TKD2016UserGuide PDF

Transkoder 2016 Update 2
User Guide
2019-04-08
Table of Contents
Transkoder 2016 Update 2 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
About Transkoder (TKD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Key Features of Transkoder 2016 Update 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Accessing the Transkoder Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Contacting Customer Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
About COLORFRONT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
1. Installation and Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.1. System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.2. Installation Step-by-Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.3. Reinstallation or Upgrade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
1.4. Background Render Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
1.5. Application Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
1.6. Control Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
1.7. Licensing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
2. Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.1. Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
2.2. Project Load Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
2.3. Main Load Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
2.4. Cards / Dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
2.5. Project VTRolls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
2.6. Project XML. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
3. Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

3.1. Managing Bins in the Bin Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
3.2. Managing Assets within Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
3.3. Adding Assets to Bins from the Thumbnail Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
3.4. Changing the BinWindow Layout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
4. Timelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

4.1. Single and Multitrack Timelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
4.2. Timeline Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
4.3. Thumbnail Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
4.4. Basic navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
4.5. Main Viewer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
4.6. Metadata Viewer and Tagging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
4.7. Metadata Tables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

4.8. Timeline Auto Edit Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
4.9. Edit Decision List Handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
5. Processing and Color Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
5.1. The Node Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
5.2. Editing Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
6. Color Grading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
6.1. Grading Color Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
6.2. Color Grading Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
6.3. Using the Color Grading Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
6.4. Look Stores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
6.5. Importing Looks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
6.6. Exporting Looks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
6.7. Look Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
6.8. EMD Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
7. Tools/Nodes on the Node Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
7.1. An Introduction to Tools/Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
7.2. List of Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
7.3. Colorspace Tools' HUD Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
7.4. Grading Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
7.5. Enhance Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
7.6. Mask Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
7.7. Transform Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
7.8. Other Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
7.9. Predefined Workflow Pipelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
8. Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
8.1. Creating multiple results on the Node Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
8.2. Encoders on the Encode Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
8.3. Encoder Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
8.4. Custom Encoders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
8.5. Setting Up Custom Pre- or Post-Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
8.6. Render Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
8.7. Background Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
8.8. Render Queue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
9. DCP and IMF mastering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
9.1. Setting up the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
9.2. Render Strategies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

9.3. JPEG2000 encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
9.4. Digital Cinema Packages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
9.5. Interoperable Master Format (IMF) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
9.6. Bitrate and PSNR Analyis Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
10. Audio Handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
10.1. Managing Audio Assets in the Bin Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
10.2. Audio on the Time Line. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
10.3. Adjusting Audio Speed with Pulldown and Pullup . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
10.4. Embedded Audio on the Time Line. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
10.5. Audio Mixdowns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
10.6. Audio on the Encode Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
10.7. Volume Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
10.8. DCP Audio Handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
10.9. IMF Audio Handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
11. Subtitles and Captions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
11.1. Loading Subtitles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
11.2. Rendering/Viewing Subtitles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
11.3. Editing Subtitles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

11.4. Subtitles and Captions for DCPs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
11.5. Captions in IMFs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
11.6. SCC Captions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
11.7. Subtitle Page in Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
12. QC Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

12.1. Video Audio Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
12.2. Audio Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
12.3. Analyzers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
12.4. Manual QC Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
12.5. PSNR Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
12.6. DCP and IMF Validation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
12.7. Navigating the Graph Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
12.8. HDR QC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
12.9. Validation Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
13. High Dynamic Range (HDR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
13.1. SDR to HDR gamut mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
13.2. Simulation of SDR using a HDR Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
13.3. HDR to SDR gamut mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

13.4. Light Level Statistics (MaxFALL) and (MaxCLL). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
13.5. Quality Check (QC) tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
13.6. HDR deliverables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
13.7. HDR PDF Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
13.8. Dolby Vision Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Appendix A: Preferences Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
A.1. The CAMERA Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
A.2. The AVID Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
A.3. The BASE Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
A.4. The CONFORM Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
A.5. The ENCODE Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
A.6. The DCI Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
A.7. The IMF Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
A.8. The GUI Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
A.9. The VIDEO Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
A.10. The AUDIO Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
A.11. The STARTUP Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
A.12. The CONFIG Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
A.13. The GRADE Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
A.14. The METADATA Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
A.15. The QC Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
A.16. The SUBTITLE Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
A.17. The USER Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
A.18. The AWS Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
A.19. The REMOTESERVER Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
A.20. The SUPPORT Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
A.21. The NETFLIX Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
A.22. The SWIFT Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Appendix B: Validation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
B.1. DCP Validation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
B.2. IMP Validation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Appendix C: Metadata. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
C.1. EMD (Express Metadata) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Appendix D: Setting up Avid Interplay in Transkoder 2016 Update 2 . . . . . . . . . . . . . . . . . . 246
D.1. Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

D.2. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Appendix E: Encoding Profiles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
E.1. IMF Application#2 (ST2067-20:2016). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
E.2. JPEG2000 ISO 15444-1 Amd3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
E.3. IMF Application#2 Extended Plus (ST2067-21:2016). . . . . . . . . . . . . . . . . . . . . . . . . . 250
E.4. JPEG2000 ISO 15444-1:2016 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Appendix F: Central DB Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
F.1. How to adjust the database server in OSD on the client computer . . . . . . . . . . . . . . . 254
F.2. Install a central Linux database server . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
F.3. Moving Projects to the Central Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Appendix G: BinWindow Search Queries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
G.1. BinWindow Search Query Keyword List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
G.2. BinWindow Search Query String Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Appendix H: Supported Subtitle Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Appendix I: Control Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

I.1. Configuring Control Panels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
I.2. Tangent Control Panels Key Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Appendix J: Trouleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
J.1. Helping Support Troubleshoot Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
J.2. Application Does not Launch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
J.3. Playback Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

J.4. Performance Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

J.5. Image Processing Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
J.6. Licensing Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

J.7. System Configuration Issues. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
J.8. XAMPP Loses Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Appendix K: Copyright Notices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Appendix L: Revision History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Transkoder 2016 Update 2 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 2016 Update 2 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 2016 Update 2 adds features such as Dolby Atmos ® audio and Dolby Vision ®
HDR encoding, per frame metadata to OpenEXR, Civolution NexGuard forensic
watermarking, AS-11-DPP output, 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 2016 Update 2 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.
About Transkoder (TKD) | 1

Key Features of Transkoder 2016 Update 2
• 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.
2 | Transkoder 2016 Update 2 Introduction

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

• AS-02, AS-11 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
The Mac HW platform performance is subpar compared to the Windows

 configuration.
Key Features of Transkoder 2016 Update 2 | 3

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
Contacting Customer Support

To get support the most efficient way please collect the following items and attach to your
request:
• Transkoder log file saved right after the issue. On Mac based systems the log files are
located in the current user’s home directory, on Windows in the log folder under the
install home.
• Any possibly related non-sensitive metadata or sample files.
• Crash dump files. On Windows based systems look for .dmp files in the bin directory, on
the Mac use the Console application.
COLORFRONT Transkoder Support options are:
Web: http://support.colorfront.com
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
4 | Transkoder 2016 Update 2 Introduction

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.
About COLORFRONT | 5
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.
1.1.1. Recommended PC Configurations

The HP Z820, HP Z840, and Supermicro 7048GR-TR workstations, with a minimum of 64GB
RAM are the supported PC configurations.
HP Z820 Recommended Configuration
Processor: Dual Intel Xeon E5-2697 V3
Graphics: Two NVIDIA Titan-X (Pascal) GPUs are required.
Video: Video output via HD-SDI requires video card. Currently, AJA Kona3G, AJA 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 PCIe3 x8(4) Empty
2 PCIe3 x16 NVIDIA Titan-X
(Pascal)
6 | 1. Installation and Configuration

3 PCIe3 x16 (8) This slot is covered
by the NVIDIA
Titan-X (Pascal)
GPU installed in slot
2.
4 PCIe3 x16 Video card - AJA,
Blackmagic, DVS]
5 PCIe2 x8 (4) Storage controller
card [Optional]
(Pascal)
7 PCI 32/33 This slot is covered
by the NVIDIA
Titan-X (Pascal)
6.
 Please make sure to use NVIDIA Titan-X (Pascal) cards with active cooling.
The Supermicro configuration is recommended for high performance GPU

 processing (eg. UHD / 4K workflows, J2K processing).
HP Z840 Recommended Configuration
Processor: Dual 14 core Intel Xeon E5-2697 V3 processors.
Graphics: Two NVIDIA Titan-X (Pascal) GPUs are required.
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:
1.1. System Requirements | 7

1 PCIe3 x4 empty
(Pascal)
3 PCIe3 x16 (8) This slot is covered
by the NVIDIA
Titan-X (Pascal)
2.
4 PCIe3 x16 Storage controller
card [Optional]
5 PCIe3 x8 Video card - AJA,
Blackmagic, DVS]
(Pascal)
7 PCI 32/33 This slot is covered
by the NVIDIA
Titan-X (Pascal)
6.
The Supermicro configuration is recommended for high performance GPU

 processing (eg. UHD / 4K workflows, J2K processing).
Supermicro SYS-7048GR-TR Recommended Configuration
Processor: Dual 14 core Intel Xeon E5-2697 V3 processors.
Graphics: Four NVIDIA Titan-X (Pascal) GPUs are required.
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:

11 PCIe3 x8 Storage controller
card [Optional]
10 PCIe3 x16 (8) Video card - AJA,
Blackmagic, DVS]
9 PCIe2 x8 (4) empty
(Pascal)
(Pascal)
(Pascal)
(Pascal)
1.1.2. Recommended Mac Configuration

Currently the new Apple Mac Pro 6.1 with Dual AMD D700 GPUs with a minimum of 32GB
RAM is the supported Mac configuration.
Apple Mac Pro 6.1 D700
1.1. System Requirements | 9

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.
1.2. Installation Step-by-Step

Log-in to the COLORFRONT Transkoder client download website at
http://www.colorfront.com/osd. A user name and password are needed to log in. Contact
COLORFRONT at support@colorfront.com if you do not have this.

Once logged in, skip to appropriate section for Windows or OS X specific installation
instructions.
1.2.1. Installation Instructions for Windows
Installation Components to Download
Windows Installation Components (applies to the latest published revision)

Windows All Versions
Installer Package Name Comment
osdXXXX_2016_update2.msi Transkoder 2016 Update 2 software
installer
Avid_Codecs_LE_2.3.9.zip Avid QuickTime codec installer
xampp-win32-1.7.2.exe XAMPP installer
QuickTimeInstaller_7.79.exe Quick Time codec installer
AJA_DesktopSoftware_Win_v12.5.1.zip AJA installer for Kona3G / Kona4 /
Corvid88
Blackmagic_Desktop_ BlackMagic installer for BMD video
Video_Windows_10.4.1.zip cards
RED_Rocket-X_Installer_v2.1.34.zip RED Rocket-X v2.1.34 driver includes
recommended 1.4.22.18.3 firmware
Driver Version 376.33 WHQL NVIDIA driver installer for NVIDIA GFX
cards
Installation Prerequisites
Make sure that HyperThreading is enabled in the BIOS.
1.2. Installation Step-by-Step | 11

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. Please see the warning and note
below!
7. Install the appropriate video drivers if using any of these add-on cards:
◦ AJA Kona3G
◦ AJA Kona4
◦ BMD
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 under the C:\ prompt. 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 Windows, double click the osdXXXX_2016_update2.msi

file and follow the prompts.

The Transkoder executable file osd.exe can be found in "C:\Program
 Files\OSD2016\bin\" folder.
1.2.2. Installation Instructions for OS X
Installation Components to Download
OSX Installation Components

Installer Package Name Comment
osdXXXX_2016_update2.pkg Transkoder 2016 Update 2 software
installer
Avid_Codecs_LE_2.3.9_Mac.zip Avid Codec 2.3.9 installer
Blackmagic_Desktop_Video_Macintosh_ Blackmagic Decklink driver
10.4.1.zip
AJA_Mac_Software_12_2_1.pkg.zip AJA io4K driver
RED_Rocket-X_Installer_v2.1.34.zip RED Rocket-X v2.1.34 driver includes
recommended 1.4.22.18.3 firmware
Installation Prerequisites
1. Update the OS X to at least the version 10.10, or above

2. Once updated to OS X 10.10 or greater, set 'Allow applications downloaded from' to
"Anywhere" under 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:
◦ 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.
◦ AJA card: install the AJA Kona 3G driver.

◦ Blackmagic DeckLink: install the DeckLink driver.
3. Check the "Use all F1, F2, etc. keys as standard function keys" under
Preferences/Keyboard
4. Check "Web Proxy Server" is disabled under Preferences/Network/Advanced…
1.2. Installation Step-by-Step | 13

/Proxies.
In order to run the database server must be reachable, by default it is

 localhost. Make sure your firewall settings do not prevent this.
Installing Transkoder
To install or reinstall Transkoder on OS X, double click the osdXXXX_2016_update2.pkg file

and follow the prompts.
The Transkoder executable file OSD.app can be found in the

"/Applications/OSD2016/bin/" folder.

Please make sure in the XAMPP controller that the mysql and the Apache
daemons are running.
1.3. Reinstallation or Upgrade

1.3.1. Reinstallation
To reinstall Transkoder, skip to the section titled Installing Transkoder [Windows] [OS X].
1.3.2. 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.
1.4. 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 lauched from the "bin" sub-folder of the
"render" folder:
For Example
Windows
C:\Program Files\OSD2016\render\bin\rendertray.exe
OS X
/Applications/OSD2016/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.
1.4.1. 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.
1.4. Background Render Installation | 15

• 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\OSD2016

-h localhost -u root -p password -d projects -t renders -r C:/Program Files\OSD2016
Similarly to OSD Main application, the IP address (or host name) of the database server
must be set in the startup_template.xml of OSD 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!
1.5. Application Removal

1.5.1. Removing Transkoder on Windows
You can remove Transkoder from "Control Panel\All Control Panel Items\Programs and
Features" of Windows 7 or Windows 10.
1.5.2. 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/OSD2016 folder to Trash.

1.6. Control Panels
Transkoder will work with the Tangent Element, Wave, or Ripple control panels.
Tangent Element TK Panel
Tangent Ripple Panel
The Tangent Element Tk and Mf is a nice combination for grading and

 transport control.
1.7. Licensing
1.7.1. 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.
1.6. Control Panels | 17

Licensing Method Quick Comparison
Comparison of the Licensing Methods
License ID Format Machine License Installation Method

Method Restriction Renewal
Software Host Id with Valid Only Every Copy to the license sub-folder of your
Numbers for a Quarter (3 installation folder.
and Letters specific Months)
Machine
Please refer to the the section titled
License Installation: Software Method
for details.
Hasp Dongle ID May be Once a Year The license is loaded on to the Hasp
Sentinal Number moved Sentinal dongle using Colorfront
Dongle with between License Utility.
Numbers systems
Only using the
dongle Please refer to the the section titled
License Installation: Hasp Sentinal
Dongle Method for details.
1.7.2. Obtaining the Host ID

• If Transkoder is launched without a license present, it will display NO VALID LICENSE
FOUND! and the 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.
1.7.3. 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 tkd.lic.
 The procedure for obtaining a demo or evaluation license is the same.
1.7.4. 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 tkd.lic and placed in the "license" sub-folder of the Transkoder
installation folder.
For Example
OS X
/Applications/OSD2016/license/tkd.lic
Windows
C:\Program Files\OSD2016\license\tkd.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.
1.7. Licensing | 19
Transkoder automatically reads the license from an inserted dongle and
 ignores the computer’s tkd.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/OSD2016/bin/
Windows
C:\Program Files\OSD2016\bin\
 The first 12 numbers of the license should match the dongle’s ID number.
1.7.5. 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.
1.7.6. 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
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
2.1. Creating a New Project | 21

settings of a previously saved project template. This will override the paramters set
above.
11. Click on the [ Launch Project ] button.
Transkoder Launch Project
Once a new project has been created and launched, an initial view will be presented:
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.
22 | 2. Projects
 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.
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.
2.2. Project Load Page | 23

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.
24 | 2. Projects
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
2.2. Project Load Page | 25

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.
26 | 2. Projects
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
2.3. Main Load Page | 27

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.
28 | 2. Projects
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.
2.6. Project XML | 29

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.
30 | 3. Bins
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.
3.1. Managing Bins in the Bin Window | 31

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.
32 | 3. Bins
2. Modify the previously entered bin name to the new one desired.
3. Press the ENTER key.
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.
3.2. Managing Assets within Bins | 33

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
34 | 3. Bins
"BinWindow Search Query String Rules".
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.
3.3. Adding Assets to Bins from the Thumbnail Timeline | 35

Example Sort Expression
CamRoll,Length
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
36 | 3. Bins
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
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.
3.4. Changing the BinWindow Layout | 37

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.
38 | 3. Bins
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
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.
40 | 3. Bins
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
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
42 | 3. Bins
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

4. Timelines
A timeline is a graphical user interface paradigm where sections of audio and video media,
known as clips, and text in the form of subtitles or captions, are laid out in a sequence and
played back. The Timeline is located along the bottom of the screen.
4.1. Single and Multitrack Timelines

4.1.1. Single Track Timelines
Transkoder Single Track Timeline with Video and Audio Tracks
4.1.2. Single Track Timelines with Condensed Audio Tracks
44 | 4. Timelines
Transkoder Single Track Timeline with Condensed Audio Tracks
Navigation on the timeline loaded 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, editing events or audio syncing.
4.1.3. Multi Track Timeline
Transkoder Multitrack Timeline
Having the Transkoder option licensed pressing ALT+i the timeline window shows up. 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. On the
right side of this bar is the EDIT/GRADE switch ( C ) which controls how mouse interaction
should work:
4.1. Single and Multitrack Timelines | 45

• 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
Compositing of Prores4444 Files 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. 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
4.2. Timeline Operations

4.2.1. Timeline Operations in 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
46 | 4. Timelines
• 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
4.2.2. Timeline Operations from the Menu

• DropToTc, DropToPosition - The drop-to-position will place the clips at the begin of the
timeline. If you disable Ripple, you can place those to anywhere on the timeline. Drop-
to-TC 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.
• Merge Down Track - This will merge down the selected track to the lower track,
potentially overwriting clips.
• Timeline Mode / Enable Vertical Editing - This is the default editing mode for most
editing applications, where the user sees the image from the highest video track.
• Timeline Mode / 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.
• Timeline Mode / Enable DualTrack - In this mode, the 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.
4.2.3. Timeline Operations in GRADE mode

In grade mode the user can drag and drop color correction settings from a single clip on the
timeline to the stillstore or to one or multiple clips on the timeline. For the latter the user
has to select these clips prior to dragging the grade to copy.
4.2. Timeline Operations | 47

4.3. 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.
4.4. Basic navigation

Keyboard:
Keyboard Shortcut Action

SPACE Start or Stop playback
LEFT ARROW or RIGHT ARROW Advance to the previous or next frame
48 | 4. Timelines
Keyboard Shortcut Action
SHIFT+LEFT ARROW or SHIFT+RIGHT Advance to the previous or next frame with
ARROW 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.
4.5. 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
4.6. Metadata Viewer and Tagging
4.5. Main Viewer | 49

Press the e key to show metadata on the top of the screen
Press the e key to display the metadata panel. CamRoll, Scene and Take metadata is
displayed, it is likely to be auto-populated if production audio is synced to the clips. The
running timecode at the top is the audio timecode, it is "MOS" in case of no audio. If there is
any look applied - automatically of manually - it’s identifier is also displayed on the top left
corner (This is tracked as "LUTName" field in the database). If metadata tags have been
added, those are shown on the right side. The number on the far right indicated the number
or select (circle) takes on the current timeline. Pressing SHIFT+e will display the original file
name, and the video timecode at the bottom of the screen.
Tagging clips
• Pressing the NUMPAD ASTERISK key or ALT+c will mark the current clip as a select
(circle take).
• Pressing the NUMPAD SLASH key marks the clip as PickUp.
4.7. Metadata Tables

Pressing ALT+t will open and close the Shots Table, which is a list of the clips in the current
timeline with metadata. The fields of this table can be configured in the metadata tab under
the TAB page. To inspect the metadata in the header of individual clips press SHIFT+u. This
is an in-depth list of all the extraced metadata. Pressing the u key opens the small metadata
window with configurable entries.
4.8. 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. To make it easy to create such timelines we
introduced a new function called Auto Edit. The Auto Edit window can be found under the
Edit menu.
50 | 4. Timelines
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.
4.8. Timeline Auto Edit Function | 51

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
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.
4.9. Edit Decision List Handling

4.9.1. 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
52 | 4. Timelines
EDLMatchTapeName / EDLMatchTimecode settings are not set properly, or the EDL
contains shots that are not in the project database of the current project.
4.9.2. 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).
4.9.3. 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.
4.9.4. Notch with EDL

Parses the EDL and executes a cut operation at the editing points defined by the record
start/end time codes in the EDL.
4.9. Edit Decision List Handling | 53

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
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
(See the Grading chapter for more detail). However, at any time the node pipeline can be
adjusted, new templates can be defined. 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, ACES, Log, Lin (or ARRI Look in case
54 | 5. Processing and Color Science

of using ARRI footage) defines how the colors are manipulated with the color correction
node. For details refer to the Grading chapter.
Transkoder Wizard to create a proper pipeline that can be later modified
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 "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
5.1. The Node Page | 55

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
5.2. Editing Nodes | 57

5.2.1. 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
The application has a flexible image processing pipeline, thus allows different styles of color
correction. Two critical aspects need to be considered regarding color grading when setting
up a project
• What is the preferred grading colorspace

• What color corrector (CC) tool or tools are used
6.1. Grading Color Space

To specify the grading color space it recommended to choose the apropriate grading preset
upon creating a project. When loading any media after that, the application auto-creates the
corresponding color pipeline based on the color space of the media. The image processing in
the application is calculated in 32 bit floating point precision per-channel and all pipelines
are designed to avoid any unwanted clipping or quantizing.
Transkoder Specifying the grading color space upon creating a new project
Whatever setting is used to create a project, the application allows the user to adjust or
redefine the color pipeline for every media format independently. The options for color
grading are the following:
• Native: In this mode the application does not apply - by default - any color space
6.1. Grading Color Space | 59

conversion, all media is treated in it’s native color space. The user can adjust the LUT
nodes to apply any custom lookup table.
• 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 CDL 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.
• 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.
• 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 colorspace to Rec709 video (or any other display color space) is executed
though a Look Blender node, where the operator/DIT/DOP can blend different tone
mapping curves.
Transkoder The Colorfront Engine color pipeline auto-created for LogC media
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 Node Page chapter.
The available color grading tools are:
• ACES CDL: This is a CDL 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.
60 | 6. Color Grading
• CDL: The is the standard Color Decision List compatible grading node. Individual and
master slope/offset/power paramters and the saturation can be adjusted.
• 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 color 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: As part of the Colorfron Engnine pipeline this tool 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.
• 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. Fully
compatible with CDL but offers a different set of controls.
Transkoder Customizing the color grading toolset
6.2. Color Grading Tools | 61

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 can be also used for grading, in connection with the HUD (heads up
display) for the tool: press the h key, or swipe left of the screen to open the HUD. 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 on color wheels press NUMPAD 6. To open
the curve window go to the window menu or choose the corresponding shortcut.
There are several UI elements helping navigation and grading. Press the NUMPAD 1 key to
open up the thumbnail timeline. Each shot is represented by a small thumbnail image,
regardless of the shot length. You can scroll the timeline with right mouse-drag, or "shuttle"
by holding the SHIFT key and right-dragging to left or right to move the timeline backward
or forward. Press the NUMPAD 2 ? key to open the Look Store timeline. Press the NUMPAD 3
key to see the "big" timeline.
Color grades can be dragged from one clip to another, by using the mouse. Also multiple
clips can 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 selected clips.
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.
6.4. Look Stores

Color grading can be saved in the Look Stores, 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 can 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 can 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 CDLs, CDL-EDLs, Colorfront EMDs or
reference images - from the looks folder are imported into this stillstore.
The Bin window can 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.
There are a number of useful shortcuts to work with the still stores. These are essential
when working with stillstores of multiple hundred frames:
Keyboard Shortcut Function

NUMPAD 2 Open/Close stillstore
NUMPAD 4 Full screen stillstore
Hold NUMPAD 5 Recall stillstore look for visual
comparison
CTRL+BACKSPACE Delete still (mouse pointer
should be over the stillstore)
ALT+UP ARROW Jump to next still
ALT+DOWN ARROW Jump to previous still
ALT+LEFT ARROW Move stillstore left by one
frame
ALT+RIGHT ARROW Move stillstore right by one
frame
ALT and Middle-Click drag Direct (fast) move of the
stillstore
6.5. Importing Looks

6.5.1. 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 OSD:
• Luther ASCII 17x17x17 (.txt)

• Autodesk Lustre 17x17x17 LUT format (.3dl)
• Colorfront’s own 3dmesh LUT format (.3dmesh)
• Cube 3D LUT format (.cube)
• 1dlut (limited to 1024 levels) and 1dcurve formats
6.5. Importing Looks | 63

LUT files must be placed in lut directory under the install home. In the application, LUT node
must be added to your project pipeline, press H for displaying HUD, then select the desired
LUT. By adding LUT node left to the grey line, it can vary on a shot-by-shot basis.
Please do not copy CDL, CCC, 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.
6.5.2. 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. The application can 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. To import these looks
the CDL/CCC files, or the EDL files with embedded CDL information need to be placed in the
looks folder, so the application auto-loads them to the red still store. The location of the
looks folder is typically under the date folder of the project. The name of the folder should
be "looks". When using OSD Transkoder the user should explicitely specify the looks folder
from the grade menu. 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, the application will use
whatever reference image it finds.
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 the application imports.
<ColorDecisionCollection 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>
6.5.3. 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 can be uploaded to the camera. These looks can 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, the application can apply the very same
color transforms to the recorded media based on metadata travelling in the files or based on
look XML files. These looks XML files need to be copied into the looks folder (inside the date
folder), and they will appear in the red stillstore. When using Transkoder the user needs to
browse the looks folder using the grade menu.
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.
6.5. Importing Looks | 65

6.5.4. Importing Reference Stills
10 bit uncompressed DPX as well as TIFF reference image files or JPG/PNG files should be
placed in the looks folder so they appear in the red stillstore.
6.6. Exporting Looks

• Exporting Look-Up Tables: Look-Up Tables are easily exportable by adding a LUT
renderer in the encode (p) page. Just any other encoder, the name of the generated LUT
files can be customized from metadata.
• Exporting CDLs: The application can 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 can be later exported from MediaComposer in
a CMX-EDL for finishing, allowing for a full CDL pipline using the applcation 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 can also be rendered separately by
adding the corresponding metadata encoder.
• Exporting EMDs: EMD is an XML based metadata file including clip metadata and color
correction, and can be used to carry color information between different Colorfont
products. To export EMD files navigate to the File menu end click on EMD export.
• Exporting Arri Look files: The application can 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 Lookstore, 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 ..\projects\<your
project>\thumbcache directory.
6.7. Look Presets

The application supports a look-based workflow where "named" looks can be saved and
recalled by the function keys F1 to F9. To open the Look Preset window, press SHIFT+i.
Transkoder Look Preset window
Select the desired look by clicking Look1 - Look10 buttons (A) on the left. Once the look
selected, click in the Look Name Field (B), enter the name of the look and press Enter. Once
you finished entering the look name, click Save button for saving the look. The name of the
looks will be saved in the database. If you press the e key, you can also see the look name in
the upper left corner of the screen. For renaming the already existent look, click again in the
look name field and enter the new name of the look, then press the ENTER key.
If you want to load your previously saved look, select the look in the Look Presets window
and click Load, or press the appropriate F1 to F9 function key, as Look1 - F1, Look2 - F2 and
so on. If you want to have even more predefined looks, you can save them by pressing
CTRL+1 to CTRL+9, and recall them by pressing SHIFT+1 to SHIFT+9.
6.8. 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 can be used, three such examples are listed below. One
for exchanging color and metadata in an ExD / OSD environment, one for bringing looks
from On-Set Live to Express Dailies or OSD and one involving the DMS XML format. The
EMD files are the same, the workflow is slightly different.
6.8.1. Exporting looks from On-Set Live to Express Dailies or

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
6.8. EMD Workflows | 67

exported from Live contain a timecode, which can be used to auto-apply these to the
recorded clips in Express Dailies or Transkoder.
When using a dailies style workflow in Transkoder or when using Express Dailies the EMD
files exported from live need to be placed in the "looks" folder under the 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 lookstore (NUMPAD 2) from where the user can manually apply
them by dragging to the clips.
If Transkoder option license is used any folder can be used to collect the looks files. In this
case the "Import looks folder" menu item should be used to populate the red lookstore.
EMDs can be manually applied to the shots by dragging and dropping them.
6.8.2. Express Dailies and Transkoder metadata exchange

If metadata (audio sync, scene, take, QC comments) and grading info needs to be carried
from one Express Dailies system to an other, or from Express Dailies to Transkoder there is a
more robust workflow. By pressing Export EMD from the file menu, an emd folder is created
under the date folder and EMD 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.
6.8.3. DMS files

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 can be loaded into OSD 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_120104D
Z.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_0909H
R.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. EMD Workflows | 69

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
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
70 | 7. Tools/Nodes on the Node Page

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. Animation
The animation 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.
7.1. An Introduction to Tools/Nodes | 71

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 b. 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 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.
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.
DisplayLook HDR The final node of the Colorfront Engine
pipeline which maps from the Colorfront
internal colorspace to the viewing
colorspace.
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.
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.
7.2. List of Tools | 73

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.
PQCurve
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

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 temparature 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
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
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
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
Analyze This is a tool for using the Analyzer tool on
any of the Node page pipeline nodes as
opposed to the result render.
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.
PSNR This is a required tool for manually
calculating PSNR statistics.
AlphaAdjust This tool allows the adjustment of the Alpha
channel.

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
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

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
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
7.3. Colorspace Tools' HUD Controls | 79

7.4. Grading Tools
7.4.1. 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
7.4.2. 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
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.
7.5. Enhance Tools
7.6. Mask Tools
7.7. Transform Tools
7.8. Other Tools
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.
7.5. Enhance Tools | 81

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
82 | 8. Rendering
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.
8.2. Encoders on the Encode Page | 83

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.
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.
84 | 8. Rendering
The forensic watermarking feature may only be enabled if the Transkoder
 workstation also has a NexGuard (Civolution) license installed.
8.2.2. 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.
8.2. Encoders on the Encode Page | 85

Rendered Media Tape Name Description
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.
8.2.3. The Encoder List

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 AS02 related encoders
AS11 AS11 related encoders
Metadata Metadata only related encoders
Others Other type of encoders
8.3. Encoder Categories

Below is a detailed breakdown of the encoders listed in each category and their descriptions.
86 | 8. Rendering
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 2016
Update 2 Appendix Chapter.
The Avid Encoder Category

Avid DNxHD (Digital Nonlinear Extensible High Definition)
Encoder Project Format Pixel Format Note
Name/Family
8.3. Encoder Categories | 87

720p 720p 59.94fps 8-bit/10-bit YUV 145Mbit/220Mbit
4:2:2
HD 1080p 8-bit/10bit YUV 4:2:2 36Mbit - 220Mbit
23.976fps/24fps/59.
976fps
HD 1080p 23.976fps 10-bit RGB 4:4:4 440Mbit
Avid DNxHR (Digital Nonlinear Extensible High Resolution)

Name/Family
DNxHR 2K/UHD/4K 8-bit/12-bit YUV DNxHR
23.976/24/25/29.97 4:2:2 LB/SQ/HQ/HQX
/48/50/59.94fps
DNxHR 2K/UHD/4K 12-bit RGB 4:4:4 DNxHR 444
23.976/24/25/29.97
/48/50/59.94fps
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
Name/Family
1:1 10bit RGB 1080i 59.94fps 10-bit RGB 4:4:4 Used for archival
purposes
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
88 | 8. Rendering
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.


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.
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
Name/Family
Apple ProRes 422 SD-8K+ 8-bit/10-bit YUV Visually lossless for
Proxy/422LT/422/4 4:2:2 4:2:2 material.
22HQ
AMAZON UHD HDR UHD 8-bit/10-bit YUV Apple ProRes 422HQ
ProRes 422 HQ 4:2:2 (Auto) which is
(Auto) configured to
AMAZON’s UHD HDR
requirements.
Apple ProRes RGBA Colorspace

Name/Family
Apple ProRes 444 SD-8K+ 8-bit/10-bit/12-bit Visually lossless for
with 16-bit for Alpha 4:4:4:4 material.
Channel RGBA
4:4:4:4
90 | 8. Rendering
Apple ProRes XQ SD-8K+ 8-bit/10-bit/12-bit Visually the same as
with 16-bit for Alpha Apple ProRes 444
Channel RGBA with almost double
4:4:4:4 the data rate to
support HDR images.
Quick Time Legacy SD ( Standard Definition)

Encoder Resolution Note
Name/Family
PAL DV/NTSC DV 720x576/720x480 Used for Legacy PAL/NTSC SD workflows
Avid Avid PAL 720x576/720x486 Used for Avid Legacy PAL/NTSC SD
DV/NTSC DV 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 Source media, for the BD-DVD, after using the BluRay Encoder profile will be. *.m2v
and *.wav files.
• After using Shift+D, OSD will create the adequate hierarchy that you can then use to
burn the BluRay I.e. F:\one_shot\20110829\generated\bluray\1\BDMV
• This BDMV directory and its content is the standard "BluRay image structure" NOTE: the
BMDV contains "PLAYLIST, CLIPINF, STREAM, AUXDATA and BACKUP directories"
• As to how, to burn a "BDMV" folder structure, Please check these references
http://forum.videohelp.com/threads/325212-How-to-burn-a-BDMV-folder
http://wesleytech.com/burn-blu-rays-a-how-to-guide-for-burning-bd-r-discs/713/
• Roxio will burn a BluRay, with this folder structure. So is Roxio Toast I.e.
http://macs.about.com/od/applications/fr/toast10review_2.htm Toast (please skip to
Part 2) http://www.playbluraysoftware.com/?p=258
• ImgBurn can also burn this structure: http://wesleytech.com/burn-blu-rays-a-how-to-
guide-for-burning-bd-r-discs/713/
92 | 8. Rendering
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.
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 content that is served on the web. They are generally focused on web based dailies
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
H264 540p/720p/1080p H264 used for generic dailies
online collaboration systems.
PIX 720p/1080p Used for the PIX dailies
MpegTSH264 540p H264 is inserted into an
MPEGTS container.
vp9 720p/1080p Used by YouTube, Wikipedia
and Netflix mobile.
94 | 8. Rendering
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.

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.
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 Project Format Note
Name/Family
AppleTV 720p/1080p H264
iPad 576p/720p/1080p
iPod 640x360
Apple ProRes YUV Colorspace

Name/Family
Apple ProRes 422 SD-8K+ 8-bit/10-bit YUV Visually lossless for
Proxy/422LT/422/4 4:2:2 4:2:2 material.
22HQ
96 | 8. Rendering
AMAZON UHD HDR UHD 8-bit/10-bit YUV Apple ProRes 422HQ
ProRes 422 HQ 4:2:2 (Auto) which is
(Auto) configured to
AMAZON’s UHD HDR
requirements.
Apple ProRes RGBA Colorspace

Name/Family
Apple ProRes 444 SD-8K+ 8-bit/10-bit/12-bit Visually lossless for
with 16-bit for Alpha 4:4:4:4 material.
Channel RGBA
4:4:4:4
Apple ProRes XQ SD-8K+ 8-bit/10-bit/12-bit Visually the same as
with 16-bit for Alpha Apple ProRes 444
Channel RGBA with almost double
4:4:4:4 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 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.
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.

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 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.
AS11 AVC-I 100 HD MXF
XAVC RGB 8-bit/10-bit/12-bit HD-UHD MXF
4:2:0/4:2:2/4:4:4
Panasonic AVC Ultra YUV/RGB 8-bit/10-bit/12-bit 720p - UHD MXF
4:2:0/4:2:2/4:4:4
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.
98 | 8. Rendering

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.
100 | 8. Rendering
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\OSD2016\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
<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\OSD2016\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 Project Format Resolution Note
Name/Family
DPX Same Colorspace as Same as Result
Input 10-bit/12- Render
bit/16-bit
EXR 16 bit half Same Colorspace as Same as Result
Input 16-bit floating Render
point half
JPEG2000 DCI CIE XYZ/YUV 10- 2K Scope/Flat/Full
Compliant bit/12-bit 4K Scope/Flat/Full
JPEG2000 IMF Mono/YUV/RGB 10- HD-UHD+ Including Rev
Compliant bit Lossy/Lossless (App2E+)
TIFF Same Colospace as Same as Result
Input 8-bit/16-bit Render
1FPS JPEG Same Colorspace as 360p MOV (Quick Time)
Input Same Color
Depth as Input
102 | 8. Rendering
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.
104 | 8. Rendering
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
Name/Family
YUV Lossless MXF YUV 8-bit/10-bit/12- HD/QHD App2
bit 4:2:2
YUV Lossy MXF YUV 8-bit/10-bit/12- HD/QHD App2
bit 4:2:2
RGB Lossless MXF RGB 8-bit/10-bit/12- HD/UHD App2
bit 4:4:4
RGB Lossy MXF RGB 8-bit/10-bit/12- HD/UHD
bit 4:4:4
App2 FOX SDR YUV UHD YUV 4:2:2 UHD
Lossy MXF
App2E IMF package FOX RGB Lossless RGB 8-bit/10-bit/12- HD/QHD
which complies with MXF bit 4:4:4
FOX standards.
IMF package which FOX HDR Lossless Same as Result
complies with FOX MXF Render
standards.
APP2E+ IMF package SONY YUV Lossy MXF YUV 4:2:2 HD/QHD
which complies with
FOX standards.
App2 IMF package SONY HDR Same as Result App2E+ IMF package
which complies with Render which complies with
SONY standards. SONY standards.
NETFLIX YUV QHD YUV 4:2:2 QHD App2E IMF package
Lossy which complies with
NETFLIX standards.
NETFLIX HDR Same as Result App2E+ package
Render which complies with
NETFLIX standards.
ARD YUV HD Lossless YUV 4:2:2 HD App2 IMF package
MXF which complies with
ARD standards.
IMF REV RGB 10-bit 4:4:4 Same as Result App2E+
Render
WARNER SDR/HDR Same as Result App2E+ IMF package
Service Master Render which complies with
WARNER standards.
106 | 8. Rendering
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.

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 Resolution Note
Name/Family
2K Scope/Flat/FUll 2048x858/1998x1080/2048x1080 J2KPSNR/J2KGPU
4K Scope/Flat/FUll 4096x1716/3996x2160/4096x2160
Mono 10bit Lossless 1920x1080
IMF
Name/Family
YUV 10bit Lossless YUV 10-bit 4:2:2 HD/QHD
108 | 8. Rendering
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 App2E+
Render
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
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
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.
110 | 8. Rendering
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

Name/Family
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 YUV 4:2:2 HD AS02 IMF package
MXF which complies with
HBO standards.
8.3.14. The AS11 Encoder Category

The AS11 encoder category is a list of AS11 compliant encoders. Rendering AS11 assets is a
two step process. First, add the AS11 (AVC-I 100) encoder on the Encode page (p). Next,
open the Finalize page (SHIFT+d), specifying AS-11 as the value for the ENCODER TYPE
field, fill in all the the necessary metadata as specified in the AS11 standard, and click on the
[ Generate ] button.
The AS11 Encoder Category

Name/Family
AVC-I 100 YUV 10-bit 4:2:2 HD AS11
8.3.15. 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
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
Final Cut Pro 7 workflows.
112 | 8. Rendering
Copra XML XML This is used to create a
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
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
8.3.16. 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 RED 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 Color Space Chroma Color Depth Resolution File Type Note
Name Sampling
H264 LPCM 1920x1080 H264 The H264
1080p LPCM 1080
encoder
allows for
the creation
of 16-bit /
24-bit
LPCM wave
audio
stream
together
with a Full
HD picture.
114 | 8. Rendering
BLU-RAY 1920x1080 BLURAY
1080P
DirecTV 10 10-bit 3840x2160 MPEG-TS .
bit MPEG-
TS
Custom 1280x720 H264 The Custom
H264 H264
encoder
allows for a
very
thorough
customizati
on of the
H264
encoder
directly
from the
encoder
configuratio
n pane.
MPEG2 1920x1080 MPEG2 The MPEG2
1080p 1080p
encoder
allows for a
customizati
on of the
MPEG2
encoder
directly
from the
encoder
configuratio
n pane.

Custom 960x540 MPEG-TS The Custom
MPEG TS MPEG TS
encoder
allows for a
customizati
on of the
MPEG2
encoder in a
TS
container
directly
from the
encoder
configuratio
n pane.
VC2 1920x1080 VC2 This is also
know as
Dirac Pro.
FOX YUV YUV 1920x1080 FOXIMF This will
HD Lossless create a
Archive losless Full
MXF HD result
render
which
includes
both picture
and audio
assets in a
single MXF
which is
compliant
with FOX
specificatio
ns.
HBO Op1a 1920x1080 HBOOP1A This will
MXF create a Full
HD result
render
which will
match HBO
specificatio
ns.
116 | 8. Rendering
FOX YUV YUV 3840x2160 FOXIMF This will
QHD create a
Lossless result
Archive render
MXF which
includes
both picture
and audio
assets in a
single MXF
which is
lossless
QHD and
matches
FOX
specificatio
ns.
FOX Proxy 1280x720 H264 This will
H264 create a
result
render
which
includes
both picture
and audio
assets in a
single MXF
which is
1280x720
Proxy and
matches
FOX
specificatio
ns.

RAW YUV YUV 4:2:0 8-bit/10-bit 1920x1080 RAW This will
420 8/10 in in 16-bit create a
16bit headerless
RAW file
containing
YUV
colorspace
picture
essence
with either
8-bt or 10-
bit color
depth
encoded in
16-bit
chunks.
XDCAM YUV 4:2:2 8-bit 1920x1080 MXF This will
MPEG create a Full
HD422 HD result
render
which will
match Sony
XDCAM
MPEG
HD422
specificatio
ns.
RAW YUV YUV 4:2:2 10-bit 3840x2160 RAW This will
422 10bit - create a
V210 headerless
RAW file
containing
YUV
colorspace
picture
essence
with 10-bit
color depth.
118 | 8. Rendering
Netflix 1280x720 H264 This will
Proxy 720p create a
2.4Mbit 720p Proxy
result
render
which will
match
Netflix
specificatio
ns.
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

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\OSD2016\pymodules\lib\encodeTemplates.xml to see what

are the default templates
• Create your own version of the encode file (with the same XML structure as
encodeTemplates.xml) and save it as C:\Program Files\OSD2016\customEncoders.xml.
Make sure the new encode job names (such as job10, or job11) do not conflict with the
default ones, you may use numbers above 100 for instance(job100, job101…).
8.4. Custom Encoders | 119

<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</Resu
ltFileName>
<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>
• You can also override the location of this XML containing the additional templates in the
Preferences Page (TAB) by editing the AdditionalTemplates field in the Advanced
Setttings of the Encode subpage.
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
120 | 8. Rendering
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.
8.6. Render Menu | 121

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 ▸ 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 API 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.
122 | 8. Rendering
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.
8.8. Render Queue | 123

9. DCP and IMF mastering
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
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.
124 | 9. DCP and IMF mastering

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.
9.1. Setting up the Timeline | 125

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 accessable through Timeline ▸ Markers menu option.
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
A new finalize strategy has been introduced called "Per Marker MXFs". In this mode 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
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
9.2. Render Strategies | 127

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
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)
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 (muliple reels)
9.2.2. Version File

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
localised 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 distruct 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 apropriate 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 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 with inserts on second track, rendering a single MXF file with all
inserts
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).

9.2.3. 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.
9.3. JPEG2000 encoding

The JPEG2000 render engine is GPU accelerated and has a built-in transwrap feature to
rewrap 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.
9.3.1. 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 paramameters, 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
• Colorspace 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.
9.3.2. 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.
9.4. 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 spect
• 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
9.4.1. 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
9.4. Digital Cinema Packages | 133

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
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.
9.4.2. 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.
9.4.3. 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 itseld 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">

<ext>mxf</ext>

</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>
9.4.4. Color Transformations

By default Transkoder is configured to work in the P3 colorspace. This means all non-P3
image inputs need to be converted to the P3 colorspace 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 colospace, 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
colorspace for encoding.
9.4.5. 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 Window
Open the KDM 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 certifice file(s) need to be

selected, either a single one or a group of certificates.
Command line KDM generation
Transkoder also includes a command line tool to generate KDMs for encrypted packages.
This executable is located under the install home in
<install home>\pymodules\scripts\dci\kdm\kdm\bin\kdm.exe
Please note a valid Transkoder license is needed for this tool to work. The following
command line arguments can be used.
KDM Generator Command Line Tool Usage
-h, --help Show help

-o, --output Path where the KDMs will be stored
after creation.
-s, --notvalid-before Start time (as local time) for the

validity period of the KDM.
Following format expected: "YYYY-
MM-DD hh:mm:ss"
(e.g. 2015-02-01 09:41:00) or "now"
-e, --notvalid-after End Time (as local time) for the

validity period of the KDM.
Following format expected: "YYYY-
MM-DD hh:mm:ss"
(e.g. 2016-02-01 09:41:00) or "now"
-u, --utc-offset Set UTC timezone offset for Start

and End Time.
The following format expected:
"UTC+hh:mm" or "UTC-hh:mm".
(e.g. "UTC+04:00", "UTC-08:00")
-v, --duration Validity period in days or weeks

from now on
(e.g. "1 day","30 days","5 weeks")
-d, --dcpdigest DCP Digest File or Distribution KDM

file (*.dcpdig).

The Digest file holds the
encryption keys for a specific DCP
or composition in encrypted form.
-k, --signer-dir Server Certificate Input Folder

holding the server certificates
for which KDM(s) will be created.
-i, --server-certificate Directory where the signer

certificate chain and the
private key file is stored.
-t, --trusted-devices A list of .PEM files to add

additional trusted devices
into KDM (e.g. dual projector
systems).
Importing encrypted DCI package
To successfully import and playback an encrypted DCP package with KDM, user must place
the KDM into the master KDM folder of the project, by default <projectHome>/KDM.
Encrpyted 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.
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, and request a DCI certicate. 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 of manually in the following way:
• Be sure you have the HASP dongle plugged into the machine and use the Import DCI
License menu option to import the dci license file to the dongle.
• Copy the certificate pem files to <install_home>\pymodules\dci\certs\production
• 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 so if you plug the dongle to another machine then your previously issued KDMs
wont work on the new machine.

KDMs can be generated using the leaf.signed.pem from
<install_home>\pymodules\dci\certs\production.
If the dongle is not plugged or does not contain valid DCI license then the preinstalled
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.
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 filename
will contain the type of the dci license (production/DEMO).
9.4.6. Global DCP Settings

The following DCP parameters can be adjusted globally in the Settings page / DCI.
• 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 Encription 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 encrpted 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.
9.5. 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 framerates 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.
9.5. Interoperable Master Format (IMF) | 141

9.5.1. 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, inlcuding 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 interopability 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.
9.5.2. 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.
9.5.3. 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.
9.5.4. 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 IMF package with the window (TODO)
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
metadatas, 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, OSD will automatically import the CPL timeline.
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
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.
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.

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 comliant MXF format, and all audio
events must be aligned with the video events.
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
9.6. Bitrate and PSNR Analyis 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 bitrate and PSNR graphs,
regardless what hardware or software generatede the media.
9.6.1. 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 bitrate data the horizontal axis represent time - the playhead indicator is also
shown - and vertical axis correspond to the bitrate values. That is, the required bits to
encode a single frame. Higher values indicate larger corresponding image chunks.

Graph Window with Bitrate Data
On the right panel the exact bitrate value is also shown for the current frame, as well as
average, minimum and maximum values for the whole timeline. To inspect the bitrate 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 conjuction with the bitrate 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 bitrate 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 Bitrate and PSNR
Data for External Assets".
When PSNR and bitrate data is loaded into the Graph View the size vs. quality balance of the
encoded video asset can be inspected. The bitrate 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.
9.6. Bitrate and PSNR Analyis Tools | 147

Graph Window with Bitrate 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
9.6.2. Analyze Transkoder Generated Assets

Upon encoding any DCP or IMF asset Transkoder saves the per-frame bitrate 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.
9.6.3. Generate Bitrate and PSNR Data for External Assets

One can load any J2K encoded MXF asset to the timeline, add a Bitrate metadata encoder to
the P page and launch the render. This will generate a bitrate file that is automatically

loaded rigth 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.
9.6. Bitrate and PSNR Analyis Tools | 149

10. Audio Handling
Transkoder supports multichannel, and multi-mono broadcast .wav, and .mxf formats for
standalone assets in addition to most native embedded audio formats.
10.1. Managing Audio Assets in the Bin Window

The BinWindow is the Transkoder GUI for managing media assets including audio assets.
10.1.1. Adding Audio Assets to the Bins

150 | 10. Audio Handling

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.
Transkoder Multi-mono audio files will appear as a single audio asset in the
Bin Window
 Transkoder does not support > 4gb wav files.
10.1.2. 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.
10.1.3. 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
The following fields appear when viewing Audio Metadata in Bin Window Details View:
10.1. Managing Audio Assets in the Bin Window | 151

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.
10.2. Audio on the Time Line

Audio Tracks added to the Time Line show up as a waveform and are displayed in a
condensed 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 Condensed 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".
10.2.1. 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.)
10.2. Audio on the Time Line | 153

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.
10.2.2. 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.
10.2.3. 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.
10.3. 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.
10.4. 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
10.3. Adjusting Audio Speed with Pulldown and Pullup | 155

such as trim, cut, slip, etc., will be done to both video and audio. To ungroup the, make sure
they are highlighted and select the Timeline ▸ Group ▸ Ungroup selected clips menu item.
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.
10.5. 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.
10.5.1. 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:
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.
LABEL
A custom label such as 5.1 DTS can be specifed here and will appear above the channel
10.5. Audio Mixdowns | 157

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.
10.5.2. Channel Merging and Rerouting Examples
10.6. 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
Same As Source C… etc

This will add channels from the channel group C. (This list item is dynamically generated
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
10.7. 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.
10.7. Volume Metering | 159

Transkoder Volume Meter on Time Line window and separate Volume Meter window
10.8. 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).
10.8.1. 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.
10.8.2. 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. In a Dolby Atmos DCP the sync signal must be
added as the 14th audio track in the regular audio asset. It must be enabled in the DCP
encoder using the codec settings pane on the Encode 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
10.8. DCP Audio Handling | 161

silent channels so the sync track can be rendered.
10.9. 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.
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.
10.9. IMF Audio Handling | 163

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.
10.9.1. 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.

11. 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.
11.1. Loading Subtitles

The BinWindow is the Transkoder GUI for managing media assets including subtitle and
caption files. To add subtitles to Bins:
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
11.1. Loading Subtitles | 165

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.
11.2. 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.
11.3. 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.
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.
166 | 11. Subtitles and Captions

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.
11.4. 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.
11.5. 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.
11.6. 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.
11.7. Subtitle Page in Settings

The following settings can be set or adjusted in the Subtitle in the Settings (TAB):
Import Start Time Code

Defines the imported subtitle media container start point.
11.4. Subtitles and Captions for DCPs | 167

IMSC Time Code Base
Defines the IMSC subtitle timecode base for TimeIn and TimeOut calculations. The
SMPTE value means using real floating point, and the Media value means rounding the
TimeCode to an integer value.
Re Generate Subtitles
If Off, Transkoder will use the original xml subtitle file for packaging without modifying
and values.
Subtitle Font Source

Defines the source of the Font file which is used for subtitle rendering.
Custom Font File

Defines the Font file path if CustomFont is selected as the Subtitle Font Source.
Subtitle Path
Defines the Home path for the subtitle metadata and png files.
Upper Timeline
Enable or disable the display of subtitle positions on the upper time line.
Preferred Image Height

Defines the image height used to recalculate the font size.
Border Size
Defines the size of the border effect around the subtitle.
Shadow Offset
Defines the default size of the shadow offset of the subtitle.
Shadow Feather
Defines the default intensity of the shadow feather effect of the subtitle.
Advanced Settings
Subtitle Color Conversion

Defines the target color space for subtitles. Auto is triggering color space conversions
driven by the DCI working color space setting. In non-DCP workflows, such as rendering
subtitles into HDR IMF packages, please disable this.
DCI Subtitle MXF Encryption

Controls the encryption of the DCI SMPTE subtitle MXFs.
168 | 11. Subtitles and Captions

Interop DC Subtitle Version
Defines the Interop DC subtitle XML version.
SMPTEDCI Subtitle Version

Defines the SMPTE DCI subtitle XML namespace version.
DCI Safe Caption Export

Export DCI Closed Caption files according to the isdcf best practice document. This
ignores LoadFont attributes.
11.7. Subtitle Page in Settings | 169

12. 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.
12.1. 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 suffiently fast storage. To achieve the guaranteed real-time playback, the output must
be routed through professional output devices such as SDI output. This is necesary 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 resync audio with video

 occasionally and this will cause an audible glitch sound.
12.2. 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 syncronized 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
170 | 12. QC Tools

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
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 upto 24 channels. Please refer to the section
titled Volume Metering for more information.
12.2. Audio Playback | 171

Transkoder Volume Meter on Time Line window and separate Volume Meter window
12.3. 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.
The analyzer can operate standalone, or with a node on the node page. When used without a
node, the anaylzer will show the values of the currently active render result. 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
172 | 12. QC Tools

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.
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 colorspace.
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 colorspace
Waveform Color Waveform showing only colors in the
project’s color space
Waveform RGB Color Waveform showing colors in the RGB
colorspace with each individual color channel
shown in its respective color
Waveform RGB Waveform showing colors in the RGB
colorspace 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’c 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.)
12.3. Analyzers | 173

Analyzer Range Description
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.
12.4. Manual QC Tools

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 timecode 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
timecode.
FRAME This refers to the current frame.
RANGE This has a start and end timecode.
Transkoder QC window.
Move the playhead into position and hold the CONTROL key and click either
 timecode 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).
174 | 12. QC Tools

Custom labels are entered seperated by commas. Clicking on a button automatically
increments the QC count, captures the timecode, 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.
12.5. PSNR Analysis

Transkoder uses Peak Signal-to-Noise Ratio analysis to measure the difference between the
signal of the original project image and the eror 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
perceptability 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 measureable 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
12.5. PSNR Analysis | 175

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 multiplyer. 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 sublist 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.
176 | 12. QC Tools

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 defaul. 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.
Transkoder showing the Graph window with PSNR data and the PSNR Minimum marked
with a dotted red line.
\image::graph_window_psnr_minimum.png["Transkoder showing the Graph window with
PSNR data and the PSNR Minimum marked with a dotted red
line.",scaledwidth="60%",align="center"]
12.6. 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 proces. Transkoder has a great toolset
available to help with both the manual QC process and also for automatic technical
validation. To open the Validation window, press CTRL+d. For DCP validation, this will run a
standard validation library that varifies the validity of the requisite XML files, checksums,
etc.
For IMF validation, there is a choice to use either the Colorfront developed Transkoder
validation library, or extensive Photon, an opensource 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 develeoped
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.
12.6. DCP and IMF Validation | 177

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, which is used to open
the validation report after it has been generated.
12.6.1. 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 Grap window. As an added bonus, the Bitrate data will
also be display.
12.7. Navigating the Graph Window

The Graph window is used to show the PSNR, Bitrate and other values.
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 darkend means Disabled. It is
possible to show 2 sets of data at the same time.
12.8. HDR QC
12.9. 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 subfolder 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
178 | 12. QC Tools

when needed. The metadata stored here is in simple text format, and may be used by
custom scripts, tools, etc.
12.9. Validation Metadata | 179

13. High Dynamic Range (HDR)
Transkoder has a range of tools to manage HDR workflows. Sophisticated SDR to HDR
dynamic range remapping as well as and HDR to HDR mapping. There are a set of advanced
QC tools designed for HDR, for example, calculation and display of light level statistics and
delivering HDR masters, such as Dolby Vision mezzanine files, HDR-10 HEVC or PQ
Rec2020 IMF packages, as well as support for HLG.
13.1. SDR to HDR gamut mapping

Transkoder’s flexible node pipeline allows users to implement any kind colorspace
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 does not address dynamic range
mapping, thus converting a regular standard dynamic range (Rec.709) image to HDR will
generate an overall dark image. Similarly converting a PQ encoded HDR image to Rec.709
will cause severe clipping.
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 dynamic
range mapping 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.
180 | 13. High Dynamic Range (HDR)

13.1.1. 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 longplay timeline into
shorter segments corresponding to scenes or takes.
13.2. 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 colorspace 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
13.2. Simulation of SDR using a HDR Display | 181

13.3. 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.
13.4. 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.
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
13.4.1. 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.
13.5. Quality Check (QC) tools

To verify if the light level for the content on the timeline do not exceed the maximum
brightness constraints first set up the maximum light level (in Nits) on the Tab page / QC /
Maximum Brightness for HDR. Having this configured properly one can open the Graph
Window 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 vectorscope becomes a CIE XY graph indicating the P3 and the Rec2020
triangles, also indicating colors out of the P3 gamut with red.
13.5. Quality Check (QC) tools | 183

In HDR mode the analyzer shows a CIE XY graph with the P3 and Rec.2020 rectangles
To find pixels above the max brightness limit one has to turn on the View / HDR / Show
HDR Warning menu. 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
13.6. 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 some 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
HDR metadata and statistics can be turned on by choosing a HDR Mastering Display setting
Users can add custom mastering display metadata presets by renaming the sample file to
"MasteringDisplayMetadata.xml" in C:\Program Files\OSD2016\user and editing or adding
parameter sets.
13.6.1. 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 apropriate 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 paramter
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.
13.6.2. 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.
13.7. 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.
13.7. HDR PDF Report | 185

HDR PDF report is generated with any HDR deliverable
13.8. Dolby Vision Workflows

Transkoder has a complete set of tools for the creation and inspection of IMF packages with
Dolby Vision (PHDR) metadata embedded.
13.8.1. Dolby Vision Mastering

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
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
A new node called DolbyVision has been introduced, which is the interface to adjust Dolby
Vision metadata interactively. Please note, if the metadata is coming from external sources
(either in the form of a Mastering XML or as a Dolby Vision IMF) and the user does not want
to change it, the DolbyVision node is not needed in the pipeline.
When creating the pipeline in your project, please make sure the DolbyVision node is within
13.8. Dolby Vision Workflows | 187

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 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. At the end of the Dolby Vision grading session
one can export the Master XML metadata from the file menu.

Importing Dolby Vision Master XML Metadata
Additional to creation, one can 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 through the file menu. When checking metadata or mastering an IMF
the Dolby Vision node is not necessary. 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" page of the Clip Inspector SHIFT+u window. To generated a Dolby
Vision IMF from this timeline the user needs to open the Finalize window and double-check
that the Dolby option is enabled.
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
The length of the metadata in the imported XML must exactly match the full
 length of the source content on the timeline, to establish perfect sync
between the two.
Generating Dolby Vision IMFs
The Finalize page now has an option to include Dolby Vision HDR Dynamic metadata. Some
IMF presets such as the IMF NETFLIX HDR (App2E+) has this option enabled by default. The
encode process will fail if this is enabled, but there is no metadata (indicated by a yellow or
orange line) associated with every picture element on the timeline.

Dolby Vision option in the IMF 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.
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 possible to
export the XML from such a timeline, but it may take a long time, as the Dolby Vision
metadata extractor has to process every single frame in the MXF track file to be able to
export an XML.
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.
Import Dolby Vision Mastering Metadata XML
To load Dolby Vision XMLs and link them to the corresponding video files/sequences use
the the file menu, Dolby Vision submenu. Both to clips selected in the bin and clips on the
current timeline can be updated. 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.
The DoVi metadata XML needs to match the original source clip length. To
 preserve the frame-to-frame sync of the metadata and the source frames
make sure not to edit the video events on the timeline.
Orange line indicates Dolby Vision mastering metadata XML associated with the clip
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, the yellow line indicates an MXF file with
embedded Dolby Vision (PHDR) metadata.
Dolby Vision option in App2E+ IMF encoder
There is a new encoder option for App2E+ IMF encoders called "Dolby Vision" which is also
exposed on the Finalize page. This new 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.
Dolby Vision metadata option when finalizing IMF packages
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 SHIFT+u shows the Dolby metadata on the
D tab.
The Clip Metadata window SHIFT+u now has a new tab "D", 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.

Appendix A: 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)
AWS Settings for Amazon Web Services
integration
REMOTESERVER Settings for workflows where local database
and media is uploaded to the Cloud
SUPPORT Project and Software versions
Dolby Vision Settings for Dolby Vision workflows
NETFLIX Settings for Netflix Cloud upload
194 | Appendix A: Preferences Page

Setting Page Description
SWIFT Settings for working with assets in the Cloud
through the SWIFT interface
A.1. The CAMERA Page

The CAMERA page has the following settings:
arri CAMERA Settings

Setting Description Note
ADA Pixel Aspect Correction Use ADA automatic pixel If enabled, this will
aspect ration correction to automatically desqueeze
resize image anamorphic footage when
using the ARRI developed
debayer.
Alternate Crop Use alternate cropping If enabled, this will crop files
method for ARRIRAW files according to the crop settings
in the ARRIRAW file
metadata.
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 Turn On or Off Black and Should be enabled in
Processing White ARRIRAW processing instances where the Black
and White processing is not
correctly set in the metadata.
A.1. The CAMERA Page | 195

Ignore ND Filter For old projects to use the Should be enabled in
regular white balancing gains instances where the Ignore
ND Filter processing is not
correctly set in the metadata.
Saturation in Look How to interpret the In the ARRIRAW pipeline,
saturation in the header. CDL saturation processing is
is not compatible with Arri handled by default in the
Look ARRIRAW node. This is a
slower but higher quality
process, but in some cases
where the footage is to be
exported for use in CDL based
applications, this may be
changed to use CDL instead.
sony CAMERA Settings

Decoding Debayering method to use Decide between either the
{Colorfront developed
debayering or the Sony
developed one.
MXF Fast Read Enable/Disable SonyF65 fast With certain storage
read 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 If this is enabled, the image
or not 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

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 Half setting is faster to
resolution process but results in a lower
image quality than Full.
red CAMERA Settings

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. Both
RedWideGamutRGB and
Log3G10 are supported.
DEB Use Dragon Enhanced Black Enabling this option will
option 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 This setting determines the
setting 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 This setting determines
setting which Time Code to use by
default.
File Read Timeout Timeout for RED image In cases where RED render
access in ms 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 This setting is for selecting
image 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 This setting determines
imported RED movies which detection mode to use
for detecting multi-exposure
HDR footage in RED camera
footage.
HDRx Offset Offset for Alternative HDRx This setting determines the
Mode 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.

Ignore User Curve Ignore the user curve This setting is used in cases
metadata from the where the Ignore User Curve
RMD/header flag found in RED camera
footage metadata or RMD
Sidecare metadata should be
ignored.
Lock Color Settings If enabled pipeline creation Enable this setting to prevent
will not change the Curve and the automatic configuration
Color setting of the Colorspace and Gamma
Curve settingswhen creating
a new RED camera footage
pipline.
Use GPU Use GPU or CPU for Red If enabled, this setting will
Debayer 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 If this setting is enabled, the
adjust the RED CDL metadata 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 Enable to use the RED Rocket
acceleration 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 If the option is enabled,
acceleration for Background Transkoder will use the RED
Rendering 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

CropCleanAperture Crop the image based on the Enabling this will use the
Quicktime Clean Aperture metadata information in the
parameter 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 Disable to ignore apha
444 formats 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

Phantom Hour Compensation Compensating the Local and This setting defines the
UTC timecodes with hours number of hours to
compensate the Local or UTC
timecodes of the Phantom
file metadata.
Phantom Main Timecode The main timecode of the This setting determines
Phantom footage which of the four possible
Timecodes to use from the
Phantom metadata.
Phantom Tone Curve Turn off the Tone Curve in the This setting determines if the
CINE file if there is one Tone Curve is processed from
the CINE file or not provided
one exists.
indiecam CAMERA Settings

ForceWhiteBalance Use white balance Forces the image processing
coefficients 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

ForceHalfProcessing If DNG image width is greater This option, if enabled, is
thean 3072 this option forces used to speed up decoding
half resolution for debayering but lowers image quality.
A.2. The AVID Page

The AVID page has the following settings:
AVID page Settings

Avid60to30TCConv Convert the 60fps TC to This setting is for
30fps for older Media compatibility with older AVID
Composers Media Composer applications
which can not fully process
60fps TC.
AvidMOBID Generate common MOBIDs If rendering multiple
for Avid MXFs 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 This setting uses an AVID API
generated Avid mxf files to to automatically upload AVID
Interplay mxf result renders to AVID
Interplay
InterplayDirectWrite Write directly to the Shared If this setting is enabled,
Folder before Interplay Transkoder will write AVID
checkin 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/fol
der 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.
InterPlaySharedStorageFolde Interplay’s shared storage This is usually a mapped
r network drive or folder on the
local Transkoder workstation.
InterPlaySharedFolderPrefix Subfolder on the Interplay’s This can be any name desired
shared storage for the project sub-folder on
the AVID Interplay shared
storage and is used to group
and identify result renders
copied from Transkoder.
A.3. The BASE Page

The BASE page has the following settings:
BASE page Settings

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 Default timecode where
Timeline 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 Project resolution driving the
height Reframe node part of the
default pipeline.
Stereo Stereoscopic 3D project Stereo / Mono project.
A.3. The BASE Page | 203

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 Relevant for Dailies: basic
shots metadata fields the operator
can inspect and edit in the
basic metadata inspector (E)
Project Match Indices Indices of metadata fields Indices of the metadata items
that identify audio, first specified above that match
metadata is 0 audio metadata: Scene/Take
or Scene/Slate/Take
typically.
Advanced Settings
Imported Still Length Default length of imported
stills in seconds. 0 means
single frame
Container The name of the input media Affects the Load Page screen
on the GUI 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 These logo files - up to 10 -
burnin can be a accessed as a
custom burnin:
$logo:mylogo$ where
mylogo.tga is the logo copied
to this folder. The file format
has to match the example
colorfront.tga already there.
Content Descriptors Home for sidecar files, such
as bitrate, psnr, maxfall,
maxcll, etc.
Project Media Structure Describes the project Relevant for dailies
structure for images files workflows.
Project Audio Structure Describes the project Relevant for dailies
structure for audio files workflows.
Project Look Structure Describes the project Relevant for dailies
structure for imported look workflows.
files
Project Organization Metadata field for Relevant for dailies
organization media, usually workflows.
the date
Metadata Path Home of the project
metadata.
(SystemPojectFolder stands
for C:/ProgramData/…)
A.3. The BASE Page | 205

Project Additional Data Metadata fields that are also
Names 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 This setting refers to one of
template to use for stills and the formats within the
slate images. Enter the project; the imported stills in
format name here. 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
A.4. The CONFORM Page

The CONFORM page has the following settings:
CONFORM page Settings

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 Custom metadata field of the
Name 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
A.5. The ENCODE Page

The ENCODE page has the following settings:
ENCODE page Settings

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
A.5. The ENCODE Page | 207

Rendered Media TC The main timecode in the To encode files with a pre-
MXF/ALE 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 This option has been
in the ALE 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
Burnin Padding Padding of the
ShotFrameCount and
CustomFrameCount burnin

Date Format Date format for burnins
ENCODE page Copy Settings

Archive Audio Archive the audio file next to
the shot
Archive Audio Later Archive the audio files after
everything else archived
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
Ingest Path
Ingest Path2
Ingest Path3
Ingest Path4
Archive Path
Archive Path2
Archive Path3
Archive Path4
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
A.5. The ENCODE Page | 209

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
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 of Watermarking
Strength
Encode V210 Range Defining the range when
converting to V210 from RGB
A.6. The DCI Page

The DCI page has the following settings:
DCI page Settings

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
Atmos Sync Channel Overwrite 14th channel with
Atmos sync data
DCI Encryption Key Home Project folder to collect
encrypted DCI MXF keys
A.6. The DCI Page | 211

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 being imported
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 When enabled the time code
TimeCode embedding into information is embedded into
DCI MXF. Use this with the track files. Make sure to
caution! 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 Import CPLs based on MXF The possible values are Off,
Timecode StartTimecode and place and On. When on the track
them accordingly on the files are added to the timeline
timeline. according to the embedded
time code.
A.7. The IMF Page

The IMF page has the following settings:
IMF page Settings

Package Asset Creation By default Transkoder creates
Hard Links in IMP package
folder. User can force
Transkoder to copy the media
anyway
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)
Enable Dolby Vision Enable Dobly Vision
metadata extraction from
MXF files. Disable can speed
up media parsing from slow
drives
Fix Timecode Track Set the frame rate of the
timecode in the audio mxf
files instead of the sample
rate
Advanced Settings
MaxFALL override If set to a positive number
MaxFALL value in the CPL will
be this number
A.7. The IMF Page | 213

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 being imported
Path For Validation Report If empyt reports will be
generated into default folder.
Otherwise to directory set by
user
Meta Cache Dir Directory where the IMF
readcache files are saved

A.8. The GUI Page
The GUI page has the following settings:
GUI page Settings

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 Quick jumb backwars
Frames 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
A.8. The GUI Page | 215

Default Dissolve Length The default dissolve length in
seconds
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
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 So far this setting has
controlled both the timeline-
exiting and application
exiting. From now on the
timeline-exiting is always
enabled, 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 Scale Color circle scale (default 1.0)
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 Bin Metadata Display metadata colors on
the bin thumbnails
Thumnail Overlay Transparency of the flags
Transparency displayed on the thumbnails
A.8. The GUI Page | 217

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 If this is enabled, upon
Wizard loading a new camera format
the template wizard window
will be shown
Alternate Marker Drawing Enable alternate Positional
Marker drawing
A.9. The VIDEO Page

The VIDEO page has the following settings:
VIDEO page Settings

Video Out Video output mode
Video Device Video device
Progressive Format P or PSF mode for AJA rasters
HDMI Use Output Use HDMI output, works with
AJA Io4K/Kona3G/Kona4
Dual Video Out Mode Seperate dual video out mode
- AJA only
Advanced Settings

Clean Output Display just the image on the
video output
Video During Encode Video output during
Encodeing
Multi Channel Stereo Stereo modes using
multichannel duallink output
Output Port DVS output port selection
Full To Legal On Second Apply full to legal conversion
Screen to video output on second
screen
YUV mode Using yuv cpu buffers
Color Depth12bit Use 12 bit color depth
HDMI Color Depth 10bit Use 10 bit color depth on
HDMI output
HDMI Output RGB Use RGB output on HDMI
output
HDMI Range Input HDMI input range
HDMI Audio Eight Channels Use 8 channels for HDMI
audio
Video IO Speed Video io speed whether 3G or
not
Video Signal3G Level B 3G Level B Signal
Video With Audio Need sdi embedded audio or
not
Aja Board Sort Mode AJA boards sorting mode
ARRICAP Enabled Enable built-in ARRI Camera
Access Protocol client
ARRICAP Address ARRICAP server address:port
ARRICAP Password ARRICAP password
Canon Monitor Enabled Enable built-in Canon
Monitor client
Canon Monitor Address Canon Monitor address:port
Canon Monitor User Lut Index Canon Monitor user LUT
index
Canon Monitor3D Lut Index Canon Monitor 3D LUT index
A.9. The VIDEO Page | 219

Canon Monitor Channel Index Canon Monitor channel
Teradek Enabled Enable built-in Teradek COLR
client
Teradek Address Teradek COLR address:port
Teradek Channel Index Teradek COLR channel
Box IO Enabled Enable built-in Box IO client
Box IO Address Box IO address:port
Box IO Dual Channel Box IO dual channel mode
Box IO Channel Index Box IO channel0
Box IO Channel2Index Box IO channel1
Canon Monitor Permanent Store LUTs sent to Canon
Save Monitor permanently
Teradek Permanent Save Store LUTs sent to Teradek
permanently
Box IO permanent Save Store LUTs sent to Box IO
permanently
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
To connect
through AJA board  the controller
device and
Transkoder a
special cable
is needed.
Please
contact
support for
assistance.
Aja2Kx1080Mode Set AJA 2Kx1080 flag

Aja Level A To Level B Set AJA automatic level A/B
Conversion conversion
Aja VPID AJA VPID bit options
Aja Video Standard Video standard to set on AJA
boards
Aja QHD On Two Wires Two/Four channel QHD mode
on AJA boards
Reference Signal Set reference signal source
for AJA boards
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
Dual Video Out Progressive P or PSF mode for AJA rasters
Format
Dual Video Out YUV mode Using yuv cpu buffers
Dual Video Out Color Use 12bit color depth
Depth12bit
Dual Video Out Video IO Video iospeed whether 3G or
Speed not
Dual Video Out Signal3G 3G Level B Signal
Level B
Dual Video Out RGB Range Range of RGB values in AJA
Framebuffer when converted
to YUV (single link output).
Works with Kona 3G Quad,
Kona4, AJA Io4K
Dual Video Out Set AJA 2Kx1080 flag
Aja2Kx1080Mode
Dual Video Out Aja Level A To Set AJA automatic level A/B
Level B Conversion conversion
Dual Video Out Aja VPID AJA VPID bit options
A.9. The VIDEO Page | 221

Dual Video Out Aja Video Video standard to set on AJA
Standard boards
Dual Video Out Aja QHD On Two/Four channel QHD mode
Two Wires on AJA boards
Video IO Type
A.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

Requirements: AJA Corvid88, Windows platform. This feature does not
 support 3D stereo mode.
A.9.2. Video Output Auto Resize

A new video setting has been added 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).
A.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 3rd channels, and will work in QHD up to 30 FPS or to 60 FPS with halved
video frame rate enabled.
A.9.4. Lock SDI Output to Reference Signal

Enable this with Video settings / Reference Signal parameter.
A.10. The AUDIO Page

The AUDIO page has the following settings:
AUDIO page Settings

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)
A.10. The AUDIO Page | 223

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 Remove spaces from the
Metadata BWF metadata, such as
Scene and Take
Advanced Settings
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 Auto update the playback
Update mixdowns based on the
selected audio track
Playback Volume
Auto Pull
Mixdown Channels Number of channels
displayed in audio mixdown
window (default 24)
A.11. The STARTUP Page

The STARTUP page has the following settings:
STARTUP page Settings

App Support Path
Auth Passwor Authentication password
Auth User Authentication user name
Background Render Enable if you want to run
Compatible Transkoder and background
render on the same machine
CP200Panel IP Address The IP prefix (first 3 numbers)
Prefix of the network of the CP200
Panels
CP200Panel Ids Connected CP200 Panel IDs.
Example: 1,1327
Compression Use compression
Console Enabled Enable the console
A.11. The STARTUP Page | 225

Database Server Network address of the
database server
HTTPS Use secure connection
Home Install home
Project Name Project name
A.12. The CONFIG Page

The CONFIG page has the following settings:
CONFIG page Settings

Resolution
Thread Num Override This will override the loading
threadnum, if not -1
Use Display GPU for Playback Use the display for processing
Use Display GPU for J2K Use the display GPU for J2K
Decoding decoding
A.13. The GRADE Page

The GRADE page has the following settings:
GRADE page Settings

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 Enables the application of
Apply metadata of imported looks
upon loading a NEW timeline
Advanced Settings
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/stereosc
opic nodes are animated
together
Lut Dir Location of the folder
containing LUTs
Export Lut Type
Multi Cam Look EMD If multi-camera looks are
imported from LIVE!
autoapply the corresponding
A and B camera look
A.13. The GRADE Page | 227

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 Metadata name for automatic
Name 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 Use CDL nodes in
Enabled 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 This applies when exporting
exported stills to be stills through the File menu.
downscaled to fit into
2048x1080
Still File Extension Type of the saved still image The default setting is png,
file: jpeg, png, tiff, or dpx and when saving a still, the
format selected in this setting
will be used.
Still File Name Filename pattern of the saved Still File Path
still ($DateTime$ and
$AppName$ usable only
here)
Filepath pattern of the saved Use2094-10Metadata Whether to use metadata
still coming from the files or use
the SDRRemap tool
parameters

A.14. The METADATA Page
The METADATA page has the following settings:
METADATA page Settings

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 Enable for calculating the
Number 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
Audio Channel Names On Channel names separated by
Timeline 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
A.14. The METADATA Page | 229

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.LabRo
ll and
edls.SrcTCIn=shots.TCin
flex Link Describes how to link FLEx
events to shots
metadata Matching LUT List of metadata in order of
name 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)
csv Header Items Metadata to be exported in
the look CSV
qc Table Header Items Metadata to be displayed in
the QC table window (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
A.15. The QC Page

The QC page has the following settings:
QC page Settings
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
Corrupt Frame Detection Enable corrupt frame
detection
Maximum Brightness For Valid values are between
HDR 100.0 and 10000.0
Minimum Brightness For Minimum brightness of pixels
CIEXY to show up on HDR Analyzer
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 Scrubbing audio when
Audio jogging with the control knob
A.15. The QC Page | 231

A.16. The SUBTITLE Page
The SUBTITLE page has the following settings:
SUBTITLE page Settings

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
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
Border Size
Shadow Offset
Shadow Feather
Advanced Settings

Subtitle Color Conversion Targe Color Space for
Subtitles
DCI Subtitle MXF Encryption Control the encryption of the
DCI SMPTE subtitle MXFs
SMPTEDCI Subtitle Version SMPTE DCI Subtitle XML
namespace version
DCI Safe Caption Export Export DCI ClosedCaption
files according to isdcf best
practice document. (Ignore
LoadFont attributes.)
A.17. The USER Page

The USER page has the following settings:
USER page Settings

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
Bin Cpl Metadata Labels Metadata to be displayed in
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
A.17. The USER Page | 233

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
Show Loaded Name Show loaded timeline name
in player
Default Transkoder Project
Path
Clone Active
A.18. The AWS Page

The AWS page has the following settings:
AWS page Settings

access-key AWS Access Key
secret-key AWS Secret Key
ca-bundle Certificate Bundle
render-tempdir Local temporal directory for
renders to S3 path
HTTPS HTTPS Connection
A.19. The REMOTESERVER Page

The REMOTESERVER page has the following settings:
REMOTESERVER page Settings

Upload Type Select upload type

Database Server IP address of the remote
database server
Database Name Name of the project on the
remote server
Auth User User of the remote server
Auth Password Password for the user
HTTPS Security of the http
communication
Compression Compression of the http
communication to gain speed
Fileserver Alias Friendly name of the remote
server
Fileserver IP address of the remote
server
Fileserver Folder Folder on the remote server
Fileserver User User of the remote server
Fileserver Password Password for the user
A.20. The SUPPORT Page

The SUPPORT page has the following settings:
SUPPORT page Settings

Create Version This is the revision number of The operator cannot change
Transkoder that was use to this.
create the current project.
A.20. The SUPPORT Page | 235

Processing Version When introducing a bugfix or By default this setting is the
enhancement that would same as the Create Version,
change the image processing however the user can update
in a new software version, it to enable fixes / changes
still the legacy processing is introduced in a recent
used in existing projects to software revision.
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.
Sony SDK version
RED SDK version
AJA SDK version
Arri SDK version
A.21. The NETFLIX Page

The NETFLIX page has the following settings:
NETFLIX page Settings

Automatic Proxy Upload Automatically uploading the
generated proxy after the
rendering
User Netflix username
Password Netflix password
ASCP Key Path Location of the Netflix ascp
upload key file
Work Dir Working directory, temporary
image sequence archives will
be created here
Partner Name Partner name associated with
the uploaded content

Project UUID UUID of the project on Netflix
Client Id Client ID on Netflix
Secret Secret associated with Client
ID on Netflix
Authorization URL Netflix authorization URL
Upload URL Netflix upload URL
ASCP Path Location of the ascp binary
(eg. the one bundled with
Aspera Connect application)
A.22. The SWIFT Page

The SWIFT page has the following settings:
SWIFT page Settings

Tenant Swift Tenant
Username AWS Secret Key
Password Swift API Key
A.22. The SWIFT Page | 237

Appendix B: 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.
B.1. DCP Validation

The following checks can be performed:
B.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.
238 | Appendix B: Validation

Assetmap chunk length is valid
Checks if the referenced files sizes match the related assetmap files 'Length' entry.
B.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.
B.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
B.1. DCP Validation | 239

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.
B.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
B.1. DCP Validation | 241

related xml schema.
B.2. IMP Validation

The following checks can be performed:
B.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.
B.2.2. Packetlists (PKL)

PKL exists
Checks if the Packing List files listed in the assetmap exists in the IMP volume at the path

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.
B.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
B.2. IMP Validation | 243

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

Appendix C: Metadata
C.1. 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.
C.1.1. Exporting EMD

• To export individual EMD files for every clip in the current timeline, select the File ▸
Export Looks ▸ From Timeline as EMD menu option.
◦ EMD files contain the grade, clip metadata, zoom settings, and audio sync.
EMD files are exported to the emd sub-folder inside of the TransferDate folder.
• To backup your work at any time, export the EMD files, by archiving or renaming this
folder.
◦ This is easier than backing up the database, and much easier to restore.
 The EMD files do not contain global settings like burn-ins and preferences.
C.1.2. Importing EMD

• To import 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 lookstore when
importing looks from On-Set Live, Colorfront’s live grading application.
 Make sure to place EMD files and .sdi stills into the looks sub-folder of the
TransferDate folder.
C.1. EMD (Express Metadata) | 245

Appendix D: Setting up Avid Interplay in
Transkoder 2016 Update 2
Transkoder on the Windows platform can automatically check in the rendered Avid mxf into
the Avid Interplay server. This means, that at the end of the render, the Avid mxf file will be
copied into the Avid Interplay shared storage and metadata will be check in to the Interplay
server. Then your Avid system will automatically see the rendered media. If there is an error,
you can see it in the console.
D.1. Setup
To setup the automatic Interplay checkin in Transkoder 2016 Update 2:
1. Open the desired Transkoder project and load a timeline.

2. Navigate to the AVID sub-page of the Preferences page by pressing TAB and clicking on
the AVID tab.
3. Fill out the following Avid Interplay parameters:
a. Interplay WS Endpoint (For example: http://12.13.14.15/services/Assets) This is the
address of the Avid Interplay WS server.
b. Interplay URI (For example: interplay://WGC/Catalogs/Colorfront/test3) This is
the name of the Bin/Catalog/folder where to upload the clips on the Interplay
system.
c. Interplay Shared Storage Folder This is the path of the Avid Interplay shared
storage where the rendered media is to be uploaded and is usually a mapped
network drive.
d. Interplay Username This is the user name of the user whose credentials will be used
on the Avid Interplay system.
e. Interplay Password This is the password of the user whose credentials will be used
on the Avid Interplay system.
f. Interplay Automatic Upload This should be enabled for automatic Avid Interplay
checkin.
g. AvidMOBID This should be set to Master+Source to have Transkoder generate the
same MOBIDs for the different resolutions of the same footage.
h. Interplay Shared Folder Prefix 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.
246 | Appendix D: Setting up Avid Interplay in Transkoder 2016 Update 2

i. Interplay Direct Write This should be enabled to allow Transkoder to write AVID mxf
result renders directly to the Avid Interplay shared storage even before they have
been checked in to Interplay.
Transkoder Avid Interplay Settings
4. Navigate to the Encoder page by pressing p.

5. Add your Avid deliverables
6. Specify the desired Avid Interplay Shared Storage folder to use for each Avid deliverable
by clicking on the [ … ] button under the INTERPLAY field on the encoder configuration
pane on the right hand side.
D.1. Setup | 247

Transkoder Avid Interplay Shared Storage Folder in the Encoder Configuration Pane
D.2. Troubleshooting
Please send us debug log files, if something is not working as expected.
Step-by-step guide for setting up the debug mode and log files:
1. Navigate to the USER sub-page of the Preferences page by pressing TAB and clicking on
the USER tab.
2. Set the Log Level Console and Log Level File parameters to debug
3. Run Transkoder and generate your Avid deliverables
4. Open the c:\Program Files{app-installation-folder}\log folder and send us the log files
for the given day.
The log files should be named like this: On-Set Dailies-2016-10-31.log and log_On-Set
Dailies-2016-10-31.log
248 | Appendix D: Setting up Avid Interplay in Transkoder 2016 Update 2

Appendix E: Encoding Profiles
E.1. IMF Application#2 (ST2067-20:2016)
JPEG2000 Profiles
Broadcast Contribution Single Tile Profile Level 1
Broadcast Contribution Multi-tile Reversible Profile Level 6
Broadcast Contribution Multi-tile Reversible Profile Level 7
E.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 Max. compressed Bit Rate#
rate (MSample/s) (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.
E.1. IMF Application#2 (ST2067-20:2016) | 249

E.3. IMF Application#2 Extended Plus (ST2067-
21:2016)
JPEG2000 Profiles
Image 1..3840 1..2048 2049..4096
Frame
Width
Image 1..2160 1..1556 1..3112
Frame
Height
JPEG2000 Broadcast Broadcast 2K IMF 2K IMF 4K IMF 4K IMF
Profile Contributio Contributio Single/Mult Single Tile Single/Mult Single Tile
n Single Tile n Multi-tile i-tile Lossy i-tile Lossy
Profile Reversible Reversible Profile Reversible Profile
Profile Profile Profile
JPEG2000 Level 1, Level 6, Mainlevel 1, Mainlevel 2, Mainlevel 1, Mainlevel 2,
Operating Level 2, Level 7 Mainlevel 3, Mainlevel 4, Mainlevel 3, Mainlevel 4,
Levels
Level 3, Mainlevel 5, Mainlevel 6 Mainlevel 5, Mainlevel 6,
Level 4, Mainlevel 7, Mainlevel 8
Level 5
JPEG2000 n/a Sublevel 0 All allowed Sublevel 0 All allowed

Operating only at a given only at a given
Sublevels Mainlevel Mainlevel
with the with the
exception of exception of
Sublevel 0 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 1..3840 1..4096
Width
Image Frame 1..2160 1..3112
Height
250 | Appendix E: Encoding Profiles

Characteristic Constraint
Colorimetry COLOR.3 COLOR.4 COLOR.5, COLOR.3 COLOR.5,
COLOR.7 COLOR.6,
COLOR.7
Pixel Bit 8, 10 10, 12 8, 10 10, 12

Depth
Frame Progressive
Structure
Stereoscopy Monoscopic, Stereoscopic
Frame Rate 24, 24/1001, 25, 30, 30/1001, 50, 60, 24, 24/1001, 25, 30, 30/1001,
60/1001 50, 60, 60/1001, 120
Sampling 4:2:2 4:4:4

Quantization QE.1 QE.1, QE.2
Color Y’C’BC’R R’G’B

Components
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.
E.3. IMF Application#2 Extended Plus (ST2067-21:2016) | 251

E.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 Allowable Sublevels (see
Rate (MSamples/sec) Operating Sublevels for IMF
Profiles)
Mainlevel 0 Unspecified Unspecified
Mainlevel 1 65 Sublevels 0 upto 1
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
252 | Appendix E: Encoding Profiles

# Max. compressed bitrate = Max. instantaneous bit rate Mega (M), in the
 context of this Specification, is 106.
E.4. JPEG2000 ISO 15444-1:2016 | 253

Appendix F: Central DB Configuration
These are the step-by-step instructions about how to configure the shared database server
for OSD/TKD workstations and render only instances on the Windows or/and Mac client
machine(s), as well as how to export/import OSD projects from the local computer(s) to the
Linux based database server.
A shared database server can be an OSD or 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. For details please see
F.1. How to adjust the database server in OSD on the

client computer
F.1.1. OSD application
• Exit the OSD application.
• Go to /Applications/OSD2016 folders on Mac, or/and to C:/Program
files/OSD2016 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.
F.1.2. OSD Bg Render application

First exit the OSD 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 OSD Bg Renderer client computer(s) need to pick up the render
jobs submitted by ALT+R in the OSD software.
Mac
Open the /Library/LaunchDaemons/com.colorfront.osd.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:
254 | Appendix F: Central DB Configuration

$ launchctl unload
$ sudo chmod 644
$ launchctl load
• Adjust the value of the DatabaseServer parameter of the startup.xml and

startup_template.xml files under /Applications/OSD2016/render/config
folders.
• Launch OSD Background Renderer application, either from
/Applications/OSD2016/render folder (small orange ball icon needs to appear on
the tray).
Windows
• Open the C:/Program files/OSD2016/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/OSD2016/render/config folder .
• Launch OSD Background Renderer application, either from C:/Program
files/OSD2016/render/ folder (small orange ball icon needs to appear on the tray).
F.2. 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 OSD or Transkoder client already configured
to use the central database and make a new project. This will automatically configure all
users in the central database.
F.2. Install a central Linux database server | 255

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
C:\xampp\htdocs\common\auth.inc file.
F.3. Moving Projects to the Central Database

F.3.1. Project database export on the OSD 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
F.3.2. 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
F.3.3. Add the project to the project list in the database

Please either export the "projects" table of "projects" database also on the OSD 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 "OSD_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 On-Set Dailies.
256 | Appendix F: Central DB Configuration

F.3.4. 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 OSD Mac computers and/or at this
location: C:/xampp/htdocs/<yourProject> on the OSD 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 OSD 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.
F.3. Moving Projects to the Central Database | 257

Appendix G: BinWindow Search Queries
G.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
G.2. BinWindow Search Query String Rules

Please follow these rules when formulating query strings:
G.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
258 | Appendix G: BinWindow Search Queries

returned list.
G.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.
G.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.
G.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.
G.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.
G.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.
G.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.
G.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.
G.2. BinWindow Search Query String Rules | 259

G.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:
G.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.
G.2.11. Relative: "newer_than:Friday", "older_than:yesterday"

Similar to "older"/"before" and "newer"/"after", but allows relative dates.
260 | Appendix G: BinWindow Search Queries

Appendix H: Supported Subtitle Formats
Subtitle Formats Notes Import Export
Cheetah cap OK
Digital Cinema 1.0/1.1 XML OK OK
interop (Text, Images,
Stereoscopic)
Digital Cinema ST0428-7:2010/2014 OK OK
SMPTE (Text, XML, MXF
Images, Stereoscopic)
DFPX (Distribution OK
Format Exchange
Profile)
Scenarist SCC OK
Sony BDN v1.1 (Text, OK
Images, Stereoscopic)
TimedText (TTML- XML, MXF OK OK
IMSC1 text profile)
TimedText (TTML- XML, MXF OK OK
IMSC1 image profile)
Appendix H: Supported Subtitle Formats | 261

Appendix I: Control Panels
I.1. Configuring Control Panels
I.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.
I.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
I.1.3. Tangent Element

Tangent Element panels can can be connected to the Transkoder system via USB 2.0-A to
262 | Appendix I: Control Panels

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.
I.2. Tangent Control Panels Key Mappings

I.2.1. Tangent Element Cb
Panel Button Function in grading Function in split view
mode mode
Knob 1/1 Change Brightness Show Normal View
Knob 1/2 Change Contrast Show Split Heads
Knob 1/3 Change Saturation Toggle Adjust Split
Head
Knob 2/1 Change Red Offset Switch to head A
Knob 2/2 Change Green Offset Switch to head B
Knob 2/3 Change Blue Offset Toggle heads
Button 1/1 Save Grade To The Toggle Offset
Lookstore
Button 1/2 Next Look Copy to Toggle Power
Selected
Button 1/3 Apply Grade To The Toggle Slope
Shot From The
Lookstore
Button 2/1 - -
Button 2/2 - -
Button 2/3 - -
Button A Double press will reset Show Still
all changes to the
default values
Button B Change between Change between
grading and split view grading and split mode
modes
Button Backward Play Backward Play Backward
Button Stop Stop Playback Stop Playback
Button Play Play Forward Play Forward
Button Previous Shot Jump Backward Shot Jump Backward
Button Next Shot Jump Forward Shot Jump Forward
I.2. Tangent Control Panels Key Mappings | 263

Panel Button Function in grading Function in split view
mode mode
Trackball Navigate on the Change split slider
timeline parameters
I.2.2. Tangent Element Kb

Panel Button Function
Knob 1/1 Change Brightness
Knob 1/2 Change Contrast
Knob 1/3 Change Saturation
Knob 2/1 Change Red Offset
Knob 2/2 Change Green Offset
Knob 2/3 Change Blue Offset
Button A Double press will reset all changes
to the default values
I.2.3. Tangent Element Tb

Panel Button Function
Button A Double press will reset all changes
to the default values
Button B Toggle change saturation with
Trackball 1 slider
Trackball 1 Change Offset values
Button 1/1 Reset Trackball 1 changes
Button 1/2 Reset Slider 1 changes
Trackball 2 Change Power Values
Trackball 3 Change Slope values
264 | Appendix I: Control Panels

Appendix J: Trouleshooting
J.1. Helping Support Troubleshoot Issues
J.1.1. Files to Provide
To get support the most efficient way please collect the following items and attach to your
request:
• Transkoder log file saved right after the issue. On Mac based systems the log files are
located in the current user’s home directory, on Windows in the log folder under the
install home.
• Any possibly related non-sensitive metadata or sample files.
• Crash dump files. On Windows based systems look for .dmp files in the bin directory, on
the Mac use the Console application.
J.1.2. Logging Level

The operator can control the log level from the Preferences page under the User settings.
The Log Level File controls the granularity of the error messages written to the log file.
Setting this to "debug", or whatever the Colorfront support / engineering team advises will
help gathering important information when investigating any issue.
J.2. Application Does not Launch

J.2.1. Gaphics Driver issues
Please make sure to install the supported display driver. If upgrade is necessary it is noted in
each release letter.
J.2.2. Problems with Remote Desktop Services

• Microsoft Windows Remote Desktop services cause Colorfront products not to run.
Please avoid this kind of remote login.
• While VNC may work, some VNC server configurations may cause Colorfront products
not to launch. Please follow these steps to reconfigure the VNC Server:
◦ In the systray, right click on the VNC Server icon
◦ Select Status
J.1. Helping Support Troubleshoot Issues | 265

◦ Select Configure
◦ Select Advanced (if it is in Basic mode)
◦ Select Expert tab
◦ Find and change UpdateMethod to 0 (2 is known to tbe problematic)
J.3. Playback Issues

Please always check the performance window Ctrl+P when having issues with playback. The
"Read Ahead" buffer indicates the source read from storage, if this number is decreasing
Transkoder has trouble reading the source frames fast enough. Please make sure the
storage is fast enough.
GPU utilization indicates if the GPU is the processing bottleneck. The "Result Read Ahead"
shows the result cache size, having this number decreasing means Transkoder cannot
produce the final frames fast enough. This may be indicative of storage read issues as well
as GPU bottleneck.
J.3.1. Video (SDI) output vs GUI monitor

When video output is enabled Transkoder gives higher priority to it, so the GUI playback
may drop frame. Please use the video monitor for playback and QC.
J.3.2. GUI Windows

Some UI elements may affect real time playback performance. Please disable all windows,
such as the Bin, the timeline or the Analyzer windows when playback is not real time in spite
of the source buffers being full.
J.4. Performance Issues

J.4.1. Startup XML
Modifying the startup.xml file allows advanced users to tweak the configuration of the
software. This may increase or decrease performance. To eliminate this unknown factor
please remove the startup XML file, and let the software automatically re-generate it. This
way the original configuation will be restored.
J.4.2. Background Render Compatible Flag

Please make sure to disable the this flag in the settings, to achieve the best performance.
266 | Appendix J: Trouleshooting

J.5. Image Processing Issues
J.5.1. Highlights are clipped for YUV video sources
Try changing the Convert V210 to Legal option in the Grade section of the
settings/preferences page.
J.6. Licensing Issues

J.6.1. License is Received as Text
A software licenses is a plain text file containing the license string. It must be name tkd.lic
and placed in the following folder:
OS X
/Applications/OSD2016/license
Windows
C:\Program Files\OSD2016\license\
If you recieved the license in an email as plain text:
1. Copy the license string to the clipboard.

2. Open the existing tkd.lic file in a text editor such as:
OS X
TextWrangler
Windows
Notepad
3. Replace the old license string and save.
To ensure that you have a proper license file name, open the tkd.lic file’s
properties window to confirm the file’s name and extension by:
OS X
 Right-clicking and choosing the "Get Info" menu entry.
Windows
Right-clicking and choosing the "Properties" menu entry
J.5. Image Processing Issues | 267

J.6.2. Issues with the Dongle
J.6.3. Dongle is not Recognized (Mac)

In some rare cases after installing Transkoder, the dongle is not recognized by OS X and the
red light on the dongle is off.
Steps to get the dongle recognized:
1. Download the Mac Sentinel_Runtime.dmg package at

http://sentinelcustomer.safenet-inc.com/sentineldownloads/.
2. Run the installer.
The dongle will come online along with the red light.
J.7. System Configuration Issues

J.7.1. Computer restarts randomly while heavy processing (Windows)
It is recommended to run stress-testing on the system to see if the restart is connected to
heavy GPU or CPU use. If so, either power source (wrong cabelling of the GPU) or cooling
problems may be the issue. Available for free, GPU stress testing and CPU stress testing:
wPrime for multithread CPU testing and Furmark for GPU stress testing and i found a
Luxmark (win32/64, linux, mac) GPU stress testing application.

• wPrime http://www.wprime.net/Download/
• Furmark http://www.geeks3d.com/20150828/furmark-1-17-0-gpu-stress-test-
opengl-benchmark/
• Luxmark http://www.luxrender.net/wiki/LuxMark_v2#Download
• gpuz for logging. https://www.techpowerup.com/gpuz/
• cpuz for logging. http://www.cpuid.com/softwares/cpu-z.html
• OpenHardware for logging. http://openhardwaremonitor.org/
J.8. XAMPP Loses Control

Occasionally over time the XAMPP Control app will lose control of the MySQL process.
The XAMPP Control will show a red LED for MySQL but in reality MySQL is running in the
background.
Attempting to restart it will produce a message that another instance of MySQL is already
running.
This is not a problem for the general operation of Transkoder, however it should be
prevented during installation..
J.8.1. Restarting XAMPP (OS X)
How to use the Activity Monitor to force quit the MySQL process:
1. Quit Transkoder
2. Launch the Activity Monitor from /Applications/Utilities/Activity Monitor
J.8. XAMPP Loses Control | 269

3. Search for “mysql”.
4. Select the mysqld process.
5. Click the "Inspect" button.
6. Click the Parent Process link.
7. Quit the Parent Process.
8. Quit the mysqld process.
The process will quit after a few seconds.
9. Restart MySQL in the XAMPP Control panel.
J.8.2. Restarting XAMPP (Windows)

How to use the Task Manager to force quit the MySQL process:
1. Quit Transkoder
2. Launch the Task Manager by right-clicking the taskbar, and then clicking the Start Task
Manager menu entry.
3. Click the Processes tab to see a list of all the processes that are currently running under
your user account and a description of each process.
To view all of the processes currently running on the workstation, click

the [ Show processes from all users ] button.

If you’re prompted for an administrator password or confirmation, type
the password or provide confirmation.
4. Click on the mysqld to highlight it, and then click on the [ End Process ] button.
The process will quit after a few seconds.
5. Restart MySQL in the XAMPP Control panel.

Appendix K: Copyright Notices
OpenEXR Software Development Kit
Copyright © 2004, Industrial Light and Magic, a divisionof Lucasfilm Entertainment
Company Ltd. Portions contributed and copyrightheld by others as indicated.
All rights reserved.
http://www.openexr.com/license.html
wkhtmltopdf
GNU LESSER GENERAL PUBLIC LICENSE
Version 3, 29 June 2007
Copyright © 2007 Free Software Foundation, Inc.

http://fsf.org/
XAMPP
GNU GENERAL PUBLIC LICENSE
Version 3, 29 June 2007
Copyright © 2009, Carsten Wiedmann. All rights reserved.

ffmpeg
Version 2.1, February 1999
Copyright © 1991, 1999 Free Software Foundation, Inc.

51 Franklin Street, Fifth Floor, Boston, MA 02110-1301 USA
http://www.gnu.org/licenses/old-licenses/lgpl-2.1.html
Freetype 2.3.9, 2.3.5

GNU GENERAL PUBLIC LICENSE
Version 2, June 1991
Copyright © 2008 The FreeType Project (www.freetype.org). All rights reserved.

http://www.freetype.org/FTL.TXT
FTGL 2.1.3
Version 2.1, February 1999
FTGL - OpenGL font library

Copyright © 2001-2004 Henry Maddocks <ftgl@opengl.geek.nz>
Copyright © 2008 Sam Hocevar <sam@zoy.org>
Copyright © 2008 Sean Morrison <learner@brlcad.org>
http://ftgl.sourceforge.net/docs/html/index.html
Appendix K: Copyright Notices | 271

Inconsolata font
SIL OPEN FONT LICENSE
Version 1.1 - 26 February 2007
Created by Raph Levien using his own tools and FontForge. Copyright 2006 Raph Levien.
Released under the SIL Open Font License, http://scripts.sil.org/OFL.
Python 2.5.4 , 2.6

BEOPEN.COM LICENSE AGREEMENT FOR PYTHON 2.0
Copyright © 2001-2012 Python Software Foundation; All Rights Reserved

http://docs.python.org/license.html
LIBXML2 and LIBXSLT2
Developed for the Gnome project. Copyrighted under the MIT License.
Permission is hereby granted, free of charge, to any person obtaining a copy of this software
and associated documentation files (the "Software"), to deal in the Software without
restriction, including without limitation the rights to use, copy, modify, merge, publish,
distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom
the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or
substantial portions of the Software.
THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL
THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR
OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE,
ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR
OTHER DEALINGS IN THE SOFTWARE.
OpenSSL
The OpenSSL toolkit stays under a dual license, i.e. both the conditions of the OpenSSL
License and the original SSLeay license apply to the toolkit. See below for the actual license
texts. Actually both licenses are BSD-style Open Source licenses. In case of any license
issues related to OpenSSL please contact openssl-core@openssl.org.
OpenSSL License
Copyright © 1998-2011 The OpenSSL Project. All rights reserved.
272 | Appendix K: Copyright Notices

Redistribution and use in source and binary forms, with or without modification, are
permitted provided that the following conditions are met:
1. Redistributions of source code must retain the above copyright notice, this list of
conditions and the following disclaimer.
2. Redistributions in binary form must reproduce the above copyright notice, this list of
conditions and the following disclaimer in the documentation and/or other materials
provided with the distribution.
3. All advertising materials mentioning features or use of this software must display the
following acknowledgment: "This product includes software developed by the OpenSSL
Project for use in the OpenSSL Toolkit. (http://www.openssl.org/)"
4. The names "OpenSSL Toolkit" and "OpenSSL Project" must not be used to endorse or
promote products derived from this software without prior written permission. For
written permission, please contact openssl-core@openssl.org.
5. Products derived from this software may not be called "OpenSSL" nor may "OpenSSL"
appear in their names without prior written permission of the OpenSSL Project.
6. Redistributions of any form whatsoever must retain the following acknowledgment:
"This product includes software developed by the OpenSSL Project for use in the
OpenSSL Toolkit (http://www.openssl.org/)"
THIS SOFTWARE IS PROVIDED BY THE OpenSSL PROJECT ``AS IS'' AND ANY EXPRESSED
OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
DISCLAIMED. IN NO EVENT SHALL THE OpenSSL PROJECT OR ITS CONTRIBUTORS BE
LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR
CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF
SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS
INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN
CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE)
ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE
POSSIBILITY OF SUCH DAMAGE.
This product includes cryptographic software written by Eric Young (eay@cryptsoft.com).

This product includes software written by Tim Hudson (tjh@cryptsoft.com).
Original SSLeay License
Copyright © 1995-1998 Eric Young (eay@cryptsoft.com) All rights reserved.
This package is an SSL implementation written by Eric Young (eay@cryptsoft.com). The

implementation was written so as to conform with Netscapes SSL.

This library is free for commercial and non-commercial use as long as the following
conditions are aheared to. The following conditions apply to all code found in this
distribution, be it the RC4, RSA, lhash, DES, etc., code; not just the SSL code. The SSL
documentation included with this distribution is covered by the same copyright terms
except that the holder is Tim Hudson (tjh@cryptsoft.com).
Copyright remains Eric Young’s, and as such any Copyright notices in the code are not to be
removed. If this package is used in a product, Eric Young should be given attribution as the
author of the parts of the library used. This can be in the form of a textual message at
program startup or in documentation (online or textual) provided with the package.
permitted provided that the following conditions are met: 1. Redistributions of source code
must retain the copyright notice, this list of conditions and the following disclaimer. 2.
Redistributions in binary form must reproduce the above copyright notice, this list of
conditions and the following disclaimer in the documentation and/or other materials
provided with the distribution. 3. All advertising materials mentioning features or use of this
software must display the following acknowledgement: "This product includes
cryptographic software written by Eric Young (eay@cryptsoft.com)" The word
'cryptographic' can be left out if the rouines from the library being used are not
cryptographic related :-). 4. If you include any Windows specific code (or a derivative
thereof) from the apps directory (application code) you must include an acknowledgement:
"This product includes software written by Tim Hudson (tjh@cryptsoft.com)"
THIS SOFTWARE IS PROVIDED BY ERIC YOUNG ``AS IS'' AND ANY EXPRESS OR IMPLIED
WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO
EVENT SHALL THE AUTHOR OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT,
INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT
NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE,
DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY
THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING
NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS
SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.
The licence and distribution terms for any publically available version or derivative of this
code cannot be changed. i.e. this code cannot simply be copied and put under another
distribution licence (including the GNU Public Licence.)
XMLSEC library
MIT license, Copyright © 2002-2010 Aleksey Sanin. All Rights Reserved.
Permission is hereby granted, free of charge, to any person obtaining a copy of this software
274 | Appendix K: Copyright Notices

and associated documentation files (the "Software"), to deal in the Software without
restriction, including without limitation the rights to use, copy, modify, merge, publish,
distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom
the Software is furnished to do so, subject to the following conditions:
The above copyright notice and this permission notice shall be included in all copies or
substantial portions of the Software.
THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR
IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY,
FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL
THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR
OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE,
ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR
OTHER DEALINGS IN THE SOFTWARE.
ASDCP
Open Source License, Copyright © 2003-2015, John Hurst. All rights reserved.
permitted provided that the following conditions are met:
Redistributions of source code must retain the above copyright notice, this list of conditions
and the following disclaimer. Redistributions in binary form must reproduce the above
copyright notice, this list of conditions and the following disclaimer in the documentation
and/or other materials provided with the distribution. The name of the author may not be
used to endorse or promote products derived from this software without specific prior
written permission. THIS SOFTWARE IS PROVIDED BY THE AUTHOR "AS IS" AND ANY
EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED
WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE
DISCLAIMED. IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT,
INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT
NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE,
DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY
THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING
NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS
SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

Appendix L: Revision History
• 20161213 - Added Encoder List section to the Rendering Chapter and Avid, AvidSD, and
QuickTime sections of a new Appendix Encoders on the Encode Page Chapter.
• 20161204 - Added Appendix Preferences Page Chapter VIDEO, AUDIO, STARTUP,
CONFIG, GRADE, METADATA, QC, SUBTITLE, USER, AWS, REMOTESERVER,
SUPPORT, DOLBY VISION, NETFLIX, and SWIFT sections.
• 20161201 - Added Appendix Preferences Page Chapter BASE, CONFORM, ENCODE, DCI,
IMF, and GUI sections.
• 20161130 - Added Appendix Encoding Profiles Chapter.
• 20161128 - Added Appendix Preferences Page Chapter Camera and AVID sections.
• 20161123 - Updated Installation Chapter.
• 20161121 - Added QC chapter.
• 20161108 - Added Subtitle Chapter and Appendix Supported Subtitle Formats section.
• 20161019 - Added Audio for DCP Finalizing, Audio for IMF Finalizing, and Dolby Atmos ™
Audio sections to the Audio Handling chapter.
• 20161019 - Added Background Rendering and Render Queue sections to the Rendering
Chapter.
• 20161013 - New Render Chapter, additional updates to the Audio Handling chapter.
• 20160926 - Major Audio Handling chapter rework. Addition of Revision History.
276 | Appendix L: Revision History

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Transkoder 2016 Update 2

About Transkoder (TKD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Key Features of Transkoder 2016 Update 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Accessing the Transkoder Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Contacting Customer Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

1. Installation and Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

1.1. System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

1.2. Installation Step-by-Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

1.3. Reinstallation or Upgrade. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

1.4. Background Render Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

1.5. Application Removal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

1.6. Control Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

2.1. Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

2.2. Project Load Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

2.3. Main Load Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

2.4. Cards / Dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

2.5. Project VTRolls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

2.6. Project XML. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

3.1. Managing Bins in the Bin Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

3.2. Managing Assets within Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

3.3. Adding Assets to Bins from the Thumbnail Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

3.4. Changing the BinWindow Layout. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

4.1. Single and Multitrack Timelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

4.2. Timeline Operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

4.3. Thumbnail Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

4.4. Basic navigation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

4.5. Main Viewer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

4.6. Metadata Viewer and Tagging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

4.7. Metadata Tables. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

4.9. Edit Decision List Handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

5. Processing and Color Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

5.1. The Node Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

5.2. Editing Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

6.1. Grading Color Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

6.2. Color Grading Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

6.3. Using the Color Grading Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

6.4. Look Stores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

6.5. Importing Looks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

6.6. Exporting Looks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

6.7. Look Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

6.8. EMD Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

7. Tools/Nodes on the Node Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

7.1. An Introduction to Tools/Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

7.2. List of Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

7.3. Colorspace Tools' HUD Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

7.4. Grading Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

7.5. Enhance Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

7.6. Mask Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

7.7. Transform Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

7.8. Other Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

7.9. Predefined Workflow Pipelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

8.1. Creating multiple results on the Node Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

8.2. Encoders on the Encode Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

8.3. Encoder Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

8.4. Custom Encoders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

8.5. Setting Up Custom Pre- or Post-Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

8.6. Render Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

8.7. Background Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

8.8. Render Queue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

9. DCP and IMF mastering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

9.1. Setting up the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

9.2. Render Strategies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

9.4. Digital Cinema Packages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133