MXF Workflow in Live Sport Production
RTL Television in cooperation with WIGE MEDIA has used a native MXF workflow in an Apple based Final Cut Server and Final Cut Studio environment for the production of the boxing fight between Wladimir Klitschko and Samuel Peter.
For the first time in a live production native MXF data was loaded into Final Cut Server and edited in Final Cut Pro without any conversion being applied. This new workflow was made possible by using MXF Import QT to access native and conversion free MXF data in Mac OS X and compatible applications like Final Cut Studio and Final Cut Server, so time consuming and memory taxing conversion to the QuickTime MOV format can be avoided. Furthermore, with MXF an open and manufacturer independend media standard is used, that enjoys an ever growing popularity.
Other than Sony XDCAM, MXF Import QT supports numerous MXF variations like OP1a D10/IMX live ingest files from EVS. The streaming support enables direct access to the OP1a live-stream, without the recording being finished or a predefined duration being set.
EVS XT1
Up to four IMX30 live ingests within a native MXF-wrapper were transferred via the EVS XT1 directly to an Apple Xsan shared storage system. The MXF4mac software was installed on all connected Apple systems to facilitate the native MXF workflow. Thus Final Cut Server could read and distribute the MXF files natively. Two other Mac Pro based Final Cut Studio editing suites could access the OP1a files on the Xsan via Fibre Channel. Three Mac Book Pro connected via Gigabit Ethernet were used by journalists to screen the material. The MXF live streams could be edited natively in the Final Cut Pro timeline. The streaming support in MXF Import QT is designed to refresh growing OP1a MXF files in Final Cut Pro's timeline with a simple mouse click.
There is absolutely no buffering or chunking, the refresh of the streaming MXF media is done instantly without latency.
Sony XDCAM
In addition Sony XDCAM material was delivered by ENG crews. The footage was ingested natively via three Sony PDW-1500 Professional Disc Recorders that were attached to the network. A custom made application enabled either automatic or manual renaming of the MXF files and transferred them directly to the Xsan. The maximum transfer rate of 144 Mbit per second was fully utilized resulting in a 3x faster than realtime transfer.
As the MXF data didn't need any more conversion, it was instantly available. Even while a MXF clip was transferred it could be previewed in the Mac OS X Finder. If that wasn't fast enough, the files could be imported into Final Cut Pro while in transfer, even before Final Cut Server had logged them. That's effectively the fastest access to XDCAM data possible.
After editing in Final Cut Pro the timeline was exported back to MXF. The EVS then read the MXF files from a playout folder in the Xsan system.
This novel workflow was developed by André Aulich in cooperation with MXF4mac product manager Björn Adamski from Hamburg Pro Audio.