DNxHR
DNxHR is Avid's post-production codec family for resolutions beyond HD.
What this is about
DNxHR fills the same slot in an Avid-centred pipeline that ProRes fills in an Apple-centred one, and both are intraframe intermediates. The naming differs: where ProRes tiers describe the codec variant, DNxHR tiers describe a quality target that applies at any frame size, from LB for offline work to HQX for ten-bit finishing and 444 for full colour. Its predecessor DNxHD was tied to fixed HD resolutions, which is precisely the limitation DNxHR removed. Mixed pipelines usually settle on one of the two and stick with it.
A term only helps when everyone on set means the same thing by it — so what follows is how it is used, not a dictionary definition.
What runs differently here
Where this differs from the general case:
- Tiers describe quality, not frame size: LB and SQ for offline, HQX for ten-bit finishing
- DNxHD was locked to fixed HD raster sizes; DNxHR works at any resolution
- In practice it is the Avid-side counterpart to ProRes — agree on one per project
With TillyGen
An exchange format noted once in the project plan saves the round of questions that starts when grading and sound receive files they cannot read.
Change one constraint and the consequences travel through the whole plan: affected shots are flagged, the call sheet is regenerated, and nobody keeps working from yesterday's version.
Frequently asked
DNxHR or ProRes for our project?
Follow the finishing house. Avid-based pipelines expect DNxHR, most others expect ProRes; both perform comparably as editing intermediates.
How long does it take to get started with TillyGen?
A first project takes under an hour to set up. There is no configuration phase in which templates and fields have to be defined before the tool produces anything.
Can the results be exported?
Yes — as PDF for the crew, CSV for downstream systems and through the API for anything automated. The plan stays the source; the exports are views of it.