--- In Avid-L2@yahoogroups.com, David Dawkins <dawk2@...> wrote:
>
> My preference (SANs Unity to throw a Canadian pun in) has always been
> separate drives for on-line and off-line media. Removing either
> combination of drives from the system guarantees that you can go always
> go back and make changes and then go forward and capture any additional
> media needed at the on-line res. No muss, no fuss, no confusion. One set
> of drives is your suspenders the other is your belt. Use one or the
> other, never both at the same time.
>
> DD
>
> johnrobmoore wrote:
> >
> >
> > I've been burned too many times having access to offline and online
> > media at the same time. The Avid occasionally burps and decides to
> > relink on it's own for whatever reason and guess what. It grabs the
> > first tape and time code that matches, which may or may not be your
> > online resolution. In fact I lost a show when this happened and I
> > didn't catch it, nor did anyone else, before air. I prefer to have a
> > video mix down for reference then there is no chance of cross
> > pollination of media. I know different work environments lend
> > themselves to different flows but once bitten twice shy. I take the
> > time to consolidate a project to it's own volume/workspace for online.
> > That plus a common graphics elements workspace keeps things managable
> > and easy to archive.
> >
> > --- In Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com>,
> > Dave Hogan <mactvman@> wrote:
> > >
> > > I agree that relinking sometimes seems like more art than science.
> > However, it is not always an option to throw away all your offline
> > media before doing online. Other editing may need to occur, and
> > changes happen, so I try to keep my low rez media around till the
> > project airs or releases.
> > >
> > > By relinking to a new sequence, or copying your sequence before
> > re-linking, you can preserve all your materials in the original
> > sequence, and if something off the wall happens, you can always gang
> > the original and re-linked sequences together to fix the possible
> > issues. Keeping a low rez copy of my edit handy also gives me
> > something to check against for reference, or the occasional sanity check.
> > >
> > > My approach may be influenced by the fact that most of my work these
> > days is promos and short form segments. I could see where it might be
> > scary to relink an entire show, and then have to check every
> > segment/act for accuracy. But that pretty much has to happen at some
> > point either way.
> > >
> > > Reel number issues can be dealt with in a relinking work flow, and
> > since I have been using a relink based workflow for a few years now, I
> > have gotten comfortable with it, and find it faster and more
> > beneficial in the long run.
> > >
> > > I guess the great thing about the AVID NLEs is the depth of the
> > product, and the fact that there are countless ways to approach and
> > solve problems in different ways.
> > >
> > > I wanted to share my approach on this list, because I have been
> > surprised at how many editors don't know about this workflow, which I
> > find faster, more efficient, and more flexible.
> > >
> > > I am curious, when you select the lower rez reference clips in your
> > sequence bin, do you delete the video for those clips?
> > >
> > > If you unlink the reference clips, then it could be a more
> > controlled way to do the same thing as using the relink tool, but
> > specifying just the sources you wanted to take offline. I will have to
> > try this on my next online and see how it works out.
> > >
> > > (on a side note, I miss early Netscape and the hotkey to the fishcam...)
> > >
> > > Dave Hogan
> > > Burbank, CA
> > >
> > >
> > >
> > > ________________________________
> > > From: johnrobmoore <bigfish@>
> > > To: Avid-L2@yahoogroups.com <mailto:Avid-L2%40yahoogroups.com>
> > > Sent: Wed, November 4, 2009 12:01:39 PM
> > > Subject: [Avid-L2] Expert Decompose based upon resolution, was: Re:
> > MC 4 upgrades
> > >
> > >
> > > Interesting approach but I find it faster to show ref clips and sort
> > by res then dump the undesired media then decompose. Relinking is
> > prone to subtle issues in this new file based work flows. Relinking is
> > both science and a bit of art. I've found that with adoption of
> > editing offline with full rez file based material the AEs inaccuracies
> > don't show up till you try to relink. Only then do you find duplicate
> > tape names etc... These errors would have shown up in a tape work flow
> > during recapture but now they are masked until you relink and the
> > sequence grabs the first instance of tape and time code it can find,
> > which may or may not be the right shot. This usually is a by product
> > of the addition of a tape name after the fact.
> > >
> > > --- In Avid-L2@yahoogroups .com, Dave Hogan <mactvman@ .> wrote:
> > > >
> > > > John,
> > > >
> > > > You know, with a few steps via the relink tool Media Composer has
> > had the capability for a while now to decompose based upon resolution
> > of the files.
> > > >
> > > > 1st step, start with a relink and select the method of "Specific
> > Resolution" it will look for everything equal or better than the video
> > rez you specify. Also make sure "Unlink Lower Quality Media" is
> > checked, and "Create New Sequence" is checked (or relink a copy of the
> > original sequence).
> > > >
> > > > A caveat here is that the re-link always unlinks all title media,
> > and may unlink imported effects. This is not a deal breaker, because
> > you get it back in a later step.
> > > >
> > > > The relink throws all the lower rez media off line, and then you
> > decompose the new sequence, selecting "Offline Media Only" and
> > "Captured Clips Only".
> > > >
> > > > After you have digitized all the decomposed clips, go back and do
> > a final relink, using "highest quality" and those pesky files that
> > were not tape sources, and were the correct rez or better, will come
> > back online without having to recreate title media or re-import.
> > > >
> > > > This capability has been around for a long time. My Media Composer
> > 2.8.4 has it. It is in 3.x, and I sure hope it is still in 4.x.
> > > >
> > > > Going via the relink step also picks up higher rez files that
> > might already be digitized (in a shared environment, or something done
> > a while back), so that you don't have to re-digitize footage already
> > on the system.
> > > >
> > > > I have heard some editors complain about using relink, but the
> > only time I have trouble with it is when I exceed 1,500 files per
> > folder on my drives (unity included). I have had several techs try to
> > tell me that systems can handle a far larger count than this, but I
> > stand by that number to this day. (Possibly because I work mostly on
> > Mac based AVIDs, and the OSX finder is a slow beast with lots of
> > files). Hope this filecount can go up a bit once Snow Leopard gets
> > certified, but I will wait and see on that one.
> > > >
> > > > Dave Hogan
> > > > Burbank CA
> > > >
> > > >
> > > >
> > > >
> > > > ____________ _________ _________ __
> > > > From: johnrobmoore <bigfish@ >
> > > > To: Avid-L2@yahoogroups .com
> > > > Sent: Thu, September 24, 2009 11:12:25 AM
> > > > Subject: [Avid-L2] Re: MC 4 upgrades
> > > >
> > > >
> > > > I like my version better but this is still nice. Say I've got a
> > mixture of offline and online resolution material. Wouldn't it be nice
> > to be able to decompose only the low res stuff leaving the full res
> > alone? Maybe down the line something like this could be added?
> > > >
> > > > _,_._,___
> > > >
> > > >
> > > >
> > > >
> > > > [Non-text portions of this message have been removed]
> > > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
> >
>
> --
> David Dawkins
> 780-905-9121
> dawk2@...
>
>
>
> [Non-text portions of this message have been removed]
>
------------------------------------
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