Sets the channels to render.

If you set this to something other than all or none, you can use the controls on the right to select individual channels.

Sets the file path and name of the file to render. For frame numbers, you can use #### for each digit or the printf-style formatting %04d.

Sets the file path and name of a relevant proxy image. This proxy image is used if proxy mode is on and the required resolution is less than or equal to the proxy format.

Sets the frame mode:

• expression - Lets you enter an expression in the field on the right. The expression changes the relation between the currently processed frame and the numbering of the frame written out. The resulting file name for the current frame is displayed on the Write node in the Node Graph. For example, if your clip begins from frame 500 and you want to name that frame image.0001.exr rather than image.0500.exr, you can use the expression frame-499. This way, 499 frames are subtracted from the current frame to get the number for the frame written out. Frame 500 is written out as image.0001.exr, frame 501 is written out as image.0002.exr, and so on. Another example of an expression is frame*2. This expression multiplies the current frame by two to get the number of the frame that’s written out. At frame 1, image.0002.exr is written out; at frame 2, image.0004.exr is written out; at frame 3, image.0006.exr is written out; and so on.

• startat - Lets you enter a start frame number in the field on the right. This specifies the frame number given to the first frame in the sequence. The numbering of the rest of the frames is offset accordingly. For example, if your sequence begins from frame 500 and you enter 1 in the field, frame 500 is written out as image.0001.exr, frame 501 as image.0002.exr, and so on. Similarly, if you enter 100 in the field, frame 500 is written out as image.0100.exr.

• offset - Lets you enter a constant offset in the field on the right. This constant value is added to the current frame to get the number for the frame that’s written out. For example, if your clip begins from frame 500 and you want to render this first frame as image.0001.exr rather than image.0500.exr, you can use -499 as the constant offset. This way, 499 is subtracted from the current frame to get the number for the frame that’s written out. At frame 500, image.0001.exr is written out; at frame 501, image.0002.exr is written out, and so on.

Depending on the frame mode, you can enter a start frame, an offset, or an expression here.

Sets the color transform used to convert this file from Nuke's working space to the values written in the file.

The working space is defined in the Preferences or Project Settings > Color Management settings.

The default determines the LUT from the size and type of data in the file, and other information from the file header.

Note:  The control label has been updated, but the knob name currently remains the same. The knob name will also change in a future release.

When enabled, Nuke corrects the color to reproduce the partially transparent pixels created by some renders by dividing color data by the alpha channel before converting to the colorspace, and then multiplying by the alpha channel afterwards.

When enabled, Nuke does not convert the data.

For most file formats this is the same as linear colorspace but, for some, it may disable other processing such as conversion from YUV.

When you’re working with stereo footage, select the required view to render.

Sets the rendered file format manually, enabling type specific controls. See File Type Specific Controls for more information.

Note:  If file type is left blank, Nuke attempts to guess the format and disables any file type specific controls.

When enabled, the render operation creates the directory structure specified in the file control automatically, if it doesn't already exist.

When disabled, attempting to write to non-existent directories displays an error.

When multiple nodes are rendered at once, they are sorted into increasing order by this number.

Click to display the pre-Render setup window.

Sets the first frame of a sequence to render.

Sets the last frame of a sequence to render.

When enabled, only frames within the frame range are rendered.

Note:  If the specified frames are outside the sequence range, the Write node behaves as if it is disabled.

When enabled, the newly written file is passed down the node tree instead of the input.

Sets Nuke’s behavior when there is a problem with frames in the file:

• error - display an error in the Viewer.

• black - render suspect frames with a black frame.

• checkerboard - render suspect frames with a checkerboard.

• nearestframe - render suspect frames with the nearest good frame.

Click to re-read the image from disk.

When enabled, upstream Read nodes read whole frames, rather than line by line. This is currently limited to .dpx files, but can speed up scripts containing I/O-heavy Reads.

Context

OCIO Contexts allow you to apply specific LUTs to individual shots.

See Changing the Viewer Color Space for more information.

These functions run prior to starting rendering in execute(). If they throw an exception, the render aborts.

These functions run prior to starting rendering of each individual frame. If they throw an exception, the render aborts.

These functions run after each frame is finished rendering. They are not called if the render aborts. If they throw an exception, the render aborts.

These functions run after rendering of all frames is finished. If they throw an error, the render aborts.

Sets the bit depth of the rendered .dpx files:

• 8-bit

• 10-bit

• 12-bit

• 16-bit

When enabled, 10- and 12-bit data is compressed by removing unused parts of the image.

When enabled, the rendered file is big-endian, rather than native-endian. Big-endian files take longer to render, but some applications only accept big-endian files.

When enabled, the rendered .exr files are ACES compliant.

• The datatype and compression controls are disabled. ACES compliant .exr files written from Nuke are always 16-bit half float with no compression.

• An extra metadata field, chromaticities is written into the file.

When enabled, the bounding box is reduced to the none zero area of the image.

Note:  Autocrop is slow to process and generally not required, though some applications are able to read autocropped images more quickly.

Sets the bit depth of the rendered .exr files:

• 16-bit half

• 32-bit float

Sets the compression type to apply to the rendered file.

Note:  Selecting DWAA or DWAB as the compression setting allows you to specify the compression level using a slider.

Sets the view labeled as the main view in multi-view projects.

Determines what metadata is included with the rendered file:

• no metadata

• default metadata

• default metadata and exr/*

• all metadata except input/*

• all metadata

When enabled, unknown metadata keys are written into the file as they are.

When disabled, unknown metadata keys have the prefix nuke attached to them when they are written into the file.

Sets the interleave strategy for channels, layers, and views with a rendered .exr file. A single- or multi-part .exr file is created as described by the following options, with layers and parts sorted alphabetically:

• channels, layers and views - creates a single-part .exr file ensuring backward compatibility with applications that use OpenEXR 1.x.

• channels and layers - creates a multi-part .exr file with one part per view. This can improve Read performance as Nuke only reads the part associated with the specified view.

• channels - creates a multi-part .exr with one part per layer.

Interleaving is done between elements within a section (part) of .exr files. Interleaving channels, layers, and views is done when the whole .exr is written out in one large part. This is quicker for writing but it involves more work when reading only part of the data.

For performance, you should interleave only those elements which are expected to be read together. If you're only reading some layers in each Read node, then it's best not to interleave the layers.

If you expect to read all the layers in each Read node, then you can optimize write performance by bundling everything together. Generally, there are a lot of layers in .exr file so this control can make a big difference to both read and write performance.

When the channels control is set to all and interleave is set to channels, this dropdown specifies which channel is written first in multi-channel .exr files. All subsequent channels are written in alphanumeric order.

When enabled, the rendered EXRs follow the standard .exr format layer.view.channel

Note:  Older versions of Nuke use view.layer.channel for .exr files.

When enabled, always write the layer name in the channel names, folling the EXR standard.

When disabled, follow the legacy Nuke method of storing the layer name in the part name of multi-part files.

Sets the quality of the rendered JPGs.

Sets the codec to use during rendering. See the codec subsections for specific controls.

Sets the playback frames per second for the output file.

Animation Codec

Lists pixel formats supported by the current codec:

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Sets how many frames can be placed together to form a compression GOP (group of pictures).

Note:  Use caution with this control as large alterations can stop other applications reading the rendered file.

Apple ProRes Codec

Sets the codec profile to use when a ProRes codec is selected in the Codec control:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Sets the way RGB is converted to Y’CbCr. Rec 601 and Rec 709 follow the ITU.BC specifications.

Auto uses a set a heuristics to determine the best color matrix to use, including Format-based, which sets the color matrix to Rec 601 for formats with a width below 840 pixels and Rec 709 for formats with a width of 840 pixels or above.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Avid DNxHD Codec

Sets the codec profile to use when a DNxHD codec is selected in the Codec control:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Avid DNxHR Codec

Sets the codec profile to use when a DNxHR codec is selected in the Codec control:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

H.264 Codec

Sets the codec profile to use when a DNxHR codec is selected in the Codec control:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Selects a preset level that automatically adjusts the Advanced controls. Higher values produce larger files with better quality.

Select Custom to adjust the Advanced controls manually.

Sets the way RGB is converted to Y’CbCr. Rec 601 and Rec 709 follow the ITU.BC specifications.

Auto uses a set a heuristics to determine the best color matrix to use, including Format-based, which sets the color matrix to Rec 601 for formats with a width below 840 pixels and Rec 709 for formats with a width of 840 pixels or above.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Sets how many frames can be placed together to form a compression GOP (group of pictures).

Note:  Use caution with this control as large alterations can stop other applications reading the rendered file.

Sets the maximum number of B frames that can be consecutive in the rendered file.

The default, 0, does not impose any maximum number of B frames in the output.

Sets the target bitrate that the codec attempts to reach, within the limits set by the Bitrate Tolerance and Quantizer Min/Max controls.

Sets the amount that the bitrate can vary from the Bitrate setting. Setting this tolerance too low can result in renders failing.

Sets the quality range within which the codec can vary the image to achieve the specified bitrate. Higher ranges can introduce image degradation.

Motion JPEG A Codec

Lists pixel formats supported by the current codec:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Selects a preset level that automatically adjusts the Advanced controls. Higher values produce larger files with better quality.

Select Custom to adjust the Advanced controls manually.

Sets the way RGB is converted to Y’CbCr. Rec 601 and Rec 709 follow the ITU.BC specifications.

Auto uses a set a heuristics to determine the best color matrix to use, including Format-based, which sets the color matrix to Rec 601 for formats with a width below 840 pixels and Rec 709 for formats with a width of 840 pixels or above.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Sets the target bitrate that the codec attempts to reach, within the limits set by the Bitrate Tolerance and Quantizer Min/Max controls.

Sets the amount that the bitrate can vary from the Bitrate setting. Setting this tolerance too low can result in renders failing.

Sets the quality range within which the codec can vary the image to achieve the specified bitrate. Higher ranges can introduce image degradation.

Motion JPEG B Codec

Lists pixel formats supported by the current codec:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Selects a preset level that automatically adjusts the Advanced controls. Higher values produce larger files with better quality.

Select Custom to adjust the Advanced controls manually.

Sets the way RGB is converted to Y’CbCr. Rec 601 and Rec 709 follow the ITU.BC specifications.

Auto uses a set a heuristics to determine the best color matrix to use, including Format-based, which sets the color matrix to Rec 601 for formats with a width below 840 pixels and Rec 709 for formats with a width of 840 pixels or above.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Sets the target bitrate that the codec attempts to reach, within the limits set by the Bitrate Tolerance and Quantizer Min/Max controls.

Sets the amount that the bitrate can vary from the Bitrate setting. Setting this tolerance too low can result in renders failing.

Sets the quality range within which the codec can vary the image to achieve the specified bitrate. Higher ranges can introduce image degradation.

MPEG-4 Codec

Lists pixel formats supported by the current codec:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Selects a preset level that automatically adjusts the Advanced controls. Higher values produce larger files with better quality.

Select Custom to adjust the Advanced controls manually.

Sets the way RGB is converted to Y’CbCr. Rec 601 and Rec 709 follow the ITU.BC specifications.

Auto uses a set a heuristics to determine the best color matrix to use, including Format-based, which sets the color matrix to Rec 601 for formats with a width below 840 pixels and Rec 709 for formats with a width of 840 pixels or above.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Sets how many frames can be placed together to form a compression GOP (group of pictures).

Note:  Use caution with this control as large alterations can stop other applications reading the rendered file.

Sets the maximum number of B frames that can be consecutive in the rendered file.

The default, 0, does not impose any maximum number of B frames in the output.

When enabled, the maximum Bitrate is capped and the Bitrate Tolerance is set to 0.

This control is designed to reduce output file size, but the render quality is generally lower.

Sets the target bitrate that the codec attempts to reach, within the limits set by the Bitrate Tolerance and Quantizer Min/Max controls.

Sets the amount that the bitrate can vary from the Bitrate setting. Setting this tolerance too low can result in renders failing.

Sets the quality range within which the codec can vary the image to achieve the specified bitrate. Higher ranges can introduce image degradation.

PHOTO JPEG Codec

Lists pixel formats supported by the current codec:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Selects a preset level that automatically adjusts the Advanced controls. Higher values produce larger files with better quality.

Select Custom to adjust the Advanced controls manually.

Sets the way RGB is converted to Y’CbCr. Rec 601 and Rec 709 follow the ITU.BC specifications.

Auto uses a set a heuristics to determine the best color matrix to use, including Format-based, which sets the color matrix to Rec 601 for formats with a width below 840 pixels and Rec 709 for formats with a width of 840 pixels or above.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Sets the target bitrate that the codec attempts to reach, within the limits set by the Bitrate Tolerance and Quantizer Min/Max controls.

Sets the amount that the bitrate can vary from the Bitrate setting. Setting this tolerance too low can result in renders failing.

Sets the quality range within which the codec can vary the image to achieve the specified bitrate. Higher ranges can introduce image degradation.

Quantizer Max

PNG Codec

Lists pixel formats supported by the current codec:

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

When enabled, a time code track is added to the rendered .mov file.

You can also use the quicktime/reel metadata, if present, to give the track its reel name. You can add this key using the ModifyMetaData node if it doesn’t exist.

Note:  The input/timecode key must be present in the sequence metadata in order to write a time code.

Uncompressed Codec

Lists pixel formats supported by the current codec:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

Sets the way RGB is converted to Y’CbCr. Rec 601 and Rec 709 follow the ITU.BC specifications.

Auto uses a set a heuristics to determine the best color matrix to use, including Format-based, which sets the color matrix to Rec 601 for formats with a width below 840 pixels and Rec 709 for formats with a width of 840 pixels or above.

Allows you to specify a separate audio file to include in the output.

Either enter the file path manually or click the browse button to locate the audio file.

Sets the start time of any audio file specified in the Audio File control. The unit of measure is specified using the Units control.

Negative values cause the audio to start before the video and vice versa.

Sets the unit of measure for the audio offset control:

• Seconds

• Frames

Advanced

Sets the minimum and maximum color range values for encoding DNx files:

• Full Range - encodes with the full data range (0-255 for 8-bit or 0-1023 for 10-bit).

• Video Range - encodes with a reduced, or video/legal, data range (16-240 for 8-bit or 64-960 for 10-bit).

When enabled, MOVs are playable while still down loading during streaming.

Sets the codec to use during rendering.

Sets the operational pattern of the rendered file:

• OP-1a - combines audio and video into a single file, similar to Final Cut Pro X.

• OP-Atom - creates separate audio and video files, similar to Avid Media Composer.

Sets the playback frames per second for the output file.

Lists codec profiles supported by the current codec:

• Pixel layout - 420, 422, 444, and so on. This defines how the chroma channels in the buffer are arranged. 444 buffers have lower spatial chroma sampling than 422, so they are generally preferred when available.

• Pixel bit-depth - 8-bit, 16-bit, and so on. This sets the encoding depth used when decompressing the frames. A large bit depth gives higher accuracy at the cost of speed and memory usage.

When Pattern is set to OP-Atom, specifies a tape name that can be read by Avid Media Composer.

Advanced

Sets the bit depth of the rendered .sgi files:

• 8-bit

• 16-bit

When enabled, the rendered file is big-endian, rather than native-endian. Big-endian files take longer to render, but some applications only accept big-endian files.

Sets the bit depth of the rendered .tiff files:

• 8-bit

• 16-bit

• 32-bit float