RE: [Avid-L2] Re: Wow Size does matter in offline even at DNX 45

The large productions I work on all transcode down to 15:1s, 20:1 or 10:1 (PAL resolutions). A lot of the rushes are shot on XDCAM or other native formats so that's always kept native for online, anything else gets DNxHD185. The rushes are copied to a NAS, copied to an archive, AMA linked from the NAS in Avid and then transcoded down on to ISIS storage for offline editing. None of the shows I work on (a lot of reality tv like The Apprentice etc.) use DNX resolutions for offline, it's all SD still. Finally for conforming, the ISIS is unmounted, the AMA bins are reopened from the NAS and the sequence is relinked to the high res media and consolidated on to a new online ISIS workspace. Job done! (Although it's never that easy...)

Andi

To: Avid-L2@yahoogroups.com
From: yardley.david@yahoo.com
Date: Tue, 7 May 2013 10:30:42 +0000
Subject: [Avid-L2] Re: Wow Size does matter in offline even at DNX 45


























John,

At $75/Tb surely it is a no-brainer.

Avoid all that relinking mucking about.

I cannot resist saying that my first Avid storage was $4,000,000/Tb

Yay I had 1.5Gb!

David



--- In Avid-L2@yahoogroups.com, John Moore <bigfish@...> wrote:

>

> This is just an observation I had tonight on a project we've been working on at home. This was the test run on ama in house for me. I did the initial transcode to DNX 220 then transcoded that to DNX 45 for offline. I was surprised to see that the offline media for this half hour show was 341 GB and the online res was about 1.4TB. I know there are size calculators out there but I hadn't realize how much space an entire project takes at DNX 45. My work is mainly online so I've forgotten just how fast things add up in the offline world. It makes me rethink how I would manage a large reality production. Trying to keep all the original DNX 220 transcodes seems a lot less viable on a large scale than I had thought. I know storage is relatively cheap but even so it would get burned up pretty quickly the way I was approaching the in house show.

>

> I'm curious how others working on larger scale projects are going about the ama workflows. What I was hoping to avoid by initially transcoding to the online resolution seems like it wouldn't be sustainable on the typical Reality shows I work on.

>

> John Moore

>

> Barking Trout Productions

>

> Studio City, CA

>

> bigfish@...

>

> [Non-text portions of this message have been removed]

>



















[Non-text portions of this message have been removed]



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