Michael Kammes
Forum Replies Created
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As long as you’ve downloaded the Avid DNxHD codecs (avid.com/dnxhd), you can do DNxHD.
Under File Format in your Inspector tab, select ‘Quicktime Movie”.
Click “settings” next to the word “video”.
A pop up window then allow you to choose your DNxHD parameters.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Most apps which read audio OMFs have the option to retain the automation, fades, etc.
Have him start a new project to test and check his import window.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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I penned a handy dandy guide which can be applied to just about any transcoder for creating DNxHD files which can be fast imported into Media Composer:
https://michaelkammes.com/encoding/avid-is-self-aware-fast-import/
Hope it helps.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Ahh, here it is:
https://www.avid.com/US/products/ISIS5000/features
Dual Gbit link
Support for load sharing across two 1GBit Ethernet ports (except DC model.
This works when going through a Force 10 switch, NOT direct connected to the ISIS itself.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Hey Bob-
Avid ISIS supports bonding on the client side – 2 single GIGe ports at the time. Don’t what else to tell you other than it works, and Avid supports it. It’s gotta be some voodoo with the ISIS client software on the client side, and using the qualified Intel Pro NIC cards.
Avid even calls out on their spec page that dual link 1GigE ports are qualified.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Agreed. I see most use in these realms. DR and Telestream.
What I have been seeing (and in the #2 and #3 market, no less) is use of consumer encoding apps (Sorenson, Compressor, etc). Why? Because some enterprising person at the NOC knows encoding well enough to tweak the hell out of the encoding app. This usually means multiple hoops to jump through and no automation. Excellent (rolls eyes).
Know MXF up and down. Most playout servers and spots for syndication, etc. will need to be uploaded to a server. Many of the playout severs like MXF wrapped files. The engineer at your station should be able to provide you with specs. DR Stream and Telestream Flip Factory as really good about being able to do this almost on the fly. Products like Compressor, Sorenson – will take some work.
Know 4×3 and 16×9. Elementary? No. You’ll need to generate down converts, including those that are anamorphic, letterbox, pillarbox, etc.
Experiment with QT Refs if the infrastructure allows for it. It will great speed up transoding time and quality, for both you and the editor.
Know MPEG2. SD & HD. This is a common format for media exchange to syndicates, it’s lightweight and is good for light CPU usage (relatively speaking) It can be SD or HD.
Those are, of course, broadcast in nature.
For the web, know h.264. That’s pretty much the standard as HTML5 gains adoption, and Flash supports h.264 in the Flash wrapper. It’s also a format most mobile devices can play. Know the different profiles of h.264 and everything surrounding it.
Years ago, there used to be a job called a “compressionist”. They sat in a room and created MPEG2 for DVD’s all day. They blended the art of encoding (image quality, motion) with the science of bits and bytes. That day has largely passed, and IMHO, it’s now more about the science – encode it and get it out, quality be damned. Maybe you can help restore the balance to the force?
Good luck, may your encodes be swift, and your uploads unbroken.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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There would certainly be a lapse for educators (scholastic and professional) to get up to speed.
Since the new FCP is uber top secret, I’m sure there will not be any training classes from day 1, nor will there be third parties with instructional videos.
Apple’s past certification classes (ACT) were taught by non Apple employees, using books written by non Apple people (at least in my case). So, expect a delay in the curriculum being written and classes formed.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Avid does support what you’re doing no problem. First off, I assume you are using MXF media – not OMF? The below directions are for MXF.
Make sure Avid is closed.
On your external HDD, look inside your “Avid MediaFiles” Folder. There should be a MXF folder, followed by a 1 or a 2 or a 3, etc.
Avid MediaFiles\MXF\1, Avid MediaFiles\MXF\2, etc.
Inside one or more of one of those folders is the media you’re missing. Also in these folders are database files. (msmFMID.mpr and msmMMOB.mdb).
To move this media, delete both of these database files on your new LOCAL storage (i.e. where you are transferring the data too). Next, copy all of the MXF media(but not any the database files in any folder) into the same corresponding folders on the local storage, in the same file Hierarchy. (i.e. Avid MediaFiles\MXF\1).
Next, copy the project files to the place on your local drive where you store them. Mine are in Documents\Shared Avid Projects. If you’re unsure, just search for the “Avid Projects” folder. Do the same with the Attic.
When you relaunch Avid, MC will be unable to find the database files, and will rebuild the databases, by scanning the “new” media in the system. When you select your project, it will relink to the media that Avid is now aware of.
Hope this helps.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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Dan-
The Matrox MXO2 Mini has 2 versions: one with a PCIe host card (for a tower) or one with the ExpressCard adapater. Both are supported by Avid for playout, provided you are using MC v5+. Not all frame ratres are supported, check the documentation. 5.5 alleviates some of the frame rate issues.
“-Most of my material has already been captured. But if I were to want to bring in new material can’t I just import it to my Mac desktop, Most HD cameras allow that now, and then convert it to a codec that is Avid compatible. And then just do a simple import”
Yes, can do this. My only concern would be editing from footage off of your desktop: never a good idea. A secondary drive would be best. Since you are using the ExpressCard slot for the Matrox Host Card, you can’t use an expansion eSATA card or similar, so you’ll need to use some kind of Firewire800 drive(s).
Good Luck.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .
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To play the material on your computer, you need the following:
1) fast enough computer to handle the decompression of the footage on playback. Since codecs vary wildly, it’s hard to give you a 100% answer. Avid does have a minimum requirements listing to run the software: https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=362919&Hilite=apple+macintosh+specifications
A MacBook is not recommended. Avid does not qualify it, and I would be concerned the computer would not be fast enough to play back HD material. Now, “HD material” is vague, it could be HDV or uncompressed HD, and everything in between. I cannot recommend strongly enough going with SOME system qualified by Avid.
Lets say your computer is fast enough, Good. Now you need storage fast enough to keep up with the footage.
For multiple streams (tracks) of video, look into a RAID. Multiple drives = faster speeds and usually, redundancy for a failed drive. Otherwise, a portable external drive that is 7200RPM or better, via Firewire or eSATA (or better) (no usb) should work for light codec editing.
Now that you have minimum storage and a CPU that is qualified, next is playout.
To view HD material on a video monitor, you need 1 of the following:
-Adrenaline (end of life’d): allows capture and playout
-Matrox MXO2 Mini (< $500), allows for playout only, with a Mac can only work with MacPro or MacBookPro, MC v5.x+
– AJA IO Express (about $1000), with a Mac, can only work with MacPro or MacBookPro, MC v5.5+
– Mojo DX: allows capture and playout; with a Mac can only work with MacPro or MacBookPro
– Nitris DX: allows capture and playout, with a Mac, can only work with MacPro
You can hook a DVI or mini displayport out of your machine to a monitor and have Avid play Full Screen. I’ve never trusted this for rock solid sync and color, buts that’s me.
Hope this helps.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.com
.: twitter: @michaelkammes
.: facebook: /mkammesHear me pontificate: Speaking Schedule .