Michael Phillips
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COW Coin
Forum Replies Created
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Quick answers and reality check:
1. Only AMA linking or using DMF to a file will populate the Source File Column.
2. Any application outside of Avid can only put source reel ID into the TAPE column. Even when licensing Avid own AMT. See #1.
3. From a conform perspective, it does not matter whether the filename is in the Source File to Tape column. EDL’s, AAF, and will export the information as needed and third party conform systems have been updated to know this when AMA was first introduced 4 or so years ago.
4. The only conform issue you will have is if the conform is to be done in Media Composer (versus any other application) via AMA as AMA does not extract the 8 character REEL ID that is currently being inserted by the DIT. This has been a long time request for Avid to address, but the QuickTime AMA plug-in only extracts timecode from within the file. Check with whomever is doing the conform. AMA will be problematic but can have some additional workaround steps – any other application will be fine.
Michael
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What issues are you seeing with Compressor? It seems that if MoviePlayer can open the reference file, then it should be fine. Are you on Mavericks?
Michael
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Your best bet for that to “possibly” work is to create the project/bin at the ingest side with Media Composer, then bring that and open it in MediaLog and continue logging from there. This way you are assured that that TAPE IF. and related MOBs are correct for relinking later. From their, your friend can add to the existing clips, but I don’t think they will be able to subclip in MediaLog. They can choose from the exiting “tape” names that were created and log from there, and that should work.
It is a little tedious to be bouncing back and forth between the Capture Tool to make a clip, then back to the bin to log the additional data.
Something to consider is using something like Excel with the right column names as well as exact match on Tape name which can easily be turned into an ALE then merged back into to the clips that were created upon ingest. The merge process could create subclips for every event in the ALE file.
Avid offers Interplay and their Assist tools for this type of work. If that is not part of your infrastructure, then there is not a whole lot other than getting a 30 day free trial of media composer and a copy of the ingested media to work with. At least for 30 days… 😉
Michael
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That’s the challenge everyone is facing whether you have been in the business for a while or just starting out. When supply outsized demand then costs go down – in some cases it’s not worth doing it. You have to go on “value” but getting customers to know and appreciate value is also a challenge these days. A friend posted this on Facebook today – read the job description, qualification, and then the pay. And that’s even with the employee supplying their own “mac laptop”. The sad part is that someone will take the job – to what level of satisfaction is TBD, but that is where all this has been heading for a while.
Michael
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What file type are you exporting? JPEG, TIF, etc.? Also make sure your settings are correct for active tracks or not, etc.
Michael
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Hopefully someone else will have a suggestion. I can’t think of what might be causing this.
Michael
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Very strange – that’s the most tried and true method… perhaps shutting down the MC and deleting the two msm files files in all of the MXF mediafile folders might rebuild the database and links.
Michael
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There should be no quality issues or differences assuming that the same settings are used before or after editorial. It’s all about performance, mobility, and other considerations I listed. If direct link works for you, that’s great. You can get started right away with your post process.
Michael
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All of these workflows are a “it depends” scenario. If what you do works, then stick with it! Considerations:
Transcode before editing is usually considered because codec being referenced takes a lot of processing to decode and editor wants to do more in real time when it comes to layers, VFX, multicam, etc. or working in a shared storage environment.
Some productions like having a smaller proxy codec like DNxHD 36 that still looks good but can play off a FireWire drive and still be projected on a 40 foot screen if needed. Lots of storage for mobile use, etc. 65 hours on a single 1 TB drive for example.
Some back end exports do not work with AMA linked media such as QuickTime reference, etc. If you are exporting a self contained format then MC is doing a render in the background anyway which is why it will work. Many productions like to use “same as source” as either ProRes or DNxHD and will transcode sequence to one of those then export as such.
Lots of reasons why a production chooses one over another – the key is to find the one that works for you.
Michael
