[Pat Furrie]

I’d like to second that question. In fact, I’d like to know if Final Cut Server might be able to be used as asset management in conjunction with Adobe Premiere as the editor (instead of Final Cut). We have PC based Premiere workstations, and would like to have this sort of functionality. From what I’ve seen on Apple’s website concerning Final Cut Server, it does have PC client software. Unless they’re just preparing for PC based Final Cut software, this may be a nod to an ability to work with editing software other than Final Cut.

Anybody know if this is the case?

Pat Furrie
WESH-TV, Orlando

[Pat Furrie]

Thanks. We have plenty of external drives, but what we don’t have is a *process* to seperate just one project’s set of data off of the Unity Isis box (being managed by Interplay), and then to restore it later. Basically, somthing akin to how the “Media Mover” software works, but workable for an Isis networked media environment (where no PMR files are present).

I’ve heard that one way to do this is to consolidate the data to the external drive, and then back again to restore. But my understanding is that the consolidate process changes the name of the media files or master clips (adds either a “new” or “old” designation to them), and don’t know how this affects the whole process.

Pat Furrie
WESH-TV, Orlando

[Pat Furrie]

Thanks Karim.

While we do have some Avids, we’d prefer a solution that would be applicable to any computer in the building, with no special hardware requirements other than having a DVD drive.

Pat

[Pat Furrie]

The DVD recording it done straight to DVD from a live feed of the newscast, recorded on a consumer stand-alone DVD recorder. This is primarly done for archiving of the newscasts, as you pointed out. It is simple and straight forward, without any need to have an intermediate step. On those occasions when we need to dub off something from a DVD, it could be many months from now. We don’t want to have that much programming sitting on a hard drive waiting to the possiblity of someone wanting a dub of it. And the use of the dub are presumed to be for non-broadcast use, so quality isn’t the issue, other than making clean in and out points to the segment.

Pat

[Pat Furrie]

What version of ProCoder are you using? I downloaded the trial version (1.25.15.0), but VOB is not listed as a source type, and doesn’t even show up anywhere in help. Reading the online documentation for ProCoder Express, ProCoder 2.0, and ProCoder Statino, they each list “Source Formats” but DVD and VOB aren’t included.

Pat

[Pat Furrie]

George,

Thank you for the suggestion.

All of our DVDs have only one chapter, which means we’d have to import an entire 30 minute newscast in order to get just the relevant couple of minutes. Am really hoping to find something that can grab just the part of the disk we need without having to import anything extra. That should make it much faster (only having to import 2 minutes instead of 30).

Next?

Pat

[Pat Furrie]

Isn’t this a bit short-sighted on Avid’s part? We bought a Unity and an AirSpeed to tie together our five Newscutter suites. Every effort is being made to move completely away from video tape and have all material exist and be used as digital files across out network. It’s crazy to take the edited content and dub it to tape in order to have it captioned, then re-digitize the material. Even if it doesn’t go to tape, having to run it through an external encoder is still just not right.

Doing closed captioning for many of us is a necessity, not a luxury.

Pat Furrie
WESH-TV, Orlando

[Pat Furrie]

[Wayne V.] “This might sound funny, but did you try hooking up the analog component outputs and analog audio outputs to the Adrenaline? Something tells me the firewire between formats doesn’t work. Simplest solution.
Wayne V.”

Wayne,

Yeah, I thought about that, but then thought “Hey, maybe there is something like a setting on the deck or Avid that would allow this.” If so, it would be the actual simplest solution. But I can’t find any authoritative information regarding firewire access in this configuration. I really don’t want to set up all my editors with additional analog cabling for something that seems like it should work with firewire, which is both less comlpicated and keeps the signal digital.

Pat

[Pat Furrie]

[kevin] “consolidate all of your clips from your locals to the unity drives, and “check in” your seq to the unity.”

Kevin,

Won’t that cut out all unused material in any of the master clips (plus handles)? Since some of the projects we need to move over are in-process, we need all of the raw material brought over so our users don’t have to re-digitize in order to finish their projects (which can be extensive). Transcoding gets closer. However, if a master clip with video and 2 audio channels, and only the video and one of the audio channels were used initially in a portion of a sequence, then all of the video from the master clip as well as the one audio channel… no matter how little of the video or that one audio was used, the entire master clip gets moved over. However, if the other audio channel wasn’t used at all, it won’t be brought over at all. Makes it difficult if, later, we need some of the audio from that other audio channel, it isn’t captured (any more) and isn’t related to the other channels.

Pat

[Pat Furrie]

I *am* our Unity admin. General usage and administrative instuction was given last week, but this wasn’t covered. My suspicion is that this isn’t a unique situation, and has been dealt with by other users before.

Hence why I’m here.