Hi all,
I have a 25p master file. I have received specs copied in an email (not an official spec sheet): “25fps (PAL) DNxHD 120 (SQ) as an interlaced MXF file”. Seems like I should export an MXF DNxHD SQ 1920x1080i file and call it a day, but I was wondering if anyone with more experience shipping spots to Australia had any suggestions. Thanks in advance
Hey Matt,
I have never shipped an Autralian spot as DNxHD 120 but it could be Adstream
There are two main companies controling the upload of Ads in Australia.
Peach who requires XDCAM HD422 as either .mxf or .mov
and
Adstream (recently acquired by Extreme Reach) who I always give ProRes 422HQ but they will take other formats one of which is actually DNxHD 120
I can share with you the Peach 2020 Technical specs:
IMD Peach specs.pdf (160.7 KB)
and the 2019 Adstream File Delivery Specifications that I have:
thats exactly how it is in germany btw…
Adstream was the only one i know of for a long time then they split up and became honeycomb and adstream and now peach…
I also use peach, the cool thing is that you can just create a test project to upload spots to have them run tech QC with vidchecker on it, so come delivery day you are ready even if the sound mix hasnt been done 
Thanks for the advice. How do I convert a 25p to 50i?
You don’t.
50i and 25p are both identical if the source content is progressive. Right?
I mean, 50i is just to interlaced frames of the same progressive frame, right?
Right?
right
True. Thanks for setting it straight!
yea youd still need to change the output to 50i, I usually use the adobe media encoder preset from peach… easy. its just 50i upper field first and you are done.
Sorry to belabor this, but the spec I am trying to deliver is MXF DNxHD SQ 1920x1080i. Flame only allows me to export this spec at 25fps (not 50i). Do I just export a 25p sequence and call it a day or to I reformat the master file 25 fps field 1 so every frame is duplicated?
export prores 25p from flame , the re/encode to 50i . they wont pass qc in 25p
Sorry I slightly got the wrong end of the stick.
If this is a 25p vs 50i discussion
I always supply to Adstream 422HQ AT 25p with no complaints.
The only 50i delivery I do is for Peach where I have matched their specs exactly.
My flame presets for Peach look like this. You can see that I can select the upper field (field 1) at the bottom where it says Scan Mode.
Beware! Peach does a QC, yes, but it doesn’t check for black frames that sometimes get exported from Flame. I have been burned badly by their (lack of proper) QC.
ouch! i did not know vidchecker doesnt check for
this
All our jobs are worked on as UHD progressive, but we often have to kick out an HD interlaced deliverable for UKTX and for this we have generally used the Scan Mode = Field 1 which @PlaceYourBetts mentions.
However we get a lot of problems with high frequency details (especially on drone material) producing what we affectionately call ‘zingies’ (kind of buzzing pixels) when the UHDp detail is crammed into the HDi signal. Our current solution for this involves a complicated pipeline with a progressive Flame export going via ContentAgent and an interlaced Avid timeline to produce the deliverable. Very boring, but it greatly reduces the artefacts.
If you add the field 1 tag on export as mentioned above then that will be good to go. I can say this as an Australian who has Hd to deliver DNxHD SQ OP1a mxf files many times.
When I export can I use a 25p timeline and tag that field 1 or must I first reformat to create a 25i timeline and then export?
Hi Dolvie, i’ve done some master for Australia and i’ve used peach as a delivering platform.
My workflow was to export a prores 4444 from Flame (25p) and then use a media encoder (adobe) preset available from peach website that converts the file in what you need (DNxHD SQ OP1a mxf) .
Peach MXF - No correction.epr.zip (10,4 KB)
No need to reformat. Selecting Field 1 will produce interlaced video from a progressive timeline.
Thanks all for the insight. Love this community.
