Saturday, December 7, 2013

[Avid-L2] Re: A new to me approach to ama linking?

 

I don't see UMID in the columns headers choices. Am I missing it or does it exist only in certain project types? Perhaps it's not something that can be viewed in a bin?

--- In Avid-L2@yahoogroups.com, "Dom Q. Silverio" <domqsilverio@...> wrote:
>
> Unique MATERIAL Identifier. Not media.
>
>
> On 12/7/2013 9:41 PM, johnrobmoore wrote:
> > I'm more familiar with ama'ing and transcoding to offline resolution and using the .new clips that are created during the transcode. The difference here is they chuck the .new clips and relink the original ama clips to the transcoded media. I am curious how the original ama linked clips know to relink to the transcoded clip media without a tape name or Kn number to link with. We are running V6 so the other options for relink with file names etc.... aren't there.
> >
> > Part of me thinks that the hybrid status of ama clips being somewhere between a tape based scenario and a file import there is a unc path like piece of metadata that is allowing the clips to relink to the transcoded media. This seems to work with or without the addition of a tape name before transcode although the AE says if you add a tape name everything has to be manually over cut later. I've not had a chance to test this.
> >
> > --- In Avid-L2@yahoogroups.com, namyrb <namyrb@> wrote:
> >> I believe this has always been the standard workflow. Or at least
> >> since MC5.0 (I haven't been in the game that for very long). It definitely
> >> works well as long as there aren't any bugs with the AMA plugins. We first
> >> used it with avchd media on 6.0 and it was a complete
> >> didn't-go-home-until-1pm-Saturday nightmare. Did it a little later using
> >> xdcam media and it was extremely quick and easy.
> >>
> >> But it's only easy if you know what you're doing. They need to rearrange
> >> the GUI somehow to make the process more streamlined and seem less like
> >> it's some kind of workaround... Or seem less like it's some kind of
> >> "secret."
> >>
> >> On Friday, December 6, 2013, John Moore wrote:
> >>
> >>>
> >>> To add a tape name when ama transcoding for offline or not? That is the
> >>> question. Some on the list no longer add tape names and some do out of
> >>> habit. I've been told about a new to me way to deal with ama that seems to
> >>> work solidly for the two AEs I heard it from. The process is:
> >>> 1: AMA link to media, in my current project it is Cannon but I'm not sure
> >>> which camera.
> >>> 2: No addition of Tape Name and transcode to offline SD media.
> >>> 3: Take the transcoded clips with the .new extensions and delete them.
> >>> 4: Unmount the ama source volume(s)
> >>> 5: Take the original ama'd clips in the original bin and relink them to
> >>> the newly transcoded media
> >>> 6: Edit offline using these clips
> >>> 7: Come online remount the original source files mounting the clips to a
> >>> new bin, I'm told not relinking the original bins, and voila the sequence
> >>> comes online.
> >>>
> >>> I'm told this works well. I don't understand what Avid uses for relinking
> >>> the original ama clips to the newly transcoded media which doesn't have a
> >>> tape name. We are on V6 so all the additional relinking choices aren't
> >>> available only tape and time code or Key Code numbers. So how does Avid no
> >>> to relink to the new transcodes? Then in online what metadata is avid
> >>> using to relink the sequence to what are brand new ama'd bins of the
> >>> original source clips? I'm told it works I just want to know more about
> >>> what's going on under the hood in this approach. Anybody got experience
> >>> with this?
> >>>
> >>> John Moore
> >>> Barking Trout Productions
> >>> Studio City, CA
> >>> bigfish@
> >>>
> >>>
> >>>
> >
> >
> >
> > ------------------------------------
> >
> > Yahoo Groups Links
> >
> >
> >
> >
>

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Posted by Video Geek Squad at 7:27 PM 0 comments

Re: [Avid-L2] Re: A new to me approach to ama linking?

 

Unique MATERIAL Identifier. Not media.

On 12/7/2013 9:41 PM, johnrobmoore wrote:
> I'm more familiar with ama'ing and transcoding to offline resolution and using the .new clips that are created during the transcode. The difference here is they chuck the .new clips and relink the original ama clips to the transcoded media. I am curious how the original ama linked clips know to relink to the transcoded clip media without a tape name or Kn number to link with. We are running V6 so the other options for relink with file names etc.... aren't there.
>
> Part of me thinks that the hybrid status of ama clips being somewhere between a tape based scenario and a file import there is a unc path like piece of metadata that is allowing the clips to relink to the transcoded media. This seems to work with or without the addition of a tape name before transcode although the AE says if you add a tape name everything has to be manually over cut later. I've not had a chance to test this.
>
> --- In Avid-L2@yahoogroups.com, namyrb <namyrb@...> wrote:
>> I believe this has always been the standard workflow. Or at least
>> since MC5.0 (I haven't been in the game that for very long). It definitely
>> works well as long as there aren't any bugs with the AMA plugins. We first
>> used it with avchd media on 6.0 and it was a complete
>> didn't-go-home-until-1pm-Saturday nightmare. Did it a little later using
>> xdcam media and it was extremely quick and easy.
>>
>> But it's only easy if you know what you're doing. They need to rearrange
>> the GUI somehow to make the process more streamlined and seem less like
>> it's some kind of workaround... Or seem less like it's some kind of
>> "secret."
>>
>> On Friday, December 6, 2013, John Moore wrote:
>>
>>>
>>> To add a tape name when ama transcoding for offline or not? That is the
>>> question. Some on the list no longer add tape names and some do out of
>>> habit. I've been told about a new to me way to deal with ama that seems to
>>> work solidly for the two AEs I heard it from. The process is:
>>> 1: AMA link to media, in my current project it is Cannon but I'm not sure
>>> which camera.
>>> 2: No addition of Tape Name and transcode to offline SD media.
>>> 3: Take the transcoded clips with the .new extensions and delete them.
>>> 4: Unmount the ama source volume(s)
>>> 5: Take the original ama'd clips in the original bin and relink them to
>>> the newly transcoded media
>>> 6: Edit offline using these clips
>>> 7: Come online remount the original source files mounting the clips to a
>>> new bin, I'm told not relinking the original bins, and voila the sequence
>>> comes online.
>>>
>>> I'm told this works well. I don't understand what Avid uses for relinking
>>> the original ama clips to the newly transcoded media which doesn't have a
>>> tape name. We are on V6 so all the additional relinking choices aren't
>>> available only tape and time code or Key Code numbers. So how does Avid no
>>> to relink to the new transcodes? Then in online what metadata is avid
>>> using to relink the sequence to what are brand new ama'd bins of the
>>> original source clips? I'm told it works I just want to know more about
>>> what's going on under the hood in this approach. Anybody got experience
>>> with this?
>>>
>>> John Moore
>>> Barking Trout Productions
>>> Studio City, CA
>>> bigfish@...
>>>
>>>
>>>
>
>
>
> ------------------------------------
>
> Yahoo Groups Links
>
>
>
>

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Posted by Video Geek Squad at 6:51 PM 0 comments

Re: [Avid-L2] Re: A new to me approach to ama linking?

 

As far as I understand it, with AMA media, Avid generates a Unique Media
ID based on various media properties. This UMID follows the transcoded
media.

On 12/7/2013 9:41 PM, johnrobmoore wrote:
> I'm more familiar with ama'ing and transcoding to offline resolution and using the .new clips that are created during the transcode. The difference here is they chuck the .new clips and relink the original ama clips to the transcoded media. I am curious how the original ama linked clips know to relink to the transcoded clip media without a tape name or Kn number to link with. We are running V6 so the other options for relink with file names etc.... aren't there.
>
> Part of me thinks that the hybrid status of ama clips being somewhere between a tape based scenario and a file import there is a unc path like piece of metadata that is allowing the clips to relink to the transcoded media. This seems to work with or without the addition of a tape name before transcode although the AE says if you add a tape name everything has to be manually over cut later. I've not had a chance to test this.
>
> --- In Avid-L2@yahoogroups.com, namyrb <namyrb@...> wrote:
>> I believe this has always been the standard workflow. Or at least
>> since MC5.0 (I haven't been in the game that for very long). It definitely
>> works well as long as there aren't any bugs with the AMA plugins. We first
>> used it with avchd media on 6.0 and it was a complete
>> didn't-go-home-until-1pm-Saturday nightmare. Did it a little later using
>> xdcam media and it was extremely quick and easy.
>>
>> But it's only easy if you know what you're doing. They need to rearrange
>> the GUI somehow to make the process more streamlined and seem less like
>> it's some kind of workaround... Or seem less like it's some kind of
>> "secret."
>>
>> On Friday, December 6, 2013, John Moore wrote:
>>
>>>
>>> To add a tape name when ama transcoding for offline or not? That is the
>>> question. Some on the list no longer add tape names and some do out of
>>> habit. I've been told about a new to me way to deal with ama that seems to
>>> work solidly for the two AEs I heard it from. The process is:
>>> 1: AMA link to media, in my current project it is Cannon but I'm not sure
>>> which camera.
>>> 2: No addition of Tape Name and transcode to offline SD media.
>>> 3: Take the transcoded clips with the .new extensions and delete them.
>>> 4: Unmount the ama source volume(s)
>>> 5: Take the original ama'd clips in the original bin and relink them to
>>> the newly transcoded media
>>> 6: Edit offline using these clips
>>> 7: Come online remount the original source files mounting the clips to a
>>> new bin, I'm told not relinking the original bins, and voila the sequence
>>> comes online.
>>>
>>> I'm told this works well. I don't understand what Avid uses for relinking
>>> the original ama clips to the newly transcoded media which doesn't have a
>>> tape name. We are on V6 so all the additional relinking choices aren't
>>> available only tape and time code or Key Code numbers. So how does Avid no
>>> to relink to the new transcodes? Then in online what metadata is avid
>>> using to relink the sequence to what are brand new ama'd bins of the
>>> original source clips? I'm told it works I just want to know more about
>>> what's going on under the hood in this approach. Anybody got experience
>>> with this?
>>>
>>> John Moore
>>> Barking Trout Productions
>>> Studio City, CA
>>> bigfish@...
>>>
>>>
>>>
>
>
>
> ------------------------------------
>
> Yahoo Groups Links
>
>
>
>

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Posted by Video Geek Squad at 6:49 PM 0 comments

[Avid-L2] Re: A new to me approach to ama linking?

 

I'm more familiar with ama'ing and transcoding to offline resolution and using the .new clips that are created during the transcode. The difference here is they chuck the .new clips and relink the original ama clips to the transcoded media. I am curious how the original ama linked clips know to relink to the transcoded clip media without a tape name or Kn number to link with. We are running V6 so the other options for relink with file names etc.... aren't there.

Part of me thinks that the hybrid status of ama clips being somewhere between a tape based scenario and a file import there is a unc path like piece of metadata that is allowing the clips to relink to the transcoded media. This seems to work with or without the addition of a tape name before transcode although the AE says if you add a tape name everything has to be manually over cut later. I've not had a chance to test this.

--- In Avid-L2@yahoogroups.com, namyrb <namyrb@...> wrote:
>
> I believe this has always been the standard workflow. Or at least
> since MC5.0 (I haven't been in the game that for very long). It definitely
> works well as long as there aren't any bugs with the AMA plugins. We first
> used it with avchd media on 6.0 and it was a complete
> didn't-go-home-until-1pm-Saturday nightmare. Did it a little later using
> xdcam media and it was extremely quick and easy.
>
> But it's only easy if you know what you're doing. They need to rearrange
> the GUI somehow to make the process more streamlined and seem less like
> it's some kind of workaround... Or seem less like it's some kind of
> "secret."
>
> On Friday, December 6, 2013, John Moore wrote:
>
> >
> >
> > To add a tape name when ama transcoding for offline or not? That is the
> > question. Some on the list no longer add tape names and some do out of
> > habit. I've been told about a new to me way to deal with ama that seems to
> > work solidly for the two AEs I heard it from. The process is:
> > 1: AMA link to media, in my current project it is Cannon but I'm not sure
> > which camera.
> > 2: No addition of Tape Name and transcode to offline SD media.
> > 3: Take the transcoded clips with the .new extensions and delete them.
> > 4: Unmount the ama source volume(s)
> > 5: Take the original ama'd clips in the original bin and relink them to
> > the newly transcoded media
> > 6: Edit offline using these clips
> > 7: Come online remount the original source files mounting the clips to a
> > new bin, I'm told not relinking the original bins, and voila the sequence
> > comes online.
> >
> > I'm told this works well. I don't understand what Avid uses for relinking
> > the original ama clips to the newly transcoded media which doesn't have a
> > tape name. We are on V6 so all the additional relinking choices aren't
> > available only tape and time code or Key Code numbers. So how does Avid no
> > to relink to the new transcodes? Then in online what metadata is avid
> > using to relink the sequence to what are brand new ama'd bins of the
> > original source clips? I'm told it works I just want to know more about
> > what's going on under the hood in this approach. Anybody got experience
> > with this?
> >
> > John Moore
> > Barking Trout Productions
> > Studio City, CA
> > bigfish@...
> >
> >
> >
>

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Posted by Video Geek Squad at 6:41 PM 0 comments

[Avid-L2] Re: Is it I or is it P?

 

When you originally transcoded in the 25P project did you check how Avid had interpreted the field motion of the ama'd clips? Avid does a poor job of properly estimating the field motion. A lot of time it chooses default which isn't always correct. Job is correct that electronically i and psf are basically the same except there is temporal displacement in i media that isn't there in psf media. The difference is in how it is flagged. In the HDSDI stream the vertical broad pulses for Psf are twice the duration of those for interlace for a total of 5 and in interlace there are 10 broad pulses.

I'm wondering if when you ama'd for the original transcode if you manually set the clips field motion to interlace if Avid would then chuck out the second Psf of the frame and double the first. In essence halving the vertical resolution. Similar to motion adapters choosing one field over both field. Worth a try just for the fun of it.

--- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@...> wrote:
>
>
> It makes perfect sense.
>
> If you have 50i footage and you store it as P, you are in essence folding both fields (1920x540 x2) into a single frame (1920x1080 x1).
>
> If you open that footage in a 1080i project, the field stepping command will let you step from one field to the next, where a field is nothing more and nothing less than half of the lines of any frame.
>
> Transcoding to P doesn't make it progressive.
>
> I or P, both are stored as a frame, but they are flagged differently.
>
> J
>
> On 7 dec. 2013, at 18:48, Roger <rogershuff@...> wrote:
> >
> > Came a cross a weird thing (well, maybe not if someone knows the answer). I had a card full of 1080i/50 footage from a Panasonic camera. For a rough edit, I decided to transcode to DNxHD36 (P) to keep the file sizes down. I set the Project format to 1080/25P and transcoded everything I needed. I then happened to examine some of this transcoded footage in a 1080i/50 format project, at full quality. I was able to step through field by field and both fields are still there. This is a dance studio so lots of movement - and I'm not just seeing the nudging up and down of the image that you usually get with progressive footage viewed in an interlaced project. It looks just like interlaced would. Am I mad? Symphony 6.0.4 on Mac OS 10.7.5.
>

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Posted by Video Geek Squad at 6:16 PM 0 comments

[Avid-L2] Mac Pro for sale -

 

I upgraded several systems to newer, (still second-hand) macs. Just listed the last surplus system I have for sale - it's a macpro 3,1 (harpertown) 3GHz 8-core, with 14gig ram, radeon 4870 graphics, system drive moved to optical bay #2. Fresh 10.8.5 install. Scratched and dusty but no dents. Works fine.

Ebay #151184073903

The first one went for about $700, the second, with a bad USB port, sold for $500. Those both had avid-qualified nVidia cards, though. The Radeon isn't 'avid-qualified,' but it was running media composer just fine before it was removed from service.

We do a ton of internet delivery, and updating our most-used edit bays to second-hand 12-core systems was well worth the cost in time savings. Media Composer runs fine on this machine - just doesn't render as fast as the 'westmere' machine that cost 6x as much as these are selling for.

Ok, i do have one other surplus machine - a 4-core first-gen intel that won't run the 64bit OS. So, if your boat is floating away, or if you want to run FCP like you did in 2001 (?) I'll make you a great deal on THAT computer!

gh
----------------------------------------------------
Greg Huson
Secret Headquarters, Inc
Post Production / Production
Culver City, CA
323 677 2092
www.DigitalServiceStation.com
greg (at) SecretHQ.com
www.SecretHQ.com

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Posted by Video Geek Squad at 12:28 PM 0 comments

[Avid-L2] A new to me approach to ama linking?

 

I believe this has always been the standard workflow. Or at least since MC5.0 (I haven't been in the game that for very long). It definitely works well as long as there aren't any bugs with the AMA plugins. We first used it with avchd media on 6.0 and it was a complete didn't-go-home-until-1pm-Saturday nightmare. Did it a little later using xdcam media and it was extremely quick and easy. 


But it's only easy if you know what you're doing. They need to rearrange the GUI somehow to make the process more streamlined and seem less like it's some kind of workaround... Or seem less like it's some kind of "secret." 

On Friday, December 6, 2013, John Moore wrote:
 

To add a tape name when ama transcoding for offline or not?  That is the question.  Some on the list no longer add tape names and some do out of habit.  I've been told about a new to me way to deal with ama that seems to work solidly for the two AEs I heard it from.  The process is:
1:  AMA link to media, in my current project it is Cannon but I'm not sure which camera.
2:  No addition of Tape Name and transcode to offline SD media.
3:  Take the transcoded clips with the .new extensions and delete them.
4:  Unmount the ama source volume(s)
5:  Take the original ama'd clips in the original bin and relink them to the newly transcoded media
6:  Edit offline using these clips
7:   Come online remount the original source files mounting the clips to a new bin, I'm told not relinking the original bins, and voila the sequence comes online.

I'm told this works well.  I don't understand what Avid uses for relinking the original ama clips to the newly transcoded media which doesn't have a tape name.  We are on V6 so all the additional relinking choices aren't available only tape and time code or Key Code numbers.  So how does Avid no to relink to the new transcodes?  Then in online what metadata is avid using to relink the sequence to what are brand new ama'd bins of the original source clips?  I'm told it works I just want to know more about what's going on under the hood in this approach.  Anybody got experience with this?
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@pacbell.net

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Posted by Video Geek Squad at 12:26 PM 0 comments

Re: [Avid-L2] Sorry, for two irrelevant OT posts in one morning, but I though this video was funny

 

That is hilarious.


On Fri, Dec 6, 2013 at 10:39 AM, Steve Hullfish <steve4lists@veralith.com> wrote:
 

A friend of mine had a very successful rock (Christian rock) career more than two decades ago. He shot this very funny Kickstarter campaign to fund his next album. I'm not asking anybody to donate, but the concept is funny. He had to renew his license to rock:



Steve Hullfish

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--
Tim McLaughlin
Final Cut, Avid and Premiere Pro Editor
http://vimeo.com/mcltim

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Posted by Video Geek Squad at 11:49 AM 0 comments

[Avid-L2] RE: Avid Customer Association?

 

Do you mean who else do the execs at Avid know, or who knows Avid? Almost all studio features are cut on Avid. And that's not broadcast TV.

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Posted by Video Geek Squad at 11:47 AM 0 comments

[Avid-L2] RE: Avid Customer Association?

 
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Posted by Video Geek Squad at 11:25 AM 0 comments

Re: [Avid-L2] Avid Customer Association?

 

Nice!  Great scene.


On Dec 7, 2013, at 1:09 PM, Job ter Burg (L2B) <Job_L2@terburg.com> wrote:

 


Funny how? You mean like a clown? It amuses you, it makes you f-ing laugh?


On 7 dec. 2013, at 19:00, <jeffsengpiehl@yahoo.com> wrote:

Funny thing is it's only Broadcast folks on the Executive board.   



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Posted by Video Geek Squad at 10:23 AM 0 comments

Re: [Avid-L2] RE: Avid Customer Association?

 


Funny how? You mean like a clown? It amuses you, it makes you f-ing laugh?


On 7 dec. 2013, at 19:00, <jeffsengpiehl@yahoo.com> wrote:

Funny thing is it's only Broadcast folks on the Executive board.   

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Posted by Video Geek Squad at 10:09 AM 0 comments
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