PHFX | tools :
framesToDataRate
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Select your preferences to generate datasheet
step onestep twostep threestep four
Pixel DimensionsEnter FPSProject DurationDelivery Codec
enter a Custom Resolution

pixel width


pixel height



or select from these Common Resolutions


or select a Format and Resolution from a Specific Camera



optional - choose a Recording Codec

All Available Codecs
* All Codecs are selectable even though each camera has it's own often unique recording codecs. I've enabled this ability to potentially generate a datasheet to highlight differences between cameras that capture at similar resolutions so you can observe data footprint differences between ecosystems. Most of the time you'll be pairing the appropriate Camera and Codec Combination for an acurrate Data Footprint.
RED REDCODE RAW DSCM3
RED introduced a new DCT based variable compressed REDCODE RAW codec with DSMC3 bodies. DSMC3 cameras can also record to ProRes as an Intermediate Codec and on some models you can record REDCODE RAW as well as ProRes Preview at the same time.
RED REDCODE RAW
REDCODE RAW is RED's Variable Bitrate Wavelet Based Compressed RAW Format. However, it's now possible to record to an Interemediate Codecs like ProRes and DNxHR/HD in camera individually or at the same time.
ARRI ARRIRAW
ARRIRAW is ARRI's uncompressed 12-bit and 13-bit RAW Codecs. ARRIRAW 13-bit is available on the Alexa 35 camera and likely future models.
SONY X-OCN
X-OCN is Sony's Linear Compressed RAW CODEC. The options for this codec represent different Compression Ratios which will have an impact on your data footprint.
CANON CINEMA RAW
Cinema RAW is Canon's RAW format. The Light variant is a Compressed RAW Codec that generally maintains the same maximum data rate at different frame rates.
Apple ProRes RAW
Apple ProRes RAW is a 12-bit Compressed RAW Codec that comes in two compression level variaties. It's commonly used as a RAW Codec in external recorders that receive a RAW Signal Feed from cameras that don't support Internal RAW Recording.
Blackmagic Design BRAW
BRAW is BMD's partially debayered Compressed RAW Codec.
XAVC
XAVC is a lightweight lossy codec based on H.264 introduced by Sony in 2012. It's typically used in compact cameras or projects with fast turnaround and low data footprint needs. There are many implementations of XAVC, I've included popular modern variations here.


* note - whatever your selection you'll always also see the Uncompressed DPX Full Resolution Data Rate as well as whatever Recording Codec you desire, very useful for post houses.

frame rate


or enter custom fps


length in hours


length in minutes


length in seconds


** day multiplier


*optional - will produce data rates in just hours, minutes, seconds, and per frame by default if you don't enter a Project Duration

** optional - Day Multiplier is useful if you are planning longer shoots and looking for Total Data Footprint
Formats/Resolution

This feature calculates the data rate for Apple ProRes, Avid DNxHR/HD, and Uncompressed DPX as well as scaling the Source Resolution to the selected container format's maximum width.

*note - Same as Source will pass through the Source Resolution, useful for calculating Transcodes or Data Rates for cameras that film at uniquely sized ProRes Aspect Ratios and Resolutions.

**note - if your input resolution is lower than Delivery Codec's Source Resolution, it will not upscale. Source Resolution or Downsample function only.

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