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FCP and AVID joint native file access?
We currently shoot with Panasonic 3700 cameras – recording our medium on P2 cards
AVC-Intra 100 as a MXF P2 file structure. We do this so we can edit natively on both our AVID Symphonys and our Final Cut systems. This is key to our workflow survival.MY PROBLEM: We are switching to Panasonic AG-AF100s and can not afford to cause delays in POST. We would use the Camera’s onboard AVCHD files as a backup only. We intended to record the camera’s SDI on AJA KiPro minis in Apple Pro Rez HD – so we have 4:2:2 ( still 8 bit – which we can survive)
Our AVIDS can link to Pro Res –but they typically runs very slowly as a linked medium. Seemingly the only way to combat this is to transcode in the AVID to an AVID codec.
Transcoding will typically take us 1.5 to 2x real time. We can’t afford the linked slowdown in performance – nor can we afford the time to transcode at our post facility to make the AVID’s happy.SOLUTIONS?
– Is there a way in POST around this I haven’t thought of?
– Is there a software solution that allows me to have (not tying up an AVID suite) the Pro Rez footage “wrappered” somehow so I could deliver it ready to be used natively by both FCP and AVID?
— Is there a digital field recorder that records the camera’s SDI output that would give us something native to both edit systems (and works as reliably as the AJA KiPro mini)?
Any insights – or even speculative ideas would be very helpful.
Thanks to all of you who help with these sorts of things!-Doc
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3 Replies
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I dont think there is a software solution but there is a hardware solution. Editshare systems work natively with both FCP and Avid and Editshare Flow stores the media as UMF which effectively appears to FCP as a mov and Avid as a MXF etc.
Gaz Evans
Workflow Technician
The diROOM
https://www.diROOM.com -
What version of MC are you on? 5.0.x or 5.5.x?
How much of a performance hit are you seeing going from Avid DNxHD to ProRes? Is it responsiveness that you’re losing in the Avid? Dropped frames? Are you using a SAN or local storage…what kind?
ProRes is a 10bit codec, BTW.
You could record everything to XDCAM, which is cross platform, but it would require yet another hardware encoder instead of the KiPro.
Convergent Designs NanoFlash records into an XDCAM codec with the MXF file structure, so Avid can use AMA and FCP understands the file structure.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
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I have made a piece of software that can transcode from Prores straight to DNxHD.
It should be faster than RT, depending on your system.
Currently it only works for Mac, and is intended to work in the field, but there is no reason you could not use it in a studio environment.At this moment i only have a mac version that does NTSC frame rates, but i could make it for Windows as well.
Have a look here:
https://www.videotoolshed.com/product/15/offloader/3And, i could add an option to work with AVCHD clips straight away.
I don’t know how far the shooting is from the studio, but this thing was intended to start rendering during the shoot and the trip home, assuming / hoping that the render is finished when you get back.
Don’t hesitate to contact me to further customize / refine it, it is still work in progress.
Bouke
https://www.videotoolshed.com/
smart tools for video pros
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