Terry:
1) The pathname leading to the clip is relevant. That has to be unique.
The way i understand it up to now, it works backwards (from the Cxxx.MXF
being the most significant, back to the driveletter)
So if you have a lot of directories on multiple drives, asll called
/ShootDay01/Disc01/yadda, you're into trouble
But just one directory in front of that (ProjectX for drive #1, ProjectY for
drive#2), or just knowing which ones you need to pick to link, you're good
to go.
Can you make this bug reproducable?
2) Like i said, after a transcode on some filetypes (forgot which ones), the
SourcePath and SourceName refer to the Avid MXF, no longer the original AMA
clip.
In my workflow these columns need to be duplicated to custom columns
(preferrably prior to transcode, as they then are inserted in the actual
mediafiles rather than the project alone)
For XDcam it's a bit of a different thing, as XDcam is a bit like tape
ingest for Avid. You can do a batch import on XDcam, unlike other AMA files.
Nevertheless, for the WB story, my approach (well, my clients in this case)
is way different than what others might do....
Bouke
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS NIJMEGEN
The Netherlands
+31 24 3553311
www.videotoolshed.com
----- Original Message -----
From: "Terence Curren" <tcurren@aol.com>
To: <Avid-L2@yahoogroups.com>
Sent: Thursday, May 31, 2012 7:55 PM
Subject: [Avid-L2] Re: (now) AMA pitfalls? (was) Premier Media Management
Sucks....
Bouke,
Here are some issues I've seen. Using XDCAM discs AMA mounted to
transcode to lo-res clips for offline, then remount via AMA, relink, and
consolidate at high-res for finishing. Some clips relink to the wrong
shots. Haven't found a rhyme or reason yet.
Second issue, from the camera all clips have the same name "C0001".
After initial transcode to lo-res, they are renamed with the unique disk
number. When they are later relinked to the high-res version, the unique
clip name is overwritten by the original clip name. So every clip in the
timeline is named "C0001". Kind of kills Symphony's relational color
correction advantage. :-(
--- In Avid-L2@yahoogroups.com, "bouke" <bouke@...> wrote:
>
> I'm now working on a tool to copy / move AMA files from long time storage
> back to Isis (or whatever expensive storage)
> Client is using transcodes to offline resolution, and wants to relink
> sequences to the original AMA files, but only retrieve the ones actually
> used.
> Makes sense for them, as they have a huge amount of footage (and no, it
> ain't Mark R.)
>
> The pathname / filename is saved with the transcoded clips in most cases,
> otherwise it's a copy column to a custom column, and that makes for unique
> identifiers.
> So i'm curious what on earth could go wrong :-)
> (well, yes, beside the smiley, serious, as in my limited testing i could
> not
> get it to fail.)
>
> Bouke
>
> VideoToolShed
> van Oldenbarneveltstraat 33
> 6512 AS NIJMEGEN
> The Netherlands
> +31 24 3553311
> www.videotoolshed.com
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