Avid InGame Workflow Design

Transcription

1 Avid InGame Workflow Design

2 Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement. Avid ISIS products or portions thereof are protected by one or more of the following United States Patents: 6,374,336; 6,415,373; 6,449,688; 6,760,808; 6,785,768; 7,111,115; 7,487,309; 7,660,947. Other patents are pending. Avid products or portions thereof are protected by one or more of the following European Patents: Other patents are pending. Part of the software embedded in this product is gsoap software. Portions created by gsoap are Copyright (C) Robert A. van Engelen, Genivia inc. All Rights Reserved. THE SOFTWARE IN THIS PRODUCT WAS IN PART PROVIDED BY GENIVIA INC AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. This document is protected under copyright law. An authorized licensee of Avid AS3000 server may reproduce this publication for the licensee s own use in learning how to use the software. This document may not be reproduced or distributed, in whole or in part, for commercial purposes, such as selling copies of this document or providing support or educational services to others. This document is supplied as a guide for Avid AS3000 server. Reasonable care has been taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers losses due to the use of this document. Product specifications are subject to change without notice. Copyright 2011 Avid Technology, Inc. and its licensors. All rights reserved. The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library: Copyright Sam Leffler Copyright Silicon Graphics, Inc. Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon Graphics. THE SOFTWARE IS PROVIDED AS-IS AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE. The following disclaimer is required by the Independent JPEG Group: This software is based in part on the work of the Independent JPEG Group. This Software may contain components licensed under the following conditions: Copyright (c) 1989 The Regents of the University of California. All rights reserved. 2

3 Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. Copyright (C) 1989, 1991 by Jef Poskanzer. Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty. Copyright 1995, Trinity College Computing Center. Written by David Chappell. Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty. Copyright 1996 Daniel Dardailler. Permission to use, copy, modify, distribute, and sell this software for any purpose is hereby granted without fee, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation, and that the name of Daniel Dardailler not be used in advertising or publicity pertaining to distribution of the software without specific, written prior permission. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided "as is" without express or implied warranty. Modifications Copyright 1999 Matt Koss, under the same license as above. Copyright (c) 1991 by AT&T. Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software. THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR, NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE MERCHANTABILITY OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE. This product includes software developed by the University of California, Berkeley and its contributors. The following disclaimer is required by Paradigm Matrix: Portions of this software licensed from Paradigm Matrix. The following disclaimer is required by Ray Sauers Associates, Inc.: Install-It is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of Install-It, including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller s failure to perform reseller s obligation; or any damages arising from use or operation of reseller s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages. The following disclaimer is required by Videomedia, Inc.: Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose. This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow frame accurate editing control of applicable videotape recorder decks, videodisc recorders/players and the like. The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code: Altura Software, Inc. 3

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5 Apple, Macintosh, and Safari are either registered trademarks or trademarks of Apple Computer, Inc., registered in the U.S. and other countries. HP is a registered trademark of Hewlett-Packard Company. Intel is a registered trademark of Intel Corporation. Java is a trademark of Sun Microsystems in the United States and/or other countries. Kingston is a registered trademarks of Kingston Technology Corporation. All other marks may be the property of their respective titleholders. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners. Avid InGame Workflow Design Rev. A June 2011 Created 6/10/11 5

6 Contents 6 Symbols and Conventions If You Need Help Avid Training Services InGame Training Videos InGame System Overview InGame System Diagram Setting Up Naming Conventions Naming Conventions for Interplay Database Folders Naming Conventions for ISIS Workspaces Connecting to ISIS Media Composer Project Selection Selecting the Proper Folder Location Creating a New XDCAM-HD Project Creating a New AVC-Intra Project Logging into Interplay Interplay Folder Settings Interplay Folder Setting - Sporting Event Interplay Folder Setting - Events Creating Bins The Interplay Window Interplay Direct Check In The InGame Folder Structure Searching in the Interplay Window Setting the Media Creation Tool Dynamic Relink Settings The Media Composer Timeline and Dynamic Relink Recommended Timeline Settings Capture Tool AMA - XDCAM and P2 Acquisition To Enable AMA and its Features

7 Consolidating Clips, Sequences, or Sub Clips to Shared Storage Using PostDeko for Editors to Create Graphics Media Services and Interplay Transcode Displaying Resolution Columns in the Editor Bin Sending a Finished Sequence to AirSpeed Multi Stream The Importance of Tape IDs for Send to Playback Preparing a Finished Sequence for Multi-Media Publishing Connecting to ISIS The Assist User Interface Starting Assist The InGame Interplay Folder Structure Using the Assist Video Monitor The Thumbnail Viewer Using Locators Creating Locators Printing Locators Working with Locators Creating Folders in Assist Creating Subclips Creating a Shotlist Searching in Assist The Access User Interface Starting Access The InGame Interplay Folder Structure The Object Inspector The Results Pane Searching in Access Simple Searches Extended Searches Protecting Media with Reservations Removing Reservations Defining a Delete Workflow Saved Searches

8 Executing a Saved Search Introduction to Archiving InGame Archiving Process Consolidating the Media in Media Composer Interplay Media Services for Transcode Transcode Profiles Transcoding from the Editor Transcode from Access Creating an Auto Transcode Folder Verifying that the Proper Metadata is Entered Online Archive Interplay Folder Structure Removing Reservations Metadata Only Delete Viewing the Archive Folders and Asset Tracking Verifying the H.264 Media is Online Sending to Archive via Interplay Access - Manual Deleting High Res Media Organizing the Deep Archive (AvidAM) Folder Structure Searching the AvidAM Database Restoring from the Archive via Access Restoring from the Archive via Media Composer Partially Restored Clips Archiving Media via Media Composer Importing QuickTime Reference Files Into Interplay Access Exchanging Final Cut Pro Projects Between Final Cut Editors Sharing Content Between Media Composer and Final Cut Pro Exporting a Final Cut Pro Sequence to Media Composer Importing a Media Composer Sequence via Automatic Duck Exporting an Avid Media Composer Sequence to Final Cut Pro

9 Using This Guide This guide describes the basic elements of the Avid InGame Workflow. Symbols and Conventions Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action n c w A note provides important related information, reminders, recommendations, and strong suggestions. A caution means that a specific action you take could cause harm to your computer or cause you to lose data. A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment. > This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command. This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed. Italic font Courier Bold font Ctrl+key or mouse action Italic font is used to emphasize certain words and to indicate variables. Courier Bold font identifies text that you type. Press and hold the first key while you press the last key or perform the mouse action. For example, Command+Option+C or Ctrl+drag.

10 If You Need Help If you are having trouble using your Avid product: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check the latest information that might have become available after the documentation was published. You should always check online for the most up-to-date version of this document because the online version is updated whenever new information becomes available. To view the online versions, visit the Knowledge Base at 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Base at Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions. Avid Training Services Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment. For information on courses/schedules, training centers, certifications, courseware, and books, please visit and follow the Training links, or call Avid Sales at AVID ( ). 10

11 1 InGame Overview This document describes the basics of how Avid products are integrated into the InGame workflow. For details on the topics covered in this guide, see the following manuals: Avid Media Composer Editing Guide Avid Interplay Access User s Guide Avid Interplay Assist User s Guide Avid ISIS 5000 Quick Start Guide For details on installing Avid InGame, see the Avid InGame Setup Guide. InGame Training Videos InGame ships with a DVD (Avid InGame Training and Documentation) containing a set of training videos and this workflow document. For the latest versions of the videos see the following page on the Avid web site:

12 1 InGame Overview InGame System Overview The InGame solution is designed for sports organizations that need to ingest, log, edit, and archive material in a dynamic environment. The InGame system consists of the following components: ISIS 5000 shared storage solution Avid Media Composer editors for cutting sequences Final Cut Pro Editors (not included in the InGame bundle) Avid Interplay manages the shared storage. Avid Interplay components include the following: - The Interplay Engine keeps track of all media content on the ISIS Interplay Archive allows you to save your clips and finished sequences in an offline tape library or disk. - A Media Indexer Server indexes all Avid media on the ISIS system for users to be able to view and play that media in Media Composer. - Interplay Assist clients are used to view, log, and edit content - Interplay Access clients are used for browsing, organizing, searching, protecting, and deleting assets from the Interplay database. - Avid Media Services acts as a broker for send jobs from the Media Composer to a Transcode provider and Archive and Restore providers. - Interplay Transfer is available as an option to facilitate ingest and playback from EVS Ingest servers. In an InGame workflow, users edit and ingest content using Media Composer editors or via AirSpeed Multi Stream or EVS XT Ingest Servers (AirSpeed Multi Stream and EVS are options purchased separately). The following illustration shows several of the Sport in a Box components. 12

13 InGame System Overview The following illustration shows an example of an ISIS 5000 system. An InGame system has one or two storage crates containing 16 ISBs (ISIS storage blades) per crate. These storage blades are managed by ISIS System Director software, through which editing clients connect and gain access to media by mounting workspaces. These workspaces can be dynamically re-sized, removed, and created providing quick and easy methods for allocating more space should certain departments require it short term. 13

14 1 InGame Overview InGame System Diagram Pictured below is the InGame workflow which is detailed throughout this document. 14 The above illustration shows a start to finish workflow with ISIS 5000 shared storage at the center and each of the other applications involved in the day to day operation. This solution is designed to support a workflow that includes the following: File based ingest from P2 and/or XDCAM (Media Composer) Ingest footage from AirSpeed Multi Stream or from an EVS server using Interplay Transfer Log footage (Assist) Perform an edit and share content on shared storage (MC, Final Cut Pro, ISIS) Send to archive (Media Composer, Interplay Assist and Interplay Access) Search online archive and browse footage (Assist, Access, MC) Restore from Archive (Media Composer or Interplay Access Restore partial clip (Media Composer or Interplay Access) Perform an edit (Media Composer, Apple Final Cut Pro and Interplay Assist) Send to playback from Media Composer or Assist using AirSpeed Multi Stream or an EVS server via Interplay Transfer

15 2 Media Composer Editing The Media Composer editing systems use Interplay and ISIS to share media and information. The ISIS Client Manager connects the editor to the shared storage where the video and audio media are stored. Interplay keeps track of the media that is on the shared storage, allowing you to locate the clips that you want to work with. This chapter applies to the Avid Media Composer editors.

16 2 Media Composer Editing Setting Up Naming Conventions Before you start capturing media and editing, Avid recommends that you determine a naming convention at your site for the following objects: Masterclips Sequences Projects Bins You should use standard names for these objects in the editor and in folders in the Interplay database. Agreeing on a naming convention can greatly enhance your workflow and enable easy searching to find properly labeled clips or sequences. The following table shows some examples. You can use the Custom Name column to enter the names for your site. Object Name Description Custom Name Masterclip 8FootballCW 08 - date Football - event CW - editor that ingested the masterclip Project 08Football Highlights CW 08 - date FootballHighlights - event or program CW - name of the editor Bin 08FootballrushesCW 08FootballroughcutsCW 08FootballmasterCW Sequences 08FootballfirstperiodCW Naming Conventions for Interplay Database Folders It is also important to determine the folder structure for your site before you begin working with InGame. These names were most likely defined when the system was first set up. For details on the folder structure, see The InGame Interplay Folder Structure on page

17 Connecting to ISIS Naming Conventions for ISIS Workspaces It is also important to determine the names of your ISIS workspaces before you begin working with InGame. These names were most likely defined when the system was first set up. The following table describes the default workspaces. You can replace these names with names specific to your workflow. Use the custom column to keep track of any custom names you create. The Default InGame ISIS Workspace Structure Default Name Custom Name Description media edit lowres projects Destination workspace for all imported media from Panasonic P2, Sony XDCAM, AirSpeed Multi Stream or EVS Destination workspace for all editor created material (renders, imported graphics, Quicktime files) as Avid MXF media files Destination workspace for browseable low-resolution material created through the transcode provider Storage repository for Media Composer projects. n Avid recommends that you keep the default workspace names to make it easier to work through the examples in this guide. Connecting to ISIS Prior to launching the Media Composer application, after you log in to Windows using your group or domain Windows login, you must log in to the ISIS application, which will give you access to the media on shared storage.the ISIS client manager shows whether or not you are connected to ISIS. The green symbol is an indication that workspaces are connected. Orange indicates that you are not connected.' ISIS connection 17

18 2 Media Composer Editing To connect to ISIS and mount workspaces: 1. Click the ISIS Client Manager icon. The ISIS Client Manager window opens. Virtual System Director Connect button In the upper left hand corner you see the ISIS Virtual System Director name for your system. 2. Click the Connect button and log in using your ISIS user name and password. Once you are connected to ISIS you see a list of available workspaces. To mount shared storage workspaces: t Do one of the following: - Click in the Auto column for each workspace. The system mounts the workspace and assign a drive letter (starting at Z: and working back through the alphabet) - Right-click anywhere in the window and choose Select All. Then right-click and select Enable Auto Mount. This will mount all of the workspaces. 18

19 Connecting to ISIS The following illustration shows the InGame workspaces mounted. Virtual System Director The following table describes the default InGame workspaces. You can replace these names with names specific to your workflow or site. Use the custom column to keep track of any custom names you create. The Default InGame ISIS Workspace Structure Default Name Custom Name Description media edit lowres projects Destination workspace for all imported media from Panasonic P2, Sony XDCAM, AirSpeed Multi Stream or EVS Destination workspace for all editor created material (renders, imported graphics, Quicktime files) as Avid MXF media files Destination workspace for browseable low-resolution material created through the transcode provider Storage repository for Media Composer projects. 19

20 2 Media Composer Editing Media Composer Project Selection When you start Media Composer, the first window to open is the Select Project window. This window allows you to choose which user profile you use, which project you will log in to and the folder when the project resides. External button Value User Folder User Profile Description This represents the user account you are logged in to Windows with. Determines the location of the Project folder. Projects in the InGame workflow reside externally on the ISIS system on the projects workspace. In order to select that location you must select External on the right side of the window. These accounts are local to the machine unless exported or copied to a network share. This profile determines all user settings in the editor application. 20

21 Media Composer Project Selection The InGame projects all reside on the projects workspace. In order to access these projects, select the External button and use the Browse for Folder icon that appears at the end of the folder line. As shown above, the projects workspace can contain a variety of folders containing projects for each type of facility event. The folder structure will be specific to your site and workflow. 21

22 2 Media Composer Editing Selecting the Proper Folder Location The following illustration shows the generic folder organization of projects on the ISIS projects workspace organized by year, then subdivided by sports. The Events folder is for other stadium events (concerts, etc.). Each of these folders are subdivided further for an additional level of organization. For example, the following illustration shows a FOOTBALL folder with separate folders for programs, regular season games, and playoff games. 22

23 Media Composer Project Selection The following illustration shows a folder organization example for EVENTS with a separate folder per event. Choose the appropriate folder location for your pre-existing or new project and click OK. 23

24 2 Media Composer Editing Creating a New XDCAM-HD Project If you need to start a new project, click on the New Project icon on the Select Project window. The New Project window opens as shown in the following illustration. Each Project requires a Project Name, Format, and Raster Dimension. In the example above the project indicates the name of the football game, with a Format of 1080i and a Raster Dimension of 1920X1080. This is indicative of an XDCAM HD 50 Mbps workflow. The project format and raster dimensions are defined as follows: The Project format determines what the number of lines that create the image (1080 or 720) with the i (interlaced) or p (progressive) representing the type of scan used to display the picture as well as the project frame rate (29.97 or for example). The Raster Dimension (the scanning pattern) determines which resolutions can be created in the project (1920 X 1080 allows for the creation of XDCAM HD 50 in the example above). Options will vary based on whether the site is working in PAL or NTSC. 24

25 Media Composer Project Selection Creating a New AVC-Intra Project The following illustration shows the New Project window option values for a Panasonic AVC-Intra workflow. Note the different Raster Dimension. The list of current or newly created projects appears in the Select a Project section as shown in the following illustration. 25

26 2 Media Composer Editing You can open a project by selecting it and clicking OK or by double clicking on the Project name in the Select a Project section. Logging into Interplay Upon logging into to the newly created or desired project, you are prompted to log in to Interplay. The Host Name will vary by site and represents the server name of the Interplay Engine. 26

27 Interplay Folder Settings The User Name format will also vary from site to site whether the site uses group or individual logins and authenticate against their domain (optional). This typically varies based on the number of users or domain authentication requirements of the site. Group logins typically include such accounts as editor, producer, logger, etc. Individual accounts often depend on the domain setup of a site and are often first initial of first name and the entire last name (example: mzwieg). Users who work on ISIS shared storage should be logged in to Interplay at all times. You must be logged into Interplay to create media on shared storage. If your Media Creation drop down menu shows that all drives are filtered out, then you are not logged into Interplay. You can log in while remaining in the project via the Interplay User setting in the Project window Settings tab. Interplay Folder Settings Interplay organizes media by folders. Once you enter a project and log in to Interplay, you can change your Interplay Folder setting that determine where your project, bins and assets will be checked into in the Interplay database. Interplay Folder Setting - Sporting Event To change the default settings, change the view in the project window to Settings and select Interplay Folder. The following illustration shows the folder structure for a regular season football game. The folder structure in this example is: Projects/2011/FOOTBALL/01REGULAR SEASON 27

28 2 Media Composer Editing If the Interplay Folder is not set correctly or you are prompted to set the folder on logging into an editor project, navigate to the proper location using the Set icon. c You should always leave the Append project to Directory Path option enabled. With this option enabled, you can simply select the department, and your project and bins will check in directly underneath it. 28

29 Interplay Folder Settings Interplay Folder Setting - Events To change the default settings, change the view in the project window to Settings and select Interplay Folder. The following illustration shows the folder structure for a concert. The folder structure in this example is: Projects/2011/Events/Rock Concert If the Interplay Folder is not set correctly or you are prompted to set the folder on logging into an editor project, navigate to the proper location using the Set icon. 29

30 2 Media Composer Editing 30 You should always leave the Append project to Directory Path option enabled. When this option is enabled you can simply select the department, and your project and bins will check in directly underneath it. Creating Bins So far we ve described the basic steps for creating or opening an InGame project: Login to a project Login to Interplay Verify that the Interplay Folder setting is correct Before you begin editing a sequence, you should create a standard set of Bin names and define a naming convention for sequences. This will make it much easier to control your workflow and will allow multiple users at your site to quickly locate the material they need. See Setting Up Naming Conventions on page 16. Typical Bin names include Current Sequences, Old Sequences, Sources, Audio, Effects, Music, etc.

31 Creating Bins The following illustration shows a sample project window. You can create folders at this level to help organize your bins (use the Fast menu on the left of the window). When you create a new folder in this window, the Media Composer creates the folders in your project structure on shared storage. Note that you don t check these folders into Interplay - they are only used for organization. You check the actual bins into Interplay. The Bins tab also shows when bins are open by other users in the same project. The bin name will appear in bold and a machine name may also appear. 31

32 2 Media Composer Editing The Interplay Window n Editors use the Interplay Window to access the folders in the Interplay database. To access the window, select Tools > Interplay Window in the editor user interface. You can also map the Interplay Window tool to the editor keyboard using the Command Palette. c The Interplay Window is the tool that you must use to access material in other projects. Avoid using feature like File > Open Bin or logging in to the same Project at the same time and accessing a bin while other users may be using it. Multiple users working in the same bin at the same time is NOT SUPPORTED in an Interplay Environment. To create a shortcut, right-click a folder on the left and select Create Shortcut. This replicates the File > Open Bin method of providing quick access to commonly used areas. You can customize the Interplay window depending on the fields that you want to display, hide, size, and re-order. Layouts can be saved and modified as well. You can load clips, sub clips and sequences into the editor Source Monitor by double clicking the asset or by dragging and dropping the asset(s) to the monitor. Everything you load in this manner bypasses the Editor Bin and is loaded to the video window as source. If you need to manipulate a sequence that is in the Interplay Window, you must drag it to an editor bin before performing the edits. This action creates a copy of the sequence. Changes that you make to this sequence will affect the original when you check it back into Interplay. 32

33 The Interplay Window If you wish to create an independent sequence that will not ripple back and affect the original sequence, hold down Ctrl when you drag a sequence to the editor bin. This creates a duplicate sequence. Certain functions still require that you use a Media Composer bin. These include manipulating a sequence, creating a sequence, importing, Batch Digitize, Multi Cam-Group Clip, etc. The Interplay Window may not display certain types of assets in a folder by default. To change the settings, right click the Type column heading in the bin and select Set Type Filter. The following illustration shows the Set Type Filter dialog box with all options selected. By default, effects (including titles), group clips, and reference clips are NOT displayed. Choose the asset types that you want to display and click OK. n You can keep folders open in the Interplay Window by using the push pin icon in the upper right. You can have a total of 10 folders open at the same time. If you check in assets from Media Composer (by closing a bin, or File > Check in Open Bins in Project) and you do not immediately see them in the Interplay Window, press F5 to refresh the display. 33

34 2 Media Composer Editing Interplay Direct Check In Interplay uses the Interplay Folder setting to determine the check-in location to Interplay when users close or manually check-in contents. As an alternative, Media Composer users can perform a direct check-in to Interplay using the Interplay Window. When you open a folder in the Interplay Window, the contents of the folder appear on the right hand side of the window in the Results Pane. If you click and drag on an asset from an editor bin, you can drag and drop directly to the Results pane. This operation checks the asset into that particular Interplay folder. Note that you must press F5 to refresh the Interplay Window to view the updated asset. Practical applications for this check in operation include checking in an effect to an effects bin or checking in sequences to different locations. Otherwise, assets are automatically checked in to the Interplay system when a bin is closed using the configured Interplay Folder Setting detailed in the earlier sections. The InGame Folder Structure The left side of the Interplay Window shows the folder structure of the Interplay database. The Interplay database is the organization tool for all media on shared storage. The following table describes the main folders. Value Projects Catalogs Description Projects represents the working area for Media Composer editors with a year by year breakdown containing the applicable sports (Baseball, Football) and Events folders along with any other custom added folders. Each sport contains sub folders for programs, regular season, playoffs, and auto transcode and mixdown folders. Contains the Resync folder (used for administrators) for re-syncing the Interplay Database with ISIS shared storage. Also contains permanent repositories for Graphics and Titles, Music, and Players as well as an online representation of the SGL/Spectralogic archive. 34

35 Setting the Media Creation Tool Value Incoming Media Sent to Playback Description This folder contains a sub folder named media which contains all ingested AirSpeed Multi Stream or EVS content. Contains a week by week break down of mixed down material sent for AirSpeed Multi Stream or EVS playback. n For a more detailed representation and break down of the Interplay Folder Structure consult the Interplay Access chapter later in this guide. Searching in the Interplay Window The Interplay Window allows you to search for assets in the Interplay database. The Media Search tab allows you to search by text, in metadata fields, in specified folders, by asset type (master clip, sub clip or sequences), by category (if applicable) and by time. Setting the Media Creation Tool Whenever you ingest or create media, you must save it to shared storage. To ensure that the media is being created on the correct workspace, make sure the Media Creation Tool is set properly based on the desired Video Resolution and Video Drive. The following illustration shows the Media Creation Tool. 35

36 2 Media Composer Editing The above illustration shows an editor s media creation settings in a 1080i project. The Video Resolution is XDCAM HD 50Mbits MXF. This could vary depending on the acquisition format (Sony XDCAM or Panasonic P2) or the needs of the project. The Video Drive is selected as edit in this example. You should use the edit workspace for all edited projects. Dynamic Relink Settings One of the overall design elements of the InGame workflow involves keeping a low resolution online representation of archived assets (also known as a proxy). This process is described in detail in Library Archive Management on page 97. Media Composer and Interplay Assist can use either low resolution proxy (H.264), standard definition, or HD. Dynamic Relink allows multiple resolutions to be tied to the same master clip. The dynamic relink settings allow you to switch between low res and high res media in the timeline. There are two tabs in the Dynamic Relink Settings window: Working Settings: Determine the behavior of your Media Composer timeline-what resolutions you can see and use. Target Settings: Are set for the configured resolution in environments where playback servers such as the AirSpeed Multi Stream. Your target setting should always be set for the same configuration as your playback video server. 36

37 Dynamic Relink Settings Proper Dynamic Relink Working Settings Parameters if no match is found Value Use Closest Match Video Relink method Specific Resolution Relink if Quality Preferred media format is less than or equal to AVC-Intra 50 (in this example) Any 37

38 2 Media Composer Editing Parameters Value Audio Relink Method Highest Sample Rate n Once these settings are set as detailed above, you should not change them. If configured incorrectly it will cause Media Offline issues. Proper Dynamic Relink Target Settings 38

39 Dynamic Relink Settings Parameters if no match is found Value Relink to Offline Video Relink method Specific Resolution Relink if Quality Preferred media format is less than or equal to AVC-Intra 50 (in this example) Any Audio Relink Method 48 khz and 16 Bit The Media Composer Timeline and Dynamic Relink You can use the MultiRez Settings button on the timeline to toggle through the various modes of Dynamic Relink. One of the modes will color code the tracks on the timeline to indicate which edit or edits does not exist at the target resolution. The following illustration shows the MultiRez Settings button. MultiRez Settings button 39

40 2 Media Composer Editing Recommended Timeline Settings This section describes two recommended settings that you can select by clicking the menu on the bottom left side of the Timeline. The following illustration shows the menu with Clip Resolutions selected. Clip Resolutions If you enable Clip Resolutions from the Timeline Menu, the system displays the video resolution associated with your asset (what you are viewing in the timeline). This is an easy way to see if there is a mixed resolution in the timeline. It is strongly recommended that you keep this option enabled at all times. Clip Colors - Offline Media Clip Colors is another helpful tool on the Timeline menu. Opening the Clip Color window you will see that any different frame rates are color coded and enabled by default. 40

41 Dynamic Relink Settings Enable the check box next to Offline. This will provide a red visual indication of any offline media. This quickly and easily shows if any video or audio is pointing to media that is no longer present. This feature should be enabled at all times 41

42 2 Media Composer Editing Capture Tool The Capture Tool is used for ingesting a wide variety of tape or feed based content to the ISIS shared storage. The following illustration shows the Capture tool. 42

43 AMA - XDCAM and P2 Acquisition The following table lists some of the recommended settings, and Interplay features. Setting Name Local Bins Interplay Folders: Res Drive Description This determines the name of the Master Clip in the environment and should provide a descriptive identifier of the contents. Local Bins allow you to capture to a Media Composer bin. This option allows you to bypass capturing to the local bin entirely. The system captures the recording to an Interplay folder that is presently open in the Interplay Window. Based on your Capture settings, this allows for Frame Chase Editing where other Interplay users can access the ingesting clip and view and edit from it while the clip is still ingesting. Determines the ingesting video resolution. The available options are determined by the project format and capabilities of the tool. Destinations include the edit, lowres, media, or project workspace based on the ingested content. Other File Based ingest is handled through File-Import for content such as H.264,.wmv, and AMA for XDCAM and P2. AMA - XDCAM and P2 Acquisition Avid uses a feature called AMA (Avid Media Access) to handle file based acquisition for products like Panasonic P2 and Sony XDCAM and XDCAM EX. Avid uses this plug-in architecture to work with Sony and Panasonic file based workflows. AMA also works with other formats such as Quicktime, Red Camera, and Ikegami GFXCAM. This section describes the AMA settings recommended for the InGame workflows. 43

44 2 Media Composer Editing To Enable AMA and its Features Open the Project Window to turn define the AMA settings. Open the AMA settings and make the following changes to the Volume Mounting and Bins tabs. Volume Mounting Tab Option Enable AMA Volume Management When mounting previously mounted volumes, do not check for modification- to the volume Description Turns AMA on or off. If unchecked, the workflow is as it was prior to AMA (importing high res, low res proxies). If checked, AMA will remember previously mounted volumes and mount them automatically, along with opening the bins, each time a disc is inserted (Recommended Enabled) 44

45 AMA - XDCAM and P2 Acquisition Bins Tab The Bins tab determines the editor Bin behavior once the AMA volume is mounted. You can either use the Active bin, or creating a bin name either after the project, volume, or a specifically named bin. When using External Projects it is STRONGLY RECOMMENDED that you use Specify Bin Name and NOT Volume Name when using AMA. You can also determine the behavior of whether key frames are generated by Media Composer or imported from the camera as well. 45

46 2 Media Composer Editing When the AMA volume mounts, the bin will open. Assets in an AMA bin appear entirely in yellow (as pictured below): n If the AMA volume does not mount automatically and the *AMA Bin above does not appear, select File > Link to AMA volume. This will allow you to navigate to the drive letter of the Sony volume. This is not a standard bin. Once an AMA clip (any yellow clip as pictured above) is placed in a bin, the bin is flagged as an AMA bin and cannot check in to Interplay, regardless of whether you delete the AMA clips or not. n You can double click on these Master Clips to view and edit the content in a sequence without any import or transcode required and then consolidate the sequence to the ISIS shared storage. Or you can consolidate your desired clips to shared storage to make them available to other ISIS/Interplay users as described in the following section. Quicktime media must be transcoded, rather than consolidated onto your ISIS shared storage. 46

47 Consolidating Clips, Sequences, or Sub Clips to Shared Storage Consolidating Clips, Sequences, or Sub Clips to Shared Storage This section describes how to consolidate assets from the AMA bin to the ISIS shared storage. To consolidate assets in the AMA bin to ISIS shared storage: 1. Select the desired asset(s) in the AMA bin (click on the clip, sequence, or sub clip icon). 2. Right click on the selected assets and select the Consolidate/Transcode option. 3. The Consolidate Window opens. The Consolidate option is enabled by default. 4. Select the desired shared storage workspace (media) media workspace 5. Click on the Consolidate button (this is disabled if no workspace is selected). You are prompted with the dialogue below which will determine how the clips are named. Leave the top options selected which will name the newly created clips using a.new extension at the end to differentiate the newly created clips from the old. 6. Click OK. 47

48 2 Media Composer Editing A progress indicator displays the process of the consolidation. The time will vary based on the number and the length of the clips. The editor is not available during this process. Once the consolidate operation is finished, the new clips appear in the AMA bin (as shown below and represented by the.new clips) 7. Drag and drop the newly created clips from the AMA bin to your working sequence bin. 8. Check in the new bin to Interplay by either closing the bin or selecting Bin > Check in Bin to Interplay. This will make the assets available to other users on the ISIS and Interplay system. 48

49 Using PostDeko for Editors to Create Graphics Using PostDeko for Editors to Create Graphics Allows the Avid Media Composer and/or NewsCutter editor to compose graphics using PostDeko for Editors or DekoSelect and insert graphic into the sequence. PostDeko for Editors offers three types of graphic compose and insert methods: Graphics Production News Graphics Integration News Template Fulfillment This section describes the workflow for these types are described below. Use the Graphics Production option to launch PostDeko. This provides the editor with full graphic editing functionality. The graphic is burned into the sequence on a second video track. 49

50 2 Media Composer Editing To use PostDeko for Editors: 1. Add a new video track on the timeline. 2. Add edit points where the graphic is to be inserted. 50

51 Using PostDeko for Editors to Create Graphics 3. Open the Deko effect and select PostDeko for Editors. Drag this effect into the timeline. In the Effect Editor palette, select Graphics Production. 51

52 2 Media Composer Editing 4. Click the Edit button in the Effect Editor palette. This launches PostDeko. 52

53 Using PostDeko for Editors to Create Graphics 5. Compose the graphic either by creating it completely, or by selecting an existing template. 53

54 2 Media Composer Editing 6. When done, Select File > Finish Edit of Graphic and Return to Avid Editor, or press F12. The graphic is inserted into the sequence. Motion built into any PostDeko template is applied to the graphic inserted into the sequence for motion. 54

55 Using PostDeko for Editors to Create Graphics 7. After all graphics have been inserted into the sequence, render all effects. Mark In and Mark out from the beginning of the sequence to the end of the sequence. 55

56 2 Media Composer Editing 8. Select Clip > Render In/Out. The following illustration shows the Render effects dialog box (click OK) and the progress bar. 56

57 Media Services and Interplay Transcode The following illustration shows the final sequence with the new graphic. Media Services and Interplay Transcode n Media Services and Interplay Transcode are Interplay components that allow you to submit transcode jobs to a background server. This avoids tying up the Media Composer during the transcode process. Auto Transcode folders can be created by administrators within the Interplay database as an alternative or in addition to the manual job submission. This also allows for the creation of H.264 media. 57

58 2 Media Composer Editing To configure the editor for working with Media Services: 1. In the Project window of the editing application, click on the Settings tab. 2. Navigate to the Media Services setting and double click on it to open it. The following illustration shows the Media Services Settings dialog box. 3. Enter the settings listed in the following table. Option Media Services are available Broker Username, password Password Notify me of job completion by Description/Value Select the checkbox Media Services Engine Host Name (will vary by site) Interplay User Name (either group or domain login) Interplay password Deselect this checkbox 4. Click OK. 58

59 Media Services and Interplay Transcode To submit a job to the Media Services Transcode Provider: 1. Right-click the desired asset in the Media Composer bin and select Media Services > Avid Interplay Transcode Service. The menu expands and shows the available Transcode profiles which will list both the resolution and corresponding project format. The following illustration shows some sample profiles. n 2. Select the resolution you want to use. For example, H.264-Master Clips is used for transcoding master clips to H.264 to create the online resolution representing the Interplay archive. Other profiles will vary based on the desired resolutions. Once the profile is selected, the editor submits the transcode job. You can use Interplay Access to monitor the jobs. In Access, right-click any folder in the directory structure and select Media Services Status. If the option is not visible, make sure you have Full Menus enabled under the Preferences drop down menu. You will only see the status for the jobs that you submitted and you can filter the status screen so that only your jobs are present. Displaying Resolution Columns in the Editor Bin To verify which resolutions are available for a Master Clip, you can display resolution columns in your Media Composer bins. To display resolution columns in the editor bin: 1. In the Media Composer Fast Menu, select Choose Columns 2. From the Choose Columns menu, select the desired resolutions Once the resolution columns are displayed assets will appear as pictured below: 59

60 2 Media Composer Editing Resolutions are identified as follows: - A full black circle indicates that the asset exist entirely at the specified resolution - An half black circle indicates that the asset exists partially at the resolution. - An empty white circle indicates that none of the associated clip exists at the specified resolution. Sending a Finished Sequence to AirSpeed Multi Stream When your edited piece is completed, use this procedure to send the sequence to AirSpeed Multi Stream for playback. To send a finished sequence to AirSpeed Multi Stream: 1. Select the sequence in the editor bin (by clicking on the sequence icon) and select Transfer > Send to Playback > avid-ams-hd. You MUST select the avid-ams-hd option (in the example below-the name will vary based on the site). DO NOT select avid-ams as that would be for standard definition and would not work for XDCAM HD or AVC-Intra. 60

61 Sending a Finished Sequence to AirSpeed Multi Stream After you select the avid-ams-hd option, the Send to Playback window appears as pictured in the following illustration: 2. Click on OK and the editing application will initiate the transfer. To verify that the transfer was successful: t When the transfer is initiated, you can check the status using one of the following methods. - Select the Status Window from the Transfer drop down menu - Or open the Transfer Status window in Interplay Access. The Importance of Tape IDs for Send to Playback In order to send a finished piece to a playback server, a unique id must be placed in the Tape ID column of the Send to Playback window. The Tape ID represents a unique Video ID on the playback server. Each site should set up a convention for keeping these numbers unique from day to day, program to program, or editor to editor. The following example uses a calendar date, show, and editor initials: n Tape ID example: 0129KPMZ January 29th KP - a two character program name MZ - the editor s initials The Overwrite option on the Send to Playback window is used when a sequence has already been sent to the AirSpeed Multi Stream and revisions were made, which required the sent sequence to replace the older version. Using Overwrite as standard practice is dangerous as it will potentially destroy other media if the wrong tape id was used. 61

62 2 Media Composer Editing Preparing a Finished Sequence for Multi-Media Publishing You can use Sorenson Squeeze to process a finished sequence and prepare it for web distribution. To send a finished sequence to Sorenson Squeeze: 1. Right-click your finished sequence in the bin and select Send To > Encoding > Sorenson Squeeze. The Export settings dialogue box opens. Default settings are available but this can be customized to your site requirements. 62

63 Preparing a Finished Sequence for Multi-Media Publishing 2. Confirm that the options are correct and click OK. Your sequence will begin to export. Depending on your settings, Sorenson Squeeze will open with your sequence pre-loaded, ready for transcoding to your chosen format. 63

64 2 Media Composer Editing Sorenson Squeeze allows you to select multiple format, exporting, notification or publishing options to suit your facility. Sequences can be uploaded directly to popular social media sites or exported to destinations in your facility for review or uploading. Select the options you require and apply the settings to your sequence. 3. When your choices are complete, click Squeeze It to initiate the transcode to your chosen format. 64

65 Preparing a Finished Sequence for Multi-Media Publishing A progress bar displays the progress of the transcode. When complete, depending on your settings, your sequence may be published automatically, or ready for further work or other multi-media publishing. The following illustration shows a completed video. Media Composer can export a wide variety of formats. For a full list of available formats see the Media Composer Help. 65

66 2 Media Composer Editing 66

67 3 Logging with Interplay Assist The Interplay Assist logging station/desktop editor lets operators review, log and edit video without having to leave their desks and without tying up an edit bay to do so. Basic functionality includes the ability to view material, create sub clips, add locators, and create shotlists. Connecting to ISIS Prior to launching the Assist application, after you log in to Windows using your group or domain Windows login, you must log in to the ISIS application, which will give you access to the media on shared storage. See Connecting to ISIS on page 17.

68 3 Logging with Interplay Assist The Assist User Interface This section describes the basic user interface features of Interplay Assist. Starting Assist To start Assist 1. Click the Assist icon on the desktop. the logon screen opens. 2. Enter the following values: - Asset Manager: The Interplay Engine Host Name (will vary by site) - User: Your Domain user name or Interplay Group Login - Password: Your Interplay login password 68

69 The Assist User Interface The InGame Interplay Folder Structure The left hand side of the Assist Asset Viewer contains the Interplay database, the organization tool for all media on the ISIS. Folder Projects Catalogs Incoming Media Sent to Playback Description Projects represents the working area for Media Composer editors with a year by year breakdown containing the applicable sports (Baseball, Football) and Events folders among any other custom added folders. Each sport contains sub folders for programs, regular season, playoffs, and auto transcode and mixdown folders Contains the Resync folder (used for administrators) for re-syncing the Interplay Database with ISIS storage. Also contains permanent repositories for Graphics and Titles, Music, and Players as well as an online representation of the SGL/Spectralogic archive. This folder contains a sub folder media which contains all ingested AirSpeed Multi Stream or EVS content. Contains a week by week break down of mixed down material sent for AirSpeed Multi Stream playback. n For a more detailed representation and breakdown of the Interplay Folder Structure, see The InGame Interplay Folder Structure on page

70 3 Logging with Interplay Assist Using the Assist Video Monitor The following illustration shows the Assist video monitor. The Video Monitor window displays Source time code in the upper left hand. This allows you to type in time codes with the numeric keypad and press enter. At the bottom of the window you have standard shuttle controls for moving through content. The primary keystrokes in Assist are J for play reverse, K for Pause, and L for Play. The I key allows you set an in point, O is used for setting an out point. In the bottom right of the window you have the button you have the shortcut for adding a Locator, used for marking points of interest and logging. 70

71 The Assist User Interface The size of the video window can be manipulated as well through the options in the View drop down menu. You can also select Full Screen Monitor mode. The Thumbnail Viewer Another option for viewing content in Interplay Assist is the thumbnail viewer. This feature provides a quick and easy way of viewing content by displaying a head frame every ten seconds of the selected clip. When a clip is selected you can select Show Thumbnail Viewer from the View drop down menu as shown below: As a preference, you can choose whether you want the viewer to be a part of the results pane (which limits you to viewing 5 thumbnails simultaneously) or as a separate window. This can be changed in the preferences drop down menu as shown in the following illustration. 71

72 3 Logging with Interplay Assist The following illustration shows an example of the Assist thumbnail viewer. Once the thumbnail viewer is open, you can quickly move through the points of interest (particularly on larger clips) and when you click on a key frame it will load it to the Source Monitor at that point in time code. Using Locators One of Assist's most powerful features is the ability to add locators to clips or shotlists. The locators become part of the master clip's or sequence's metadata, which are searchable and available to other Interplay Assist and Media Composer users. They persist as long as the Master Clip or Sequence exists. 72

73 Using Locators Creating Locators To create a locator, select Locators > Add Locator from the drop-down menu, use the keyboard shortcut (Tab), or click the Add Locator icon. You can change the color of the locator by right clicking it and selecting Change Color if it needs to be differentiated in any way from other locators. Printing Locators There are several ways to print Locators created by Interplay Assist. n To print locators from Assist: t Use File > Print or use CTRL-P. This method will print out the head frames for each locator as well. This is not a configurable option that can be turned off. To print without head frames, simply print through Interplay Access (as mentioned below). To print locators from Interplay Access: t Choose File > Print and select the desired panel for printing. 73

74 3 Logging with Interplay Assist Printing Locators from the Access Object Inspector will simply print a list of the time codes and Comments without printing the head frames. Working with Locators Comments can be added and the locators can be color coded for different appearances in Interplay Assist and Media Composer. Add text to the comment to point out highlights or anything of importance. Here is how the locators appear in the Media Composer source window. The color coded marks on the clip's timeline are the locators. When you move to one, the first line of the locator's text appears. 74

75 Creating Folders in Assist To view the locators in Media Composer, click on the Tools menu and select Locators. The following illustration shows the Locator window. Creating Folders in Assist Interplay Assist users can create a folder in the corresponding project they are working in. Simply right click on that Project folder and select Create New Folder Provide a clear identifying name for the folder that will contain the subclips and shotlists related to the Project. 75

76 3 Logging with Interplay Assist Creating Subclips Sub Clips are pointer files to a portion of a clip. By creating sub clips you are creating a new asset or pointer file, while not creating any new media. Sub Clips can be used to easily mark and label points of interest on incoming clips. To create a subclip: 1. Select the desired in and out points on the clip and click the Create Sub Clip icon. The Save Subclip As dialog box opens. 2. Navigate to the proper folder under Projects (to the project where you created the folder in Creating Folders in Assist on page 75). 3. Name the sub clip and click Save. 76

77 Creating a Shotlist Creating a Shotlist Assist can only use media which already exists on ISIS shared storage and is checked into Interplay. Using this media, Interplay Assist can create basic shotlists: Cuts-only editing where you have the ability to add, re-order and remove shots. These shotlists can be saved and picked up by a Media Composer editor for further editing and output. To create a shotlist in Interplay Assist: 1. Locate the master clip you want to edit. You can use more than one master clip in your shotlist. 2. Create a new shotlist. The easiest way is to pick the in and out points of your master clip, click and hold on Source, and then drag it over as pictured below. The Save Shotlist As dialog box opens. 77

78 3 Logging with Interplay Assist n 3. First, navigate to the proper project folder and click Save. Name the shotlist with an easy identifier. 4. Edit by selecting portions of master clips and adding them to the shotlist. When you are finished adding or re-ordering shots, make sure you save the changes (Ctrl-S or File-Save). An asterisk (*) will appear above the Video Monitor if changes have been made to a shotlist and are not yet saved. Searching in Assist The following illustration shows the Assist Media Search window. It is similar to the Interplay Window in Media Composer. You can use it to quickly find media. It is best to right click on a folder and select Search as it will filter the search to not be database wide. Assist can only use media that already exists on ISIS shared storage and is checked into Interplay. Using this media, Interplay Assist can create basic shotlists: Cuts-only editing where you have the ability to add, re-order and remove shots. These shotlists can be saved and picked up by a Media Composer editor for further editing and output. To search for a sequence in Interplay Assist: 1. Open the Assist Search Tool. 2. Set the Types section to Sequence. 3. Search by sequence name. 78

79 Searching in Assist To navigate to a sequence through the Interplay folder structure: 1. Open the proper Interplay folder through the Assist interface. See The InGame Interplay Folder Structure on page Double-click the sequence to load it into the Video Monitor. 79

80 3 Logging with Interplay Assist 80

81 4 Using Interplay Access You can use Interplay Access for browsing, organizing, searching, protecting, and deleting assets from the Interplay database. Interplay Access works in tandem with Media Composer or as standalone. These applications can be run simultaneously.

82 4 Using Interplay Access The Access User Interface This section describes the basic features of Interplay Access. Starting Access To start Access: 1. Do one of the following: - Click the Access icon on the desktop. - Select Start > Programs > Avid > Avid Interplay Access The logon screen opens. 2. Enter the following values: - Server: Select the Interplay Server Name from the Server drop down menu - Database: The system displays AvidWG after it connects to the server - Username and Password: Use your Interplay login and password 3. Click Logon. 82

83 The Access User Interface Interplay Access is divided into four main segments: The Monitor Pane in the upper left hand corner, the Interplay Database in the lower left, the Object Inspector in the upper right in the Results Pane in the lower right. The following sections describe each section. The InGame Interplay Folder Structure This section provides an overview of the Interplay Folder structure which is used for organizing, protecting, and deleting content. The following illustration shows a sample folder structure. Your structure may vary depending on your site and workflow. 83

84 4 Using Interplay Access Folder Sub folders Description Catalogs ARCHIVE This archive contains an online H.264 representation of the SGL/Spectralogic archive. It contains subfolders per year. GRAPHICS AND TITLES, MUSIC, AND PLAYERS RESYNC Incoming Media RESTORE Projects/20011/FOOTBALL 00PROGRAMS 01REGULAR SEASON 02PLAYOFFS 03TO BE ARCHIVED 04SEND TO ARCHIVE 2011 PLAYERS 05SEND TO ARCHIVE 2011 GAMES These folders provide permanent repositories for commonly used and file elements This folder contains the Resync folder (used for administrators) for re-syncing the Interplay Database with ISIS storage This is the destination folder for material restored from the SG:/Spectralogic archive solution. This folder contains a sub folder media which contains all ingested AirSpeed Multi Stream or EVS content. The Projects folder contains a yearly breakdown for the stadium. Each year includes sub folders for each team, sport, or event at the stadium. This example uses 20011/Football. Check in folder for programs the stadium produces Contains sub folders for each game and would be the Interplay check-in folder for game specific work Separate location for all playoff related content This is an Auto Transcode/Mixdown watch folder for creating low resolution media prior to archiving This is an Auto Archive folder with a pre-set destination within the Projects folder within the AvidAM database This is an Auto Archive folder with a pre-set destination within the Projects folder within the AvidAM database 84

85 The Access User Interface Folder Sub folders Description Sent to Playback Unchecked-In Avid Assets Deleted Items Contains a week by week break down of mixed down material sent for AirSpeed Multi Stream and EVS playback. Users will see a folder that contains the items that are created on the ISIS but has yet to check in to Interplay in the Interplay folder location. This should be considered works in progress, as the assets will be checked in to the specified Interplay Folder location when a bin is closed Acts as a recycle bin for deleted non-avid assets. The Object Inspector The Object Inspector appears in the upper right hand corner of the Interplay Access screen. The displayed asset is determined by which asset is selected beneath the Object Inspector in the Results Pane (detailed in the next section). The Object Inspector provides thumbnail tabs for displaying Relatives, Associations (locations of sequences, master clips, etc. referenced by this asset), File Locations, Frame Locators, Categories, Properties, and Reservations. 85

86 4 Using Interplay Access n The Object Inspector shows different field types based on the asset type selected. The Results Pane The results pane is the area in the lower right of the Interplay Access screen used for searching, viewing asset attributes, and selecting assets for a variety of Access style functions. Commonly displayed fields include the Media Status and Resolution columns, etc. Searching in Access Searching the Interplay database from Interplay Access is similar to searching it from the Interplay Window in Media Composer, but also gives the ability to do an Extended Search, for more advanced searching capabilities. Use the keystroke Ctrl+F to jump to the search tab, or if a search tab is already pinned Ctrl+F creates a new search tab. 86

87 Searching in Access Simple Searches This type of search is allows you to search by basic asset attributes. Click on the Simple tab and you will receive the options pictured below: This allows you to search by text, asset type, category (if applicable), when it was modified, whether it is In Use (used in a sequence/subclip or not) and by the video resolution, as well as a combination of any of these filters. 87

88 4 Using Interplay Access Extended Searches For more advanced searches users can click on the Extended tab (Interplay Access is the only Interplay component with this feature). This allows users more search criteria options to choose from and combinations of them (with both and, or type options). n The above search, for example, looks for the text packers with a media status of online and of the asset type masterclip. For the search types listed above it is recommended for performance reasons to filter your searches to specific areas instead of searching the entire Interplay Database. Many users searching the whole database can cause Interplay performance to slow 88

89 Protecting Media with Reservations Protecting Media with Reservations There is only one method of protecting media from being deleted in Interplay: Reservations. To apply a reservation, right click on the folder and select Reservation. Reservations are crucial for determining the safety of content. Reservations are time-based protections applied at the folder level, not the asset level. Folders with reservations applied have a red circle on them. Applying a reservation to a parent folder applies the reservation to all of its sub folders so use with caution. When a reservation is applied to a folder, the assets (sequences, master clips, media, and metadata files) in that folder are protected from deletion. The picture below shows a folder with a reservation on it: 89

90 4 Using Interplay Access Removing Reservations To remove a reservation you must have administrator privileges on the reserved folder or be the owner of the reservation. To remove a reservation: t Right-click and select Reservation and remove the check box next to the user name. As standard practice you should avoid overriding reservations when deleting media because this overrides all reservations on an asset and may delete media you wish to keep. Defining a Delete Workflow Routine deletion is a key part of maintaining a clean database and ensuring the best use of available space on your ISIS 5000 storage. Defining a deletion strategy and communicating it among your staff can ensure that the correct media is retained and unnecessary media is deleted. Avid recommends performing major deletions during quiet production periods. The deletion of media is relatively fast. However, it takes time for the Interplay database to delete all the metadata associated with the media. This can slow down the system if you try to perform large deletions during important production times. Reservations are the only way to protect media from deletion from your Interplay system. Reservations should be applied wisely, and in normal circumstances, not overridden as part of the deletion cycle. Reservations on a folder display as a red dot on the folder itself. Sub-folders inherit the top level folder reservation. See the Interplay Access User s Guide or Interplay Help for details on reservations. 90

91 Defining a Delete Workflow Saved Searches The use of saved searches can automate parts of the deletion process. You can define your own saved searches and run them any time you want to locate a specific kind of clip or sequence. To create a saved search: 1. Select the Extended option from the Search tab in Access and add parameters for the search. The following illustration defines a search for all clips containing the word goal, created more than 48 hours ago. You can add additional parameters to narrow down the search and obtain faster results. 2. Once the parameters are correct, click Save and name the search. 3. Once the search is named, click Save as New. You can also amend existing searches by selecting Save and Close. 91

92 4 Using Interplay Access Executing a Saved Search n Once the search is saved, it will appear in the Saved Searches pane in Interplay Access. You can also select individual assets, folders or groups of folders manually if you wish to delete without using a saved search. To execute a saved search: 1. Select Preferences > Full Menus to ensure that full menus are selected in Access. If full menus are not selected, the delete options will not appear. 2. Double click the saved search name. Access executes the search and returns the results as shown in the following illustration. Saved search Search results 3. To delete the results of the search, select all of the assets and press the Delete key on the keyboard. 92

93 Defining a Delete Workflow The Delete dialog box opens, displaying the assets you have chosen to delete. This can include folders, masterclips, subclips, rendered effects, sequences, etc. 4. To delete metadata only (no media) use the Select Metadata Only button at the bottom of the box. This will delete only the metadata selected. No media will be deleted using this option. 93

94 4 Using Interplay Access 5. To delete media, either use the Select All button, or select individual resolutions, clips etc. that you wish to delete. 94

95 Defining a Delete Workflow 6. After you make your selections, click the Details button to view any reservations applying to the media or metadata. c If any media is reserved that you wish to delete, the best practice is to remove the reservation from the folder containing the media and then return to the delete dialogue box. Choosing to override reservations overrides all reservations on a clip and may result in deleting media that you wish to retain. For full details on deletion, see the Interplay Access User s Guide or search for Delete Guidelines in the Interplay Help. 95

96 4 Using Interplay Access 96

97 5 Library Archive Management The chapter describes the following topics: Introduction to Archiving InGame Archiving Process Searching the AvidAM Database Restoring from the Archive via Access Restoring from the Archive via Media Composer Archiving Media via Media Composer

98 5 Library Archive Management Introduction to Archiving This section details the InGame Archive Workflow which consists of Avid and SGL Flashnet software and the Spectralogic Tape Library. A major component of this workflow is the incorporation of low resolution H.264 which is used to replicate the high resolution media online for Media Composer and Interplay Assist users. These users may view and edit from H.264 content from the online database and then restore the required high resolution material before outputting the content. The following illustration shows the InGame archive workflow. Pictured above are the components of the InGame archive workflow. On the left is the standard online system composed of ISIS and Interplay. ISIS will house the H.264 copy of the media, while Interplay is used to organize the H.264 assets (master clips, sequences, etc). The center of the drawing shows Interplay Access, with access to both the online database (Avid WG managing the ISIS system) and Interplay Archive (AvidAM) which keeps a record of what was sent to SGL-Flashnet which controls the archive. You use Media 98

99 InGame Archiving Process Services for archiving to and restoring from the LTO5 tape based deep archive. You also use Media Services for transcoding media to H.264 from either Media Composer or Interplay Access for archiving and restoring. The right side displays the Deep Archive/Nearline components of the system represented by the Spectralogic LTO tape archive and SGL-Flashnet (the software used to manage the LTO library). InGame Archiving Process The following section details the archiving process in the InGame workflow. Typical archival content will include raw clips, file video, Melts, finished packages or entire finished projects. Consolidating the Media in Media Composer One of the most important determinations prior to archiving depending on the amount of free space is whether to consolidate a piece prior to archiving. When a package is sent from the online ISIS system to the archive, the default behavior is to pull all of the clips that a sequence references in their entirety as a part of the transfer. This behavior will take up much more space and a considerable amount of additional time and can be avoided if so desired. One of the most powerful features of the Media Composer editor is the ability to consolidate media. This retains the edit points of a sequence (so that it can be picked up and re-edited) and allows you to custom select handle length to provide more media than is required, while creating only the media needed to required to store the sequence. 99

100 5 Library Archive Management To consolidate a sequence in Media Composer: 1. Right click on the desired sequence in the Media Composer bin and select Consolidate/Transcode The window defaults to the Consolidate tab as pictured below: 2. Enter the following values: - Video and Audio on Same Drive: Enabled - Create New Sequence: Enabled - Skip Media Files Already on Target Drive: Disabled - Video/Data: Select the media workspace 3. Click Consolidate and then check in the assets to Interplay 100

101 InGame Archiving Process Interplay Media Services for Transcode n Interplay Media Services profiles can be used to transcode masterclips to low resolution, and can transcode and mixdown sequences to multiple resolutions prior to archiving. This latter process, known as dual mixdown, creates a new masterclip from a sequence, preserving all the metadata (such as locators) which had been added to the original sequence. When the high-resolution media is archived, you can retain the low resolution media online for browsing and editing. A transcoded and mixed down sequence does not contain edits that can be re-edited, so it is different from consolidation in the editor in that respect. The masterclip can, of course, be used in the same way as any other masterclip in the database. Transcode Profiles Transcode and Transcode and Mixdown profiles can be created by system administrators to suit your facility. You can create or view the profiles in Access by selecting View > Interplay Media Services Status and opening the Profiles tab. Transcode Only Profile The following illustration shows an example of a Transcode profile. This profile would transcode any clip to H.264 Proxy low-resolution video and Mpeg1 Layer 2 audio. 101

102 5 Library Archive Management Transcode and Mixdown Profile The following illustration shows an example of a Dual Resolution Transcode and Mixdown Profile used to create masterclips with XDCAM HD50 high resolution video and PCM audio and H.264 Proxy low-resolution video and Mpeg1 Layer2 audio. Other resolutions are also available. Transcoding from the Editor This section shows how to perform a transcode as a background process from the editor. To transcode and mixdown a sequence from Media Composer: 1. Select a sequence in a bin. 2. Right click the sequence and select Media Services. Then select the Media Services profile you want to use. In the background, Interplay Media Services will transcode and mixdown the sequence to your chosen resolution(s). Then the system will check the new masterclip into a folder in the Interplay database based on your editor Interplay folder settings. The new masterclip will NOT automatically appear in your bin. 102

103 InGame Archiving Process Transcode from Access This section describes how to select a profile and perform a transcode operation from Access. To transcode and mixdown a sequence from Access: 1. Select a sequence in the Access folder structure. 2. Right click the sequence and select Transcode. The Transcode dialog box opens. 3. Select the appropriate profile and click Set. In the background, Interplay Media Services transcodes and mixes down the sequence to your chosen resolution(s). Then the system checks the new masterclip into a folder in the Interplay database based on your editor Interplay folder settings.the new masterclip will NOT automatically appear in your bin. Press F5 to refresh the bin. Creating an Auto Transcode Folder You can create auto transcode folders in Access to automate the process and avoid having to select a profile. Then you can simply drag and drop or copy and paste a sequence to the folder for processing. For example, you could copy and paste a sequence into an auto-transcode and mixdown folder. The transcode/mixdown process automatically begins in the background shortly after you perform the operation. Verifying that the Proper Metadata is Entered One of the major roles in relation to archiving is to ensure that the proper metadata has been entered for assets in the Interplay system prior to archiving. Operators perform this action through Interplay Access using the Object Inspector or Interplay Assist. 103

104 5 Library Archive Management Online Archive Interplay Folder Structure Once content is ready to be archived from the Projects folder in the online system (AvidWG) either the asset or the entire folder containing the assets for the bin or project are cut from their current location and moved to the 03TO BE ARCHIVED folder for archiving. Pictured above is the online database (AvidWG) and the Catalogs-ARCHIVE folder which serves as the online low resolution database. When a sequence or masterclip clip is ready for archive, it is placed in the 03TO BE ARCHIVED folder. Material in folder is ready to be transcoded to H.264. Once the H.264 is created, the high res material is moved to one of the 04SEND TO ARCHIVE folders where the content is archived to the SGL Spectralogic (performed manually or via watch folder). 104

105 InGame Archiving Process Removing Reservations During the archiving process, high resolution media files are removed from the online system. This action cannot be performed unless Reservations are removed. If the folder or asset appears with a red dot, remove the reservations by right clicking on the folder and selecting Reservations and de-selecting any reservation. Once the reservations are removed from underneath the Archive Temp folder, the clips or folders are ready for archiving. Metadata Only Delete It is in the TO BE ARCHIVED folder that you can eliminate any sub folders or assets that you do not wish to delete by performing Metadata Only deletes. To do this, right click on the desired folder or assets and select Delete. Choose only assets (sequences, subclips, master clips) but NO MEDIA FILES. This will safely delete assets without affecting other areas of the database and put any orphaned media (clips no longer in any other folder) into Orphan Clips from which they can be safely deleted. Viewing the Archive Folders and Asset Tracking n One of the features that will provide useful information as to whether material has been sent to the Archive or not, is a column in Interplay Access called Tracking. This column provides a color coded set for both the online system (AvidWG) and the archive system (AvidAM). It is a manual process to update the assets to show whether they exist on or not. To view and update the tracking feature: 1. Navigate to the desired folder. 2. Make sure that Tracking is displayed as a column in the Results Pane 3. Highlight the desired assets in the folder 4. Right click on the assets and select Update Asset Tracking. 105

106 5 Library Archive Management Verifying the H.264 Media is Online As a check, prior to deleting or archiving you should check and verify that the low resolution H.264 media exists. There is a column for this in the results pane and it is good to verify before performing other actions. If not, you can perform a transcode through Interplay Access by selecting Transcode from the right click menu. If you selected a master clip, choose the option above MPEG4-Master Clips. 106

107 InGame Archiving Process Sending to Archive via Interplay Access - Manual Once it is determined whether the media has been archived or not, it is time to physically send the content to the Archive solution. This will most commonly be done through Interplay Access or Media Composer if necessary. See Archiving Media via Media Composer on page 115. To send material to the archive via Interplay Access: 1. Right click the assets and select Update Asset Tracking (replace). 2. This will call up the Send to Archive dialog box (as pictured above). At the top of the window, select a Profile. Use the desired profile when sending to the archive to determine the location in the AvidAM database. 107

108 5 Library Archive Management 3. Leave the Launch Interplay Media Services status window checked if to monitor both the progress and success/failure of the archive transfer. Click on OK If you selected the Launch status option, the following screen appears allowing you to monitor the transfer. Deleting High Res Media Once content is transcoded to H.264 and the high resolution media is sent to the SGL/Spectralogic archive, the high resolution media can be deleted from the online database. 108

109 InGame Archiving Process To delete high res media: 1. In Interplay Access, select the desired folders or assets to delete and perform a right click and select Delete 2. The list of asset types, resolutions and workspaces appear. The top option (Delete Only Media ) should be checked. From the Media Resolution(s) section, select all resolutions except MPEG1Layer2 and H Click on OK 4. The Delete in Progress window opens and displays what was deleted. 109

110 5 Library Archive Management n Once the content is deleted it can be moved to its permanent residence in the online (Avid WG) Catalogs-ARCHIVE 2011 folder by cutting and pasting the assets or folders into the desired folder. Try to schedule the deletion of large numbers of files (for example over 300 GB) during off hours. Large deletion operations can slow down the response time on the Avid Interplay Engine. For optimal Interplay performance, try not to delete more than 2,000 assets simultaneously. If you have more than 2,000 assets to delete, perform the deletion in increments of 2,000 or less. Organizing the Deep Archive (AvidAM) Folder Structure Interplay Access users can log in to the Archive database to move and organize content (based on their permissions). This can be done by selecting the Databases option at the top of the folder structure and selecting Connect to Database from the File drop down menu. The server name for the Interplay Archive Engine will vary based on the site. n The AvidAM displays different icons for the archive folder (gold boxes). The archive profiles are configured to put the content into the specified folders These folders do not sync automatically between the two systems. If you create a new folder on AvidWG you must manually create it on AvidAM if you want it on both. Archive Database folders should not contain more than 5,000 assets per folder. If folders near or exceed this threshold, you should created sub folders to divide the content. This can be achieved through creating new profiles for years and months or organizing the content manually within the AvidAM database. 110

111 Searching the AvidAM Database Searching the AvidAM Database n The archive can be searched via the standard search tools by directly searching within the AvidAM database, or from within the AvidWG database and selecting the Remote option and selecting AvidAM. You cannot play media from within the AvidAM Database structure. n To search the archive: 1. Click the Remote Databases checkbox. 2. Click on the database icon next to Remote to select AvidAM. You can either search the entire AvidAM database or selective folders on it. Depending on the size of your database it can be much faster to search through selective folders or narrow down your search in other ways. 111

112 5 Library Archive Management Restoring from the Archive via Access This section describes how to restore from the archive. To restore media using Interplay Access: 1. Right click on the desired assets and select Restore. The Restore dialog will open as shown in the following illustration. 2. By default, the User Profile menu is grayed out. You must select the AvidWG database for the User Profile menu to activate. 3. Select the Restore Profile from the drop down menu. 4. Click OK. The job is submitted to Media Services and the restore will take place in the background. Display the resolution columns for the desired resolutions and H.264 to see the current status of the resolutions and when the restore is completed. 112

113 Restoring from the Archive via Media Composer Restoring from the Archive via Media Composer Most of the time, restoring high res will be a background task as part of the normal editing cycle: editors may be editing a sequence with a mixture of high res and low res media. At any point during the edit, they can right-click on the sequence and restore the high resolution media. To restore a sequence using Media Composer: 1. Right-click on the desired sequence in the editor Bin and select Media Services-Avid Interplay Restore Service. 2. Choosethe Restore profile which determines the ISIS workspace the media will be restored to. The names of your restore profiles will be different from the samples in the illustration. 3. The Restore is submitted to the Media Services and handed to the Restore Provider, which will restore the media in the background. 4. If you use the Dynamic Relink button on the timeline, clips that do not exist in the desired resolution will appear in yellow (this will certainly occur with any media used from the online library). Once the proper media is restored, the timeline should change from yellow to your standard track colors. 113

114 5 Library Archive Management n It is also a good idea to display Clip Resolutions on the timeline. This option is available through the timeline fast menu under Clip Text-Clip Resolutions. The Restore profile is set to partially restore material. This means that only the portions of the high res material required for the edit will be restored (unless a whole master clip or sequence are restored, in which case the whole high res material will be restored). Partial restore does not work for all asset types. Consult the most current Media Services guide for the list of supported vs. unsupported assets. Partially Restored Clips When a partial restore request is sent to the Media Services, the system will restore only parts of the Master clip / sequence that are used in the sequence. If you do not see the restore populate automatically (or a transcode for that matter) select Update Bin from Interplay from the Bin drop down menu (pictured below). 114

115 Archiving Media via Media Composer Archiving Media via Media Composer Most of the time, archiving is done through Interplay Access which allows you to archive an entire project. This section details how to send a sequence to the archive from Media Composer if so required. To archive a sequence using Media Composer: 1. Right-click on the desired sequence in the editor Bin and select Media Services > Avid Interplay Archive Service. 2. Choose the desired profile. The names of your archive profiles will be different from the sample in the illustration. 3. The Archive is submitted to the Media Services and handed to the Archive Provider, which will archive the media in the background. 115

116 5 Library Archive Management 116

117 6 Working with Final Cut Pro on Shared Storage This example use Media Composer and Apple Final Cut Pro (FCP) clients. The Final Cut Pro clients are also connected to ISIS to use the shared storage and have Interplay Access clients installed to enable the exchange of Apple ProRes media between Final Cut Pro clients, and also for Final Cut Pro projects to be shared between clients.

118 6 Working with Final Cut Pro on Shared Storage Importing QuickTime Reference Files Into Interplay Access When a Final Cut Pro user wants to work with QuickTime files stored on ISIS shared storage, you can use Interplay Access to export a QuickTime reference move to a location accessible on the Final Cut Pro. This export is fast because Access is exporting a reference movie only. From Interplay Access, you can export a folder (and any subfolders) that contain QuickTime reference movies, which lets you maintain the same project organization in the Interplay database and on your local system. Only QuickTime reference movies are copied when you use this command. If a subfolder does not include any QuickTime reference movies, the folder is not copied. The process has the following prerequisites: The original QuickTime movies must be stored on playable shared storage, for example, a workspace on an Avid shared-storage system. The workspace that contains the original QuickTime movies must be available to the user who is importing or exporting the QuickTime reference movies. 118

119 Importing QuickTime Reference Files Into Interplay Access To create a QuickTime reference movie and import it into the Interplay database: 1. Log in to Interplay Access and connect to the database in which you want to create the QuickTime reference movie. 2. Select the folder in which you want to create the QuickTime reference movie. In this example we created a folder in the Interplay Database for Final Cut Pro QuickTime reference movies. It is recommended that sub-folders are created reflecting the name of the story/item or player which the Quicktime reference movies relate to. 3. Do one of the following: - Right-click and select Import QuickTime as Reference - Select Tools > Import QuickTime as Reference The Import QuickTime as Reference dialog box opens. 4. Navigate to the location where the QuickTime files are stored and select one or more files. The QuickTime files must be located on playable shared storage, such as an Avid ISIS workspace. 119

120 6 Working with Final Cut Pro on Shared Storage 5. Click Add, then click OK. The Import QuickTime as Reference options dialog box opens. 6. (Option) Add a version comment. 120

121 Importing QuickTime Reference Files Into Interplay Access 7. (Option) By default a copy of the Quick Time Reference file is copied to your working path, which is set in Interplay Access. If you do not want a local copy, click the Advanced button and then select the Don't get local copy checkbox. 8. Click OK. One or more QuickTime reference movies are created and imported as file assets. Each reference movie points to the original QuickTime movie that is stored on playable shared storage. To export a QuickTime reference movie and copy it to a folder: 1. Log in to Interplay Access and connect to the database that contains the QuickTime reference movies. 2. Do one of the following: - In the folder tree, select a folder that contains QuickTime movies. - Open a folder, and in the Content tab, select one or more QuickTime movies. You can export a folder of movies or individual movies. If you select a folder, all subfolders are also copied. Only QuickTime reference movies are copied. Other files are ignored. 3. Right-click and select Export QuickTime Reference or select Tools > Export QuickTime Reference. The Export QuickTime Reference options dialog box opens. 121

122 6 Working with Final Cut Pro on Shared Storage 4. Select whether to copy the files to your default working path, as set in Interplay Access, or to another location. If you want to copy the files to another location, click Browse and navigate to the location to which you want to copy the files. Select the folder and click Choose (Macintosh) or OK (Windows). The selected path is displayed in the Export QuickTime Reference dialog box. 122

123 Exchanging Final Cut Pro Projects Between Final Cut Editors 5. Click OK. The QuickTime reference movies are copied to the location you selected. You can then import the QuickTime reference movie into your application (Final Cut Pro or another application) and work with them the same way as you work with QuickTime movies. Exchanging Final Cut Pro Projects Between Final Cut Editors In this workflow, Final Cut Pro users can import, check in, and check out projects as file assets (non-avid assets). Projects are treated like any other file assets. This workflow has the following prerequisites: Each Final Cut Pro system must be a client in an Avid Unity ISIS environment. Each Final Cut Pro system must be running Interplay Access These procedures are based on importing and checking out complete QuickTime movies. You can save time and disk space by working with QuickTime reference movies. Avid recommends using QuickTime reference movies (see above) 123

124 6 Working with Final Cut Pro on Shared Storage To import a Final Cut Pro project by dragging and dropping: 1. Open Interplay Access. 2. On your system desktop, select the Final Cut Pro project folder. 3. Drag the selection to a folder in Interplay Access.The Import dialog box opens 4. Type a comment. 5. Click OK The selected files and folders are imported. To check out a project: 1. Open Interplay Access. 2. Right-click the Final Cut Pro project folder and select Check Out. The Check Out dialog box is displayed. 3. Type a checkout comment in the box. 4. Click OK. The files are copied to your local disk. A red check, your username, and the comment beside the item show you have that file checked out. To check in a project: 1. Open Interplay Access. 2. Right-click the Final Cut Pro project folder and select Check In. The Check In dialog box appears. 3. Add a comment that explains what edits were done for later reference. 4. Click OK The files are copied to the Interplay database. The red check mark is then removed and the comment is displayed in the comment column. 124

125 Sharing Content Between Media Composer and Final Cut Pro Sharing Content Between Media Composer and Final Cut Pro The section describes the following topics: Exporting a Final Cut Pro Sequence to Media Composer Importing a Media Composer Sequence via Automatic Duck Exporting an Avid Media Composer Sequence to Final Cut Pro Exporting a Final Cut Pro Sequence to Media Composer On a Final Cut Pro system, use Automatic Duck Pro Export FCP to export a sequence to a local or shared location. (Automatic Duck is sold separately). To export a sequence from Final Cut Pro to Media Composer: 1. Open Automatic Duck Pro Export FCP. 125

126 6 Working with Final Cut Pro on Shared Storage 2. Select AAF and click Edit Settings. 3. In the Audio area, select Create externally linked files and select PCM (.mxf) media. 4. Specify any other settings that you require. 5. Click Save. The export process converts the FCP XML file to an AAF file, and converts QuickTime media to MXF media. It creates a folder that holds the.aaf file, a folder with media, and an.html file with information about the export. The AAF file can then be imported into Media Composer. 126

127 Sharing Content Between Media Composer and Final Cut Pro Importing a Media Composer Sequence via Automatic Duck On a Final Cut Pro system you use Automatic Duck to import Media Composer generated AAF files. 127

128 6 Working with Final Cut Pro on Shared Storage To import a Media Composer sequence to Final Cut Pro: 1. Navigate and select the AAF file from the Media Composer export. n 2. (Option) In the Settings area, select Use existing media. If you select Use existing media, the import process creates small QuickTime reference movies that point to the media on the Avid shared storage system. This is a quick way to import the project if you are connected to shared storage. If you want to create QuickTime media on your Final Cut Pro system, do not select Use existing media. 3. Click Open. The sequence is imported into Final Cut Pro and a user can now edit the sequence. 128

129 Sharing Content Between Media Composer and Final Cut Pro Exporting an Avid Media Composer Sequence to Final Cut Pro The following section details how to export a finished sequence from Avid Media Composer to Apple Final Cut Pro. To export a sequence from Media Composer to Final Cut Pro: 1. Select the desired sequence in the Media Composer bin and select Export from the File drop down menu. 2. Select the desired location for the export. Name the file and select AAF as the export option. 129