Michael Phillips
1
COW Coin
Forum Replies Created
-
Not to mention Redbox getting into the streaming game with a deal just made with Epix that includes 4 physical DVD’s month from local vending machine + Streaming for $8/month. $9/month gives you Blue Ray from machine. Also, what is expected service in all parts of the US as well as data caps from mobiel service, etc. all have a play (and a hand in getting their share of the pipe):
https://mashable.com/2012/09/07/wistia-hd-video-report/
Michael
-
How many physical drives are in the new set of drives you are buying? The amount of spindles can be used to increase speed or as redundancy in case one of them goes out – If you are editing proxy media for offline and your sequences are not complex for real time layers and VFX, then RAID’ing for speed may not be as important as RAID’ing for redundancy should a drive fail.
Michael
-
I assumed RAID in case you wanted some form of protection for lost drives on the new set of drives. If the new drive is just one large partition, then make the numbered folders if that’s how you want to manage the media. The partitions on the old drives may have also been created to provide some media management as you can render to specific drive, etc. within Media Composer, but not to a specific numbered folder within the Avid MediaFiles folder.
Michael
-
And I raise both of you”
https://finance.yahoo.com/news/netflix-disney-deal-means-105030674.htmlInteresting that Disney would make such a deal with Netflix if Apple was close to something considering the history of Apple to Pixar to Disney and Jobs being on the board and all…
Michael
-
If going to a raided drive, just put all the original folders into the same Avid MediaFiles folder but renumber them as you suggested. Perhaps leave 1 empty for new Avid media (renders and such) or renumber starting with 2, 3, 4, etc. or even 10, 11, 12…
Once the copy is done, trash the two msm files in each folder to force the indexing on startup and everything should just relink.
Michael
-
I think “simple” is debatable when it comes to walking through an AAF composition and MOB structures… that being said, if all you want is a list of clips and timecodes, a simple EDL, or an XML from FilmScribe, or using the set bin display of a sequence and export as TAB may be a better method at this time to achieve what you are trying to do.
Note that the FilmScribe XML is just that – a representation of FilmScribe lists as XML to make it easier to parse. If someone wanted to write XSL to turn it into FCP XML, or other type of XML, then that work would need to be done. Also, XML is export only, not import back into Media Composer.
Again, I am not disagreeing to the simplicity of XML, but dealing with how it works now as it stands.
Michael
-
Every frame becomes 1 field, and in the process lose 1/2 the vertical resolution, but keep motion resolution, assuming an interlace format like 1080i. If you edit in 720p, it will stay 60p (59.94) throughout the process if delivering 720p as well. Only when going to an interlace format will you lose 1/2 the vertical resolution plus whatever scaling applied to create 1080i or NTSC.
Michael
-
I don’t disagree with the ease of XML as a structured schema for translating sequences, sources, etc. OMF which evolved into AAF was in place before XML existed. But there has been talks for years of the AAF association creating a XML version of AAF, or even the more simplified version of the Edit Protocol, that has yet to happen. Typical issues for standards that have many subscribers and need to satisfy a large number of legacy based workflows and systems. SMPTE is a good example of that. Not a bad thing in the end, but takes so much longer.
Michael
-
None that I know of… an AAF file is a binary format and quite a complex representation of sequence structure. The home of all things AAF can be found here:
https://www.amwa.tv/developers.shtml
You can always create a new project, import an AAF and look at it that way, so it is not influenced by original project and already existing clips.
Michael
-
When you go to MediaTool, do you turn on all clip types and not just master clips?
Michael