RED WEAPON, SCARLET-W, & RAVEN Cameras Will Get Avid DNxHD/DNxHR Support

RED announced earlier today that all of their DSMC2 cameras will be getting Avid DNxHD and DNxHR codec support.

Their new body type, DSMC2, includes the WEAPON, SCARLET-W, and RAVEN cameras, all of which share similarities in construction and accessories, and already have support for recording RED RAW and Apple ProRes at the same time. This new firmware update will mirror that support, allowing you to shoot both RAW and one of these compressed Avid codecs simultaneously. 

Here's more from the press release:

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

The Avid DNxHR and Avid DNxHD formats will be added to the already impressive recording capability that RED’s DSMC2 cameras currently offer via REDCODE RAW® and Apple ProRes formats. Avid DNxHR and Avid DNxHD support will be made available to all DSMC2 cameras via a free firmware update in mid-2016.

Avid DNxHD has been around for years as one of the standard formats for post-production workflows, but Avid DNxHR is fairly new, and has only recently been supported in certain recorders and post software. Right now, DNxHR is capable of up to DCI 4K 12-bit 4:4:4, but we're not sure which flavors will be available on the cameras. We're also likely going to be limited to 2K or 1080p resolutions in these formats on the SCARLET-W and RAVEN (and WEAPON Magnesium), since only the Carbon Fiber WEAPON cameras can currently record 4K ProRes. 

Either way, if you own or will be purchasing one of these cameras, you'll be getting this free update sometime later this year.      

Your Comment

17 Comments

wow, that is awesome!

January 26, 2016 at 8:31PM

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Daniel Reed
Hat Collector
1410

I'm not quite sure why a $10K-20K camera cannot record 4K Prores when a $2K Odyssey 7Q can. Surely the licensing (if there is any) can't be THAT expensive and since all of these camera can do 4K raw...why no 4K Prores?

Or is this simply to protect the high end cameras?

January 26, 2016 at 9:06PM, Edited January 26, 9:06PM

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seanmclennan
Story Teller
921

It's a processing issue, which comes down to price/performance, and not just a way to protect the most expensive models. It's the same reason that none of these cameras have 4K HDMI or 4K SDI built-in.

I wish I knew more of the intricate details but I got a pretty no-BS answer and essentially all of the things we want will come eventually, but right now RAW quality is still their first priority, and whatever they can do for the money after that in the super tiny DSMC2 ASIC real estate is a bonus.

January 26, 2016 at 10:26PM

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Joe Marine
Camera Department
7054

Anyone still using Avid?

January 26, 2016 at 11:42PM

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You'll be surprised.

January 27, 2016 at 1:31AM, Edited January 27, 1:31AM

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Terma Louis
Photographer / Cinematographer / Editor
1664

Yes, many are. But DNxHD and DNxHR are great codecs on any editing platform—I can't think of another codec that has as much support from every NLE on both Windows and Mac. ProRes comes close. GoPro Cineform is getting there.

January 27, 2016 at 9:04AM

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David S.
3299

Wow.

January 27, 2016 at 7:38PM

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Sathya Vijayendran
Writer/Director/Editor
336

I guess better late than never.

January 27, 2016 at 1:20AM, Edited January 27, 1:20AM

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Terma Louis
Photographer / Cinematographer / Editor
1664

January 27, 2016 at 10:26AM

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Yes people use avid media composer very very very much. Most professional editors and post houses use avids work flow. It is the best way to comunicate with pro tools and resolve. Also I had heard rumors that Adobe will be allowing this codec into their software this year. Best way to edit offline proxies

January 27, 2016 at 12:07PM

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I don't think it speaks to resolve or protools any better that others. They are all outputting much the same file.

I think those that still use it still use it because a lot of shops bought into it years ago as in its time it was the safer option to purchase for the decision makers.

What was that saying "Nobody ever got fired for buying IBM"

January 27, 2016 at 1:32PM

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Your right but for me and some people cutting in avid direct link to pro tools and color in reaolve seems to work so well. And the last couple big projects that was the perfered pipeline for all parties involved

January 27, 2016 at 2:46PM

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Avid owns Protools. Avid exports XMLs that go into Resolve.

What's your beef with Avid? It's a tool used by movies and news, for 30 years.

January 27, 2016 at 7:46PM

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Sathya Vijayendran
Writer/Director/Editor
336

He uses something else. That's his beef.

Seriously it's incredible how insecure people are about their own workflow choices--they have to tell the world why they're all wrong.

January 28, 2016 at 12:01AM

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Kenneth Merrill
Director
1382

Thats a good move by RED, but I hope they also adopt VC-5 or the open version of Cineform when its finished. It is a better codec (Better pixels per byte then DNxHD) and has more capabilities that make it especially important going forward with HDR. Its also far more future proof etc..
The only issue is that it would devalue REDCODE as it can do a REDCODE type compression that you don;t need a RED-ROCKET. Its not as complex a compression (REDCODE is based on J2K), VC-5 is similar but 1/8 as had to compress. (Ie about 8x faster to encode/decode) then something like J2K. But has about 15-20% extra size. (Some more disk and runs real time on anything, or REDCODE and runs slow or needs a RED-ROCKET.)
Bring on VC-5.. I think it is looking like the better path. Disk is cheap.

January 28, 2016 at 2:03PM

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James Gardiner
CineTechGeek
184

I suppose they don't see prores and DNX as taking away from redcode due to the fact people will almost always grade the redcode raw. But yah red rockets won't be as important . Good riddance. I think red has figured out that it's best to stick to what they do well, making cameras... Leave the lenses and post stuff to those that do that well

January 28, 2016 at 3:00PM

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I'm REALLY late to the party but I'm confused as to why you would want to prores or DNxHR proxies or in camera recording vs redcode. Aren't the redcode files at 4:1 compression still smaller than 4:4:4 DnxHR 4K files and much more flexible in post?

July 10, 2017 at 1:44PM

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