We're big fans of keeping it all Avid media. The main gotcha for this is storage space. We prefer to AMA the material in, add a tape number (usually based on the SxS card name or shoot date etc.) and consolidate to either the Unity, the ISIS or fast local storage (G-Speed ES etc). This gives us native format Avid indexed files (XDCAM 50Mbit/s etc). We then transcode down to 20:1 from there to another workspace for the offline. So we essentially have two identical sets of media at different resolutions on different workspaces. (we did initially transcode to DNX185 but using XDCAM natively works fine and uses up way less spece - as long as your workstations are reasonable fast they handle the Long GOP fine) When it comes time to online, simply attach/mount the online workspace and relink. Works like a charm with the following proviso - we have found that in order to relink properly we need to do a "show reference clips" on the final sequence and open all the bins that are used in the seq - this is where the tape number comes in useful as the bins are named the same as the tape number. Once all the bins are open, relinking the sequence works perfectly. This uses up a lot of storage but i guess that's just the way things are going. It also takes time to consolidate and transcode which your clients may not have. We have used AMA to transcode straight to 20:1, this does work fine but we would definitely transcode the final online sequence to DNX once it was relinked before the online editor starts work on it. The problem with AMA is that most productions want the drives back - they don't see them like a tape where they deliver to us and go buy some more stock for the next shoot - they see them as reusable so this defeats the purpose of AMA really. We have to back everything up on our storage and they don't even consider this and i don't think many people have reached a point where this is being properly charged for. We charge a client for tape stock witout fail but hard drive space is more intangible. Maybe this is a topic for another thread though!
I don't think a tape number is neccessary for relinking - i think the Avid uses the UMID and TC for that (correct me if i'm wrong) but it helps to identify where a clips genesis was. We'll often have two projects - one for the editors where they can cut and move clips around and change bin names etc and one digitising project where all of the footage gets brought in to start with. This digitising project has all of the rushes correctly labelled so we can always find where a clip has come from using the tape name/bin name combo. In terms of metadata, that's all we need. Then we just copy the bins across into the editors project. Works well for us and so far no nasty surprises - it's a beautiful thing to see a huge sequence which would have taken hours to conform come online in a few seconds!
Can't say much about mixed frame rates other than we always try and get everything the same before we put it in the timeline - if we can get it converted through an Alchemist, or change the frame rate with cinema tools, anything to get it 25fps before it gets into Avid.
HTH and happy Easter L'ers!
Andi
To: Avid-L2@yahoogroups.com
From: bigfish@pacbell.net
Date: Sat, 23 Apr 2011 19:55:37 -0700
Subject: [Avid-L2] Proper practices for file based offline/online
Just trying to "Keep It Simple Stupid" KISS when it comes to file based work flows. I don't think there is a one flow fits all solution but I'm trying to sort out a simple approach overall when people are planning to offline and online later. My gut feeling is AMA is not the best approach in these situations given the clips going offline for various reasons and an overall lack of stability. Are there any formats that will only work through AMA? Are there certain formats that work better if imported through ama as opposed to a traditional import. P2 comes to mind with the ability to turn off ama and do the original P2 import procedure. I seem to recall posts about more metadata coming through with ama but I'm not sure. I haven't had to sort out too many odd work flows recently so I'm trying to keep up on the gotchas that exist.
Bottom line if I tell people to always import to avid media is that the best method for assuring a proper conform later? The allure of ama and no import is no doubt leading to more problematic onlines or is it? Also mixed frame rate timelines seem to be a blessing and a curse when it comes to online, no batch import for example where the solution is to decompose the imports and then create a project for each frame rate used seems a bit complex but I assume that is working. I hope others can shed some light on the proper offline check list in the brave new mixed format/media world.
John Moore
Barking Trout Productions
Studio City, CA
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