David Kong. This table can help you choose the right codec for each project. Make good use of the filtering and sorting functions!

Adobe Premiere Pro

The rest of these codecs can be created on a Mac or a PC with any standard video software. For a much deeper discussion of this topic, please see this article. This blog relies on people like you to step in and add your voice. Send us an email: blog at frame. Terms Privacy. Explore Frame. Type your search and press enter February 13, I also threw in one flavor of h. For Variable Bitrate codecs, the numbers listed are averages, though the actual number may be slightly higher or lower, depending on the complexity of the project.

Filmmaker, teacher, coder. Head of Product Intelligence. You can learn more about my various adventures at www. Cineform bit HD Film Scan. Cineform bit HD Film Scan 2. Cineform bit HD High. Cineform bit HD Low. Cineform bit HD Medium. DNxHD ProRes HD. ProRes Proxy HD. Cineform bit UHD High. Cineform bit UHD Low.By bigmouthmediaApril 24, In: Cameras. I haven't had a chance to test it, hoping someone here has I think it would purely depend on which NLE you were planning to use.

Anything else and ProRes may be a better bet. Makes sense! I see adobe premiere has sequence presets for dnxhd as well. I used cliptoolz to convert to dnxhd 8bit when transcoding my h. Do you know any app that does dnxhd 10bit transcoding? Don Kotlos. Since you are using premiere your best bet is adobe media encoder. You can even automate it with watch folders.

In the next premiere update there should be also a proxy editing function that does this automatically. Does anyone know which DNxHD setting is equivalent to 10 bit? I can't remember if it's or x. You can post now and register later. If you have an account, sign in now to post with your account. Note: Your post will require moderator approval before it will be visible. Restore formatting. Only 75 emoji are allowed. Display as a link instead.By using our site, you acknowledge that you have read and understand our Cookie PolicyPrivacy Policyand our Terms of Service.

Video Production Stack Exchange is a question and answer site for engineers, producers, editors, and enthusiasts spanning the fields of video, and media creation. It only takes a minute to sign up. In theory the compression capability, even if is intra-frame only, is better with H. Besides, H. I've read what I could regarding these codecs, but I've yet to find a reason for why intra-frame H. I haven't been able to preserve the HDR info of the source file with any codec, and tried with FFmpeg and Adobe Media Encoderbut that is an issue for another post.

The thing is that I'm stuck with using the original footage as the source file, but can't edit that way without proxies obviously the playback is extremely slowso I was wondering if transcoding the source file to an intra-frame H. I haven't found info comparing intra-frame H.

I then imported the file to Adobe Premiere Pro First, I have to say that I haven't started to edit yet, but at least I could tell that it was compatible, and behaved like an intra-frame video while testing playback I could go forward and backward very fast. I couldn't see any difference in quality when compared to the original footage either. In other words intra-frame H. In fact, because of H. CRF used was 18, with veryslow as preset too.

difference between dnxhd and dnxhr

I used the mainintra profile of x Then I did the same with another video, which was SDR. It took a little longer as you can expect, but I wanted to do this for a couple of reasons: first, because I wanted to know how Adobe Premiere Pro handles an H.

Second, because I've read and don't quote me on this that after transcoding any 8 bit video to a 10 bit one, many perceive an increase in quality, because of the broader colorspace that lets the encoder pick from many more colors while transcoding, which reduces banding. Well, I didn't perceive any difference quality wise compared to the intra-frame H.

Compare DNXHR LB, DNXHR SQ and H264 side by side from FUJI XT20 and GOPRO HERO 4

Obviously the HDR video playback doesn't show the correct colors, but that's a restriction of Premiere because of the way it handles color spaces no REC yet. That was another reason for trying with intra-frame H.

Turns out that when transcoding to with H. Can't see a difference between andbut when compared tothe difference is huge. I never wanted to upsample the video in the first place, it was just because DNxHR doesn't supportbut I never expected such a difference. And if it was because of upsampling, I don't quite get why and look exactly the same.

Maybe it's some kind of a FFmpeg bug that messes with colorspace when upsampling, idk. Anyway, now I have working H. They indeed preserved all the metadata needed for HDRwithout sync issues I also made a couple of proxies with the exact same settings, but only with less resolution. They sync perfecly with the source filewith smaller file size than with DNxHR and Prores, and that perform very well on Premiere Pro while previewing maybe they don't with an inferior CPU, I don't know.This comparison should casually highlight the generation loss inherent in each format.

This was recorded for NBC as part of a web clip around the time of the Olympics. Below is the normal screenshot followed by a difference comparison to the original frame. As you can see, blocky artifacts are still pronounced.

The one odd thing about this implementation is that there are no controls to set bitrate. With that said, I am still including it for comparison as it appears to have more compression artifacts overall, but suffers less from blocking than the other intermediate formats.

Again, I have to stress that the difference screenshots are brightened for better viewing and are not as severe as they initially appear. Cineform may be sacrificing color fidelity to keep sharpness and edge detail; because of its uncontrollable bitrate it may be a hard comparison.

ProRes may be striking some kind of balance between overall fidelity and sharpness. Different design philosophies from each codec. Wow, that all very depressing. All the more reason for Adobe to come out with its own codec. Thus will mean PC users dont have to rely on the old, slow qtserver. You methods maybe in error when testing GoPro CineForm. There are quality controls for GoPro CineForm, just like most codecs. Failure to see these controls may mean you were accessed the codec in an usual manner.

While all this is included with the free software on the PC, the Mac seems to be missing the CSx components. So if you having any trouble, try installing GoPro CineForm Studio Premium, the trial has all the components you need to do the above. David, you are right. ProRes HQ and DNxHD or DNxHD seem to be the most chosen level of quality that production companies are using when burning out a p30 show for long term storage on LTO or servers so it was all the more reason for me to center my test around the bitrates these codecs are delivering.

What does it matter regarding formats that are best case scenario? The guide is far more practical using a junk codec that might commonly be used with that much generational loss per the mentioned bumpers etc that often get re compressed. Starting with very clean, high color precision footage would give a different perspective as starting with a codec that is already so intensely lossy… Each compression type will likely function a bit differently with much cleaner source material.

As far as I know, DNxHD is specifically constant bitrate…not constant quality…ProRes is very high quality, but their bitrates are also hard-specified.

The CineForm codec is variable bitrate, so analyzing the resulting filesize would have given you an average bitrate for comparison. CineForm was the first codec to do a completely compressed feature finish and have the edited CineForm master clip be the source for the exhibition film scan. When all else is equal, a DCT-based codec would reveal itself through visible compression artifacts before a wavelet based codec will.

Thanks for the additional insight Tim. ProRes seems to be quasi-variable bitrate in implementation; it will scale bitrate based on quality level, frame size, frame rate, and frame complexity.

difference between dnxhd and dnxhr

Such a shortfall is not reclaimed for other frames; instead, it just produces a smaller overall file. CineForm refined the codec so that it would look at intensely grainy footage a bit differently and still preserve visual quality while creating a more manageable file size. The Canon codec is horrid at compression and massive blocking and compression issues right off the bat!Written by David Shapton.

Here's another chance to read this article about why it's a good idea to use ProRes, Avid DNxHD, and any of the other production quality compression codecs. The pictures from the latest generation of cameras - and that includes DSLRs and dedicated video camcorders - are stunning. No one expected to be able to get pictures this good for so little money. HD video involves almost unimaginable amounts of data.

An uncompressed Full HD image x pixels at 30 frames per second generates the equivalent of seventy five copies of War and Peace per second! Cameras compress by as much as seventy times to fit it into in-camera storage. What that means is that less than two percent of the original data is left in some cases, which makes it even more remarkable that the resulting pictures look so good. What remains is the data that really matters. Well, you can.

Most NLEs, including Lightworks, now can handle a wide variety of codecs natively. But this may not always be the best path to take. There are several reasons why you should look for alternatives to editing with these highly compressed, so-called Long-GOP codecs. And, more recently, through internet downloads. Every single ounce of optimisation that went into these codecs was focused on making the picture look good at a very low bandwidth. The problem is that almost every technical trick that was pulled to reduce bandwidth made it harder to edit video once it was compressed.

The biggest problem is that to be able to see any image at all, the decoder has to reconstruct the image from adjacent frames.

Possibly five or six, but equally possibly as many as fifteen. In practise it means slow, jerky playback, and fewer effects in real-time. It may also hamper the final quality of your edit, because each time the video is decompressed to carry out an effect, it has to recompress the result, into the same, parsimonious compression scheme.

You can work with Long-GOP video, if you stuff your computer with RAM and it has enough processing power, but this is always going to be second-best to working with a codec that is designed for editing.

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They trade storage space and bitrate for quality and ease of processing. They typically need ten times as much storage. In fact, you can usually make many copies in the intermediate codec format without any apparent degradation. These codecs are so efficient that you can play multiple streams with a fraction of the effort you need for a single stream of H.

As an example, on my Macbook Air, playing any HD Long-Gop clip will cause the fan to come on at full power within seconds, but with ProRes, I can play a clip - in much higher quality - with no sign of the fan. Codec science is unbelievably complicated.

You can do it the Long-GOP way, and fold it multiple times. This method is useful if you need to pack it into the smallest possible space. But up close, not so much.David Kong. This table can help you choose the right codec for each project. Make good use of the filtering and sorting functions! The rest of these codecs can be created on a Mac or a PC with any standard video software. For a much deeper discussion of this topic, please see this article.

This blog relies on people like you to step in and add your voice. Send us an email: blog at frame. Terms Privacy. Explore Frame.

Type your search and press enter February 13, I also threw in one flavor of h. For Variable Bitrate codecs, the numbers listed are averages, though the actual number may be slightly higher or lower, depending on the complexity of the project. Filmmaker, teacher, coder. Head of Product Intelligence. You can learn more about my various adventures at www.

Cineform bit HD Film Scan. Cineform bit HD Film Scan 2. Cineform bit HD High. Cineform bit HD Low. Cineform bit HD Medium. ProRes Proxy HD. Cineform bit UHD High. Cineform bit UHD Low. Cineform bit UHD Medium. ProRes UHD. Login or Sign Up. Posts Latest Activity. Page of 3. Filtered by:. Previous 1 2 3 template Next. Simon Shasha. Tags: None. Comment Post Cancel. As far as I remember, you can get the ProRes codec on Windows. It's just not native.

If you use Windows you can't export to any Prores codec since Apple doesn't sell the codec for Microsoft Windows. Frank Glencairn. Nah, in the moment you installed the free version of Quicktime on your PC, it plays ProRes just fine. But you can't encode your footy or timeline to ProRes.

There are some workarounds some free and some not so free software though. But most people make uncompressed masters anyway, and pull their delivery formats from there.Please feel free to add and edit pages, and list requests in this thread.

Category: dnxhd vs dnxhr

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Any thoughts? DnxHR is a resolution and framerate independent codec. It also supports larger than HD Rasters much like pro res does. So when using the codec in Avid you can transcode media and have it keep its source size and framerate no matter what kind of timeline you are in. Personally I prefer the HD ones just because I've gotten so used to them and prefer the direct correlation of codec to bitrate 36 is 36Mbps for example.

However HR can definitely be useful if you don't want to have to deal with the old fashioned way of having different projects per frame rate which can be beneficial. As mentioned it's also necessary if you want something above resolution. Basically HR is just the new, more powerful, HD.

At its core it's the same codec you won't see a quality or compression difference but you get some added flexibility. Avid used to use bandwidth values 36,etc with the name of their codec. The number was dependent on the level such as Proxyframe size and frame rate.

The HR codecs just remove the number and the HD limitation. This thread is great, really helped cleared up all my confusion over the dozens of DNX variations.

I have a related question.

difference between dnxhd and dnxhr

If I edit in Premiere and render out a single video file to import into resolve to grade, are these the best two options:. Use of this site constitutes acceptance of our User Agreement and Privacy Policy. All rights reserved. Want to join?

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