to the Finalize page, so any custom setting and metadata attribute can be set and validated in one place. By selecting an IMF preset using the Format drop-down list the parameters are auto populated. It is still possible to use the Encode page (p) to adjust the encoder settings. The Encode page J2K settings will automatically be synchronized with the Finalize page.

Encode Tab of the Finalize Page to Control IMF Encoding
Encode Tab of the Finalize Page to Control IMF Encoding

11.4.2. Color Tab on IMP Finalize Page

Metadata about color encoding and information on the HDR mastering display - which defines the brightness and color range of the content - is not available on the Color tab of the Finalize page. The Mastering setting is only available in HDR mode, when the Color Space is either Color-6 (P3D65) or Color-7 (Rec2020). If the Mastering field value setting is Auto, the mastering display properties are driven by the Color Space setting. The operator can inspect and if needed override these parameters.

Color Tab of the Finalize Page to Control Color Encoding and Mastering Display Metadata
Color Tab of the Finalize Page to Control Color Encoding and Mastering Display Metadata

Additional options on this tab:

  • Include Light Level Statistics in CPL: controls whether the MaxFALL and MaxCLL HDR10 metadata is included in the CPL.

  • Overwrite Light Levels Statistic: when On the MaxFALL and MaxCLL numbers can be overridden by the user.

  • Generate HDR PDF Report: optional HDR PDF report generation with gamut and brightness validation.

11.4.3. Audio Tab on the IMP Finalize Page

Transkoder provides an interface and procedure to be able to specify MCA audio metadata on the timeline level for IMF mastering. The first step to set up the proper audio configuration initialize the audio layout using the Layout selector and pressing Load Layout. This sets the number of audio groups (audio MXF track files to be rendered) and the channel config within each group.

All the displayed information is audio group specific, the operator can switch between groups using the selector on the left side. Most of the cases the basic information such as movie title and sub-version should be the same for all audio groups, so make sure to fill in these first and press Apply to All.

Audio Tab on the Finalize Page to Control MCA Audio Labeling
Audio Tab on the Finalize Page to Control MCA Audio Labeling

By selecting a Group Type from the drop-down list, Transkoder configures the channel field configuration on the bottom of the window. This can be altered manually to produce a custom configuration.

11.4.4. Naming Patterns for IMF

The IMF finalize page contains a dedicated Naming tab to control the asset naming in the final package making it possible to inspect and customize the naming of video, audio and subtitle track files as well as CPL files.

The Asset Naming Tab on the IMF Finalize Page
The Asset Naming Tab on the IMF Finalize Page
ContentTitle

MXF track file names will be derived from the package Content Title

FOX

This will name the .mxf files as required for FOX projects.

SameAsSource

This will preserve the names of the source .mxf files as determined on the Encode page. If this needs to be customized, set the Mix field value for the IMF encoder to the desire mix and modify the file name in the Audio Path field as described in the IMF Specific Encoder Settings section.

UUID

This will use the UUID in the .mxf file names.

If multiple audio MXF files are generated each file can be assigned a custom naming pattern by selecting Group A, Group B etc. By default all audio files use the Group A pattern, but this can be changed. By pressing the Save button the customized naming pattern can be saved for later use.

11.4.5. Finalize Encoded Resources

To finalize the encoded assets without changing in and out points, please select "Encoder" as the source on the Finalize window. Also, there must be an active IMF render job in the Deliverables page, this is how the finalization process finds the encoded media.

11.4.6. Finalize from Timeline

"Timeline" source option means the IMP is generated from the current timeline. All assets on the timeline must be encoded into the proper IMF compliant MXF format, and all audio events must be aligned with the video events.

11.4.7. Finalize Version File Packages (Supplementals)

Version File (aka Supplemental) packages are IMPs with such playlists (CPLs) that contain assets from other packages. Original Version IMPs on the other hand are self-contained and have all assets inside the IMP.

To create a VF package please follow these steps:

  • Should there be any new audio or video asset to be included in the new package please transcode that to proper MXF files using the appropriate IMP encoder on the encode page.

  • Load an Original Version CPL to the timeline that needs to be altered.

  • Execute the necessary changes to the timeline (eg. add/change Atmos data, replace audio or video events or edit in shorter segments into video or audio sequences.

  • Make sure all video assets on V1 have an associated audio event on the audio channel of the same length

  • When finalizing the IMP set the Type to "Version File" in the Finalize window

12. Audio Handling

Transkoder supports multichannel, and multi-mono broadcast .wav, and .mxf formats for standalone assets in addition to most native embedded audio formats.

12.1. Managing Audio Assets in the Bin Window

The BinWindow is the Transkoder GUI for managing media assets including audio assets.

12.1.1. Adding Audio Assets to the Bins

To add assets to bins via the file system, click on the small ⊕ (PLUS SIGN) button in the bottom left corner of the BinWindow asset list and a filesystem browse dialog will appear on the screen. Browse to the asset to be added and click on the OK button.

Transkoder BinWindow Adding Assets
Transkoder BinWindow Adding Assets

If adding multi-mono audio assets, Transkoder will automatically recognize their relatedness, and they will appear as a single audio asset in the Bin Window. This feature may be disabled by specifying the Off value for the Group Multi File Audio field in the Advanced Settings section of the AUDIO page in Preferences (TAB). With the setting set to Off the files will be displayed / treated separately.

Transkoder Multi-mono audio files will appear as a single audio asset in the Bin Window
Transkoder Multi-mono audio files will appear as a single audio asset in the Bin Window
Transkoder does not support > 4gb wav files.

12.1.2. Removing Audio Assets from Bins

To remove assets from bins, highlight the assets to be removed and press CTRL+BACKSPACE while the mouse pointer is within the Bin window or click on the small ⊖ (MINUS SIGN) button in the bottom left corner of the BinWindow asset list.

12.1.3. Inspecting Audio Assets in the Bin Window

To hide or show audio assets in the BinWindow asset list, click on the Audio button on the top right hand side. Click on it again to return to the previous state.

Transkoder BinWindow - Hidden Audio Assets
Transkoder BinWindow - Hidden Audio Assets

The following fields appear when viewing Audio Metadata in Bin Window Details View:

Media Path

This is the media path to the audio file.

TCin

This is the starting TimeCode of the audio file.

Duration

This is the length in time of the audio file.

SoundRoll

This is automatically extracted from the broadcast metadata in the .wav file header, if present.

Samplerate

This is the number of samples of audio per second.

Name

This is the friendly name of the audio file.

Channels

This is the number of channels of a given audio file.

12.2. Audio on the Time Line

Audio Tracks added to the Time Line show up as a waveform and are displayed in a collapsed mode, by default, with all channels of a track combined into one and with A1..N, as the track label, where N represents the number of channels. Channels can also be displayed in an expanded mode with each channel shown as an individual track with A1,A2,A3…​ etc. as track labels.

To switch from the condensed view to the expanded view, double-click the A1..N track label, or to switch from the expanded view to the condensed view, double-click one of the A1,A2,A3…​ track labels.

Transkoder Timeline with Collapsed Audio Tracks
Transkoder Timeline with Collapsed Audio Tracks
Transkoder Timeline with Expanded Audio Tracks
Transkoder Timeline with Expanded Audio Tracks
For and in depth explanation on managing (audio) assets in the Bin Window, please refer to the section titled "Managing Assets within Bins".

12.2.1. Managing Audio Assets on the Time Line

To add audio assets to the Time Line drag and drop them from a Bin to the Time Line or highlight the desired assets and press the v button. (Both methods behave the same way.)

When adding audio assets to a track on the Time Line with either the drag and drop method or the v button method, the inserted location will depend on whether the Time Line is set to POS or TC insertion mode. In POS mode, the audio asset will be placed at the current playhead position, and in TC mode, the audio asset will be placed according to the time code metadata contained in the audio asset. To switch between POS or TC mode, double-click on the mode text which is located directly above the track list at the left hand side of the Time Line.

All audio assets added to a track must have the same number of channels.

To create a new audio track press ALT+SHIFT+v or select the Timeline  Add Track  Add Audio Track menu item.

To remove an audio track from the Time Line, select the Timeline  Del Track  Delete Audio Track menu item.

Right-click drag up or down in the middle of the audio track list on the left hand side of the Time Line to scroll the tracks up or down.

To group audio and/or video clips together, make sure to highlight the desired tracks, and select the Timeline  Group  Group selected clips menu item. To ungroup them, make sure to highlight the desired tracks, and select the Timeline  Group  Ungroup selected clips menu item.

12.2.2. Editing Audio on the Time Line

To slip an audio event along the Time Line, CTRL drag it to the left or right. To slip an audio clip with sample precision within its container, please open the Batch Edit window by pressing CTRL+e. The Batch Edit window is also used when editing multiple audio tracks or performing a number of different audio edits.

To trim the begining or end of an audio track, click and drag the begining or end of the track. The mouse cursor is indicative of the current timeline interaction.

To split or cut an audio clip first highlight it by clicking on it, place the playhead at the desired positiont and press SHIFT+c to cut.

12.2.3. Audio Metadata on the Time Line

Audio Track Metadata

The Record TCin is displayed at the bottom left corner of an audio track, and the Record TCout is displayed at the bottom right corner. If space permits, the audio asset’s file name is displayed centered along the top.

Audio Track Label Metadata

The bottom left corner of the audio track label box indicates the language of the audio track using the standard 2 letter abreviation. This can be changed by double-clicking the text or from the Audio  SetLanguage menu.

The bottom right corner of the audio track label box displays the channel label (Boom, Center, etc) which is read from the track’s built metadata.

12.3. Adjusting Audio Speed with Pulldown and Pullup

Transkoder can change speed of audio clips on the timeline to compensate for the 1000/1001 speed change ratio, so audio matches the corresponding video. To adjust the audio speed from an integer TC rate such as 24 FPS to a non-integer TC rate such as 23.977 FPS, select the Edit  Change Audio Speed  Pulldown menu item. A small triangle pointing downwards will appear to the right of the TC if pulldown has been applied to the audio track.

It is also possible to apply pullup/pulldown upon rendering, if the framerate if the timeline does not match the encoded FPS. For example rendering a 23.9 ProRes from a 24 project, the ProRes encoder will automatically re-adjust itself to apply the correct pulldown to the audio.

To adjust the audio speed from a non-integer TC rate such as 23.977 FPS to an integer TC rate such as 24 FPS, select the Edit  Change Audio Speed  Pullup menu item. A small triangle pointing upwards will appear to the right of the TC if pullup has been applied to the audio track.

To revert to the original speed of an audio asset thereby removing any pulldown or pullup, select the Edit  Change Audio Speed  Normal

If Transkoder detects a 1000/1001 speed ratio difference between the project frame rate and the frame rate in the audio header, it will automatically apply the necessary pulldown, or pullup and indicate this with the appropriate triangle icon to the right of the TC.

Supported speed change scenarios.
  • 23.9 ⬌ 24

  • 23.9 ⬌ 25

  • 24 ⬌ 25

12.3.1. Audio Conversion upon Frame Rate Conversion

To support workflows where 23.9 or 24 frame rate media is converted to 50 FPS outputs (with duplicating frames) Transkoder automatically re-adjusts audio in a 50 FPS project, as if it was a 25 FPS project. This way the operator can simply drop in 23.9 media to the 50 fps project, change the audio speed to 50% and the picture and audio will be in sync at 50 frames per second.

12.4. Embedded Audio on the Time Line

When adding video clips with embedded audio to the timeline, the embedded audio will be added to the corresponding audio track automatically. These clips will also be automtically grouped together so all editing operations apply to both of them. To ignore embedded audio and not add it to the timeline, disable the embedded audio handling by selecting the Timeline  Insert Embedded Audio menu item or pressing ALT+b. All typical editing action such as trim, cut, slip, etc., will be done to both video and audio. To ungroup the audio and video clips, make sure they are highlighted and select the Timeline  Group  Ungroup selected clips menu item or press the ALT+SHIFT+g keyboard shortcut. To group the clips again, make sure they are highlighted and select the Timeline  Group  Group selected clips menu item or press the SHIFT+g keyboard shortcut.

Video assets with embedded audio will appear only as video clips in the BinWindow, there is not separate representation of the audio object in the Bin. However, the expanded metadata view does show audio metadata such as the channel number.
Transkoder does not do audio stretching to any length, and if the framerate of the video with embedded audio differs from the project framerate, the audio and video will not be in sync.

12.5. Audio Mixdowns

Audio mixdowns are used to define audio mixing and routing patterns for playback and for encoders. Transkoder defines default audio mixdowns including one for the workstation motherboard’s audio jack and one for the SDI embedded audio output.

12.5.1. Audio Mixdown Window

To open the Audio Mixdown window, press ALT+y. The left-hand side contains a list of the defined mixdowns, with the following defined by default:

Audio Mixdown Window
Audio Mixdown Window
DefaultPlayback

This mix is routed to the workstation motherboard’s audio jack which is stereo, so the mix should be stereo as well. (This is represented by the speaker icon.)

DefaultVideo

This is a 5.1 multi-channel mix routed to the SDI embedded audio. (This is represented by the speaker icon with a frame around it.)

Dual Audio

This mix is used for IMF packaging and includes both a 5.1 channel and stereo channel.

To change the number of channels in the mixdown, double-click or right-clickthe channel number, such as, Channel 6 for 5.1 channels. Another method is to use the channel preset dropdown menu located along the middle of the bottom of the Audio Mixdown window.

Audio routed through the workstation’s audio jack is indicated by the speaker icon and audio routed to the SDI embedded audio is indicated by the speaker icon with a border around it.

The right hand side contains the actual mixdown routing table with the mixdown name followed by the source audio channels listed on the top from left to right.

Right below the source audio channel IDs is the Volume change indicator, displayed in db under each of the source audio channels. The volume change can be set by clicking in the field and typing a value, scrolling the mouse wheel in the field, or using the UP ARROW and DOWN ARROW keys. If manually entered, the value can be a floating point number.

Vertically is a list of the deliverable tracks with a two letter language abbreviation listed directly below the track label, and to the right of the track list is a list of the Channels for each track. This is followed by a table with columns corresponding to source audio channels and rows corresponding to deliverables' output channels. By enabling multiple columns within a single row one can mix multiple input channels.

At the bottom of the Mixdown Window from left to right are:

Under the mixdowns

⊕ (PLUS SIGN)

Create a new mixdown. (Double-click to rename.)

⊖ (MINUS SIGN)

Remove the highlighted mixdown.

SPEAKER ICON

Designate a mixdown for routing through the workstation motherboard’s audio jack.

SPEAKER ICON w/ BORDER

Designate a mixdown for routing through the SDI embedded audio.

Under the mixdown routing table

ADD GRP

Add a channel group to the mixdown. Groups will be labeled A,B,C…​ etc. This is used by encoders that support multi-group audio encoding such as IMF.

DEL GRP

Remove the hightlighted channel group from the mix.

CHANNEL PRESET

Indicates the number of channels to be used for the group. The value MOS may be used to define a mixdown without any audio. Such a mixdown can then be used to generate a render without any audio present.

LABEL

A custom label such as 5.1 DTS can be specifed here and will appear above the channel group. This can be used in IMF encoding audio asset naming.

LANGUAGE

Define the language for the channel group. This can be used in IMF encoding audio asset naming.

SET ALL

This will merge all source channels to one deliverable or output channel.

CLEAR ALL

This will clear all routings.

One To One

This will create a 1 to 1 mapping of each source channel to a unique deliverable or output channel.

The Audio  Video Mixdown menu shows the actual list of defined mixdowns and allows quickly switching between them. This is especially useful when doing qc, because it speeds up the testing of different mixdowns.

12.5.2. Channel Merging and Rerouting Examples

12.6. Audio on the Encode Page

The Encode page is accessed by pressing the p key. The results are on the left hand side, the result specific encoders are listed in tables in the middle of the page, and the encoder settings are in a pane on the right hand side. To select from the defined list of mixdowns, click on the Mix field in either the desired encoder table in the middle of the Encode page, or in the encoder settings pane on the right hand side. A MixdownList dropdown will appear with the actual defined list of mixdowns.

The MixdownList dropdown includes:

Same As Source

This will add all tracks and all channels.

Same As Source A

This will add channels from the channel group A. (This list item is dynamically generated to match the mixdown channel groups.)

Same As Source B

This will add channels from the channel group B. (This list item is dynamically generated to match the mixdown channel groups.)

Same As Source C…​ etc

This will add channels from the channel group C. (This list item is dynamically generated to match the mixdown channel groups.)

Same Tracks As Source

This is only used for IMF packages and is a convenient way to use audio grouping as layed out on the Time Line.

Only the IMF encoder supports multiple channel groups. All encoders that do not support multiple channel groups will use the first group in the list if multiply channel groups are specified.

If using the Encode Page to drive audio file names in IMF packages, choose either a single group or a multi group entry instead of a Same As Source entry. This way the Audio Path setting becomes clickable.

When editing Audio Render Path, the following keywords can be used:

  • Language

  • Label

  • TrackName

  • AudioFilePostfix

12.7. Volume Metering

There is a small volume meter at the top of the Time Line window to the left of the Snap button. Double-click the small volume meter to make a larger Volume Meter window appear. The small volume meter can monitor up to 8 channels and the Volume Meter window can monitor any number of channels of the SDI embedded audio volume. To change what channels to monitor in this window please asjust the SDI output mixdown. To change between mixdowns it is not necessary to open the Mixdown Window, the SDI audio mixdown can be accessed directly from the Audio  Video Mixdown menu option.

Transkoder Volume Meter on Time Line window and separate Volume Meter window
Transkoder Volume Meter on Time Line window and separate Volume Meter window

12.8. DCP Audio Handling

DCP finalizing requires strict adherance to the the DCP standards, such as making the Picture Reel boundary identical to the Audio Reel boundary, having only 1 audio track, etc. In order for the audio to be valid for DCP, every frame of video must have a matching frame of audio, and both the video and audio reel markers must align. In addition only a single audio track may be included and there must be an even number of channels. If more audio tracks are needed, then the DCP package needs to contain multiple CPLs (Composition Play Lists).

12.8.1. DCP Audio Layout

By default the DCP audio encoders use a 5.1 mixdown. If a different audio layout is needed the user should create a custom mixdown and set it as the active mix in the encode page. For instance, if one needs to create a 7.1 multichannel DCP with Hearing Impaired audio channel, a 10 channel custom mixdown needs to be created in the Mixdown Window and activated in the encode page. The DCP Audio Layout popup button needs to be adjusted accordingly. The default Auto value indicates that Transkoder will use a layout setting that is matching the current channel number. However, for the same channel numbers there may be potentially multiple possible layouts.

Possible choices include:

Auto

This will create a 5.1 channel layout in the resulting package using the first 6 channels.

MOS

Silent audio

Various 5.1, 6.1, or 7.1 multichannel implementations

This will create a channel layout with the desired multichannel audio.

Various 5.1, 6.1, or 7.1 multichannel implementations with HI and/or VI audio

This will create a channel mix layout the desired multichannel audio together with HI, and/or VI audio. Audio for the Hearing Impared is always added to the 7th channel, while audio Visually Impared is always added to the 8th channel. If both HI and VI audio are used, then channels 7 and 8 will each contain the relevant audio, but if only the Hearing Impared audio is used, then the 8th channel will contain silence, and if only Visually Impared audio is used, then the 7th channel will contain silence.

Wild Track Format

This will create the minimum required 14 channel layout needed for Dolby Atmos. If more than a 5.1 (6) channel mix is desired, make sure to create a custom mixdown in the Mixdown window and choose this mixdown for the Mix field value.

One can choose the Language for the DCP in the Finalize window, it is also auto-initialized based on the language metadata from the timeline. This information is used to provide the values for both the Title and Annotation fields.

12.8.2. Dolby Atmos ™ Audio

Dolby Atmos is a proprietary audio technology which comes in an .mxf file which must be added to the timeline and contains the spatial audio description metadata which is used for the dynamic rendering of audio based on the available speaker layout and capabilities. This Atmos audio asset contains the metadata and is not seperately playable audio content, but Transkoder does show the single channel audio waveform embedded in the file, which is essential to check the proper syncronization. Make sure that the normal audio asset is on the first "A" audio track and the Atmos MXF is on the "B" track.

Atmos MXF on the timeline, use the visible 2-pop signal to check sync
Atmos MXF on the timeline, use the visible 2-pop signal to check sync

In a Dolby Atmos DCP the sync signal is generated on the 14th audio track in the regular audio asset. The Atmos option must be enabled on the DCP Finalize page in order for it to be added to the DCP package. If the current mixdown has less than 14 channels, the encoder extends it with silent channels so the sync track can be rendered.

12.9. IMF Audio Handling

In order for the audio to be valid for IMF, every frame of video must have a matching frame of audio, but the video and audio reel markers need not align. IMF packages may also include multiple audio tracks such as the typical dual audio set up of a 5.1 channel track, and a stereo track (2 channel).

There are two approaches to managing audio IMF packages within a project. In one approach, the audio Timeline is set up to reflect the desired resulting audio in the IMF package. This approach uses the Same Tracks as Source option in the Mixdown field. When using this approach it is very important that number of tracks and channels remain the same along the entire Timeline.

Same Tracks as Source Use Case

You have a 6 channel and a stereo audio file and need to create an IMF package with a 5.1 channel and a stereo audio track. Add both files to their own separate tracks on the Timeline and choose .Same Tracks as Source when finalizing the IMF package.

In the other approach, the audio mixdown window is used to reroute the audio into the desired resulting audio in the IMF package. For each desired audio track in an IMF package, it is necessary to add an identical number of audio groups and match the appropriate source channels from the Timeline to the the desired final IMF package audio configuration as in the example below:

Channel Merging and Rerouting for IMF Mastering
Creating a custom mixdown to map 4 stereo inputs into a 5.1 and a stereo output
Creating a custom mixdown to map 4 stereo inputs into a 5.1 and a stereo output.
Routing specified in the "customMix" mixdown
Routing as specified in the "customMix" mixdown.

The ALT+SHIFT+v keyboard shortcut or the Timeline  Add Track  Add Audio Track menu item may be used to add additional tracks to a project timeline. For each desired The additional tracks may be populated just like track 1, by adding *.wav files, including multi-channel ones, or .mxf files.

The tracks may have their language labeled, either by double clicking in the bottom left hand corner of audio track on the timeline, or selecting the appropriate language from a list in the Audio  Set Language menu. The language label may be used later in rendered file names, and even as metadata in the created IMF packages.

Dual Audio Use Case with 4 Stereo Audio Files

You have 4 stereo audio file and need to create an IMF package with a 5.1 channel and a stereo audio track. Add the appropriate group of 3 stereo files and single stereo file to two separate tracks on the Timeline and choose .Dual Audio when finalizing the IMF package. Transkoder will automatically recognize the configuration and generate the correct 5.1 channel and stereo tracks when finalizing the IMF package.

Custom Mix Use Case with 8 Stereo Audio Files

You have 4 stereo audio files in English, and 4 stereo audio files in Spanish. Add the appropriate group of English 3 stereo files and single stereo file to two separate tracks on the Timeline and do the same with the Spanish tracks. Then in the Mixdown Window, create a new mixdown, with 4 groups, a 5.1 channel English group, a stereo English group, a 5.1 channel Spanish group, and a stereo Spanish group. Next, reroute each audio source channel to the desired result channel for the IMF package. When finalizing the IMF package, make sure to choose this mixdown.

12.10. ProRes Audio Handling

A new option has been added to the ProRes encoders to indicate the audio field layout. Available options are Auto, None, Mono, Stereo, 2.1, 2.2, 3.0, 3.1, 3.2, 5.1, 7.1, Discrete.

When Auto is chosen the number of output audio channels in the current mixdown is driving the field layout metadata.

12.10.1. Audio Asset Naming

Transkoder allows the user to configure the audio MXF names in the package to be created. For details refer to the Naming Patterns for IMF section.

12.11. Drive External Devices with LTC Time Code

Real-time LTC is generated into SDI embedded Audio which matches the current record time code. This is for driving systems such as ProTools via LTC time code. To enable this please set to On, the Generate LTC Setting in the Advanced Settings section of the Video sub-page of the Preferences page (TAB). Other controls on the TAB page include:

  • LTC Channel: 7 (default: 7), this is the audio channel number to write the signal into

  • LTC Offset: plus minus frames (applies immediately)

  • LTC Volume Multiplier: 1-255, adjust signal gain for expert users(default: 240)

Please make sure the current video out mixdown has enough channels so the channel identified by the LTC Channel setting exists.

13. Subtitles and Captions

Transkoder supports the loading, autoconversion and export of vairous text or image (PNG) based broadcast and cinema subtitle and caption formats. Tools allow the inspection and basic editing of subtitles, packaging into DCP and IMF formats or rendering into the picture. Please refer to the Appendix section titled Supported Subtitle Formats for more information on the supported formats. Subtitle and captions are referred as subtitles in this document, there is no difference in how to work with them in Transkoder.

13.1. Loading Subtitles

The BinWindow is the Transkoder GUI for managing media assets including subtitle and caption files. To add subtitles to Bins:

To add assets to bins via the file system, click on the small ⊕ (PLUS SIGN) button in the bottom left corner of the BinWindow asset list and a filesystem browse dialog will appear on the screen. Browse to the asset to be added and click on the OK button.

Transkoder BinWindow Adding Assets
Transkoder BinWindow Adding Assets

In the BinWindow, Subtitles are represented by a white capital letter T on a black background. To find specific subtitles easily within a complex project please use the subtitle filter button on the top right corner and/or use search queries like "*EN" or "*FR" in the search bar. When viewing the subtitle assets in the BinWindow with details view, the basic properties of the files is displayed.

To add subtitle assets to the Timeline drag and drop them from a Bin to the Timeline. For DCP projects, the subtitle asset can be added to either the T1 track to define standard subtitle or the CC1 track for closed captions, or both. You can also use the standard showtcut V and the media insertion modes "POS" or "TC" to control where the timeline event is added.

The timeline representation of subtitle events also include the frame-specific spots shown with text.

13.2. Rendering/Viewing Subtitles

To render or view a subtitle asset in a project, a Subtitle node needs to be in the pipeline on the Node Page. With the Subtitle node selected, press the h key to bring up the Subtitle HUD. With this HUD, it is possible to change the position, color and alignment of the current spot. There is also a switch to decide if the subtitle track or the closed captioned track should be rendered.

It is possible to mute or disable the rendering of subtitles, by choosing Subtitle  Mute Subtitles menu option. This is very important if there are subtitles on the timeline but the user does not want to render - "burn in" - them into the picture.

The font selection used for rasteriaztion is done in the SUBTITLE tab of the Settings page. One can use either the font associated with the subtitle XML (if there is any), the system Arial font, or setting the Subtitle Font Source field value to CustomFont, will enable the use of the font located in the path as defined Custom Font File field. This also affects subtitle packaging for DCPs.

13.3. Editing Subtitles

Editing Subtitles can be done either on the main display screen, or via the Subtitle Table. With the Subtitle node active, editing the subtitles can be done by double clicking the subtitles shown on the main display screen, and modifying the text. To bring up the Subtitle Table, choose the Window  Show Subtitle Table menu option or by pressing SHIFT+s.

The Subtitle Table has the following columns from left to right: Spotting#, TCIn, TCOut, Duration, Text, HP (Horizontal Position), and VP (Vertical Position). Click in the Text field to modify the particular spot. Double-clicking one of the spot numbers will navigate to that spot on the timeline. Clicking anywhere on the timeline will scroll the Subtitle Table to the matching spot.

The physical characteristics of the subtitle are edited via the Subtitle node. Please refer to the Subtitle section of the Tools/Nodes on the Node Page chapter for an indepth description.

Subtitle Offset Controls
Subtitle Offset Controls

The operator can move a subtitle by adjusting the AddOffsetV and AddOffsetH sliders and then use the Apply to all spots button to paste this change to all subtitle events on the timeline.

Transkoder does auto conversion of the input subtitle format Colorspace into the appropriate DCI Colorspace required for packaging. To disable this auto conversion and use the original color in the native colorspace, go to the Subtitle page in the Settings (TAB) with the Advanced settings turned ON, click on the Bypass button in the Subtitle Color Conversion field.

Transkoder also does auto conversion of the input subtitle format into the one required for packaging. In some instances when creating DCP packages it is best to leave the original xml subtitle file untouched to preserve compatibility with legacy content delivery systems (i.e. movie theater projectors). In this case, to disable the auto conversion, go to the Subtitle page in the Settings (TAB), click on the Off button in the Re Generate Subtitles field. If auto-conversion if off, and the subtitle is not in the required format, the DCP or IMF packaging will fail.

13.4. Subtitles and Captions for DCPs

To package subtitles, closed captions or both into a DCP package first the apropriate timeline needs to be created. When editing subtitles please keep in mind that in Interop packages the reel and subtitle configuration should be identical. In SMPTE packages this is no longer a limitation and a single long-play subtitle can be used for a multi-reel composition. Make sure the CC track contains the closed captions, and the T track has the subtitles.

Upon finalizing there are two buttons to control the inclusion of the subtitles and captions respectively.

13.5. Captions in IMFs

Transkoder supports a single caption track within the composition in case of IMF pastering. When packaging, the subtitles will be converted to the IMSC1 format, unless auto conversion is disabled. Please use the Subtitle button on the Finalize page to trigger caption/subtitle packaging.

13.5.1. Improved Automatic Font Selection

When rendering IMSC1 or other types of subtitles the system automatically selects the proper font using the following mechanism:

The default fonts directory for Transkoder subtitle fonts is <install home>/fonts/ - this is a new folder in install directory. Installer will always place/replace the default fonts into this folder, but the user can also put here any ".ttf" or ".otf" font files for subtitle rendering.

If the Subtitle / Subtitle Font Source project setting is set to System Font or if Transkoder cannot find suitable "Incoming" font in these font files, it will try to use any suitable font file from <install home>/fonts/ directory. Transkoder will parse font files in alphabetic order if more then one is present and will use the first working font. If it cannot find a character in this font file, it will fallback to the default international font set, which can be found in <install_home>/pymodules/guidata/fonts/NotoSans-Regular/. These fonts cover all the international unicode language character sets very well.

Specific font families can be found in <install_home>/pymodules/guidata/fonts/italic/ for italic characters or <install_home>/pymodules/guidata/fonts/monospace/ for monospace rendering. These fonts (as well as the international sets) can be replaced with any user desired ones, just delete the default and place a new one.

The Transkoder installer will place/replace default fonts into these folders.

13.6. SCC Captions

Transkoder also supports the embedding of SCC captions into H264 10 bit transport stream. For this to work the user needs to add subtitle already in SCC format to the timeline. In this case auto conversion does not work. Please make sure the subtitle source is set to CC in the encode page for the Broadcast H264 encoder.

13.7. Subtitle Page in Settings

For subtitle settings that can be set or adjusted in the Settings (TAB) page, please refer to the Subtitle sub-page.

14. QC Tools

Transkoder is equipped with a wide range of QC tooling. The QC tools for advanced packages such as IMF packages and HDR media in particular are very sophisticated and provide in-depth analysis far beyond anything else on the market.

14.1. Video Audio Playback

Transkoder guarantees the real-time playback of all supported audio and video formats when it is run on the hardware recommended in the System Requirements section matched with sufficiently fast storage. To achieve the guaranteed real-time playback, the output must be routed through professional output devices such as SDI output. This is necessary for proper QC playback in any case as it is not possible to display the playback with the correct refresh-rate or raster. If using non-professional output devices, the playback will still be in real-time but without the appropriate image fidelity.

To double check that the the playback is real-time, bring up the Performance window, by pressing CTRL+p. The Playback field should indicate a steady fps value which matches the fps of the media being output. The Read Ahead field indicates the status of the fullness of the read cache and if this number starts to drop below 30, this is usually a good indication of the storage not being fast enough. If the Read Ahead field does not change but the Result Read Ahead field value starts to drop, this is an indication of a resource bottleneck either CPG/GPU or with the Transkoder engine itself. Please double check to make sure that Transkoder is being run on conformant HW, and if so, please refer to Colorfront support for additional help with troubleshooting.

On Mac platforms, because of the lower performing hardware, the playback of audio and video in the Transkoder GUI monitor only will potentially not be in real-time. This will not affect real-time playback through the professional output devices.

If playback is not real-time Transkoder will re-sync audio with video occasionally and this will cause an audible glitch sound.

14.2. Audio Playback

Transkoder defines default audio mixdowns including one for the workstation motherboard’s audio jack and one for the SDI embedded audio output. For QC purposes, please make sure to use the mixdowns for the SDI embedded audio output to ensure that the audio will be synchronized with the video being QC’d. Any desired mixdown can be directed to the The SDI embedded audio output by making sure to highlight it and clicking on the the speaker icon with a frame around it in the Mixdown Window, which can be opened by pressing ALT+y.

Transkoder Mixdown Window
Transkoder Mixdown Window

Monitoring playback levels can be done via either the small volume meter located on the right hand side just above the timeline, to the left of the Snap, Ripple, EDIT, and GRADE buttons. Double-clicking on the small volume meter will bring up the Volume Meter Window, which can be used to monitor up to 24 channels. Please refer to the section titled Volume Metering for more information.

Transkoder Volume Meter on Time Line window and separate Volume Meter window
Transkoder Volume Meter on Time Line window and separate Volume Meter window

14.3. Manual Tagging of QC Notes

In Transkoder , the QC window, which is opened by pressing SHIFT+q, is used to mark frames, and save QC notes. It is the primary tool used for the manual QC process.

To add a new entry, click the + (PLUS SIGN) button. This will capture the time code at the playhead position and increment the QC count for the current clip. To rate the entry, click on the RATE stars. To manually enter text, click on the "COMMENTS" field. The POS pull down menu will tag the area of concern (ALL, UL, CL, LL, UC, C, LC, UR, CR, LR). UL = upper left, etc. To change the POS tag, hold the (CONTROL) key and click on the particular area of interest on the screen. The TIME drop down menu selects between the following options:

TIME Option Description

SHOT

This refers to the entire shot and disables the time code.

FRAME

This refers to the current frame.

RANGE

This has a start and end time code.

Transkoder QC window
Transkoder QC window.

Move the playhead into position and hold the CONTROL key and click either time code field to update the start or end.

On any clip in the time line, to jump the playhead to the previous or next QC location, click on the LEFT ARROW or RIGHT ARROW respectively next to the QC counter. This allows QC marks to be used as memory location points.

QC Comments quick button labels can be defined on the QC page in the Settings (TAB). Custom labels are entered separated by commas. Clicking on a button automatically increments the QC count, captures the time code, and enters the label in the COMMENTS field.

To generate a PDF report that includes thumbnails, basic metadata, and QC comments, select the File / Generate Report / Generate PDF Report menu option. The report is written to the default Reports folder on the system. The Project title and other information included in the report header can be entered in the QC tab of the settings page.

To open the QC Table, which is a floating window that shows all of the current timeline’s QC entries, press CONTROL+q. To instantly jump to the marked frame, click any line in the table.

14.4. Analyzers

The Analyzer window, which shows a waveform on the left hand side and vectorscope on the right hand side, can be opened by pressing CTRL+H. The values are shown in real-time by Transkoder. The waveform and vectorscope are a form of oscilloscope and are used to monitor video brightness, contrast and color saturation. The vectorscope displays the color saturation of each pixel in the video frame, with middle of the circle indicating a lower saturation level, and the edge of the circle indicating a higher saturation level. The waveform displays the luminosity or brightness and contrast of the pixels in the video frame, with the top of the y-axis indicating a high luminosity level, and the bottom indicating a low luminosity level.

There is also color picker functionality built in to the Analyzer window. Moving the cursor over any pixel in the video frame will show its RGB value under the waveform table.

The Analyzer window can show a histogram instead of a waveform. A histogram shows the number of pixels in relation to a given list of luminance, or colors in a specific color space.

The Analyzer window has several differing layout options, which can be chosen from the Window  Analyzer Mode menu options:

Analyzer Mode Description

Waveform Luminance

Waveform showing only Luminance

Waveform Lumi Color

Waveform showing both luminance and colors in the project’s color space

Waveform Color

Waveform showing only colors in the project’s color space

Waveform RGB Color

Waveform showing colors in the RGB color space with each individual color channel shown in its respective color

Waveform RGB

Waveform showing colors in the RGB color space with each individual color channel shown in monochrome

Histogram Luminance

Histogram showing luminance

Histogram Color

Histogram in the project’s color space

Histogram RGB

Histogram in the RGB color space

The Analyzer reticule or scale has several different range options, which can be chosen from the Window  Analyzer Range menu options:

Analyzer Range Description

Video Range

The scales to show the "Legal" list of colors.

Full Range

This is scales to show all possible colors and luminance of the project’s color space.

HDR

Use this setting when working with PQ color encoding for HDR (Please refer to the section titled HDR QC for more information.)

HLG

Use this setting when working with Hybrid Log-Gamma color encoding for HDR (Please refer to the section titled HDR QC for more information.)

+SDR

Use this when working with regular 709 video levels (Please refer to the section titled HDR QC for more information.)

Transkoder handles colors in the Full Range of the project’s color space by default.

The analyzer can operate standalone, or with a node on the node page. When used without a node, the analyzer will show the values of the currently active render result.

14.4.1. Analyzers and Analyze Nodes

When used with a node, it will show the values of the video at the actual placement of the Analyze node along the render pipeline. Multiple nodes can be placed along the pipeline, and the Analyzer window values displayed can be switched between them by bringing up (h) the HUD display of the Analyze nodes and toggling the Active field button to ON. Setting a particular Analyze node to ON will switch all the other Analyze nodes to OFF.

14.5. Manual QC Tools

14.6. PSNR Analysis

Transkoder uses Peak Signal-to-Noise Ratio analysis to measure the difference between the signal of the original project image and the error or noise in the resulting render image, which is introduced by the codec during compression. The validity of this analysis is reliable only if images of the same content are being evaluated with the difference being the compression of one image versus the other. In Transkoder, the resolution of the images must be the same as well.

The smaller the PSNR value, the bigger the difference between the images. Identical images would produce a PSNR value of infinity. PSNR is used to roughly guess the level human perceptibility of the differences between images. The table below shows the commonly used ranges and their level of perception of image fidelity between the two images.

PSNR Range Perception of Image Fidelity

Infinity

Actually identical images

>100

Barely measurable differences between images.

>45-50

Differences between images are mostly imperceptible to humans

<40

Differences between images are starting to become apparent to humans

0

Images are completely different

To create a PSNR analysis, start by creating a result render of the timeline using the desired codec. Next add the rendered clip to the bin and using ALT+v add it also to the V2 track on the timeline. Then turn on the Timeline  Timeline Mode  Enable All Tracks As Source menu option. On the Node page (ENTER), a second source will appear. A PSNR node needs to be added to the pipeline and both sources need to be added a inputs and result render needs to be connected as the output. If the V1 track of the timeline is made up of multiple shots, press a SHIFT+t to save as a template, before proceeding back to the main screen. If the V1 track consists of only a single shot, it is OK to return to the main screen without saving as a template (SHIFT+t not needed).

On the main screen, the image shown by default will be the difference between the two images, with a uniformly grey screen indicating no difference. Lighter areas reflect a positive numerical difference and darker areas reflect a negative numerical difference. To configure what is being shown on the main screen, bring up the PSNR HUD by pressing h. The PSNR HUD will display the PSNR value of the current frame, allow the configuration of the blend mode, and setting a diffusion multiplier. The diffusion multiplier is used to increase the visual difference to make it more noticeable for QC purposes. The possible options for the BlendMode values are:

Blend Mode Description

Difference

This is the default and is used to show the differences between the two images.

Picture 1

This will show the original image from the timeline V1 track.

Picture 2

This will show the result render image from the timeline V2 track.

Red Difference

This will show the differences between to two images in the Red color channel only.

Blue Difference

This will show the differences between to two images in the Blue color channel only.

Green Difference

This will show the differences between to two images in the Green color channel only.

Transkoder can also use the PSNR values to create a graph, which is very useful for QC purposes. Rendering errors like image blockiness are easily identified by looking at the graph. Any encoding issue causing significant difference between the encoded frames and original and indicated by drops in the PSNR graph.

To create such a graph, make sure to have the PSNR node connected, and go to the Encode page by pressing the p key, and add a PSNR encoder to the result render from the Metadata encoder sub-list of the Encoder list. Leaving the File, aka FILE PATH value as default, will place the newly created *.psnr file into the necessary folder structure needed for Transkoder to automatically detect it. Finally, press CTRL+r to render result.

Currently the PSNR encode must be done on a timeline which has the full length, meaning untrimmed, source clips. The values calculated in the *.psnr file will pertain to the whole untrimmed clips, but they will automatically be calculated for use in any subsequent timelines created in the project from the same source clips even if they have been trimmed.

Making sure that the V1 track from the timeline is setup as it was when the PSNR render was done, select the Window  Show Graph Window menu option, or press CTRL+COMMA to bring up the Graph window. The Graph window will automatically display the PSNR values as a graph. The right hand side of the graph will show the PSNR value of the current frame, and the Average, Minimum, and Maximum PSNR values of the entire selection, which is the entire timeline by default. To learn how to set a different range or otherwise navigate the Graph window, please refer to the section titled Navigating the Graph Window. For QC purposes, the Minimum value is the one that must not cross over what is considered the acceptable threshold, such as less than 45 since this for the frame with the greatest difference between the two images. On the graph, the Minimum value is automatically marked with a dotted red line.

14.7. DCP and IMF Validation

For DCP or IMF package validation, it is mandatory to manually inspect the entire result render both visually and acoustically during the QC process. Transkoder has a great tool set available to help with both the manual QC process and also for automatic technical validation. To open the Validation window, press CTRL+d. Transkoder detects the loaded CPL type and offers the apropriate validation test plan.

14.7.1. DCP Validation

For DCP validation, this will run a standard validation library that verifies the validity of the requisite XML files, checksums, etc.

14.7.2. IMF Validation

For IMF validation, there is a choice to use either the Colorfront developed Transkoder validation library, or extensive Photon, an open source library, originally developed by Netflix. The desired library may be set in the Validation Library field, located at the bottom left hand side of the Validation window. Currently, Transkoder is the only tool in the industry to have integrated Photon validation library support. Colorfront developed validation in Transkoder has been improved to be fully compliant to the latest specifications, including some intricate details that are not captured by Photon validation but are detected with Baton.

14.7.3. Validation Window

The Validation window has the following columns from left to right: #, Test, Description, and Result. The possible values for Result are Pending, OK, Warning, or Error and will be detailed in the report once the validation has been completed. The bottom left hand side has a Browse button, with path to the right of it, and for IMF validation only, the Validation Library field with drop down selector. The bottom middle left has the Start, Cancel and Reset buttons.

The bottom right hand side has the Open button. The Open is used to open the validation report after it has been generated.

The bottom right hand side has the FixXMLs and Open buttons. The Open is used to open the validation report after it has been generated. The FixXMLs button allows the user to update all the hash and size values in the CPL / PKL / Asset Map. This allows the user to edit the CPL manually, which invalidates the package, and then fix the hash and size values to reflect the edited files.

Validation Window
Validation Window
Fix Hash of IMP XML files after manual edit workflow:
  1. Generate the package.

  2. Open the XML files and edit them if needed.

  3. In the Validation window run the Transkoder test, it is expected to fail.

  4. Press the newly enabled Fix XMLs button.

  5. Re-run the validation. The package should validate.

Fix package after manual edit workflow
Fix package after manual edit workflow

14.7.4. PSNR Analysis for DCP and IMF

JPEG2000 based encoders such as those used for DCP and IMF packages, may be configured on the Encode page configuration pane to create a PSNR encode by setting the PSNR field value to ON. Immediately after the result render has been completed, the PSNR values may be checked through the Graph window. As an added bonus, the Bitrate data will also be display.

The Graph window is used to show the PSNR, Bitrate and other values and is opened by selecting the Window  Show Graph Window menu option or pressing CTRL+COMMA.

To move the graph around in the window, right-click and drag. To zoom in and out, hold down the CTRL key while right-click and dragging up and down respectively. To center the graph in the window, thus making the entire graph visible, press the c key. To move to any arbitrary image frame by driving the playhead around, left-click in either the graph window or along any place on the timeline. The current frame, or playhead position will be marked with a bold solid red line. To select a range, hold the SHIFT key and left-click and drag to define the desired range which will be marked in green.

To change what data is shown in the graph window, click on the gray button in the top right corner of the window. Possible data options are: PSNR, Bitrate, Light level, and PQ (L1 Metadata). To select data to be shown in the graph window, click on the box located to the right of the desired data. Highlighted means Enabled, and darkened means Disabled. It is possible to show 2 sets of data at the same time.

14.9. Validation Metadata

Transkoder stores some metadata such as PSNR, bitrate, and file integrity checksums (SHA1 hashes) in the file system instead of the database. These are stored in the ContentDescriptors sub-folder of the main project folder by default. If the default is left unmodified, Transkoder will know where to find this metadata and automatically load it when needed. The metadata stored here is in simple text format, and may be used by custom scripts, tools, etc.

15. High Dynamic Range (HDR)

Transkoder has a range of tools to manage HDR workflows, including:

  • a sophisticated color volume transformation tool for SDR to HDR, HDR to HDR or HDR to SDR dynamic range remapping and legalizing.

  • SDR simulation mode for monitoring SDR images on a HDR display

  • a set of advanced QC and image analysis tools designed for HDR

  • calculation and display of light level statistics

  • full support of static HDR10 and dynamic Dolby Vision and HDR10plus metadata, including metadata generation, adjustment and color remapping

  • delivering HDR masters, such as HDR10 or Dolby Vision IMPs, HDR10 or HLG HEVC or ProRes files etc.

  • add the Dolby EDR transfer function metadata to SMPTE DCP CPL files indicating PQ color encoding, which is necessary for Dolby Cinema playback

These tools are described in more detail below.

15.1. SDR to HDR expansion

Transkoder’s flexible node pipeline allows users to implement any kind color space transformations by designing specific processing pipelines. The CSC (ColorSpace Convert) node is a general tool to change the color representation by defining the input and output primary colors and gamma curve. However, this tool is not designed to address dynamic range mapping.

SDR to HDR mapping with the HDRSDRRemap node
SDR to HDR mapping with the HDRSDRRemap node

To properly map SDR to HDR the HDRSDRRemap node is to be used. In addition to the CSC node where the user specifies the input and output curves and color primaries, the intended display brightness level (nits) can also be specified. Transkoder uses a custom color volume transformation algorithm - based on human visual perception - to remap the dynamic range and color volume while preserving the artistic intent of the original source material. The tool also works well for HDR to HDR remapping. For example, 1,000 nits to 4,000 nits or 4,000 nits to 1,000 nits.

Supported Curves and Color Primaries
InPrimary OutPrimary InCurve / OutCurve

Rec709, sRGB, Rec2020, P3, P3-D60, P3-D65,LogC, ACES, ACESproxy, ACEScc, ACEScct, ACEScg, ADX, SGamut, SGamut3, Gamut3.Cine, CFColor, REDWideGamutRGB, V-Gamut, F65, F55, F5, F3-Daylight, F3-Tungsten, XYZ, XYZ DCI, Phantom Flex Dayl., Phantom Flex Tung., C500 Daylight, C500 Tungsten, C300 Daylight, C300 Tungsten, Canon C.Gamut

Rec709, sRGB, Rec2020, P3, P3-D60, P3-D65,LogC, ACES, ACESproxy, ACEScc, ACEScct, ACEScg, ADX, SGamut, SGamut3, Gamut3.Cine, CFColor, REDWideGamutRGB, V-Gamut, F3-Daylight, F3-Tungsten, XYZ, XYZ DCI, Phantom Flex Dayl., Phantom Flex Tung., C500, Canon C.Gamut

LINEAR, REC709EOTF, SRGB, GAMMA22, GAMMA24, GAMMA26, VIDEOGAMMA22, VIDEOGAMMA24, VIDEOGAMMA26, FILMLOG, CFLOG, PURELOG, ACESPROXY, ACESCC, ACESCCT, ACESCG, ADX10, ADX16, LOGC, SLOG, SLOG2, SLOG3, CANONLOG, CANONLOG2,CANONLOG3, VLOG, PQ_10000, HLG, HLG_VARIABLE, LOG3G10, TONEMAPGAMMA24

15.1.1. Controlling the Remap Scene by Scene

The SDR to HDR mapping is not content aware, thus the result may need manual tweaking. This kind of "trimming" to control the HDR remapping can be done using the below sliders on the HUD of the HDRSDRRemap node.

HDRRange:

This parameter affects the highlight range to be boosted. A minimal value means most of the tones will preserve their luminosity and only the top of the highlight range will be brighter.

HDRAmount:

This parameter controls the strength of the remap effect. The zero value will essentially generate an SDR output.

These controls are shot specific, so the user may have to cut the long-play timeline into shorter segments corresponding to scenes or takes.

15.2. Simulation of SDR using a HDR Display

By turning off the HDRMode toggle one can simulate the standard dynamic range Rec.709 output on a HDR monitor - having the output color space set up for the proper handshake with HDR monitor. This powerful option allows the user to check both the HDR and SDR version of the same content using a single HDR monitor.

SDR simulation on a HDR monitor with the HDRSDRRemap node
SDR simulation on a HDR monitor with the HDRSDRRemap node

15.3. HDR to SDR gamut mapping

The HDRSDRRemap node can be used to map HDR content to SDR as well. The user has to set up the input and output color spaces and light levels, and the color volume transformation algorithm will take care of the proper color remapping.

15.4. Legalizing Images for HDR

Every now and again the HDR media on the timeline has a few pixels violating either the brightness or the gamut constraints. A practical example would be when working with compressed media, where the lossy codec is causing overshoots near high contrast edges in the image. For more information on how to check this please refer to Quality Check (QC) tools.

All images processed by the HDRSDRRemap node pass through the color volume remapping engine, which is designed to never output illegal color values. Thus, if the input color and brightness is configured identical to the output, it acts as a legalizer.

15.5. Light Level Statistics (MaxFALL) and (MaxCLL)

Transkoder is able to compute for every frame the average frame light level and the maximum frame light level, and store these so the user can inspect these statistics on the GUI. Whenever needed the systems calculates on the fly for the current timeline the Maximum Frame Average Light Level (MaxFALL) and Maximum Content Light Level (MaxCLL) numbers. These numbers are based on the CEA Standard CEA2861.3 "HDR Static Metadata Extensions".

Light level calculations are designed to work on PQ encoded images, so make sure the result used to generate the statistics are in PQ

The per-frame statistics are automatically generated using the input frames when the user renders an HDR deliverable, such as:

  • ProRes with the Mastering Display parameter set to some PQ encoding

  • HEVC with the Mastering Display parameter set to some PQ encoding

  • IMF App2E+ video MXF with Colorspace set to "Color 7 (Rec2020)"

For any content already encoded one can generate the statistics by adding a Frame Light Level metadata encoder (from the "Others" group on the encode page) and executing a render. The per-frame statistics can be generated using the Generate Ligthlevel Stats menu item from the File menu. The result can be inspected in the Graph Window or in the PDF report automatically generated to the Documents folder of the system.

By encoding video with lossy codecs the MaxFALL and MaxCLL numbers will be different when computing the statistics on the input frames versus computing the statistics on the encoded frames. Even if the visual fidelity of the encoding is considered to be very good, the MaxFALL and MaxCLL numbers may change significantly.

To display the per-frame light level statistics please open the Graph Window by pressing CTRL+COMMA. This window displays all available per-frame metadata of the current picture content on the timeline (bitrate, light level or PSNR information), one can enable-disable these in the top-right corner selector.

Per-frame light level statistics in the graph window
Per-frame light level statistics in the graph window

The frame corresponding to the most extreme value (eg. the frame containing the brightest pixel) is marked in the graph with a vertical dashed line. This makes it easier to navigate to the potential problem on the timeline.

15.5.1. Excluding segments from the statistics

Very often the timeline contains parts - custom head format with slates, logos, color bars - that should not be considered in the MaxFALL and MaxCLL calculation. This can be achieved by adding Reel Markers to the timeline. Press i to mark the In frame and then o on the Out frame. Only frames within the markers will be considered in the MaxFALL and MaxCLL values. This works interactively, even after the per-frame statistics have been computed.

Having reel markers on the timeline also changes how IMF packages are created: the composition will only include the marked segments. Please disable the Reel Markers option in the finalize page to avoid this.

15.6. Quality Check (QC) tools

15.6.1. Analyzer Window in HDR Mode

To verify if the light level for the content on the timeline do not exceed the maximum brightness constraints, first please specify the maximum light level (in Nits) in the Maximum Brightness for HDR field on the QC tab of the preferences page. Having this configured properly one can open the Graph Window (CTRL+COMMA)and inspect if any segments of the maximum frame light level is marked red, indicating values above the threshold.

By changing the Analyzer Range in the bottom of the Window menu to HDR the Analyzer is configured for HDR Quality Check:

  • The waveform shows Nit levels and marks over-the-threshold levels with red.

  • The standard vector-scope becomes a CIE XY graph indicating the P3 and the Rec2020 triangles, also indicating colors out of the P3 gamut with red.

The HDR analyzer also has two bars with peak-holds. These indicate the maximum brightness and the color volume "reach" on the current image:

Brightness

This bar indicates the brightness of the most bright pixel in nits. The 100% level can be configured in the Maximum Brightness for HDR field on the QC tab of the preferences page.

Gamut

If the Window  HDR Color space menu option is set to Rec2020, indicating the source is in the Rec2020 PQ color space, this bar shows how the most saturated pixel approaches or exceeds the boundary of the P3 color volume. If the Window  HDR Color space menu option is set to P3, the bar never goes above 100%.

In HDR mode the analyzer shows a CIE XY graph with the P3 and Rec.2020 rectangles with Brightness and Gamut bars
In HDR mode the analyzer shows a CIE XY graph with the P3 and Rec.2020 rectangles with Brightness and Gamut bars

For the HDR Analyzer to be able to show the proper gamut information the user needs to specify the current color space. This should be either Rec.2020 or P3D65, corresponding to the current result. The default value is Rec.2020 so please make sure to adjust it when working on native P3 HDR footage. This may be done using the Window  HDR Colorspace menu option.

15.6.2. Tolerance Threshold

Very often the HDR statistical analysis is executed on compressed or YUV media. Both the compression artifacts and the step of the RGB reconstruction from YUV samples cause pixel values to appear that did not exist in the original source. This in fact "throws off" the MaxCLL computation, and causes the brightness and gamut tests to fail.

To avoid this issue Transkoder uses configurable tolarence thresholds and allows a small fraction of "outlier" pixels to be out of limits, thus the result is a better representation of the true HDR image. To adjust this open the Tab settings page and change the GamutTolerance or the BrightnessTolerance values, expressed in percentage of pixels in the image.

15.6.3. HDR Warning View

To find pixels above the max brightness limit one has to turn on the HDR Warning View by selecting the View  HDR  Show HDR Warning menu item or pressing SHIFT+F8. In this mode the image is desaturated and only the problematic pixels are displayed red.

HDR Warning View is designed to work on PQ encoded images, so make sure the active result is in PQ

In HDR view mode pixels with above-threshold PQ light levels are marked red on the GUI
In HDR view mode pixels with above-threshold PQ light levels are marked red on the GUI

15.7. HDR deliverables

There are multiple deliverables in the encode page that can be configured, or are already configured to handle HDR content. ProRes and HEVC encoders have a Mastering parameter indicating the Mastering Display metadata. If this is set to an HDR preset, Transkoder automatically:

  • Generates the per-frame light level statistics

  • Embeds the (HDR-10) Mastering Display metadata into the files including the MaxFALL and MaxCLL numbers into ProRes and HEVC

  • Embeds ST2086 metadata into the MXF header per ST2067-21:2016 standard, and the MaxFALL and MaxCLL into the CPL for App2E+ IMF

  • Generates an HDR PDF report with details on light levels and a screen grab of the frame with the brightest pixel

Options for the HDR ProRes encoder presets to control the Transfer Characteristics via the Mastering field are:

Off

This is used for standard 709 video.

Rec.2020 PQ 1000 nits

This is used for PQ encoding curve and Rec.2020 primaries.

P3D65 PQ 1000 nits

This is used for PQ encoding curve and P3 primaries at D65 white point.

Rec.2020 HLG

This is used for Hybrid Log-Gamma encoding curve and Rec.2020 primaries.

Mastering Field to Control the Transfer Characteristics Metadata Indicating the Mastering Display
Mastering Field to Control the Transfer Characteristics Metadata Indicating the Mastering Display

As a reference please see the AMAZON HDR deliverable with Rec2020_PQ_1000 Mastering Display. This sets the color metadata to Rec2020 PQ in the ProRes per-clip and per-frame metadata with applying the correct Rec2020 RGB→YUV matrix. Then when importing such clip into Transkoder it detects this color metadata and applies the correct Rec2020 matrix from YUV to RGB. This metadata may be viewed with MediaInfo.

Users can add custom mastering display metadata presets by renaming the sample file to MasteringDisplayMetadata.xml in C:\Program Files\OSD2017\user and editing or adding parameter sets.

15.7.1. Customizing ST2086 Metadata for IMF

Very often it is needed to customize the properties of the master display metadata or the minimum and maximum light levels in the metadata injected into the encoded files. By default Transkoder auto-selects the appropriate set of metadata based on the Color setting of the IMF encoder. However, it is possible to configure the IMF encoder such that the Color setting (eg. Color7:Rec2020) is different from the master display setting in the ST2086 Metadata: for this the Mastering option should be adjusted to some value, other than the "Default".

For example if the encoding color space is Rec.2020 but all colors are within the P3 gamut, it may be required to set the Color parameter to Color7:Rec2020 and the Mastering parameter to P3D65.

To configure the minimum and maximum brightness of the mastering display, or re-adjust the primary chromaticities one needs to open and edit the \pymodules\imp\st2086.conf file.

15.7.2. Customizing ST2086 Metadata for HEVC

The HDR HEVC encoders have a Mastering parameter that control the embedded HDR metadata. Either choose from one of the presets, or edit the config file at \user\MasteringDisplayMetadata.xml under the install home to add more custom presets.

HEVC with HDR Metadata and SEI Message to Trigger HDR TVs

HEVC HDR metadata support includeds support for Alternative Transfer Characteristics SEI message to trigger devices reading this metadata into the proper display mode. This is driven by the same setting that controls the Transfer Characteristics (BT2020 and HLG) and the Master Display metadata setting.

15.8. HDR PDF Report

By rendering an HDR deliverable discussed above the light level calculation and the PDF report generation is automatically triggered. One can also generate an HDR PDF report by adding a light level metadata encoder and launching a render. Gamut information is also shown in the report to flag media where the colors fall outside the P3 color volume. Make sure the Analyzer color space setting is set up properly under the Window  HDR Colorspace menu option.

HDR PDF report is generated with any HDR deliverable
HDR PDF report is generated with any HDR deliverable

The calculation of light level and gamut statistics is done so tolerance thresholds are incorporated. The factory default settings allow a small fraction of pixels to exceed the brightness and gamut thresholds, so operators are able to check compressed source files without being always flagged as FAIL.

15.9. Dolby Vision Workflows

Transkoder has a complete set of tools for the creation and inspection of IMF packages with Dolby Vision (PHDR) metadata embedded.

To be able to access the Dolby Vision features a custom license is needed for Transkoder! Please contact support at support@colorfront.com.

15.9.1. Dolby Vision Technology

The Dolby Vision technology developed by Dolby Labs provides an end-to-end HDR workflow based on dynamic metadata. The Dolby Vision metadata is bundled with some HDR content, typically mastered to 4000 nits. The scene specific metadata, which includes statistical components and optional creative adjustments for one or more target displays to fine-tune the default remap, allows the Dolby Vision algorithm to produce a high quality picture on a wide variety of displays. This metadata travels all the way to the Dolby Vision enabled TV sets.

Transkoder supports efficient Dolby Vision dynamic metadata creation including the creative trim pass, IMF mastering, metadata QC and adjustments. By default the Dolby Vision tool set is disabled, please contact support if you wish to access these. To be able to create new metadata for a timeline and to have real time color remapping capability for QC or creative trimming, a special HW unit, a CMU is needed from Dolby.

Hardware Configuration with a Content Mapping Unit

To be able to visualize the color remapping based on Dolby Vision metadata to different target displays, a CMU hardware unit is needed. This is a one rack unit computer with SDI video i/o in HD resolution. As Transkoder is capable of outputting two independent video output signals with different resolution or color pipeline, it is possible to set up a configuration with an UHD HDR display—​to inspect the original HDR master—​and an HD SDR monitor connected through the CMU. For the two independent video outputs to work a Corvid 88 card is needed.

The layout of the two possible CMU configurations
The layout of the two possible CMU configurations

To enable Transkoder to drive the CMU make sure to adjust the following project settings:

  • Video Output Bit Depth: 12

  • Video Resolution: HD

  • Dolby Vision setting: enable CMU

  • Dolby Vision setting: fill the CMU Device 1 IP address with your CMU unit’s IP

Creating Dolby Vision Metadata

The DolbyVision node is used to ineractively adjust Dolby Vision metadata.

If the metadata is from external sources, such as either in the form of a Mastering XML or a Dolby Vision IMF, and if this is not to be changed, then the DolbyVision node is not needed in the pipeline.

When creating the pipeline in your project, please make sure the DolbyVision node is within the "grade box" indicated with a red rectangle. This can be done by selecting the node, pressing v and then saving it as a template for all shots with SHIFT+t.

The Dolby Vision node
The Dolby Vision node

The first step of Dolby Vision metadata creation is the generation of statistics. Simply press the Init button on the HUD of the DolbyVision node, so Transkoder very quickly analyzes every single frame on the timeline. When this is done, the scene based light level values will be updated in the Dolby Vision node, so a green line will appear on the timeline indicating valid Dolby Vision metadata. After this the timeline needs to be notched into smaller segments corresponding to individuals scenes, and the Init button needs to be pressed again. At this time Transkoder updates the scene based statistics instantly from the pre-computed per frame data.

The initial statistical calculation needs to be executed on a timeline with the source media at full length, before any editing. When the statistics are generated for all frames, it is possible to edit the timeline.

As soon as the DolbyVision node has valid statistics - indicated by the green line - one can turn on the CMU control to visualize the remap result on a video monitor. Make sure to set up the target display in the TAB page so it matches the display device you are monitoring the remap results on. A typical workflow is to connect the CMU to a standard SDR display and set the target to 100-nit, Rec. 709.

If the default mapping needs fine tuning so the result is technically correct and represents the original artistic intent, the operator can adjust the creative controls such as Lift, Gamma and Gain to achieve the best result. It is possible to further fine tune the remapping for different display targets: simply choose another target display in the popup button on the HUD, and then turn on the Enabled switch.

Importing a Dolby Vision IMF

When loading an IMF with embedded Dolby Vision metadata a yellow line will be drawn over the timeline window. This indicates valid metadata from an MXF source. It is then possible to check the metadata sync points in the timeline window and also to export the XML from such a composition.

Export Dolby Vision Master XML

Having valid Dolby Vision metadata on the timeline one can export the Master XML metadata via the File  Dolby Vision  Export XML Master Metadata from timeline menu option. This is essential when checking Dolby Vision IMF packages.

Transkoder is also able to export the Dolby metadata XML for a single clip via the File  Dolby Vision  Export XML Master Metadata from current clip menu option. This feature is useful when adding new inserts to a Dolby Vision package, where the user needs to apply the metadata from the original content to the new parts. For this, when adding a new insert to V2, the operator needs to make edits at the head and at the tail of the insert on the V1 track to create clips matching the inserts. Metadata that matches the length of the insert can be exported from these clips.

Importing Dolby Vision Master XML Metadata

The user can also check (QC), potentially modify and deliver metadata in Dolby Vision IMFs. This is done by loading a timeline with the source images and applying a Dolby Vision Master XML using the File  Dolby Vision  Apply XML Master Metadata to timeline events menu option. To add the Dolby Vision Master XML metadata to the clips in bin use the File  Dolby Vision  Apply XML Master Metadata to clips in Bin menu option. To apply the metadata XML to multiple clips at the same time - for instance when working with multiple reels - make sure the number of selected clips in the bin or on the timeline matches the number of XMLs being applied. Transkoder will match the XMLs and the clips based on alphabetical order, eg. first XML is associated to the first clip and so on. To generate a Dolby Vision IMF from this timeline the user needs to open the Finalize window and double-check that the Dolby option is enabled.

The orange in the timeline window indicates valid Dolby Vision metadata from an XML file. The metadata for the current frame can be inspected on the D tab of the Clip Inspector SHIFT+u window.

Orange line indicates Dolby Vision mastering metadata XML associated with the clip
Orange line indicates Dolby Vision mastering metadata XML associated with the clip

The length of the metadata in the imported XML must be at least as long as the full length of the source content on the timeline, to make sure each frame has metadata. If the metadata XML represents a longer sequence, the first frame is aligned with the beginning of the XML. Then the operator can offset it if needed. It is always essential to check the sync between the metadata and the picture.

Dolby Vision metadata from XML associated with a clip. Per-frame metadata is shown in the *D* tab of the Clip Inspector page
Dolby Vision metadata from XML associated with a clip. Per-frame metadata is shown in the D tab of the Clip Inspector page SHIFT+u

When checking metadata or mastering an IMF the Dolby Vision node is not necessary.

Generating Dolby Vision IMFs

There is an encoder option for App2E+ IMF encoders called "Dolby Vision". The the Finalize page (SHIFT+d) also has the ability to enable this option. This option enables the embedding of per-frame Dolby Vision Mastering Metadata into the IMF video assets. If the source is an IMF without Dolby Vision metadata, the user can manually load the corresponding XMLs to the timeline and inject the metadata very efficiently by transwrapping. Some IMF presets such as the IMF NETFLIX HDR (App2E+) have this option enabled by default.

Dolby Vision Mastering metadata, indicated by a yellow or orange line, must be associated with every picture element on the timeline, otherwise the encode process will fail.

Dolby Vision IMF option in the Finalize Window
Dolby Vision IMF option in the Finalize Window

Dolby Vision IMF can be generated from a timeline with XML metadata (indicated by an orange line) or a timeline with IMF track files with embedded Dolby Vision metadata (yellow line). Currently it is not possible to generate an IMF directly from a timeline with a Dolby node (green timeline), first an XML needs to be saved, and applied to the source on a different timeline.

Enable Metadata Editing

When working with an "orange" (XML metadata) or a "yellow" (IMF) timeline no special node is needed. Per frame metadata can be inspected in the Clip Inspector window SHIFT+u and the CMU will be controlled allowing QC of the metadata. However, sometimes it is necessary to change the metadata, or simply to check if scene change points in the metadata are in sync with the edits in the picture. For this, one can enable Dolby Vision editing from the file menu: the timeline will be cut into shorter segments corresponding to cut boundaries in the metadata and the DolbyVision node will be initialized will all the necessary parameters.

Please do not use the Enable Metadata Editing feature if per-frame metadata is present in the original XMLs.

Loading Dolby Vision metadata XML as a sidecar file

In automated workflows it may be necessary to automatically associate the metadata XML with the image files. For this place a Dolby Vision Mastering Metadata XML in the same folder as the media files and name it "dolbyvision.xml". This will be automatically parsed and associated with the clip.

Indicator of Dolby Vision Mastering Metadata XML or embedded metadata from MXF

Both the timeline and the bin thumbnails show an orange line on clips with associated Dolby Vision Mastering Metadata XML. Similarly, a yellow line indicates an MXF file with embedded Dolby Vision (PHDR) metadata.

Inject Dolby Vision metadata into existing App2e+ IMP

Load an IMP without PHDR (Dolby Vision) metadata and import the corresponding Dolby Vision mastering metadata XML to the timeline (use the File  Dolby Vision section). Make sure the metadata and the IMP reels do have matching lengths. Having this set up, one can turn on Dolby Vision metadata for the IMF encoder and create a new package by transwrapping the original image essence along with the per-frame Dolby Vision metadata embedded. To avoid re-encoding of the video make sure the IMF encoder parameters match the source IMP.

Inspect Dolby Vision metadata
A Yellow line indicates embedded Dolby Vision mastering metadata (PHDR metadata) in the video MXF file. The Clip Metadata window shows the Dolby metadata on the D tab.
A Yellow line indicates embedded Dolby Vision mastering metadata (PHDR metadata) in the video MXF file. The Clip Metadata window SHIFT+u shows the Dolby metadata on the D tab.

The Clip Metadata window SHIFT+u has a D tab, where the Dolby Vision mastering metadata can be inspected. The numbers reflect the metadata for the current frame, either coming from an XML file or embedded in the MXF itself.

15.10. Dolby Vision Remapping within Transkoder

As long as the user is licensed to use the Dolby Vision Professional Tools package, it is possible to do the color remapping within Transkoder to preview the Dolby Vision remapping to specific target displays and render out these variants. As of today a hardware CMU is required for creative Dolby Vision grading.

To have access to this functionality please follow these steps:

  • Install the Dolby Vision professional tools.

  • From the Professional Tools install folder Copy the cm_offline.exe executable file from the Dolby Vision Professional Tools install folder into the C:\Program Files\OSD2017\pymodules\scripts folder.

  • Launch Transkoder and load or create a timeline with Dolby Vision metadata.

  • Make sure there is a Dolby Vision node in the pipeline.

  • Set the Remap field of the Dolby Vision sub-page of the Preferences page (TAB) to either On (always remap) or Preview (only in interactive mode but not during rendering).

  • Make sure you have required Target Display selected.

Enable Dolby Vision color remapping in the Dolby Vision node
Enable Dolby Vision color remapping in the Dolby Vision node

When the remapping is enabled the Dolby Vision tool applies the corresponding color transform. The user can validate if the functionality is working by clicking on the Bypass option on the Dolby Vision node. The remap works in the below scenarios:

  • Green timeline: In this scenario, the Dolby Vision node is initialized and the dynamic metadata is driven by the node itself.

  • Orange timeline: In this scenario, the metadata is imported in XML files. In this case the current L1 metadata or the creative trims are not shown on the sliders of the HUD of the Dolby Vision node, please use the D page of the clip metadata inspector window (SHIFT+u).

  • Yellow timeline: In this scenario, the metadata is embedded into MXF files. Similarly to the previous case, the remap works, but the metadata is not driving the sliders.

To get the expected output in terms of color please make sure to adjust these settings accordingly:

  • CMU Display Target: defines the target color space

  • PQ Analysis Color space: defines the encoding of the current input

15.11. Show Dolby Vision Dynamic Metadata Scene Boundaries

When importing Dolby Vision XML Master Metadata to timeline events the operator can now see in the Timeline Window where the scene boundaries are in the metadata. This allows easier checking of picture and metadata sync, which is essential in Dolby Vision workflows: as part of the QC process one has to make sure the changes in the metadata correspond to the real editing points.

Scene boundaries in the Dolby Vision metadata shown in the Timeline Window
Scene boundaries in the Dolby Vision metadata shown in the Timeline Window

To jump to metadata scene change points please use the ALT+GREATER THAN SIGN (>) and ALT+LESS THAN SIGN (<) shortcuts.

15.12. Adjusting Dolby Vision Dynamic Metadata Sync

It is now possible to apply a Dolby Vision XML Master Metadata to timeline events even if the metadata length is longer than the source video. In this case the user able to offset the dynamic metadata. To validate the sync is correct between the metadata and the image please inspect the Dolby metadata edits in the Timeline Window.

To offset the metadata either select the clip and use the Batch Edit window CTRL+e or in the Timeline Window hold CTRL+SHIFT and drag the video event. As long as the XML metadata is longer than the video, the scene boundary markers should move as you slide the metadata manually.

Slipping the Dolby Vision XML Master Metadata in the Batch Edit window
Slipping the Dolby Vision XML Master Metadata in the Batch Edit window

15.13. HDR10plus Workflow

HDR10plus is an open standard for dynamic HDR metadata. In contrast to static HDR10, this standard provides a per-scene dynamic tone mapping curve so TV sets are able to apply a proper remapping of bright pixels that would clip without adjustment. Transkoder on the Windows platform can generate this metadata and also apply the remap itself to the image.

15.13.1. Generating HDR10plus Metadata

To generate HDR10plus metadata the user needs to load the HDR master encoded with the PQ curve and add to the timeline. The statistics generation is implemented as a metadata encoder, called: HDR10 Plus. After adding the encoder the user needs to render the file, which will be a human readable JSON file containing the mathematical coefficients defining the tone map curve for each scene. By default the encoder automatically detects cuts between scenes based on the light level statistics.

Encoder to generate the HDR10plus metadata
Encoder to generate the HDR10plus metadata

The metadata in the generated file targets a specific brightness level, defined in nits in the TargetLevel parameter of the encoder. The maximum brightness of the source master should be set in the MasteringLevel setting.

15.13.2. Loading and QC HDR10plus Metadata

To QC or visualize the result of the dynamic remap within Transkoder please add a HDR10plus node to the node page. Then the user can import the generated JSON file through the Timeline menu by clicking on Cut Detection with HDR10plus JSON. This operation adds the cuts defined in the JSON file as well as populates the HDR10plus node with the appropriate metadata. As soon as the metadata is loaded into the nodes, the remap is processed. To validate it park on a frame with bright pixels exceeding the nit level defined in the TargetLevel of the metadata, and toggle Bypass on the HDR10plus node.

HDR10plus node
HDR10plus node

Appendix A: Validation

Transkoder has a dedicated validation procedure for DCP and IMF packages as well in the Validation window (CTRL+d). The path at the bottom of the window should point to the package folder to analyze. The validation process consists of many steps involving checking the proper format of metadata as well as analyzing samples from the encoded assets. Should there be any failure please check the detailed error report in the current user’s Document folder, which can be opened by pressing the Open button after the validation finished.

A.1. DCP Validation

The following checks can be performed:

A.1.1. Metadata

Assetmap exists

Checks if the assetmap file exists in the root of the DCP volume and if it is correctly named.

Volume index exists

Checks if the volumeindex file exists in the root of the volume and if it is correctly named.

Assetmap is valid

Checks if the assetmap file structure is valid by checking it against the related xml schema.

Volume index is valid

Checks if the volumeindex file structure is valid by checking it against the related xml schema.

Assetmap contains PKL

Checks if the assetmap file contains at least one Packing List (PKL) entry.

Assetmap files are existing

Checks if every file listed in the assetmap exists in the DCP volume at the path specified in the assetmap.

Files exists in assetmap

Checks if each file in the DCP volume is listed in the assetmap.

Assetmap chunk length is valid

Checks if the referenced files sizes match the related assetmap files 'Length' entry.

A.1.2. Packing List (PKL)

PKL exists

Checks if the Packing List files listed in the assetmap exists in the DCP volume at the path specified in the assetmap.

PKL is valid

Checks if the Packing List file structure is valid by checking it against the related xml schema.

Assets exists in assetmap

Checks if every file listed in the Packing List is listed in the assetmap.

Asset sizes are valid

Checks if the Packing Lists 'Asset' elements 'Size' entry matches the size of the related file in the DCP volume.

PKL Signature is valid

Checks if the Packing List file signature is valid if signed.

Mimetypes are valid

Checks if the Packing Lists MIME type value is correct for the referenced asset.

Asset hash is valid

Checks if the PackingLists assets "Hash" entry matches the SHA-1 hash of the related asset in the DCP volume. This test may take some time dependent on the DCP data to test.

A.1.3. Composition Playlists (CPL)

CPL exists

Composition Playlists must exist in the root of the volume and must be named correctly.

CPL is valid

Checks if the Composition Playlist files listed in the assetmap exist in the DCP volume at the path specified in the assetmap.

CPL is valid XML

Checks if the Composition Playlist files' structure is valid by checking it against the related xml schema.

Durations are valid

Checks if every Composition Playlist assets 'IntrinsicDuration' entry matches the duration of the respective mxf track file.

CPL assets exist in assetmap

Checks if every file listed in the Composition Playlist is listed in the assetmap. Note: A valid DCP may have unresolved Composition Playlist asset references.

CPL assets exist in PKL

Checks if every file listed in the Composition Playlist is listed in the related Packing List. Note: A valid DCP may have unresolved Composition Playlist asset references.

Trackfile duration matches reel duration

Checks if every Composition Playlist assets "Duration" entry added to the related "EntryPoint" entry is smaller or equal to the related "IntrinsicDuration" entry.

Asset hash matches PKL

Checks if every Compositon Playlists assets 'Hash' entry is equal to the related Packing List Hash entry.

Reel duration is valid

Checks if the duration of the asset entrys are equal to the reels duration. Reel duration is either the duration of the "MainPicture" if existing or the duration of the shortest asset in the reel.

Tracks are homogeneous

Checks if all Composition Playlists reels contains the same collection of asset types.

Reel has a picture

Checks if all Composition Playlist reels contain a 'MainPicture' or 'MainStereoscopicPicture' element.

Reel has a sound

Checks if all Composition Playlist reels contain a 'MainSound' element.

Key usage is valid

Checks if the Composition Playlist assets cryptographic keys are unique.

Tracks encryption is homogeneous

Checks if all Composition Playlists assets are encrypted if one of them is encrypted.

CPL Signature is valid

Checks if the signature is valid if the Composition Playlist file is signed.

Asset files exists

Checks if every file listed in the Composition Playlist exists in the DCP volume at the path specified in the assetmap.

A.1.4. Track Files

Trackfiles are valid

Checks if the mxf track file complies to certain definitons of the DCI specification for OP-Atom MXF trackfiles.

Encrypted trackfiles are valid

Checks if the mxf track file complies to definitons of the DCI specification for encrypted OP-Atom MXF trackfiles.

CPL languages codes are valid

Checks if the Composition Playlists language code entrys are syntactical correct and known language codes.

Track file durations are valid

Checks if the mxf track file is at least one second in duration.

Image tracks frame boundaries are valid

Checks if the mxf image track file frame boundaries are valid.

Soundtrack frameboundaries are valid

Checks if the mxf audio track file frame boundaries are valid.

Subtitle subpictures are valid

Checks if the subtilte .png subpicture resources are valid.

Subtitle font is valid

Checks if the subtitle font resources are valid TrueType or OpenType files.

Subtitle font file sizes are valid

Checks if the subtitle font resources sizes excede a maximum size of 640kb for Interop DCP volumes.

Subtitle XMLs are valid

Checks if the subtitle definition xml file structure is valid by checking it against the related xml schema.

A.2. IMP Validation

The following checks can be performed:

A.2.1. Metadata

Assetmap exists

Checks if the assetmap file exists in the root of the IMP volume and if it is correctly named.

Volume index exists

Checks if the volumeindex file exists in the root of the volume and if it is correctly named.

Assetmap is valid

Checks if the assetmap file structure is valid by checking it against the related xml schema.

Volume index is valid

Checks if the volumeindex file structure is valid by checking it against the related xml schema.

Assetmap contains PKL

Checks if the assetmap file contains at least one Packing List (PKL) entry.

Assetmap files are existing

Checks if every file listed in the assetmap exists in the IMP volume at the path specified in the assetmap.

Files exists in assetmap

Checks if each file in the IMP volume is listed in the assetmap.

Assetmap chunk length is valid

Checks if the referenced files sizes match the related assetmap files 'Length' entry.

A.2.2. Packetlists (PKL)

PKL exists

Checks if the Packing List files listed in the assetmap exists in the IMP volume at the path specified in the assetmap.

PKL is valid

Checks if the Packing List file structure is valid by checking it against the related xml schema.

Assets exists in assetmap

Checks if every file listed in the Packing List is listed in the assetmap.

Asset sizes are valid

Checks if the Packing Lists 'Asset' elements 'Size' entry matches the size of the related file in the IMP volume.

A.2.3. Composition Playlists (CPL)

CPL exists

Composition Playlists must exist in the root of the volume and must be named correctly.

CPL is valid

Checks if the Composition Playlist files listed in the assetmap exist in the IMP volume at the path specified in the assetmap.

CPL is valid XML

Checks if the Composition Playlist files' structure is valid by checking it against the related xml schema.

Durations are valid

Checks if every Composition Playlist resources 'IntrinsicDuration' entry matches the duration of the respective mxf track file.

CPL assets exist in assetmap

Checks if every file listed in the Composition Playlist is listed in the assetmap. Note: A valid IMP may have unresolved Composition Playlist resource references.

CPL assets exist in PKL

Checks if every file listed in the Composition Playlist is listed in the related Packing List. Note: A valid IMP may have unresolved Composition Playlist resource references.

Asset hash matches PKL

Checks if every Compositon Playlists resources 'Hash' entry is equal to the related Packing List Hash entry.

Segment duration is valid

Checks if the duration of the asset entrys are equal to the segments duration. Segment duration is either the duration of the 'MainImageSequence' if existing or the duration of the shortest asset in the segment.

Segment has a picture

Checks if all Composition Playlist reels contain a 'MainImageSequence' element.

Segment has a sound

Checks if all Composition Playlist reels contain a 'MainAudioSequence' element.

Asset files exists

Checks if every file listed in the Composition Playlist exists in the DCP volume at the path specified in the assetmap.

Appendix B: Preferences Page

The Transkoder Preferences page is used to configure settings in a variety of subject areas divided in to the following sub-pages:

Setting Page Description

CAMERA

Settings for Raw Camera Support

AVID

Settings for AVID Software

BASE

Main project settings

CONFORM

Settings for conform workflows

ENCODE

Settings for Encoders

DCI

Settings for DCP mastering

IMF

Settings for IMF package generation

GUI

Settings for Transkoder Graphical User Interface

VIDEO

Settings for video out

AUDIO

Settings for audio

STARTUP

Settings for workstations specific settings (saved in the Startup.xml)

CONFIG

Settings related to hardware configuration specific optimizations

GRADE

Setting for Grading and Color Processing

METADATA

Settings for the configuration of Metadata

QC

Settings for Quality Control

SUBTITLE

Settings for subtitles

USER

Settings for workstations specific settings (saved in the Startup.xml)

CLOUD UPLOAD

Settings for cloud based web services such as COPRA, Netflix, Pix, and Remote Server

CLOUD STORAGE

Settings for cloud storage based services such as AWS, Google Storage, and SWIFT

SUPPORT

Project and Software versions

DOLBY VISION

Settings for Dolby Vision workflows

SAFEAREA

Settings for configuring framing guides.

B.1. The CAMERA Page

The CAMERA page has the following settings:

arri CAMERA Settings
Setting Description Note

ADA Apply CDL

Controls if the ADA debayering process should automatically apply CDL correction.

ADA Pixel Aspect Correction

Use ADA automatic pixel aspect ration correction to resize image

If enabled, this will automatically desqueeze anamorphic footage when using the ARRI developed debayer.

Alternate Crop

Use alternate cropping method for ARRIRAW files

If enabled, this will crop files according to the crop settings in the ARRIRAW file metadata.

Arri Metadata Bridge

Use ARRI Metadata Bridge when rendering EXR

Decode Resolution

ARRIRAW decode resolution

This allows the selection of resolution to use for debayering into viewable RGB images.

Resolution and overall quality increases from HD to CFD-5 for GPU accelerated Colorfront developed debayering, and from ADA-2-SW to ADA-5-SW for ARRI delveloped debayering.

ADA type debayering is significantly slower because it is done in software and is not GPU accelerated.

Force Black and White Processing

Turn On or Off Black and White ARRIRAW processing

Should be enabled in instances where the Black and White processing is not correctly set in the metadata.

Ignore ND Filter

For old projects to use the regular white balancing gains

Should be enabled in instances where the Ignore ND Filter processing is not correctly set in the metadata.

Saturation in Look

sony CAMERA Settings
Setting Description Note

Decoding

Debayering method to use

Decide between either the {Colorfront developed debayering or the Sony developed one.

MXF Fast Read

Enable/Disable SonyF65 fast read

With certain storage configurations, where real time playback is not working, enable this option to optimize MXF RAW file read patterns for faster performance.

No Crop

Crop Image to HD / QuadHD or not

If this is enabled, the image will not be cropped.

Resolution

Size of the debayered image

The option determines the debayer resolution. 8K is only supported for F65 cameras.

panasonic CAMERA Settings
Setting Description Note

P2Format App

Path to the P2FormatApp executable

P2Format App Options

Options set to the P2FormatApp executable

Panasonic444DecodeType

Panasonic 444 decode quality

Decoding to YUV42210bit is faster to process but results in a lower image quality than RGB16bit.

v210DecodeResolution

YUV42210bit H264 decode resolution

Half setting is faster to process but results in a lower image quality than Full.

red CAMERA Settings
Setting Description Note

Colorspace

RED decode color space

This setting is for selecting which color space to use for primary colors when debayering RED camera footage. The Auto option will work best in most cases, since it will use the setting from the RED camera footage metadata.

DEB

Use Dragon Enhanced Black option

Enabling this option will result in better blacks, but also in significantly slower processing speed.

Decode Bit Depth

Bith depth of decoded images

10bit is faster to process but results in a lower image quality than 16 bit.

Decode Mode

RED decode resolution

The Auto option will use the highest quality processing possible with the hardware present in the Transkoder work station. The options from Full to 1/16 range from slowest processing and maximum image quality, to fastest processing and lowest image quality and describe the debayered resolution in relation to the original footage resolution.

Default Metadata

Default image processing setting

This setting determines the default metadata to use, is from the RED camera footage or from the RMD Sidecar. If no RMD Sidecar metadata is present, Transkoder will revert to using the RED camera footage metadata.

Default TC

Default image processing setting

This setting determines which Time Code to use by default.

Disabled Rocket ID

Exclude a Rocket Card with this ID from the decode cards.

File Read Timeout

Timeout for RED image access in ms

In cases where RED render jobs fail as a result of File Read Timeouts, increasing the length of time to wait before a time out error, may help prevent these errors.

Gamma Curve

Gamma curve to apply to the image

This setting is for selecting which color space to use for tone colors when debayering RED camera footage. The Auto option will work best in most cases, since it will use the setting from the RED camera footage metadata.

HDRx Mode

Force HDRx Mode for imported RED movies

This setting determines which detection mode to use for detecting multi-exposure HDR footage in RED camera footage.

HDRx Offset

Offset for Alternative HDRx Mode

This setting determines the offset between the high and low exposure images and works for most cases, but allows for fine tuning if needed.

HDRx Plus

Alternative mode for HDRx

This setting enables a different mode for the processing of HDRx images.

Helium Full

Using 8k resolution for Helium

IPP2 Stage

Primary Raw Development Stage

IPP2 Primary Raw Development Stage is supported by specifying PRIMARY as the value for this field. Only Tint, Kelvin, Brightness, ISO, Exposure settings available in this stage. This mode uses RED Wide Gamut RGB color space and Log3G10 gamma curve, thus when IPP2 is enabled all the other color space options are hidden.

Ignore User Curve

Ignore the user curve metadata from the RMD/header

This setting is used in cases where the Ignore User Curve flag found in RED camera footage metadata or RMD Sidecare metadata should be ignored.

Lock Color Settings

If enabled pipeline creation will not change the Curve and Color setting

Enable this setting to prevent the automatic configuration of the Colorspace and Gamma Curve settingswhen creating a new RED camera footage pipline.

Use GPU

Use GPU or CPU for Red Debayer

If enabled, this setting will use GPU acceleration for debayering RED camera footage, and if disabled, it will use the CPU instead which is significantly slower.

Use RED CDL

If enabled, the CDL tool will adjust the RED CDL metadata

If this setting is enabled, the RED debayering API will apply the CDL processing, instead of the CDL node on the Node page pipline. In this case, the CDL node will only act as a settings interface for the RED debayering API for CDL processing. This is less interactive with fewer configuration options than if this option was disabled and the default, Colorfront developed, CDL node processing was used instead.

Use Rocket

Enable/disable RED Rocket acceleration

Enable to use the RED Rocket expansion card for accelerated processing of RED camera footage. When working in a project with Red Rocket acceleration enabled, without the card present the processing will fall back to GPU mode. This improves multi-workstation Red projects with different HW configurations.

Use Rocket For Render

Enable/disable Red Rocket acceleration for Background Rendering

If the option is enabled, Transkoder will use the RED Rocket expansion card for the backend rendering, and if disabled, Transkoder will used the RED Rocket expansion card for the processing of RED camera footage for real time use in the frontend GUI.

quicktime CAMERA Settings
Setting Description Note

CropCleanAperture

Crop the image based on the Quicktime Clean Aperture parameter

Enabling this will use the metadata information in the QuickTime file to crop the image.

QT4KDecodeResoluton

YUV8bit decode resolution

2K is faster to process but results in a lower image quality than 4K. Use 2K if realtime playback is not working with the 4K setting.

QTH264Decoder

QT H264 decoder

In the rare cases when autodection of the decoder fails, switch between the two options if there is any problem with the image decoding.

QTProresDecodeAlpha

Decode the alpha or not from 444 formats

Disable to ignore apha channel information, thus speeding up decoding, but lowering image quality.

QTProresDecodeType

ProRes Decode Quality

Faster processing with lower image quality when moving from RGB16bit to YUV4228bitHalf. Each move to the right, will increase this tendency.

phantom CAMERA Settings
Setting Description Note

Phantom Hour Compensation

Compensating the Local and UTC timecodes with hours

This setting defines the number of hours to compensate the Local or UTC timecodes of the Phantom file metadata.

Phantom Main Timecode

The main timecode of the Phantom footage

This setting determines which of the four possible Timecodes to use from the Phantom metadata.

Phantom Tone Curve

Turn off the Tone Curve in the CINE file if there is one

This setting determines if the Tone Curve is processed from the CINE file or not provided one exists.

indiecam CAMERA Settings
Setting Description Note

Force White Balance

Use white balance coefficients

Forces the image processing to use the white balance coefficients for the primaries used. This is to deal with missing/bad metadata flagging and normally should not be used.

Pattern

Type of bayer pattern

Indicates the Bayer pattern type in the source files.

cinemadng CAMERA Settings
Setting Description Note

Force Half Processing

If DNG image width is greater thean 3072 this option forces half resolution for debayering

This option, if enabled, is used to speed up decoding but lowers image quality.

B.2. The AVID Page

The AVID page has the following settings:

AVID page Settings
Setting Description Note

Avid60to30TCConv

Convert the 60fps TC to 30fps for older Media Composers

This setting is for compatibility with older AVID Media Composer applications which can not fully process 60fps TC.

AvidMOBID

Generate common MOBIDs for Avid MXFs

If rendering multiple resolution results for AVID Interplay, this setting determines how to generate common MOBIDs. Master + Source is the most commonly used option.

InterplayAutomaticUpload

Enable automatic upload of generated Avid mxf files to Interplay

This setting uses an AVID API to automatically upload AVID mxf result renders to AVID Interplay

InterplayDirectWrite

Write directly to the Shared Folder before Interplay checkin

If this setting is enabled, Transkoder will write AVID mxf result renders directly to the AVID Interplay shared storage even before they have been checked in to Interplay.

InterplayWSEndpoint

URL of the Interplay WS

This setting defines the URL or IP Address of the AVID Interplay Work Space such as http://12.13.14.15/services/Assets.

InterplayURI

URI of the Interplay Asset

This URI is in the interplay://bin/catalog/folder format.

InterplayUsername

Interplay Username

This is the user name of the user whose credentials will be used on the AVID Interplay system.

InterPlayPassword

Interplay user’s password

This is the password of the user whose credentials will be used on the AVID Interplay system.

InterPlaySharedStorageFolder

Interplay’s shared storage

This is usually a mapped network drive or folder on the local Transkoder workstation.

InterPlaySharedFolderPrefix

Subfolder on the Interplay’s shared storage

This can be any name desired for the project sub-folder on the AVID Interplay shared storage and is used to group and identify result renders copied from Transkoder.

B.3. The BASE Page

The BASE page has the following settings:

BASE page Settings
Setting Description Note

Frame Rate

Project framerate

Main playback frame rate setting also driving default encode FPS.

Time Code

Drop or Non-Drop Time Code

Drop-frame vs Non-Dropframe Timecode, global to the project.

Start Timecode

The start timecode of the Timeline

Default timecode where video events dragged to the timeline will be starting.

Image Width

Preferred output image width

Project resolution driving the Reframe node part of the default pipeline.

Image Height

Preferred output image height

Project resolution driving the Reframe node part of the default pipeline.

Stereo

Stereoscopic 3D project

Stereo / Mono project.

Project Base Path

Home path for the project

Several project folders will be created within: thumbnails, metadata files and this is where the default render target points to.

Additional Media Paths

Additional media paths

If the project media is loaded from under the project base path, it is registered with a relative path. Having multiple Additional media paths settings the user can flexibly copy media from one master location to the other, as long as the folder structure is preserved below the project home folder.

Render Path

Location to render to

This drives the meaning of the $RenderPath$ keyword in the path definition.

Project Data Names

Metadata fields to identify shots

Relevant for Dailies: basic metadata fields the operator can inspect and edit in the basic metadata inspector (E)

Project Match Indices

Indices of metadata fields that identify audio, first metadata is 0

Indices of the metadata items specified above that match audio metadata: Scene/Take or Scene/Slate/Take typically.

Advanced Settings

Setting

Description

Note

Imported Still Length

Default length of imported stills in seconds. 0 means single frame

Container

The name of the input media on the GUI

Affects the Load Page screen UI

Timeline Sorting

Timeline sorting options

Order of clips in dailies "card" timelines.

Project Data Upper Case

Entered Scene, Slate imformation forced to be upper case

Playback Type

Special playback methods

Playing back every or every single frame. May be useful for HFR shows.

Transfer Date Type

Date format of the transfer date (eg. the date folder) Additional characters can be added to the end

File Names To Ignore

Filenames to ignore at new footage parse. Like *.mov, *.txt

Folders To Ignore

Folders to hide on the load page

Volumes To Ignore

Volumes to hide on the load page

Burn In Logo Dir

Folder containing logos for burnin

These logo files can be a accessed as a custom burnin: $logo:mylogo.png$ where mylogo.png is the logo copied to this folder. Supported formats include PNG and TIFF.

Content Descriptors

Home for sidecar files, such as bitrate, psnr, maxfall, maxcll, etc.

Project Media Structure

Describes the project structure for images files

Relevant for dailies workflows.

Project Audio Structure

Describes the project structure for audio files

Relevant for dailies workflows.

Project Look Structure

Describes the project structure for imported look files

Relevant for dailies workflows.

Project Organization

Metadata field for organization media, usually the date

Relevant for dailies workflows.

Metadata Path

Home of the project metadata. (SystemPojectFolder stands for C:/ProgramData/…​)

Project Additional Data Names

Metadata fields that are also copied to captured frames

Minimal Shot Length

Shots shorter than this are deleted when executing auto-cut (TILDE)

Fix Node Connection

Forces Result1 to be connected if grade and viewing templates are disconnected

Pipeline for Imported Looks

Specifies which node template to use for stills and slate images. Enter the format name here.

This setting refers to one of the formats within the project; the imported stills in the "import" lookstore will be initialized with the default pipeline of this format. This is relevant in cases when the operator is unable to drag CDL grades from the stillstore to the timeline, due to incompatible pipelines.

MP4Type

MP4 decoder type

Save Thumbnails with EMD

Save thumbnails along with EMD file

Still Export File Name

Naming patter of the exported EMD file

Default Timeline Mode

Default Timeline mode

By default vertical editing is ON. You can disable it using this project setting.

thumb Cache Path

B.4. The CONFORM Page

The CONFORM page has the following settings:

CONFORM page Settings
Setting Description Note

EDL Match Timecode

EDL Timecode will be matched to this TC in the database

EDL Match Tape Name

This metadata will be matched to EDL TapeName. If LabRoll is chosen, the source TC is matched

EDL Match Custom Tape Name

Custom metadata field of the shots table to be used for EDL conform

EDL Handle

Shots start/end handle in frames when loading an EDL. -1 means complete shot, positive values a X number of frames

EDL Match Relative TC

The SrcTC will be used as a relative TC to the begining of the matching Clip

Grade Settings To Load

List of tools to load from the dailes grades when applying with SHIFT+g

Conform Log Path Prefix

Path prefix for conform Logs

Black Missing Media

Show black instead of Missing Media

Media Search Path

Media path where to search during loading EDL

B.5. The ENCODE Page

The ENCODE page has the following settings:

ENCODE page Settings
Setting Description Note

Render Shot Boundaries

Which timeline track will define the shot boundary of the rendered files

Skip GAPS During Rendering

Whether to skip the GAPs during rendering

Rendered Media TC

The main timecode in the MXF/ALE

To encode files with a pre-defined start TC, most typically 00:00:00:00, the operator can set the Rendered Media TC to Manual. In this case all rendered clips should have the time code of the value specified in the Custom Encode TC field just below.

Custom Encode TC

Custom TC used for encoding if Manual Rendered Media TC is used

Rendered Media Tape Name

The tape metadata in the generated MXF and ALE

Ale Media Metadata

Add all metadata from the file headers to the ALE

Ale CDL

Add ASC CDL values to the ALE file

Ale Audio Order

Order of the audio metadata in the ALE

This option has been introduced to handle channel interleaving broadcast metadata present in the audio WAV file header. When set to InterleaveIndex then the ALE generator exports the audio tracks accordingly. The default option ChannelIndex uses the straight channel order without considering the interleave metadata.

File Sequence Numbering

File numbering when rendering file sequences

File Sequence Custom Start

Custom start file numbering, may be a number, or a metadata $keyword$

Flash Burnin

Flash burnins

Where the flash burnin - displayed for a few frames only - is shown: Head / Tail / Head and Tail

Burnin Padding

Padding of the ShotFrameCount and CustomFrameCount burnin

Date Format

Date format for burnins

Possible options are: D/M/Y, M/D/Y, Y/M/D, M/D/YY

HDR10Plus Profile

Profile A or B

Copy Settings

Setting

Description

Note

Archive Audio

Archive the audio file next to the shot

Archive Audio Later

Archive the audio files after everything else archived

Archive Extra Files

Path to specific files to be archieved along with any Card, eg. render proxies

Archive Extra Files For Date

Path to specific files to be archived when the user selects a Date on the load page and clicks on the Archive Extra Files

Ingest With Verify

Verify the source and destination footage with checksum after ingest is finished

Archive With Verify

Verify the source and destination footage with checksum after archive is finished

Default Hash Method

Hash method to verify copied files

Available hash methods include md5, xxHash, xxHash64BE, and sha1. xxHash64BE (Big Endian) is similar to the xxHash algorithm, but it outputs a hash text in hexadecimal values, which makes it more compatible with other post production products. xxHash64BE is also compatible with Google’s xxHash implementation.

Ingest Path

Ingest Path2

Ingest Path3

Ingest Path4

Archive Path

Archive Path2

Archive Path3

Archive Path4

Postprocess Temp Path

Postprocess Temp Path Enabled

Copy With Direct IO

Copy encoders are using direct i/o or not

Copy MD5Level

Level of MD5 file from the source

Copy MHL

Create and support MHL checksum

Continue On File Missing Error

Continue the COPY job even if some files are missing

Copy Report File

Copy report log file to destination after archiving. Disabling this for LTO drives will increase performance

LTO Path

List of volumes separated by semicolon that should use LTO optimizations

Advanced Settings

Setting

Description

Note

ALE Video Format

Video format tag in ALE header

Ale Sound Channels

Sound channels number in ALE

Ale Aux TC

Aux timecode field in ALE

Additional Templates

Location of the custom encoder templates XML

Encoder File

Location of the encode parameter XML

Encoder Post Batch

Batch to be created upon finishing a render

Use Source DPX metadata

Use the original DPX header if rendering from DPX to DPX

MXF film Gauge

The filmGuage metadata in the rendered MXF files

MXF Audio

Whether to render Audio MXF or not

MXF Need Film Data

Whether render Keycode metadata into the AVID MXF files

Chapter Format

Chapter name format like:$Scene$/$Take$

Show All Frames

Should Transkoder show all frames during encoding or not

Wait For Post Process

Pause encoding until postprocess completes

Copy Source Verify

Verify the source footage with checksum after copy

Generate Chapter Track

If disabled, no chaptertrack in the generated QT files

Time Code For Web

Generate TC track for PIX

Codex VFS Config

Configuration of the Codex VFS

H264Post Mux

H264 encoders mux after encode

FCP Audio

Render audio into the FCP deliverable or not

Avid Sound TC Fix

Avid Sound TC compensation

Forensic Watermarking Strength

Strength of Watermarking

Encode V210 Range

Defining the range when converting to V210 from RGB

NexGuard Settings

Setting

Description

Note

NexGuard Manager Enabled

Enable built-in client to the NexGuard Manager

NexGuard Manager Address

Address of the NexGuard Manager (IP address)

NexGuard Manager User

Username registered on the NexGuard Manager

NexGuard Manager Password

Password of the NexGuard Manager user

NexGuard Mgr Update Interval

Interval in seconds between progress updates sent to manager

NexGuard Manager Timeout

HTTP GET timeout in ms (0 to use curl defaults)

NexGuard Mgr Conn Timeout

Connection timeout in ms (0 to use curl defaults)

Multiple Files With Same Name

Allow multiple files with same name, but different path

B.6. The DCI Page

The DCI page has the following settings:

DCI page Settings
Setting Description Note

Package Asset Creation

By default Transkoder creates Hard Links in DCP package folder. User can force Transkoder to copy the media anyway

VF Asset Selection

Controls the logic driving the asset selecton for VF finalizing.

Remote Hardlink Creation

Try to create hardlinks on remote systems

Load With Reel Markers

Load CPL timeline with untrimmed assets and with reel marker track

Hash Validation

Enable hash validation in DCP validation process

Default DCI Type

Define the type of the DCI deliverables

Defautl DCI Encryption

Encrypted DCI or not

KDM Duration

KDM duration in days

KDM Home

Project folder for incoming KDMs

KDM Delivery Home

Folder where KDMs are auto-generated

KDM Certificates

Folder to collect certificates to generate KDMs for

Advanced Settings

Setting

Description

Note

Atmos Sync Channel

Overwrite 14th channel with Atmos sync data

DCI Encryption Key Home

Project folder to collect encrypted DCI MXF keys

Write Signature

Controls the signing of the CPL and PKL of the DCP XMLs

Write HMAC

If true HMAC values are to be generated and written into MXF

XYZRGB Conversion

Conversion from DCI XZY to P3 RGB in case of DCP decoding and from P3 RGB to DCI XYZ incase of DCP encoding

Validate J2K Frames

Enable validating JPEG2000 frames or not

J2K Check Stop on First Error

If on, then JPEG2000 validation will stop on first error, avoiding huge error message duplicating

Import After Finalize

Import generated DCP package after finalize or not

Finalize Auto Render

Launch automatic render for missing assets upon Finalization

Search Missing VF Assets

Automatically search file system for missing assets

VF Search Path Levels

Levels to search for missing asset from the current CPL directory that is being imported

This search is recursive meaning it will search all sub folders as well.

Path For Validation Report

If empyt, reports will be generated into default folder. Otherwise to directory set by user

Embed Start TC Into DCIMXF

This will enable start TimeCode embedding into DCI MXF. Use this with caution!

When enabled the time code information is embedded into the track files. Make sure to adjust the Rendered Media TC field value in the Encode Page to RecordTC. In this case, when loading a CPL with Import CPL With MXF Timecode field value set to On, the track files will be placed in the timeline exactly the same as the timeline they are generated from.

Import CPL With MXF Timecode

Import CPLs based on MXF StartTimecode and place them accordingly on the timeline.

The possible values are Off, and On. When on the track files are added to the timeline according to the embedded time code.

B.7. The IMF Page

The IMF page has the following settings:

IMF page Settings
Setting Description Note

Package Asset Creation

By default Transkoder creates Hard Links in IMP package folder. User can force Transkoder to copy the media anyway

VF Asset Selection

Controls the logic driving the asset selecton for VF finalizing.

Remote Hardlink Creation

Try to create hardlinks on remote systems

Hash Validation

Enable hash validation in IMP validation process

IMF No Clip

No Clipping when converting tp YCbCr from RGB (xyYCC)

Dolby XMLMXF Extraction

The mode of Dobly XMLMXF extraction: Normal - support for full shot dissolve anime, Deep - support for every anim like the middle-shot anime, Legacy - legacy mode

Fix Timecode Track

Set the frame rate of the timecode in the audio mxf files instead of the sample rate

Advanced Settings

Setting

Description

Note

MaxFALL override

If set to a positive number MaxFALL value in the CPL will be this number

MaxCLL override

If set to a positive number MaxCLL value in the CPL will be this number

Hash Type

Hash type for IMF MXF and CPL files

Write Application Version

Fill the Applicationidentification parameter in CPL ExtentionProperties

CPL Subtitle Tag Name

The tag name for subtitle sequences in the CPL. The standard 2067-2 supports SubtitlesSequence, but the practice is MainSubtitleSequence

Direct Read

Parse the essence offset at load time and use it for the later read

Ignore Index

Ignore the MXF Index table

Half Res Decoding

Decode only half resolution

Finalize Auto Render

Launch automtice render for missing assets upon Finalization

Import After Finalize

Import generated IMP package after finalize or not

Audio File Fostfix

The posfix of audio filenames in the multitrack audio deliverables(like IMF)

Search Missing VF Assets

Automatically search file system for missing assets

VF Search Path Levels

Levels to search for missing asset from the current CPL directory that is being imported

This search is recursive meaning it will search all sub folders as well.

Path For Validation Report

If empyt reports will be generated into default folder. Otherwise to directory set by user

Encoder Auto Correct

When changing IMF encoder settings, Transkoder auto corrects the profile. This can be switched off.

Warning: in Off state it is possible to create MXF files with non-valid metadata

Meta Cache Dir

Directory where the IMF readcache files are saved

B.8. The GUI Page

The GUI page has the following settings:

GUI page Settings
Setting Description Note

Scale

Scale all gui elements

Tables Scale

Scale all gui tables

Style

GUI style

Menu Always Visible

Menu always visible

Quick Jump Forwards Frames

Quick jump forward framenumber

Quick Jump Backwards Frames

Quick jumb backwars framenumber

Panel Type

Defines which type of panel is used

Default JKL Speed

Default playback speed multiplyer if J or L is pressed for playback

Frame Entry Mode

How to define frames when clicking on the REC TC above the timeline window

Trackball Sensitivity

Sensitivity of panel trackballs (default 100)

Encoder Sensitivity

Sensitivity of rotational encoders (default 100)

Jog Sensitivity

Non-linearity of the jog control on the panel (default 100)

Color Circle Horizontal

Color circle allignment (default 1)

In Place Editing

Allow in-place editing of timeline metadata in track head area

Insert Embedded Audio

Insert embedded audio to the timeline

Enable Alpha Channel

Insert video alpha channel if possible

Default Dissolve Length

The default dissolve length in seconds

Default Dissolve White

The default dissolve white in percent

Ins Emb Audio With Diff FPS

Insert embedded audio to the timeline which the FPS dows not match

Auto Retime

Automatically retime the newly inserted shot to the project framerate

Advanced Settings

Setting

Description

Note

Pan With Scroll

Allow image and timeline pan with mouse scroll

Enter Last Visited Date

Enter last visited date on load page as opposed to current date

Control Brightness

Brightness of controls (default 100)

Exit with ESC

Exit the application with ESC

This setting has previously controlled both the timeline-exiting and application exiting. Instead, timeline-exiting is assumed, and this setting only controls the exiting from the application. If turned off, the user will not be able to exit on the main load page by pressing ESC, only through the menu.

Color Circle Angle

Orientation of the color wheel

Color Circle Sensitivity

Sensitivity of the color wheel (default 150)

Color Circle Slider Sensitivity

Sensitivity of color wheel’s slider (default: 200)

Color Circle Show List

Show values below color circles

Upper Timeline

Display timeline indicator on the top of the screen

Background Intensity

Background intensity (default 0.06)

Audio Info

Display audio timecode when E is pressed and audio markers on timeline

Start End Frame Indicator

Display on-screen start and endframe indicator

Swipe Gesture Enabled

Enables to open/navidate between windows by tapping window edges with the mouse pointer

Panel Shot Jump

Defines where the playhead jumps during navigating from shot to shot on the Wave panel

Up Down Arrows

How the navigation with arrows work

Stillstore Auto Follow

Turns on/off the metadata based auto-follow mode for the stillstore

Stillstore Names

Turns on/off the names (scene/take) metadata on the stillstore thumbnails

Show Stereo Tools

Turns on stereo tools in monoscopic projects, so over/under or side-by-side material can be processed

Mouse Drag

Mouse scrub directions

Show Audio Sync

Display the status of the audio sync on the shot

Show Circle Takes

Display the status of the circle take on the shot

Show Graded

Display the status of the graded state on the shot

Show Uploaded

Display the status of the uploaded state on the shot

Show Bin Metadata

Display metadata colors on the bin thumbnails

Thumnail Overlay Transparency

Transparency of the flags displayed on the thumbnails

Tags On Thumbnails

Type of indicators on the thumbnails to show tags

Window Opacity

Opacity of windows

Timeline Trim Hovering

Enable/disable timeline trim hovering

Quick Metadata Position

Defines where the quick metadata is displayed

Thumbnail With Burnin

Image burnins on Thumbnails

Metadata Viewer Cell Width

Width of cells in the small metadata viewer (default 280)

Lock Window Positions

Prevent windows from moving (default 0)

Render Table

Rendertable database server

Always Show Template Wizard

If this is enabled, upon loading a new camera format the template wizard window will be shown

Alternate Marker Drawing

Enable alternate Positional Marker drawing

Bin Cut Load Type

Whether to load the timeline events or just the source media

Image Linear Scale

Using linear scaling when zooming into the image on the screen. Nearest neighbor is used when Off

B.9. The VIDEO Page

The VIDEO page has the following settings:

VIDEO page Settings
Setting Description Note

Video Out

Video output mode

Video Device

Video device

Progressive Format

P or PSF mode for AJA rasters

HDMI Output Enabled

Use HDMI output, works with AJA Io4K/Kona3G/Kona4

Dual Video Out Mode

Seperate dual video out mode - AJA only

Advanced Settings

Setting

Description

Note

Clean Output

Display just the image on the video output

Output Port

DVS output port selection

Full To Legal On Second Screen

Apply full to legal conversion to video output on second screen

12 Bit Color Depth On SDI

Use 12 bit color depth

Video IO Speed

Video io speed whether 3G or not

3G Level B Video Signal

3G Level B Signal

RGB Over 3G Level A

RGB Over 3G Level A

AJA HDR Signallin

HDR Signling

QHD/4K On Two Wires

Two/Four channel QHD on AJA boards - Two Sample Interleave, Square, Diff

Two Wires SDI Output

Out on SDI 1/2 or on SDI 1/3

10 Bit Color Depth on HDMI

Use 10 bit color depth on HDMI output

HDMI Output Mode

HDMI output mode and range. AUTO is RGB FULL when Dolby Vision Tunneling is enabled, otherwise YCBCR LEGAL

Use 8 Channels on HDMI Audio

Use 8 channels of HDMI audio

Video With Audio

Need SDI embedded audio or not

Reference Signal

Set Reference signal source for AJA boards

Halved HFR

Halves the framerate in HFR modes

RGB Range

Range of RGB values in AJA Frambuffer when converted to YUV (single link output). Works with Kona 3G Quad, Kona4, AJA Io4K

RS422Control

Enable RS422 control through AJA board

To connect the controller device and Transkoder a special cable is needed. Please contact support for assistance.

YUV mode

Using yuv cpu buffers

Multi Channel Stereo

Stereo modes using multichannel duallink output

Video During Encode

Video output during Encoding

AJA Alternative Audio Init

Two/Four channel QHD mode on AJA Boards

AJA Board Sort Mode

AJA boards sorting mode

Forced 2K/1080 Mode

Set AJA 2Kx1080 flag

3G Level A To Level B Conversion

Set AJA automatic level A/B conversion

Aja VPID

AJA VPID bit options

Forced Aja Video Standard

Video standard to set on AJA boards

Embed Audio in All Channels

Embed Audio on All SDI Channels

Generate LTC

Generate SDI Embedded LTC

Reference Signal

Set reference signal source for AJA boards

LTC Channel

SDI Embedded LTC Channel

LTC Volume Multiplier

System Use - SDI Embedded LTC Volume Modifier (0-255)

LTC Offset

Generate LTC Frame Offset

SDI Embedded Timecode Source

This is used to set the SDI embedded time code source to either Record Time Code (default) or to Source Time Code.

Camera Timecode Source

Select camera timecode source

Calibration

Turn off or select SDR or HDR 3d lut for calibration of the video output

Resize

Apply automatic resizing (fitting) on image data going to the video output

HDMI Embedded HDR10Plus Test

Dolby Vision HDMI Tunneling

Dual Video Out Mode - Secondary Video Output Settings

Setting

Description

Note

Progressive Format

P or PSF mode for AJA rasters

HDMI Output Enabled

Use HDMI output, works with AJA Io4K/Io4K+/Kona3G/Kona4

12 Bit Color Depth On SDI

Use 12bit color depth

Video IO Speed

Video iospeed whether 3G or not

3G Level B Vide Signal

3G Level B Signal

RGB Over 3G Level A

RGB Over 3G Level A

AJA HDR Signaling

HDR signaling

QHD/4K On Two Wires

Two/Four channel QHD mode on AJA boards - Two Sample Interleave, Square, Off

Two Wires SDI Output

Output on SDI 5/6 or on SDI 5/7

10 Bit Color Depth on HDMI

Use 10 bit color depth on hdmi output

HDMI Output Mode

HDMI output mode and range

Use 8 Channels On HDMI Audio

Use 8 channels for HDMI audio

RGB Range

Range of RGB values in AJA Framebuffer when converted to YUV (single link output). Works with Kona 3G Quad, Kona4, AJA Io4K

Forced 2K/1080 Mode

Set AJA 2Kx1080 flag

3G Level A To Level B Conversion

Set AJA automatic level A/B conversion

AJA VPID

AJA VPID bit options

Forced AJA Video Standard

Video standard to set on AJA boards

Embed Audio in All Channels

Embed Audio on All SDI Channels

YUV mode

Using yuv cpu buffers

Video IO Type

Cloud IO Stream Settings

Setting

Description

Note

Video Encoder

Video encoding

Enable Color Depth 10 Bit

Use 10 bit color depth on video stream [HEVC only]

Enable Audio

Enable audio stream

Address

Destination address

Port

Desination port

Bitrate

Output stream bitrate

Latency Correction

Number of frames to compensate clien buffers

Video IO Type

B.9.1. HD / UHD dual video out

The two independent video out mode can be enabled by selecting the secondary video out mode on the settings page: Video tab / Dual Video Out Mode.

Available selections:

  • AUTO - will follow first video out mode

  • HD / 2K / QHD / 4K

  • DUALLINK HD / 2K / QHD / 4K

Every custom video out settings (like 3G or 12 bit color depth) are also available for the dual video out mode. Select the video tab and press Show Advanced to change these options. The secondary video output will be on SDI Out 5 cable and above.

To control which node page result is sent to which output channel please left-click in the small white rectangle above the result to set the first output, and Alt+click in the rectangle to select the second output, indicated by double dot.

Click and Alt+Click assigns the results to output one and two
Click and Alt+Click assigns the results to output one and two
Requirements: AJA Corvid88, Windows platform. This feature does not support 3D stereo mode.

B.9.2. Video Output Auto Resize

The automatic resizing of video output is used to simplify workflows where HD/2K media is monitored on a UHD display or vice versa. Please enable the Resize option on the Video settings in the Tab page, in case if the video output being 2x or half the size of the current result the image is automatically resized. This generates a "meaningful" image on the monitor instead of being center cropped or being a small HD image in the center of the UHD frame. This feature is essential in the Content Mapping Unit workflow where the same UHD HDR output is sent to two different video results at different resolution (as of today the CMU only supports HD input).

B.9.3. UHD SDI output on two cables (3G)

Available on Windows, Mac support is coming in Update2. To turn on 2 wires QHD mode, enable video / Aja QHD On Two Wires setting on the TAB page. The SDI output will be on the 1st and the 2nd channels, and will work in QHD up to 30 FPS or to 60 FPS with halved video frame rate enabled.

B.9.4. Lock SDI Output to Reference Signal

Enable this with Video settings / Reference Signal parameter.

B.10. The AUDIO Page

The AUDIO page has the following settings:

AUDIO page Settings
Setting Description Note

Audio Force Sample Rate

Force all audios sample rate to this number. -1 means not forcing

Audio Playback Frame Delay

Delay of audio playback in frames (does not affect rendering)

Soundroll Metadata

Where the soundroll metadata should come from. FolderName refers to the containing subfolder of the audio file

Move Metadata At Sync

Apply metadata from audio BWF to shots upon syncing

Move Select Tag At Sync

Apply circle take flag from audio BWF to shots upon syncing

Preserve Leading Zeros

Preserve the leading zeroes in scene and take metadata coming from the BWF header

Remove Space From Metadata

Remove spaces from the BWF metadata, such as Scene and Take

Advanced Settings

Setting

Description

Note

AAC Audio Offset

Audio offset in samples for AAC encoding to be synced with Video

Adjust Playhead Upon Stop

Step back a few frames when stopping with spacebar if the audio waveform is on (during sync). Disable if you’ve got good reflexes

Audio Play Pull

-1 = Pulldown, 0 = Normal, 1 = Pullup for audio playback

Audio TC60to30

Convert the audio TC to 30fps from 60fps

Audio TC Convert

Forces audio timecode conversion on burnins and in the ALE

Audio Timecode Offset

Offsets the audio when syncing based on timecode

Collapsed Audio Channel

Audio track to be displayed when track collapsed

Detect LTC Timecode

Auto-detects the running LTC embedded in the audio samples

Detect LTC Sensitivity

LTC detection algorithm sensitivity

Mixdown From Project

Using the Mixdowns of the specific project. The default is the actual "self" project

Playback Mixdowns Auto Update

Auto update the playback mixdowns based on the selected audio track

Playback Volume

Auto Pull

Mixdown Channels

Number of channels displayed in audio mixdown window (default 24)

Group Multi File Audio

Attemp to join multi-file single channel audio into single mult-channel audio track (Default is On)

Mult-file = Multi-mono

Do Not Use Audio FPS Sync

Do not use the Audio FPS for TC sync

B.11. The STARTUP Page

The STARTUP page has the following settings:

STARTUP page Settings
Setting Description Note

App Support Path

CP200Panel IP Address Prefix

The IP prefix (first 3 numbers) of the network of the CP200 Panels

CP200Panel Ids

Connected CP200 Panel IDs. Example: 1,1327

Console Enabled

Enable the console

Database Server

Network address of the database server

Home

Install home

Permissions Check

Enable if you want to run folder permissions check at start.

Project Name

Project name

Submit To Local Database

Submit to local database server

B.12. The CONFIG Page

The CONFIG page has the following settings:

CONFIG page Settings
Setting Description Note

Resolution

Thread Num Override

This will override the loading threadnum, if not -1

Use Display GPU for J2K Decoding

Use the display GPU for J2K decoding

NAS Mode

Use NAS optimized settings

GUI Image Delay Threshold

Maximum milliseconds to wait for the image to become available for the GUI

B.13. The GRADE Page

The GRADE page has the following settings:

GRADE page Settings
Setting Description Note

Master Nodes

Nodes to be drag-n-dropped when in Master role

Color Grading Nodes

Creative color grading nodes, copy-pasted in Grade role

Stereography Nodes

Nodes the Stereographer role adjusts

CDL Tool

If multiple grading tools are used, force the system to import/export CDL from/to this tool. Eg. RGBlin1

CDL Reference Image Type

THe type of the CDL image: original, ungraded, or graded or the graded with viewing LUT

Auto Apply Looks

Enables the application of imported looks upone loading a NEW timeline

Auto Apply EMD

Enables the application of grade imformation from EMD files

Apply Metadata At Auto Apply

Enables the application of metadata of imported looks upon loading a NEW timeline

Advanced Settings

Setting

Description

Note

RRT Type

RRT Version to use in RRTODT node

ACES Method

Processing method of ACES nodes

ACESCC Mode

Formula used for ACESCC curve

Codevalue Per Printer Light

Code value (in 0-1024 range) per printer light

Dolby Vision Offset Weight

Weight parameter for Dolby Vision Offset value (Lift)

Animation Keyframes

Controls how animation keyframes are created. Group indicates that grading/transform/stereoscopic nodes are animated together

Lut Dir

Location of the folder containing LUTs

Export Lut Type

EMD Name In Look Store

The text on the thumbnail of the imported EMD files from Live

Preset File Location

Location of the saved looks

Look Reference Metadata Name

Metadata name for automatic LUT application (CTRL+SHIFT+i)

IPad Path

Result iPad path

IPad Tool Name

This tool stores the iPad grade setup

Luts Legal2Legal

3D Luts will be saved as legal-to-legal instead of full-to-full range

auto Save Thumbnails to DB

Upon saving, the thumbnails for the clips are saved in the database server

CDL Printer Lights Enable

Enable printer lights controls in hud and color circle

Lift Gain Gamma Mode Enabled

Use CDL nodes in lift/gain/gamma mode

Convert V210to Legal

Convert V210 image sources to legal range instead of full range

Save High Res Still

When OFF it forces the exported stills to be downscaled to fit into 2048x1080

This applies when exporting stills through the File menu.

Still File Extension

Type of the saved still image file: jpeg, png, tiff, or dpx

The default setting is png, and when saving a still, the format selected in this setting will be used.

Still File Name

Filename pattern of the saved still ($DateTime$ and $AppName$ usable only here)

Still File Path

Filepath pattern of the saved still

Use2094-10Metadata

Whether to use metadata coming from the files or use the SDRRemap tool parameters

B.14. The METADATA Page

The METADATA page has the following settings:

METADATA page Settings
Setting Description Note

EMD Transfer

Controls what is imported when importing EMDs from the data/emd folder

EDL Tape Name Length

Truncation of the tape name in the exported CDL-EDL

file Seq TC From Frame Number

Enable for calculating the main Timecode from the framenumbers

Camera Letter In Camroll

The index of the character in the CamRoll string indicating the camera identifier (A/B etc). 1 means first character

small Metadata View

Metadata to be displayed in the small metadata window (u)

Metadata Overlay

Metadata to be displayed in the metadata overlay

Advanced Settings

Setting

Description

Note

Audio Channel Names On Timeline

Channel names separated by comma

Movie Metadata Cache

Enable movie metadata cache for faster loading

Ingest Hours After Midnight

For some extra hours after midnight media is copied into the last days folder

parse Pattern

Define a pattern to extract metadata from file path and name. Example: /$CamRoll$##//capture/$Scene$$Take$.mov

qtake Link

Describes how to link QTake entries to shots. Example: shots.Take=qtake.Take and shots.Scene=qtake.Scene

lensdata Link

Describes how to link lensdata entries to shots

arridcs Link

Describes how to link Arri DCS entries from .cus files to shots

edl Link

Describes how to link input EDL entries to shots. Example: edls.TapeName=shots.LabRoll and edls.SrcTCIn=shots.TCin

flex Link

Describes how to link FLEx events to shots

metadata Matching LUT name

List of metadata in order of priority to match LUT names when auto-apply LUTs (SHIFT+g)

metadata Matching LUT node

The name of the LUT node to adjust when auto-applying LUTs (SHIFT+g)

dpx Timecode HFS

Whether the DPX TC is HFS or not

Bin General Search

Bin search allows general search in all metadata

Shots Table Header Items

Metadata to be displayed in the shots table window (ALT+t)

Clip specific metadata from the Shift+U Window may be also used with the "MainMedia:MediaMetadata:" prefix. Example: MainMedia:MediaMetadata:CameraType

csv Header Items

Metadata to be exported in the look CSV

qc Table Header Items

Metadata to be displayed in the QC table window on a dailies / bin timeline (CTRL+q)

qc Table Cut Header Items

Metadata to be displayed in the QC table window on a CPL / Cut timeline (CTRL+q)

read Clip Metadata

Enable clip metadata parse

Calc TC When Missing MP4

Timecode will be calculated from file creation if the timecode is missing from MP4

B.15. The QC Page

The QC page has the following settings:

QC page Settings
Setting Description Note

QC Operator

QC operator name to be displayed in the QC report

QC Comment Timecode

Type of timecode associated with the QC notes

QC Comments

List of QC comments for quick-buttons

HDR Colorspace

Controls the colorspace of the Analyzer tool input

Maximum Brightness For HDR

Valid values are between 100.0 and 10000.0

Minimum Brightness For CIEXY

Minimum brightness of pixels to show up on HDR Analyzer

Gamut Tolerance

Percentage of the most saturated pixels to ignore

Brightness Tolerance

Percentage of the brightest pixels to ignore

Brightness Frames Tolerance

Percentage of the brightest frames to ignore

Light Level Threshold

Threshold for cut detection

Solid Frame Tolerance

Black Frame Pixel Value

PDF report

Organization of the PDF report by container (magazine/card/labroll) or Transkoder assigned VTRolls

PDF report sorting

Sorting of clips in the PDF report

PDF report Takes

Takes to appear in the PDF report

PDF report Columns

Columns in the PDF report

Control Knob Scrubbing Audio

Scrubbing audio when jogging with the control knob

B.16. The SUBTITLE Page

The SUBTITLE page has the following settings:

SUBTITLE page Settings
Setting Description Note

Import Start Time Code

Defines the imported subtitle media container start point

IMSC Time Code Base

Defines the imsc subtitle timecode base, for TimeIn/TimeOut calculations. Basically SMPTE means using real floating point, Media means rounded TimeCode

Re Generate Subtitles

If Off, then Transkoder tries to use original xml file for packaging without modifying any value

In addition to On (regenerate) and Off (never regenerate but package the source subtitle XML),there is an option called TimeExpression. If set to TimeExpression, the structure of the subtitle XML is not altered, only the subtitle timing is updated. This is very important in case of IMSC1 subtitles for IMF.

Subtitle Font Source

Source of the font file which is used for subtitle rendering

Custom Font File

Custom font file path in case of SubtitleFontSource is CustomFont

Subtitle Path

Home path for the subtitle metadata and png

Upper Timeline

Show subtitle positions on upper timeline

Language

Language to load

Subtitle Selection

Determines where the subtitle selection (title/language) is saved

Preffered Image Height

Image height used to recalculate the font size

Advanced Settings

Setting

Description

Note

Subtitle Color Conversion

Targe Color Space for Subtitles

HDR Subtitle Color Space

Colorspace of Subtitle

HDR Subtitle Brightness

Brightness of HDR Subtitle

Bi Directional Text Level

Specifies the default direction for the rendered text

DCI Subtitle MXF Encryption

Control the encryption of the DCI SMPTE subtitle MXFs

Interop DC Subtitle Version

Interop DCI Subtitle XML version

SMPTEDCI Subtitle Version

SMPTE DCI Subtitle XML namespace version

DCI Safe Caption Export

Export DCI Closed Caption files according to isdcf best practice document. [Ignore LoadFont attributes.]

Re Generate DCI Closed Captions

If Off, then Transkoder tries to use original xml file for packaging, without modifying any value.

SCC Use Absolute TC Values

If Off, then Transkoder will count control bytes into start TC, therefore the spot will be displayed slightly later than what is in the source file.

Avoid Overlapping Subtitles

If enabled, then Transkoder subtitle export will avoid overlapping subtitles and adjust timecodes accordingly.

B.17. The USER Page

The USER page has the following settings:

USER page Settings
Setting Description Note

Log Level Console

Logging severity level in console

Log Level File

Logging severity level in log file

Bin Metadata Labels

Metadata to be displayed in the bin window (List mode)

Bin Audio Metadata Labels

Metadata to be displayed in the bin window (List mode)

Bin Cpl Metadata Labels

Metadata to be displayed in the bin window (List mode)

Role

Role base permission

Use Clone Version

Prefer the clone (prox) version when loading a timeline. It works only after the clone versin is generated from Transkoder

Video Logo Opacity

Opacity of the Logo

Video Logo Opacity2

Opacity of the Logo for dual mode, secondary output

Show Console

Show/Hide Console window

MRU Languages Num

Size of the list of most recently used languages for media tracks

Client

For future use

Dailies Bin Sorting

Enables Dailies bin sorting mode (affects Scene/Take order)

Bin Icon Labels

Show loaded timeline name in player

Remote Control Server Enabled

Remote control address enabled

Remore Control Server Address

Remote control address - 127.0.0.1:5000

Show Loaded Name

Show loaded timeline name in player

Show Alteration Times

Show alteration times of projects and timelines on load-page

Show Timelines Ordered

Show timelines ordered naturally or ascending

Timelines and projects may be sorted alphabetically or by time last modified in ascending or descending order.

Default Transkoder Project Path

Clone Active

Analyzer Video Capture Resolution

B.18. The CLOUD UPLOAD Page

The CLOUD UPLOAD page has the following settings:

REMOTESERVER CLOUD UPLOAD Settings
Setting Description Note

Auth Password

Password for the user

Auth User

User of the remote server

Compression

Compression of the http communication to gain speed

Database Name

Name of the project on the remote server

Database Server

IP address of the remote database server

Fileserver

IP address of the remote server

Fileserver Alias

Friendly name of the remote server

Fileserver Folder

Folder on the remote server

Fileserver Password

Password for the user

Fileserver User

User of the remote server

HTTPS

Security of the http communication

Targe Host

IP address of the node processing uploads

Upload Type

Select upload type

COPRA CLOUD UPLOAD Settings
Setting Description Note

AutoSubmit

Automatically submit rendered clips into the COPRA server

CopraProject

Copra project name if different than Colorfront project name

Producer

Producer

Dop

Director of photography

Editing

Film Editor

Shooting

Start and end of the shooting, like 06/30/2012 - 10/29/2012

Location

Locations where the Film was shot

Material

name the different formats the film is shot with, like RED Epic, ARRI Alexa, Film 35mm, Phantom

Colorist

Dailies Colorist

FTP Editor Login

Editor Login fo Auto Upload to Copra Server

FTP Editor Password

Editor Password for Auto Upload to Copra Server

QC Operator Mail

QC operator mail to be displayed in the QC report

QC Operator Tel

QC operator tel to be displayed in the QC report

Copra Log File

Create a log file while generating and uploading

Copra Release

clip autorelease on COPRA server

Copra Push Notification

send push notification if server supports it

FTP Upload

upload via FTP to server after rendering finished

FTP Server

server to upload to

FTP Server Custom

IP or hostname of custom COPRA server. Select (Custom) in FTP Server

Encode Job To Task Mapping

Mapping of EncodeJobID (first column in the deliverables screen) to Copra4 Task Name. 1:MisterX,2:MisterY. ATTENTION: These JobIds get shuffled around as you add/remove new lines to each result’s encoding table

PIX CLOUD UPLOAD Settings
Setting Description Note

Enable Aspera

Use Aspera for last upload

Folder

Folder

Password

Password

Project

Project

Username

NETFLIX CLOUD UPLOAD Settings
Setting Description Note

ASCP Key Path

Location of the Netflix ascp upload key file

ASCP Parameters

Extra command line parameters passed to the ascp binary, use at you own risk

ASCP Path

Location of the ascp binary (eg. the one bundled with Aspera Connect application)

Authorization URL

Netflix authorization URL

Automatic Proxy Upload

Automatically uploading the generated proxy after the rendering

Client Id

Client ID on Netflix

Force Upload

Update assets metadata and/or files even if they are reported complete.

Partner Name

Partner name associated with the uploaded content

Password

Netflix password

Project UUID

UUID of the project on Netflix

Secret

Secret associated with Client ID on Netflix

Upload URL

Netflix upload URL

User

Netflix username

Work Dir

Working directory, temporary image sequence archives will be created here

B.19. The CLOUD STORAGE Page

The CLOUD STORAGE page has the following settings:

AWS CLOUD STORAGE Settings
Setting Description Note

HTTPS

Use HTTPS Connection

Default ON.

access-key

AWS Access Key

ca-bundle

Certificate Bundle

proxyserver

AWS Proxy Server

render-tempdir

Local temporal directory for renders to S3 path

For render jobs requiring S3 upload Transkoder renders to a local directory and then uploads. If needed one can specify a folder for the local render target.

secret-key

AWS Secret Key

snowball path

Snowball archive path

snowball server

Snowball server address

GOOGLESTORAGE CLOUD STORAGE Settings
Setting Description Note

Auth File

Server Oauth2 Authentication file

SWIFT CLOUD STORAGE Settings
Setting Description Note

Password

Swift API Key

Tenant

Swift Tenant

Username

AWS Secret Key

B.20. The SUPPORT Page

The SUPPORT page has the following settings:

SUPPORT page Settings
Setting Description Note

Color Processing Version

Arri SDK version

AJA SDK version

RED SDK version

Sony SDK version

Processing Version

When introducing a bugfix or enhancement that would change the image processing in a new software version, still the legacy processing is used in existing projects to avoid changing the output. To achieve this Transkoder uses the ProcessingVersion parameter to select the aproriate processing code: any fix introduced after the revision identified by the Processing Version is disabled and the legacy code is used.

By default this setting is the same as the Create Version, however the user can update it to enable fixes / changes introduced in a recent software revision.

Create Version

This is the revision number of Transkoder that was use to create the current project.

The operator cannot change this.

B.21. The DOLBY VISION Page

The DOLBY VISION page has the following settings:

DOLBY VISION page Settings
Setting Description Note

CMU Control

Controls CMU access

CMU Mastering Display

CMU Device1 ID

ID of the first CMU device

CMU Device1 Display Target

Display target for the first CMU device

CMU Default Display Target

Default target display

CMU Device1 IP Address

IP Address and port of the first CMU device, example:10.0.1.17:1205

CMU Loopback IP Address

Loopback IP address where CMUs are connecting back, example: 10.0.1.13:30001

CMU MSB Mode

For debug purposes only, default: 1

CMU Canvas Aspect Ratio

Canvas aspect ratio in the exported Mastering Metadata XML

CMU Image Aspect Ratio

Image ascpect ratio in the exported Mastering Metadata XML

PQ Analysis Colorspace

Controls how the PQ statistics are calculated, should match the colorspace of the source

B.22. The SAFEAREA Page

The SAFEAREA page has the following settings:

SAFEAREA page Settings
Setting Description Note

Safe Area In Gui

Show safe area in Gui

Safe Area On Image

Show safe area on images in Gui and Video output

Safe Area Aspect

Safe area aspect ratio: 1.33,1.37,1.66,1.78,1.85,1.89,2.0,2.35,2.39,2.40

Safe Area Letterbox Opacity

Safe area Letterbox opacity in percent

Safe Title

Show Safe Title Area

Safe Title Percent

Safe area Title in percent

Safe Action

Show Safe Action Area

Safe Action Percent

Safe area Action region in percent

Safe Center

Show safe area center cross hair

Safe Center Size

Safe area center cross hair size in percent

Safe Center Gap Size

Safe area center cross hair gap size in percent

Safe AreaLine Opacity

Safe area line opacity

Safe AreaLine Width

Line width for safe area lines

Framing Guides in the GUI and optionally on the video output
Framing Guides in the GUI and optionally on the video output

Appendix C: Supported Input Formats

C.1. Camera

Arri: Amira, Alexa (XT, XR, B&W, SXT, SXR, LF, 65)

C.2. Video

  • Arri: ARRIRAW (including B&W and Large Format), ProRes 4444 and 422, Arri MXF (RAW) with ALF-2 support

  • SONY F65RAW / F55RAW / F5RAW and Venice / X-OCN

  • SONY XAVC 4K, SRFile (SStP MP4), XDCam EX

  • Blackmagic Cinema Camera, URSA DNG and ProRes

  • RED: REDCODE RAW (R3D) including: Epic, Scarlet, Epic Monochrome, Weapon and Monstro, Avid MXF

  • DNxHD MXF and QuickTime, including DNxHD 444

  • Phantom 4K Flex, Miro, HD Gold , 65 .cine RAW

  • Silicon Imaging SI-2K, Cineform RAW

  • Canon EOS 1D / 5D / 7D H264 QuickTime w/ time code Canon EOS C100 / C200 / C300 / C500 / C700 MXF (RAW), EOS 1DC 4K JPG

  • Panasonic P2 / MXF AVC Intra / EVA-1 .mov

  • Most QuickTime formats, with appropriate codecs

  • DPX: 8/10/16 bits, monochrome, RGB or RGBA

  • TIFF and EXR files

  • XDCAM

  • DSLR RAW (CR2, NEF, ARW)

  • Various H264 and H265 (HEVC) formats

  • JPEG2000 MXF and J2K/J2C

  • DCP and IMF MXF

  • YUV 422 uncompressed AVI (on Windows)

  • RAW 10bit/8bit YUV 4:2:0 header less file (resolution driven by file name: t1_2560x1440_8bit.raw)

C.3. Audio

  • Broadcast multichannel audio BWAV including header metadata

  • Multi-mono WAVE files

  • MXF wrapped DCP and IMF audio

C.4. Metadata

  • CDL, CCC, CC and ALE-CDL

  • Various LUT formats

  • EDL

  • Codex XML

  • Arri Look files

  • RED RMD Sidecar Files

  • Colorfront EMD

  • Various subtitle and caption formats

Appendix D: Menu Specific Keyboard Shortcuts

D.1. File Menu

File Menu
Shorcut Function

CTRL+n

Create New Timelin

ESC

Close and Save

SHIFT+ESC

Close without Save

CTRL+S

Save

CTRL+ALT+s

Save Timeline As…​

ALT+SHIFT+a

Add Media Files

ALT+a

Add Media Folders

CTRL+SHIFT+s

Export Looks > Save Still

SHIFT+b

Export Looks > Save iPad Luxtore

TAB

Settings (Preferences)

D.2. Edit Menu

Edit Menu
Shorcut Function

CTRL+x

Cut

CTRL+c

Copy

CTRL+v

Paste

CTRL+a

Select All

SHIFT+c

Cut Clip

SHIFT+j

Join Clip

CTRL+BACKSPACE

Delete Selected Clips

TILDE (~)

Auto Cut Shots

CTRL+e

Batch Edit

NUMPAD PLUS SIGN (+)

Increment Take Number

NUMPAD MINUS SIGN (-)

Increment Scene and Restart Take Number

SHIFT+NUMPAD MINUS SIGN (-)

Copy CamRoll Info from Previous Shot

NUMPAD ASTERIX SIGN (*)

Toggle Select (Circle Take) Flag

NUMPAD FORWARD SLAH (/)

Toggle Pickup Flag

CTRL+g

Toggle Graded Flag

CTRL+SHIFT+e

Toggle Shot Render

D.3. Grade Menu

Grade Menu
Shorcut Function

ALT+F1 - ALT+F12

Look Presets > Load Look Preset 1 - 12

b

Bypass Current Tool

a

Define Start Point of Animation

CTRL+SHIFT+i

Apply Looks to All Shots

SHIFT+o

Setup Project Processing Template

SHIFT+t

Save Tool Setup as Template

SHIFT+y

Save Viewing Template

CTRL+l

Export Lut

D.4. Timeline Menu

Timeline Menu
Shorcut Function

CTRL+NUMPAD PLUS SIGN (+)

Zoom In

CTRL+NUMPAD MINUS SIGN (-)

Zoom Out

CTRL+o

Load Selected Bin

ALT+v

Add Track > Add Video Track

ALT+SHIFT+v

Add Track > Add Audio Track

i

Markers > Set Reel Marker In

o

Markers > Set Reel Marker Out

SHIFT+g

Group > Group Selected Clips

ALT+SHIFT+g

Group > Ungroup Selected CLips

v

Isert into Timeline

CTRL+z

Timeline Undo

CTRL+SHIFT+z

Timeline Redo

ALT+b

Insert Embedded Audio

D.5. Render Menu

Render Menu
Shorcut Function

CTRL+r

Render Timeline

ESC

Stop Rendering

CTRL+SHIFT+x

Export Transkoder Receipt

ALT+r

Submit Render to Render Queue

D.6. Audio Menu

Audio Menu
Shorcut Function

SEMI COLON (;)

Sync Audio > Manual TC Sync

q

Sync Audio > Manual File Sync

ALT+s

Show Audio Table

SHIF+w

Show Shot Audio

D.7. View Menu

View Menu
Shorcut Function

l

Play Forward

j

Play Backward

UP ARROW

Clip Forward

DOWN ARROW

Clip Backward

RIGHT ARROW

Frame Forward

LEFT ARROW

Frame Backward

PERIOD (.)

Next Keyframe

COMMA (+)

Previous Keyframe

LEFT SQUARE BRACKET ([)

Playhead > First Playhead

RIGHT SQUARE BRACKET (])

Playhead > Second Playhead

BACKSLASH (\)

Playhead > Toggle Playheads

c

Zoom > Pixel to Pixel

ALT+w

Zoom > Using Linear Interpolation

SHIFT+F1

Result > Show First Result Only

SHIFT+F2

Result > Show First and Second Results Blended

SHIFT+F3

Result > Show Primary and Secondary Wiped/Butterfly

SHIFT+F6

Result > Show First and Secondary Playhead Wiped

SHIFT+F9

Color Channel > Show Red Channel Only

SHIFT+F10

Color Channel > Show Green Channel Only

SHIFT+F11

Color Channel > Show Blue Channel Only

SHIFT+F12

Color Channel > Show Luminance

ALT+f

Toggle Safe Area Guides

SHIFT+F8

HDR > Show HDR Warning

CTRL+SHIFT+1

Video Output > Show Result 1

CTRL+SHIFT+2

Video Output > Show Result 2

CTRL+SHIFT+3

Video Output > Show Result 3

CTRL+SHIFT+4

Video Output > Show Result 4

ALT+N

Video Output HDR Signaling > Main Video Toggle SDR/HDR

ALT+SHIFT+N

Video Output HDR Signaling > Dual Video Toggle SDR/HDR

NUMPAD 1

Show Thumbnail Timeline

NUMPAD 2

Luxtore > Show Luxtore

NUMPAD 3

Luxtore > Show Big Timeline

NUMPAD 4

Luxtore > Show Big Luxtore

SHIFT+h

Luxtore > Show Console

ALT+PLUS SIGN (+)

Bin/Big Timeline Zoom In

ALT+MINUS SIGN (-)

Bin/Big Timeline Zoom Out

ALT+SHIFT+c

Calibration > Calibrate Display

D.8. Window Menu

Window Menu
Shorcut Function

ENTER

Tools Page…​ (Node Page)

p

Deliverables Page…​

v

VTROLL / Screener Assign Page…​

ALT+h

Hide All Windows

h

Show HUD

CTRL+h

Show Analyzer

NUMPAD 6

Show Color Circle

SHIFT+z

Show Curves Window

ALT+S

Show Audio Table

ALT+y

Show Audio Mixdown

ALT+t

Show Shots Table

CTRL+t

Show Render Table

CTRL+q

Show QC Table

SHIFT+k

Show Conform Table

SHIFT+m

Show PSNR Histogram Window

SHIFT+n

Show Bitrate Histogram Window

SHIFT+u

Show Clip Inspector

SHIFT+q

Show Quality Check

SHIFT+d

Show Finalize Window

CTRL+p

Show Performance

SHIFT+i

Show Look Editor

SHIFT+o

Show Pipeline Window

SHIFT+g

Show Grade Window

ALT+j

Show Bin Window

ALT+i

Show Timeline Window

SHIFT+s

Show Subtitle Table

CTRL+ALT+m

Show Markers Table

ALT+x

Show Copy Central

CTRL+d

Show DCP/IMF Check

ALT+d

Show CPL Merge Window

CTRL+SHIFT+d

Show KDM Generator Window

CTRL+COMMA (,)

Show Graph Window

CTRL+u

Show Volume Meter

D.9. Help Menu

Help Menu
Shorcut Function

F12

Show Help

Appendix E: Shortcuts by Topic

E.1. Frequently Used Shortcuts

Frequently Used Shortcuts
Shorcut Function

Ctrl+R

Start rendering ('ESC' to stop a render running)

Alt+R

Submit render job to Background Render

Ctrl+T

Display Render Queue table

Shift+N

Enable/Disable render flag to entire timeline

ESC

Exit to load page with save

Shift+ESC

Exit to load page without save

M

Quick save of current grade version and metadata

Shift+T

Save tool setup as template, and apply it to all shots

Shift+Y

Save viewing template, and apply it to all shots

Shift+B

Save graded images for iPad from current iPad Look Store

Shift+G

Load CDL-EDL, Codex CDL or grades from dailies database (for recaptured media)

Shift+H

Enable/disable console window

Ctrl+C

Copy entire text from text field to clipboard

Ctrl+V

Paste text to text field from clipboard

E.2. View

Shorcut Function

C

Toggle Center/Fit image view mode

Right-drag

Pan image

Ctrl+RightDrag

Zoom image

Ctrl+DoubleRight

Reset pan and zoom

Shift+F1

Split / show first result only

Shift+F2

Split / show first and second results blended

Shift+F3

Split / show primary and secondary results wiped

Shift+F5

Automatical view for online/offline media

Ctrl+F1

Stereo: Normal view

Ctrl+F2

Stereo: Left eye view

Ctrl+F3

Stereo: Right eye view

Ctrl+F4

Stereo: Difference view

Ctrl+F5

Stereo: Side-by-side view

Ctrl+F6

Stereo: Quartered Side-by-side view

Ctrl+F7

Stereo: Anaglyph view

Ctrl+F8

Stereo: Mozaic view

E.3. Screens

Shorcut Function

Enter

Go to Tool Page (ie. Node Page, or 'Space Balls')

P

Go to Deliverables page

S

Go to Sound page

V

Go to VTRoll/Screener assign page

Tab

Go to Settings editor

E.4. Pages

Shorcut Function

Numpad 1

Timeline

Numpad 2

Look Stores

Numpad 0+2

Switch between Look Stores

Numpad 3

Storyboard timeline

Numpad 4

Storyboard timeline for Look Stores

Numpad 6

Color circles

Shift+D

DVD Generation Window

Shift+O

Process template editor window

Shift+Q

QC window

H

Heads up display for tools

G

Jump between tools (activate next tool)

U

Metadata window

E.5. Navigation

Shorcut Function

drag mouse

Scrub timeline

Left Arrow

Jump shot (take) backward

Right Arrow

Jump shot (take) forward

Up Arrow

Step frame forward,

Down Arrow

Step frame backward

Period

Jump keyframe of the current tool forward

Comma

Jump keyframe of the current tool backward

Space

Playback start / stop toggle

Ctrl + Space

Screening playback

Shift+L

Loop mode on/off

[

Goto first playhead

]

Goto second playhead

\

Toggle between the playheads

I

Set Cue In Point

Wave

<

Goto Prev Cue In Point

Wave

Goto Next Cue In Point

Z

Goto previous audio sync point

X

Goto next audio sync point

Numpad 4

Storyboard timeline for Look Stores

J

Play backward, press again for higher speed playback

K

Stop, hold down and press J or L for stepping a frame

L

Play forward, press again for higher speed playback

Ctrl + A

Select/Deselect all shots

Alt+middle mouse

Direct jump on stillstore frame

Wave: Alt+frame jump

Look Store page jump

Wave: Alt+shot jump

Look Store shot jump

Alt + shot step arrow

Look Store shot jump

Alt + frame step arrow

Look Store page jump

E.6. Looks

Shorcut Function

PageDown

Undo

PageUp

Redo

End

Save current look

Home

Compare current and last saved look

Delete

Jump to previous saved look

Insert

Jump to next saved look

F1-F10

Load look presets

Shift+I

Look preset window (load,save,rename looks)

Shift+Ctrl+I

Apply looks to all shots, based on database

Numpad 0+7

Save quick look 1

Numpad 0+8

Save quick look 2

Numpad 0+9

Save quick look 3

Numpad 7

Load quick look 1

Numpad 8

Load quick look 2

Numpad 9

Load quick look 3

Numpad 5

Reference still

Ctrl + 1-9

Save more quick looks

Shift + 1-9

Apply the quick looks

Ctrl+Shift+H

Reload all Look Store elements

B

Toggle Look Store "follow" mode

Ctrl + L

Export Look-Up Table

E.7. Metadata/Sync

Shorcut Function

E

Show / hide scene/take entry display

Shift+E

Show / hide bottom timecode display (on by default in QC mode)

Numpad .

Start scene/take entry

Numpad

Increment take number

Numpad -

Increment scene number and resets take to 1

Numpad /

Set the 'PickUp' flag

Numpad *

Set the 'Selected' flag

Shift + -

Copy camera roll data

Ctrl + -

Increment camera roll data

Q

Set slate sync point in picture

Shift+W

Toggles full/zoomed waveform (nodge by dragging in full mode)

Ctrl + J

Extend the audio of the current shot (not saved)

=

Sync audio for the timeline based on timecode

Shift + =

Slip audio one frame forward

Shift + -

Slip audio one frame backward

Ctrl + =

Slip audio quarter of a frame forward

Ctrl + -

Slip audio quarter of a frame backward

E.8. QC

Shorcut Function

Shift+Q

Show/Hide QC window

Ctrl+click

Set problem position on image

Click on TC

Sets current timecode

E.9. Editing

Shorcut Function

Shift+C

Cut (notch) timeline in current position (new take)

Shift+J

Join a cut

Ctrl+Shift+D

Delete shot

Tilde

Auto-cut shots based on DPX timecode

Tilde+Shift

Auto-cut shots based on Clipster DPX timecode

Tilde+Ctrl

Auto-detect flashes and cut shots

Ctrl + [

Stereo: Slip rigth eye -1 frame

Ctrl + ]

Stereo: Slip rigth eye +1 frame

E.10. Setting Tool Parameters

Shorcut Function

1..9

If HUD active: control slider(s) by mouse drag on screen

0 (or 1..9 again)

Return to mouse navigation mode

A

Define start point of animation on current frame

A (again)

Define end point of animation

Shift+A

Delete current keyframe (if parked on a constant region)

E.11. Help

Shorcut Function

F12

Show help screen

Appendix F: Keywords

F.1. Burnin keywords

Any database field associated with the shots can be accessed using:

Keyword Function

$UniqueID$

Unique identity of the shot

$LabRoll$

Labroll

$Length$

The length of the shot, clip

$VTRoll$

VTRoll

$logo:mylogo.png$

Shows a transparent logo where mylogo.png is the image file copied to the logo folder. Supported formats include PNG and TIFF.

$TransferDate$

Transfer date

$CamRoll$

Camera roll

$Scene$

Scene identity

$Slate$

Slate identity

$Take$

Take number

$CameraFormat$

Format in case of multi-format project

Furthermore the following keywords are also available:

Keyword Function

$FileName$

Current filename

$TimeCode$

Source timecode on current frame

$EdgeTimeCode$

RED specific edge timecode on current frame

$AudioTC$

Audio timecode on current frame

$AudioRunningLTC$

LTC Time Code track extracted from the synced audio channels, if available (available in OSD, needs to be enabled in the TAB page)

$RecordTC$

VTRoll timecode on current frame

$TimelineTC$

Timeline timecode on current frame, this is 00:00:00:00 on the first frame

$AudioFileName$

The name of the synced audio file without path

$CurrentDate$

Current date in the format mm/dd/yy

$ShotFrameCount$

Frame number within the current shot, starts at 1, padded to 6 digits.

$PickUp$

Applies to Dailies projects where the operator can set the Pickup metadata flag for each clip. This keyword is replaced by "PU" for marked clips and is empty otherwise.

$TimelineFrameCount$

Frame number within the timeline, starts at 1, padded to 6 digits.

$TimelineFrameCountInt$

Frame number within the timeline, starts at 1 (no padding).

$Width$ and $Height$

Dimensions of the current clip, if available

$qc1:Comment$ or $qc2:Comment$

The QC notes (defined through the QC window) associated with the clip.

$<metadata_name>$

Where <metadata_name> is any parameter name from the Shift+U clip inspector window.

In burn-ins some "aggregated" metadata for the current timeline, as well as settings values are also accessible, such as:

  • $TRT$ (for total running time)

  • $settings:film:Title$

  • $LabRollList$

  • $settings:film:Director$

  • $CamRollList$

  • $settings:film:ProductionCompany$

  • $SceneList$

  • $settings:film:ProductionOffice$

  • $SlateList$

  • $settings:film:TransferFacility$

  • $settings:film:DistributionList$

  • $settings:film:DeliveredFormat$

  • $settings:qc:QCOperator$

F.2. Keywords for deliverable path and filename definition

Any database field associated with the shots can be accessed, see burn-ins above. Additionally the following keywords are available:

Keyword Function

$Date$

Current date in the format MM-DD-YY

$Project$

Project name

$RenderPath$

Render home defined in the settings page, by default it is the project home

$ResultId$

The id of the result the encoder is attached to

$ShotNumber$

Auto-incremented number starting with "1" for the first clip.

$JustSelected$

"1" of only selects are rendered, "0" otherwise

$Cam$

First character of the VTRoll metadata

$origFileName$

The source file name including extension

$origRightFileName$

The right source file name including extension in case of stereo footage

$origFileNamePrefix$

The source file name without extension

$origRightFileNamePrefix$

The right source file name without extension in case stereo footage

$ClipName$

Name of the source file or clip without extension and sequence number

$TimeCode$

Source time code in frames for file sequences

$RecordTC$

VTRoll time code in frames for file sequences

$TimelineTC$

Timeline time code (starting at 00:00:00:00 at the first frame of the timeline) for file sequences

$MediaMetadata:<metadata_name>$

Any media specific metadata from the Shift+U window can be used with this syntax

Appendix G: Encoding Profiles

G.1. IMF Application#2 (ST2067-20:2016)

JPEG2000 Profiles

Broadcast Contribution Single Tile Profile Level 1

Broadcast Contribution Single Tile Profile Level 2

Broadcast Contribution Single Tile Profile Level 3

Broadcast Contribution Single Tile Profile Level 4

Broadcast Contribution Single Tile Profile Level 5

Broadcast Contribution Multi-tile Reversible Profile Level 6

Broadcast Contribution Multi-tile Reversible Profile Level 7

G.2. JPEG2000 ISO 15444-1 Amd3

Sampling Rate = (Average Components/pixel) x (pixels/line) x (total lines/frame) x (frames/s) Where Average Components is two for 4:2:2 or 4:2:2:4 and four for 4:4:4:4.

Operating levels for the broadcast contribution single tile profile, broadcast contribution multi-tile profile, and broadcast contribution multi-tile reversible profile
Broadcast Levels Max. components sampling rate (MSample/s) Max. compressed Bit Rate# (Mbits/s)

Level 1

65

200

Level 2

130

200

Level 3

195

200

Level 4

260

400

Level 5

520

800

Level 6

520

1600

Level 7

520

Unspecified

# Max. compressed bitrate = Max. instantaneous bit rate Mega (M), in the context of this Specification, is 106.

G.3. IMF Application#2 Extended Plus (ST2067-21:2016)

JPEG2000 Profiles

Image Frame Width

1..3840

1..2048

2049..4096

Image Frame Height

1..2160

1..1556

1..3112

JPEG2000 Profile

Broadcast Contribution Single Tile Profile

Broadcast Contribution Multi-tile Reversible Profile

2K IMF Single/Multi-tile Reversible Profile

2K IMF Single Tile Lossy Profile

4K IMF Single/Multi-tile Reversible Profile

4K IMF Single Tile Lossy Profile

JPEG2000 Operating Levels

  • Level 1

  • Level 2

  • Level 3

  • Level 4

  • Level 5

  • Level 6

  • Level 7

  • Mainlevel 1

  • Mainlevel 2

  • Mainlevel 3

  • Mainlevel 4

  • Mainlevel 5

  • Mainlevel 6

  • Mainlevel 1

  • Mainlevel 2

  • Mainlevel 3

  • Mainlevel 4

  • Mainlevel 5

  • Mainlevel 6

  • Mainlevel 7

  • Mainlevel 8

JPEG2000 Operating Sublevels

n/a

Sublevel 0 only

All allowed at a given Mainlevel with the exception of Sublevel 0

Sublevel 0 only

All allowed at a given Mainlevel with the exception of Sublevel 0

The JPEG2000 Broadcast Contribution profiles do not support either 16-bit Pixel Bit Depth or a Maximum Components Sampling Rate greater than 520*106 samples * s-1. In both cases, JPEG2000 IMF Profiles are used instead.

Image Characteristics
Characteristic Constraint

Image Frame Width

1..3840

1..4096

Image Frame Height

1..2160

1..3112

Colorimetry

COLOR.3

COLOR.4

  • COLOR.5

  • COLOR.7

COLOR.3

  • COLOR.5

  • COLOR.6

  • COLOR.7

Pixel Bit Depth

  • 8

  • 10

  • 10

  • 12

  • 8

  • 10

  • 10

  • 12

Frame Structure

Progressive

Stereoscopy

  • Monoscopic

  • Stereoscopic

Frame Rate

  • 24

  • 24/1001

  • 25

  • 30

  • 30/1001

  • 50

  • 60

  • 60/1001

  • 24

  • 24/1001

  • 25

  • 30

  • 30/1001

  • 50

  • 60

  • 60/1001

  • 120

Sampling

4:2:2

4:4:4

Quantization

QE.1

  • QE.1

  • QE.2

Color Components

Y’C’BC’R

R’G’B

For Example

An image frame that combines COLOR.6 colorimetry with Y’C’BC’R color components is not supported.

A monoscopic progressive R’G’B' 4:4:4 image frame with dimensions 3840x2160 that combines COLOR.7 colorimetry with 12-bit pixel bit depth, 60 Hz frame rate, and QE.2 quantization is supported.

QE.1, QE.2 and COLOR.3 are defined in SMPTE ST 2067-20.

This specification does not support the Y’CC’BCC’RC (constant luminance) color components specified in Recommendation ITU-R BT.2020.

IEC 61966-2-4 uses Y’C’BC’R and YCC (luma-chroma-chroma) interchangeably.

G.4. JPEG2000 ISO 15444-1:2016

Sampling Rate = (Average Components / Pixel) x (pixels / line) x (total lines / frame) x (frame / sec) Where Average Components is two for 4:2:2, three for 4:4:4 or 4:2:2:4, and four for 4:4:4:4

Operating levels for IMF Profiles
Levels Max. Components Sampling Rate (MSamples/sec) Allowable Sublevels (see Operating Sublevels for IMF Profiles)

Mainlevel 0

Unspecified

Unspecified

Mainlevel 1

65

Sublevels 0 upto 1

Mainlevel 2

130

Sublevels 0 upto 1

Mainlevel 3

195

Sublevels 0 upto 1

Mainlevel 4

260

Sublevels 0 upto 2

Mainlevel 5

520

Sublevels 0 upto 3

Mainlevel 6

1200

Sublevels 0 upto 4

Mainlevel 7

2400

Sublevels 0 upto 5

Mainlevel 8

4800

Sublevels 0 upto 6

Mainlevel 9

9600

Sublevels 0 upto 7

Mainlevel 10

19200

Sublevels 0 upto 8

Mainlevel 11

38400

Sublevels 0 upto 9

Operating Sublevels for IMF Profiles
Sublevels Max. Compressed Bit Rate# (Mbit/s)

Sublevel 0

Unspecified

Sublevel 1

200

Sublevel 2

400

Sublevel 3

800

Sublevel 4

1600

Sublevel 5

3200

Sublevel 6

6400

Sublevel 7

12800

Sublevel 8

25600

Sublevel 9

51200

# Max. compressed bitrate = Max. instantaneous bit rate Mega (M), in the context of this Specification, is 106.

Appendix H: Central DB Configuration

These are the step-by-step instructions about how to configure the shared database server for TKD workstations and render only instances on the Windows or/and Mac client machine(s), as well as how to export/import TKD projects from the local computer(s) to the Linux based database server.

A shared database server can be an Transkoder system, in this case there is no special requirement on the server installation. However, it is possible to use a dedicated Linux server as the central database system, in this case the Apache and the MySQL components need to be installed.

System workload strongly dependent on the number of render nodes that will be connected to the central database system.

Generic suggestions:

  • use any multi-core CPU. Single socket should be sufficient

  • use minimum 4-8G system memory

  • use SSD disks with RAID1 on top

  • Gig-E ethernet will suffice for ethernet traffic. 10 gig would not hurt as we get Thumbnails to load via the ethernet line.

H.2. How to adjust the database server in Transkoder on the client computer

H.2.1. Transkoder application

  • Exit the TKD application.

  • Go to /Applications/TKD2017 folders on Mac, or/and to C:/Program files/TKD2017 folders on Windows.

  • Open the startup.xml file for editing.

  • Change the value of DatabaseServer parameter from localhost to the IP address or the FQDN of the database server, then save the file.

H.2.2. TKD Background Render application

First exit the TKD background render application by right mouse clicking the small orange (enabled) or gray (disabled) ball icon on the tray and by selecting Exit. Please follow the below steps, and then the TKD Bg Renderer client computer(s) need to pick up the render jobs submitted by ALT+r in the TKD software.

Mac

Open the /Library/LaunchDaemons/com.colorfront.tkd.renderqueue.plist file for editing , and change -h parameter from 127.0.0.1 to the IP address of the database server, then save the file.

please verify, if the permissions are the followings on this file: -rw-r—​r--. If not, then you can set them by giving the following commands in a terminal window:
Commands to type in the terminal window:
$ launchctl unload /Library/LaunchDaemons/com.colorfront.tkd.renderqueue.plist
$ sudo chmod 644 /Library/LaunchDaemons/com.colorfront.tkd.renderqueue.plist
$ launchctl load /Library/LaunchDaemons/com.colorfront.tkd.renderqueue.plist
  • Adjust the value of the DatabaseServer parameter of the startup.xml and startup_template.xml files under /Applications/TKD2017/render/config folders.

  • Launch TKD Background Renderer application, either from /Applications/TKD2017/render folder (small orange ball icon needs to appear on the tray).

Windows
  • Open the C:/Program files/TKD2017/render/bin/MonitorService.ini files for editing, and change -h parameter from 127.0.0.1 to the IP address of the database server, then save the files.

  • Adjust the DatabaseServer parameter of the startup.xml and startup_template.xml files under C:/Program files/TKD2017/render/config folder .

  • Launch Transkoder Background Renderer application, either from C:/Program files/TKD2017/render/ folder (small orange ball icon needs to appear on the tray).

H.3. Install a central Linux database server

  • Run the appropriate installer packages - if needed - on the Linux system to have the webserver running as well as the MySQL database. These are often part of the distribution.

  • Please copy all the php scripts from the xampp installation directory htdocs folder of a local machine to /var/www/html - or wherever the webserver’s home is

  • Make sure all copied folders and files have full permissions (so the webserver can create/read/write files there)

  • If PDF report generation is needed on this server, please also install wkhtmltopdf.

  • To finish the configuration please launch an Transkoder client already configured to use the central database and make a new project. This will automatically configure all users in the central database.

To control what user and password TKD should use when accessing the database, please adjust the values of the db_user and db_pass parameters to the desired ones in the htdocs\<version>\common\auth.inc file.

H.4. Moving Projects to the Central Database

H.4.1. Project database export on the Transkoder client computer(s)

  • Go to http://localhost/phpmyadmin/ in a web browser

  • Select your project on the left

  • Click "Check All" hyperlink (all the database table selected)

  • Click "Export" tab

  • Check "Save as file" in and click GO button in the bottom right corner.

  • Save .sql file Note: It is recommended to save the database files including the actual date in the file names, eg: <project name>_20160912.sql

H.4.2. Project database import on the Linux database server

Create and import database for project restoration:

  • Go to http://<ip_address_of_db_server>/phpmyadmin in a web browser

  • Enter the new database name in "Create new database" field

  • Click Create

  • Select you new project on the left

  • Click "Import" tab

  • Click "Browse" button and select the .sql file to be imported

  • Click GO button in the bottom right corner Note: if the size of the sql file exceeds the default 128Mb, please change the values of the following parameters to a higher in the php.ini file: post_max_size and upload_max_filesize

H.4.3. Add the project to the project list in the database

Please either export the "projects" table of "projects" database also on the Transkoder client systems, and import and merge them on the database server, or go to the "projects\projects" table, click the "Insert" tab, enter the name of the project into "Name" field, as well as enter "TKD_V4" or the appropriate version as "ProjectVersion" for all your imported projects one by one on the database server. Now, your projects need to be visible in the project list in Transkoder.

H.4.4. Moving database scripts to the database server

Please make sure you have the project scripts directory for the project at this location: /Applications/xampp/htdocs/<yourProject> on the TKD Mac computers and/or at this location: C:/xampp/htdocs/<yourProject> on the TKD Windows computers, and copy all the directories and scripts from the /Applications/XAMMP/htdocs (Mac) and/or C:\xampp\htdocs\ (Win) folders over from the TKD client workstations to the database server under /var/www/html directory on Linux.

After that, add full read&write control recursively (chmod 777 -R) to files and subfolders of the /var/www/html directory.

On the Windows platform make sure to configure the XAMPP/PHP scripts to run from the C: drive.

Appendix I: BinWindow Search Queries

I.1. BinWindow Search Query Keyword List

The available query keywords are:

Keyword Comment

UniqueID

Unique identifier of the shot

MediaPath

Media path including the file name

LabRoll

The name of the current timeline (card/magazine)

Length

The length of the shot

TransferDate

Date folder '(Available in dailies applications)'

CamRoll

Camera roll (auto-filled for some cameras)

Scene

Scene metadata

Slate

Slate metadata

Take

Take number

CameraFormat

The media format

ClipName

The filename without extention and frame counter

FileName

Current filename

AudioTCIn

Audio timecode of the media

TCin

Timeline timecode of the media

AudioFileName

The name of the synced audio file without path

I.2. BinWindow Search Query String Rules

Please follow these rules when formulating query strings:

I.2.1. Single words: "A001"

By entering a word all clips are returned with this word appearing in any of its metadata. Thus the query above will return all clips of the CamRoll A001 as well clips synced to audio files of the A001 sound roll. Partial matches are accepted, so "A001B" will also be in the returned list.

I.2.2. Searching specific fields: "LabRoll:A067"

To search a specific metadata field one must enter the metadata name - as it is listed in the database - with its value separated by a colon. Every clip will be returned with the matching metadata field, including partial matches as well.

I.2.3. Searching bool fields: "is:Selected"

To filter your selection using boolean metadata (true/false) you need to use the "is:<metadata>" or the "-is:<>" syntax.

I.2.4. Negation: "-LabRoll:A067"

To negate your expression the "-" operator needs to be used in front of the metadata field. The condition will exclude all the matching metadata including partial matches as well.

I.2.5. Combining filters: "LabRoll:A067 is:Selected"

By entering multiple words or expressions clips are returned that have matching metadata for ALL of the listed keywords. Thus the query above will return clips of the LabRoll A067 that are selected. Please note that combining filters are equivalent to separating the expressions with the "and" operator.

I.2.6. Logical operators: "LabRoll:A067 or Length:578"

Logical operators "and" / "or" can be added when combining multiple filters. The query above will return clips of the LabRoll A067 or clips with length 578.

I.2.7. Wildcards: "LabRoll:A06?", "Length:5*0"

Usage of wildcards is supported for value entries. "?" matches any single character, "*" matches 0 or multiple characters.

I.2.8. Ranges: "Length:100..200"

To define a range when searching for numeric values you need to use the ".." syntax for separating the boundaries. The expression above will return the following values: 100=x=200.

I.2.9. Date queries: "TransferDate:today", "TransferDate:20130301"

Date field format is specified by the "TransferDateType" setting. Instead of the absolute date, relative dates can be used as well ("today", "yesterday", "Monday", "Friday" etc.). Weekday refers to the previous matching day, eg. "Friday" means last Friday.

Date comparisons:

I.2.10. Absolute: "after:20130101", "before:20130215"

Search for metadata with a date of a certain period of time using the date format specified by the "TransferDateType" setting. "newer" and "older" keywords can be used as alternatives as well.

I.2.11. Relative: "newer_than:Friday", "older_than:yesterday"

Similar to "older"/"before" and "newer"/"after", but allows relative dates.

Appendix J: Supported Subtitle Formats

Subtitle Formats Notes Import Export

Cheetah cap

OK

Digital Cinema interop (Text, Images, Stereoscopic)

1.0/1.1 XML

OK

OK

Digital Cinema SMPTE (Text, Images, Stereoscopic)

ST0428-7:2010/2014 XML, MXF

OK

OK

DFXP (Distribution Format Exchange Profile)

OK

Scenarist SCC

OK

Sony BDN v1.1 (Text, Images, Stereoscopic)

OK

TimedText (TTML-IMSC1 text profile)

XML, MXF

OK

OK

TimedText (TTML-IMSC1 image profile)

XML, MXF

OK

OK

Appendix K: Control Panels

K.1. Configuring Control Panels

K.1.1. Tangent Wave

To connect Tangent Wave panel to the Transkoder workstation, you need to have a USB Type A to USB Type B cable. Connect the USB cable to the control panel and to the USB plug of the system. "WAVE" has to be selected as PanelType on the Settings/GUI tab in Transkoder.

K.1.2. Tangent CP200

The network connection of Tangent CP200 control panel has to be adjusted as follows:

  1. Network switch used by CP200 has to be connected via an UTP cable to the HP Z800.

  2. Go to "Control Panel" → "Network and Sharing Center" → "Change adapter settings" on Windows 7

  3. Right mouse click the adapter where CP200 is connected to, and select "Properties"

  4. Double-click "Internet Protocol version 4 (TCP/IPv4)"

  5. Select "Use the following IP address"-t and enter the following IP addresses:
    IP address: 10.0.0.1
    Subnet mask: 255.255.255.0

  6. Click OK.

In Transkoder, please adjust the following settings:

Under the "Settings/Startup" menu:

  1. CP200PanelIPAddressPrefix: 10.0.0

  2. CP200PanelIds: enter the panel IDs here separating them by comma.
    For Example: 2100,2101,2102

Under the "Settings/GUI" menu:

  1. Select "CP200" as PanelType

K.1.3. Tangent Element

Tangent Element panels can can be connected to the Transkoder system via USB 2.0-A to Mini-B Cables separately, or all together via USB 2.0 Hub. "ELEMENT" has to be selected as PanelType on the Settings/GUI tab in Transkoder.

K.2. Tangent Control Panels Key Mappings

K.2.1. Tangent Element Cb

Panel Button Function in grading mode Function in split view mode

Knob 1/1

Change Brightness