Getting Final Cut Pro projects and/or media into Avid Media Composer
I’m sitting at my desk last week when my phone rings – caller ID tells me it’s an associate from my hometown of Chicago. No sooner do I lift the receiver do I hear
“I win!”
Bewildered, I respond with a puzzled “Excuse me?”
“I win!” he repeats. “I knew you’d go Hollywood!”
Now this puzzles me. Not only because TMZ and perezhilton.com are blocked at work, but that very day I was looking into flights to visit family and friends in Chicago, as well as planning my next trip from the Valley to Buena Park for some much needed Portillo’s. In fact, not to much earlier that day I had made a decent Chicago pun. (There are four directions in Chicago: Northside, Southside, Westside, and the Lake.)
“You swore you’d remember your roots, man. But I read your blog, and you’re talking about stuff we’d probably never do in the Midwest.”
“Well, some would…” I rationalized.
“Hardly. Didn’t you used to say the difference between L.A. and Chicago was a million dollars and 6 frames? All of your stuff revolves around those two things.”
“Yeah, well…some people out here do 29.97…”
He cuts me off. “They’re called Tape Ops.”
(We both chuckle. Post geeks are an odd squad.)
So, in this post, I’ll be backing off the Hollywood-centric workflows, asinine acronyms, and strings of polysyllabic words and going back to some grass-roots issues.
On any given project, there are many editors, in many disciplines, and spread across many miles. Therefore, getting YOUR stuff to work with THEIR stuff is imperative. Thus, I present to you the best ways to get Final Cut Pro projects and/or media into Avid Media Composer.
First, it’s important that we understand how Avid deals with media. As of March 2010, Avid understands media in 4 formats. This may very well fluctuate in the next few months**, but for now, Avid understands media thusly:
- Native Avid media – that is, captured by Avid. Nowadays, this is usually in Avid’s DNxHD codec, which is analogous to ProRes – see chart below. Avid, during capture into DNxHD, wraps this file in an MXF wrapper. In legacy systems, instead of MXF, this would be a standard definition file in an OMF format. This media is understood natively by Avid, and requires no other transcoding or re-wrapping for usage within Avid.
- Quicktime Media encoded with Avid’s DNxHD codec (with a .mov extension). Avid can see this file, but will want to “wrap” it into an MXF wrapper before utilizing it within Avid. This is not instantaneous, but is faster than a straight file import / conversion because it is not re-encoding the media. Avid calls this a “fast import”. **
- Via Avid’s AMA – Avid Media Access. (v. 3.5 and above). P2, XDCAM, and GFCAM are understood natively (but ONLY camera native files with the mxf wrapper and original file hierarchy) **
- Other Quicktime Media NOT encoded with the DNxHD codec, but still understood and playable by your Quicktime player. Provided the codec is installed on your Avid machine, Avid can see it, but needs to import (transcode) and wrap the file into an MXF wrapper. This is the longest of the techniques.
Knowing these rules, we can build several workflows which enable a FCP Project – or just the media – to get into Avid.
Just Media from FCP to Avid: Easiest Method (and Free!)
Media from FCP to Avid (click to enlarge)
- Download the Avid DNxHD Codecs (http://www.avid.com/dnxhd/ ) onto your Mac. This enables FCP, Compressor, or any other encoding application on your same Mac to encode into DNxHD. (Remember DNxHD is a codec, so it can have a “.mov” extension).
- Export your timeline into a comperable DNxHD .mov format (see chart). This yields a file with a .mov extension, but encode with a DNxHD codec.
- This file can be seen by Avid, who will then “fast import” it (wrapping it into an MXF wrapper), allowing you to use it in the most efficient way on the timeline.
GOTCHA: You can, of course, bypass the entire download of DNxHD codecs, just just export from FCP using the same codec FCP is using in the timeline. This, however, complicates things for the Avid user. What if they do not have the same codec you are using within FCP? Worse yet, what if the codec you export with requires the other user to pay to get the codec? For example, DVCProHD is not free for a PC! Companies like Calibrated Software (http://www.calibratedsoftware.com/) charge $69 for a plugin to simply decode the file. Rule Of Thumb: Make it as EASY as possible for the next person to use your media.
ADVANCED USERS: From FCP, export a QT Reference. Use your clustered or more robust encoding solution to encode into a .mov DNxHD file. Quite possibly, your encoding solution may allow you to even wrap the DNxHD file into an MXF wrapper (OP1a compliant) which makes importing into Avid even faster! (see #1)
Project AND Media from FCP to Avid (slightly not free)
Project & Media from FCP to Avid (click to enlarge)
- Purchase and download Automatic Duck Pro FCP Export ($495) http://automaticduck.com/products/pefcp/
- Download the Avid DNxHD Codecs (http://www.avid.com/dnxhd/ ) onto your Mac. This enables FCP, Compressor, or any other encoding application on your same Mac to encode into DNxHD. (remember DNxHD is a codec, so it can have a “.mov” extension)
- Within FCP, export using Automatic Duck (see movie here: http://automaticduck.com/products/pefcp/FCPtoAvidwitMedia.mov). In short, Automatic Duck creates a Project file Avid can understand, and you have the option within the export of converting the media to DNxHD AND wrapping it into an MXF wrapper. All are read natively by Avid. ALL IN ONE STEP. Can you dig it?
GOTCHA: (for you advanced users) This process can be slow, as Automatic Duck handles the media transcode and re-wrap. This is a single threaded process, and cannot be done by another application. This may yield a wait for longer form / media heavy projects. In addition, there are a handful of effects that may not transfer over. Check Automatic Duck’s documentation for limitations.
ADVANCED CONCEPT: Use Automatic Duck to export the Project. Manually take the FCP Media and transcode into DNxHD or MXF wrapped DNxHD with your favorite encoder. Take the converted Project file and media to the Avid. Open the Project, and manually re-link to the transcoded media. Depending on if the FCP media was wrapped in a MXF wrapper, Avid will either import it instantaneously, or necessitate a wrap into MXF. While this may save time on the front end (manually doing the encode into DNxHD), you will lose that time by needing to manually re-link to the media within Avid. Plus, you lose tons of metadata. I am not a fan of attempting this. But I will be glad to charge you for consulting on it.
NOTE: This workflow ensures the most amount of metadata transferring over. Sure, you can save yourself $495, and try to work some magic with a generic EDL. I’ve had zero consistent success with this, and only massive amounts of metadata loss, headaches, and a severe limitation in terms of effects transferring over. Take it from Nancy Reagan: JUST SAY NO.
FOOTNOTE: Quality loss is always a big concern. There are hundreds of codecs out there – so I cannot possibly mention each one. However, I can tell you what standard codecs in FCP equate to what codecs in Avid:
| Avid “family” Codec*** | FCP Codec | Notes |
| DNxHD36 | ProRes Proxy | Best for film/ video offline, archival for reference, digital asset management (DAM / MAM) |
| DNxHD115 | ProRes LT | DVCPROHD-like. Lightweight, used as a balance between quality and efficiency. |
| DNxHD145 | ProRes 422 | Television broadcast quality baseline |
| DNxHD220 / DNxHD220x | ProRes 422 HQ | 220 is 8-bit. 220x and HQ are both 10-bit, and therefore have greater latitude for color grading and motion effects. |
| DNxHD??? | ProRes 4444 | Lowest level of compression (highest quality). ProRes 4444 has an alpha channel; Avid currently has no equivalent. |
**Most likely in mid 2010, the line between #2 & #3 will become blurred. That is, AMA being enabled to understand ANY codec Quicktime can read. This means that Avid can play almost any media file you throw at it, so long as Quicktime on the same machine can play it. While this is a fantastic concept, Avid will always perform better when dealing with multiple streams of video when all formats are in an Avid codec. Avid only guarantees 3 streams of broadcast quality video via AMA, and I do not expect that to change once AMA is opened up fully to Quicktime.
***Avid’s DNxHD codec has “families”, for ease of use (snort) in terms of naming conventions (left column above). Depending on your frame rate, the bitrates (the last numeric digits) of the file can fluctuate slightly. For example, DNxHD36 is for 23.976 fps material. This “family” also encompasses 29.97 fps material encoded with the same codec, yet yields a file (technically) at DNxHD45. Yes, I know: uber-confusing. Look for a blog post on this soon.
Hope this helps. Have any input? I’d love to hear it.
It came from the Searches Volume 1
I’m on a plane from Vegas – after nerding out at the Digital Signage Expo. It’s a full circle, having been christened into Digital Signage around 2002 with Graybow. Glasfire (3M’s Vikuiti), if any of you remember. In any event, this short 50 minute jaunt from Vegas to Burbank gives me time to write a quick blog.
Matt Stratton turned me on to Clicky Stats awhile ago, and through Clicky, I’m able to see what web searches come up with my blog as a result. I also see when these searches lead them to my blog – but then they leave because they didn’t find the answer. I thought since the search engines think I already have it on my site, perhaps I should. Below is a sampling of the search queries that my website supposedly already has the answers for. So, I present to you:
It came from the Searches, Volume 1.
dnx-36 firewire 400 and bandwidth requirements DNX36
Yes, DNxHD36 (aka DNx36) can certainly work through a firewire400 pipe. DNxHD36 runs at a 36mbps, while firewire400 has a theoretical max of 400mbps. This makes firewire400 a fine choice as a transport for DNx36 offline workflows.
29.97 and dnx36
This is a source of confusion for many Avid users, and I’m in the process of authoring a blog on this. DNxHD36 is a “family” according to Avid. While the “36″ label refers to the data rate for 23.976 material, the DNxHD36 “family” codec can be applied to 29.97 material. This would be technically known as DNxHD45 (45mbps as opposed to 36mbps).
“episode engine” cpu restriction
This is kind of vague. Within Episode, you can assign priority of encodes and cpu usage. Quicktime already is pretty poor with processor usage to begin with, however.
Metafuze Lossy?
Yes. After all, you’re transcoding from one codec to another – there will always be quality loss. In addition, DNxHD is a lossy codec – so, yes.
edit room day rate
This varies wildly. Depends what gear is in the room, what the room is used for (editorial, audio, finishing, color, etc.) your experience, and geographical location – and hell, what your rent is! Normally a reputable rental rate at a good facility would be a couple hundred bucks per hour or even much more. As a side note / soap box, don’t sell out the rest of the industry by undercutting other facilities. Talent and experience are worth the money. That’s a majority of what the client is paying for – not the gear. By undercutting everyone else, the industry is forced to adopt your lower rate as a standard, then everyone has to drop their prices. And the cycle continues. You’re shooting yourself in the foot.
Does clipster support facilis
Clipster runs on Windows XP 64bit, which Facilis has a client for. Fibre is the best choice (Ethernet won’t deliver the bandwidth needed), and it should be a recent version of Facilis software to enable file locking – volume locking will cause organization issues, but can be done.
convert red footage cluster setup
I wish I could do it better than these guys have:
http://www.kenstone.net/fcp_homepage/compressor_multi_cores_stitzer.html
http://www.fcsoutlet.com/home/Studio_Outlet/Entries/2008/9/1_Virtual_Clusters_-_Compressor.html
fcserver script
Good luck. Most everything is manual at this point. Try CATDV as a more GUI based alternative.
QIO-PCIE sonnet tech
The QIO comes with either a PCIE host card or a E34 (Express slot) host card. Unveiled at NAB 2009, and finally shipping now! Mac only support for now. List Price is about $1000.
FTP, KiPro
Well, once the KiPro encodes to ProRes, you can certainly FTP the file – although it’s gonna be huge. Your best bet is to offload it to a portable drive for transport or use a transfer solution like StorageDNA.
share msm database avid
I can only assume you’d like two or more machines to access the same Avid Database at the same time, in order to share media. Nope – the functionality you are attempting to do is achieved through Avid Unity, ISIS, and Interplay.
final cut server frontend
Final Cut Server (FCSvr) clients have a front-end based in Java; it looks the same on Mac or PC – and the administrator can restrict what functions a client can have. A popular alternative is creating a web page interface which ties into the database and media of FCSvr. The functions on thew web page are usually limited and typically only used for “review and approval” functionality. Several companies out there can create a custom web based interface – although it is far from cheap.
episode pro pro res 422
Yes, If Episode is running on a Mac, you can encode and decode into any of the flavors of “ProRes” (1 word). Decoding is only available (currently) on the Windows version.
Encoding During Editorial
Last week on my POST Magazine blog, I briefly discussed Encoding in Post: The Four Hot Spots. I figured, “Why not elaborate on one of those areas?” Thus far, I’ve discussed the concept of Pre-encoding, and various facets of the final encode. Let’s talk about the most vital and often overlooked area: During Editorial.
Of course I’m (initially) referring to the almighty DVD, which all of you assistant editors need to burn daily – all, naturally, with different watermarks and circle takes or various cuts. Plus, that Blu-Ray for that Director with the fancy car – you know who you are.
However, more and more above your paygrade individuals who foot the bill for your paycheck are using non-traditional devices to view media. The web has undoubtedly become the new standard, with petaflops of media files being FTP’d daily. Flash, Windows Media, and heavily Compressed Quicktimes are all popular options – and many times, are all needed. New fangled video enabled mobile devices – like the iPhone, Blackberry, and Droid – have increasing become the way to view video while on the road between business meetings and Starbucks pit stops. Those facilities that have been wise to adopt Digital Asset Management (DAM) internally will also need a version for tracking, as well.
So, yes, dear assistant editor, you now have several DVDs, web versions, and mobile versions to create. Plus, there is always – always – that oddball version you need to create. It’s inevitable. All in time for the next edit session tomorrow.
This is when you need encoding. And a hellova lot of it.
I can only hope that all of you, dear readers, are familiar with the concept of a Quicktime (QT) Reference. No? Then Unca Michael will enlighten.
A QT Reference is simply a pointer file.
Quicktime file vs Quicktime Reference file (Click to Enlarge)
It’s a small media file that appears as a full movie file to most media players, but during playback, it points back to the initial media used in the generation of said QT reference file. Think of it like that bookmark in your web browser. That bookmark isn’t the entire website, but it pulls up the website when you click on it. It’s a link.
QT references are your best friend. Why? Most NLE’s can generate a QT Reference much faster than exporting a whole “complete” file. Thus, less time watching a progress bar. (Although, ironically, having the wait time does give you time to get coffee to stay awake and watch the progress bar longer. Interesting.) This speed boost is accomplished by having the NLE only create new (render) files for media that has some sort of effect on it in the timeline. All other media is untouched, and thus, the QT Reference can point to it. Brilliant!
So, I’ve already saved you oddles of time. Waiting.
Now, I need to earn that bonus, and you need to take this QT reference goodness and utilize the strength of it’s pointers to create the compressed files needed for your deliverables.
At this point, it may be a good time to check out this post, as I explore choosing the right encoding solution. In a nutshell, you need an encoding solution that can accommodate all of the formats you need to deliver. It’s mighty beneficial to have a solution that can encode into multiple formats at once. Again, less thumb twiddling time.
Here is where I drop the “But…” bomb. I must tell you something vital when dealing with QT references: Your encoding solution MUST sit on the same network as your edit system and media storage. Huh? The QT reference is aware of where the original media is in relation to itself when it is created. If a user were to say, I don’t know, email the file, or even move the QT reference to another folder (even on the same system), the link to the original media is lost. Yeah, big gotcha. That’s why I recommend having your encoding weapon of choice on the same SAN/NAS as your edit bay…or have a firewire drive on standby to copy the QT reference and media (retaining the same hierarchy) to move from the edit bay to the encoding solution.
Moving a Quicktime Reference out of it's natural habitat (Click to Enlarge)
Solutions like Root6’s Content Agent (see my review here) are actually built explicitly for this purpose: not only can Content Agent sit on any Windows compliant SAN, but the system can handle concurrent encodes, auto FTP files, email status updates, and automate DVD burning with watermarks. And while I’m sure burning and labeling those DVDs fulfills your life’s purpose, there is even a more efficient way to streamline that. Look into Rimage: Automated network DVD authoring and label printing, scalable from small runs to large runs.
While I am sure this will not keep you from many late nights in the edit bay, it very well may give you a few more hours to crash on that old couch in the back of the room.
I bet I can save you hours of waiting in the edit bay
I bet I can save you hours of waiting in the edit bay.
Pre-rendering.
Wha? Huh? Isn’t that an Oxymoron?
Hang with me here for a minute.
Q. What necessitates media needing to be rendered?
A. Well, the fact that I put 10 different effects on one clip, including this groovy flying toaster effect..
Q. OK, slow down, Orson. Do you know why you have to render those?
A. Well, because my computer is too slow.
That may not be the case. Codecs – what your media is encoded and decoded for playback with – are designed to use as little storage as possible when encoding a media clip. Often times, the trade off for a small storage footprint is a media file so compressed that your computer simply cannot play those effects in real time. Yes, that $10,000 computer may be able to play the raw clip, but it simply cannot decode the media – and put your flying toasters and star wipe on it, along with the other tracks of video and star wipes – without dropping frames. Hey, it’s not the computers fault. You’re trying to make it do something it was never intended to do. Thus, you need to render. And render. And wait.
So, why not give your computer a break?
Give the computer a file that it can more easily decode – and put effects on – in real time. Yes, you need more storage, but is a little bit more storage cost worth your wait time? Have you seen how cheap storage is now?
Some tapeless codecs, like XDCAM, etc. are what they call “Long GOP” (Group of Pictures). Unlike the concept of film, where each frame is a complete, full frame picture, Long GOP based codecs only track the change from frame 1 to frame 2. This makes the information in frame 2 much smaller in size than a full frame of information. By only having a full frame of information every, say 15 frames, you save a plethora of space. This means longer recording times on those flash memory cards, and happier consumers. Until they want to edit it. And put flying toasters on it.
Other video compression technologies, like RED, AVCHD, or AVC-Intra, may not utilize Long GOP structures, but instead they compress the file even more – which makes your computer work even harder – just to play the file. Many of these compressed codec’s utilize encoding schemes, which can employ several other techniques to save space. Two of the most popular are:
- The camera not shooting a full size frame of information, but shooting a smaller scale version, and letting the computer scale it up to full HD frame size while it plays back.
- Shrinking the color space to save storage space, but yielding a file that degrades further in post and making it poor for chroma keying and VFX work.
Here is a good example to put things into perspective: HDV. HDV is very common for consumers who want inexpensive HD on a small tape. HDV file size is over 70 times SMALLER than a clean, pristine, uncompressed signal. Your computer has to work much, much harder to play that file back and add effects – in real time. The same reason your car has issues pulling an additional 14,000 lbs.
So, you’ve now been sworn off of editing Long GOP and other uber compressed formats. What do you do with that groovy (pseudo) HD camera you just picked up?
This is where pre-rendering (finally) comes in. Take that compressed “camera original” media and “flip it” to a more robust codec that is NOT Long GOP based, or compressed to the nth degree. There are dozens of software and/or hardware solutions out there, from your basic Apple Compressor, to your running-of-the-gamut solutions from Telestream. This encode then yields a file that your NLE will love you for, and I guarantee you that your time waiting for that progress bar will decrease sharply. For you Johnny 5 “MORE INPUT!” data hogs out there, many encoding solutions out there have the ability to pass along the metadata inherent in those camera original files and incorporate them into the new files. This means that within your NLE, you can sort, sift and organize, relying on the metadata introduced by the camera during recording.
Codec’s like Avid’s DNxHD or Apple’s ProRes have quality (bitrate) levels which are considered “broadcast ready”. They are of a high enough quality that almost any network would accept, in addition, since these codec’s are optimized for their respective editing platforms, they can do more nifty things in real time.
And, we have an added bonus: These “edit friendly” codec’s, like DNxHD and ProRes, hold up better in post. What does this mean? This means that the 10 effects you do place on the clip will not degrade the clip as much as the 10 clips you placed on your camera original. This makes for better compositing, better color grading, and eventually – a better end product.
So, set those files up and let your computer chug overnight – flipping those files into something less stressful. And those flying toasters? Don’t.
A little somethin’ for the Producers….mass review and approval made simple.
I recently was posed with a relatively simple quandary from a studio:
How can I get edits which need review out to non tech savvy producers for approval so they can:
A) easily view the edit (did I mention easily?)
B) stay out of the edit room.
Of course, sometimes A) means burning a DVD or laying off a tape, which is time consuming, not secure, and let’s face it, decidedly not green. It also can eliminate FTPing a file to a server to then be downloaded and watched as a viable solution, as sometimes this walking and talking at the same time complication can cause more time in tech support than just letting them in the edit room, which violates B).
Aside from my column and proposed workflows with Final Cut Server, I have something even simpler…and in 2 flavors.
Scenario 1: Small scale.
What you need:
Your Edit Bay NLE
Generic Computer (Mac, most likely)
AppleTV with Video Monitor (HDMI)
Extras: Encoding solution, Shared storage, same LAN access.
Procedure: Editor exports a full QuickTime file in the appropriate H.264 format for AppleTV, to a shared network drive. AppleTV runs off of iTunes, so your generic computer picks up the H.264 file, which sync (or streams) to your AppleTV. Now, the producer can view the cut in the comfort of the plush couch of his 4 wall, and not in the edit room. This can be streamlined even further by having the editor export a QT Reference to a watch folder, which the encoding solution would pickup (make sure all volumes containing the referenced media can be seen by the encoder) and proceed with the H.264 encode, then sending the file to the generic computer running iTunes. Having all of the satellite AppleTVs stream from the 1 machine makes media management very easy.
Limitations?
5 AppleTVs can sync to 1 iTunes Library.
1 AppleTV can stream from up to 5 computers.
AppleTV is specific in what formats it will play.
Scenario 2: Larger Scale
What you need:
Your Edit Bay NLE
Several Mac Minis with DVI to HDMI cables (for a Plasma / LCD display), Apple Remote.
Extras: Encoding solution, Shared storage, same LAN access.
Same concept applies: Editor exports a QT or QT reference, and either the 3rd party encoding solution delivers the file to a shared network drive, or the NLE does.
Here is where the Mac Mini comes into play.
OS access is a no-no for a 2 year old. And for Producers – for the same reason. So, here is what I did:
Parental Controls Preference Pane (Click to Enlarge)
Create an admin account on the Mac Mini. While in this account, create a new user (“Producer”), and enable Parental Controls on the account. In Parental Controls on the Producer account, activate “Use Simple Finder” and “Only allow selected applications”. In this box, select the application Front Row. Make other changes at your discretion, but these are the biggies. This will ensure that this user has limited access to OS functions and can only run Front Row.
Now, we need a way to have the Mac Mini see the shared / network drive without user intervention. Automator is an easy way to accomplish this.
Open Automator. Create a workflow that:
Gets Specified Servers and make sure to put the username and password in the URL; i.e.: afp://username:password@192.168.1.1/DRIVE_FOLDER_WITH_ENCODED_MEDIA
Add a “Connect to Servers” Action.
You can download the workflow here: producer_automount.
Automator Network Share Mount Workflow (Click to Enlarge)
Save this as an Application.
Run this to test. Does it work? Great!
Now, create an Alias to this shared / network drive. Place this alias in the Movies folder on your Producer account. This allows Front Row to see movies located on the shared / network volume. You can change the name of the alias if you wish to something a bit more verbose.
Place the Automator Application you’ve created in the Login Items under the Producer account. Also, add Front Row. Set the system to auto boot into the Producer account. In System Preferences, disable any Bluetooth keyboard / mouse options – so the Mac doesn’t look for Bluetooth devices. If this is not disabled, the Mac will look for devices on bootup, potentially stalling the launching of the Automator Application and Front Row. Reboot. As the system is rebooting, disconnect your keyboard, mouse, and make sure you have your Apple Remote handy.
When the computer reboots, it will boot into the Producer account, auto mount the network volume which has the media you want them to see, then launches Front Row.
Now, using the Apple Remote, navigate through Front Row, and through the MOVIES section. Because we placed an alias to the network drive (which the computer is connected to via our Automator script), Front Row can now see that drive.
Success!
Now, you have the ability to play back ANY file format QT can play back, from an unlimited number of machines AND restrict access to what clips can be seen by mounting different network shares though Automator.
As an added bonus, if the Producer decides to think outside the proverbial box, and hit the MENU key on the remote while at the Front Row main menu – it will take them to the OS desktop. Surprise! No keyboard and no mouse make tampering very difficult, PLUS you’ve already locked out OS functions with Parental Controls. All they can do is turn the Mac Mini volume up and down…. and simply hitting the MENU button relaunches Front Row.
Success! Easy edit review with a nice Apple sheen.
The Money Room
Off and on for several years, I was involved with a post facility that had what they referred to as “The Money Room” Quite apropos, not only for the greenish hue to the walls, but what they *did* in that room. Unbeknownst to them (but now beknownst to me) the so-called castoff activities and backroom chores which took place in that space are now the new(er) ways to make money at your post facility…and even be a marketable service.
In this room, aside from the usual barrage of CD and DVD authoring, download and uploading of files, temp graphics and label creation, they did basic encoding, usually by a lesser paid assistant. Certainly not glamorous, but essential. Definitely not the first notions of what a post facility does: Offline and Online suites. Finishing. Audio rooms or dub stages. The flagship rooms.
Why?
Well, typically your talent – the editors who have named clients – command more in terms of pay than the backroom assistants, and the talents’ workspaces also have a lion’s share of the gear with which to make them shine.
Yes, I am of course referring to the almighty R.O.I.
With the current race to zero, rates for the client focused suites are continually dwindling, definitely at odds with the cost of gear and talent operating within them. Possessing a ‘Money Room’ already begins with less overhead – both financially and technologically.
So, what can you do in this money room to earn some of dat cabbage?
First and foremost: Encoding. Every website nowadays is content rich, from youtube to Facebook. Everyone has multimedia on their phones. All of these media riddled avenues necessitate a *special* and unique format. Those have to be created somewhere. Why not from you?
Utilizing your offline / online bays to chomp through 100 different formats for deliverables – when you could be billing for editorial or finishing in the room – is simply poor planning. A facility could conceivably upgrade to a new computer for the Online suite, and use the older machine as an encode station in the Money Room. This not only boosts the productivity (and marketability) of your Online suite, but also gives your Money Room a CPU to encode with.
So, I have a box with some processors. Now what?
Quicktime References. Have your offline / online bays and your encoding station see the same storage over a SAN. Whether it be via SMB re-share / Ethernet, Fibre, or simply cloned / portable firewire drives, these are a sure shot to not only increase productivity, but create a more efficient workflow. Have your editorial room export a QT Reference which links to the original media, then have the encode machine pick up that reference file, and let the number crunching commence. You’ve now significantly cut down the export time out of your edit bay (QT References are much faster to generate than a complete export) and also freed up the client bay for other activities. Hopefully more glamorous. Hopefully billable.
I recommend you create encodes for the following:
• H.264 or the like for web review and approval, or FTP uploads. Perhaps even iPod or iPhone versions.
• Flash versions for embedding in websites.
• MPEG formats for DVD or Blu-Ray dailies and/or screeners.
• Predefined proprietary formats for youtube, Facebook, myspace, Hulu, etc. Each site has its own requirements for submissions. Perhaps you can charge per location’s format?
Advanced encoding software packages allow for multiple simultaneous encodes on one machine, and some allow for distributed encoding over many machines. Others still utilize watch folders that are always looking for a QT Reference to begin encoding from, and even sets of parameters for multiple groups of encodes. What a value add it would be to tell a client that you could not only do the editorial, but give them deliverables for any destination they could desire – same day.
So, you’re not billing out your editorial room enough to justify something like this. I get it. As an example, this is where the promises of highly compressed formats (such as RED) being quicker can actually backfire and allow other revenue streams.
These abnormally large sized and compressed files are still a very, very intensive process for editorial machines. It takes a great deal to chomp through a 4K file – especially when 99%, if not more, of this material will never be viewed at 4k, or even on a playback system that would do it justice. More often than not, you will see it at less than 50% of its original quality – HD – or even less on broadcast TV or on the web. Given this truth, one can make an argument for simply downrezing the raw 4K footage to a manageable frame size and codec; like DNxHD for Avid or ProRes422 for Apple. This previously difficult to manage format in now in a much more edit machine friendly format for use in the editorial process. These formats can exceed broadcast quality standards – very appealing.
So you’re a purist – I get it. You want to have a 4Koutput. That doesn’t mean you can’t do a pre-encode (in this case, transcode) to an offline format for ease in editorial. Despite being suitable for broadcast, DNxHD and ProRes 422 – as well as DVCProHD – make create offline codecs, too. Provided the computerized tool (or the assistant!) does things right, your facility can matchback from the offline material to the 4K when onlining. Sound familiar? This is what telecine houses have been doing for years to DVCam –and charging you a ton for it.
I’m amazed at just how under-utilized this concept is: not only as a pure way to tighten ones belt, but to simply be more efficient. As an example, I happened to be at one of the studios here in Hollywood that gets the editorial output – rough cut and fine cuts – in one, and only one, format. A format that is antiquated and popular almost 10 years ago. Each department downwind of that facility spent hours encoding into a format they could use with their systems, meeting their visual and technological specifications. Imagine the amount of money spent in manhours working around this issue.
The film? Catch it this summer in theaters. Budget is $200 million.
Avid: Qualified Nehalem Mac Configs
Looks like Avid has qualified the new Nehalem Macs:
Avid Announces Support for New Apple® Mac Pro Computers for
Avid Media Composer® and Avid Symphony™
Qualified Configurations:
Apple Mac Pro Configuration One
- Two 2.66 GHz Quad-Core Intel Xeon
- 6GB of DDR3 ECC SDRAM (6×1GB)
- 640GB 7200-rpm Serial ATA 3Gb/s
- NVIDIA GeForce GT 120 512MB
- One 18x SuperDrive
Apple Mac Pro Configuration Two
- Two 2.93 GHz Quad-Core Intel Xeon
- 6GB of DDR3 ECC SDRAM (6×1GB)
- 640GB 7200-rpm Serial ATA 3Gb/s
- NVIDIA GeForce GT 120 512MB
- One 18x SuperDrive
Notes
• Avid will not support the single Quad-Core models, or the dual Quad-Core 2.26GHz model
• Configuration testing was done with Mojo-SDI, Adrenaline, Mojo DX, and Nitris DX.
• Qualified local storage includes Avid VideoRAID® ST, VideoRAID SR, and VideoRAID RTR.
Tech Note: QT References with Media Composer 3.5
QT Refs out of Media Composer 3.5.x will not play on machines running MC 3.1.x or machines with the latest codec package (1.10) from Avid (http://www.avid.com/dnxhd) …the reverse happens as well, QT refs from 3.1.x will not play properly on systems with 3.5.x installed
I have only tried with DNxHD and on Unity (so everyone can see the same media), and verified all qt ref export settings with Avid…i.e. use network media resources, etc. I can recreate the issue as well.
My thoughts are that Avid Codecs changed in 3.5 from earlier revs (maybe for stereoscopic) and are not backwards compatible AND/OR the latest Avid downloadable codecs (1.10, from 1.9) do not have the same codecs as 3.5.
UPDATE #1: Examining the installer package from 3.5.1 shows the Avid PE and LE codec package as being 2.0.0, which is NOT available on Avids download site (avid.com/dnxhd).
SUMMARY: Avid apparently tweaked the codecs from 3.1.x to 3.5, and no one seems to have noticed yet. Theoretically, one should be able to take the codec installer (2.0.0) from the 3.5.1 editor install and use that on any system that needs to view media exported from a 3.5 editor machine. That does an end user no good who doesn’t have a copy of 3.5.1.
Update #2: The plot thickens. Avid has posted a link to the 2.0 codecs included within Media Composer 3.5.x (link here) however it is still *not* linked at the http://www.avid.com/dnxhd microsite. Bigger still is the fact that Avid has uncovered this is also a Unity issue. This has been escalated to top priority within Avid Engineering, and I’ve provided them with some sample footage. Until this is resolved, it appears QT Refs with 3.5.x are kaput. In addition both of the 3.5.1 releases (first rev of .1 AND 2nd rev of .1) do not address this issue.
Update #3: Avid Engineering informs me that revving to the as-yet-unsupported QT 7.6 should fix the issue, as wella s downloading the 2.0 codecs, both which appear to work. Both the OS and my encoding solution(s) see the file and can play it / manipulate.
*whew*
Review: Root6 Technology’s ContentAgent
Everyone has an encoder nowadays. Final Cut Studio has shipped compressor for years. Avid ships with Sorenson Squeeze, and I typically suggest some flavor of Telestream’s Episode family line. All of these have varying degrees of quality and format support, and some go even above the call of duty with watch folders.
One fatal flaw is that they all rely on someone else’s engine with which to encode through. Quicktime. Quicktime, while being the pipe which leads to all things NLE, becomes vary narrow when it comes to efficient processor usage. In fact, it’s pretty bad.
Ever viewed your system processing usage while encoding? So much to be desired.
Root6 Technology, a player in the encoding and media market for over 6 years now, (BeamTV) has taken an innovative approach to this problem thus created an intelligent workflow device.
ContentAgent, at its core, is a software application, which can dig its claws into several hardware components. Utilizing Root6’s solution to the Quicktime Bottleneck: their Platinum Encoder, it can regulate CPU usage during encodes. Intelligently, ContentAgent farms out processor cycles for single or multiple encodes, understanding the limitations of each codec so as to efficiently disperse the workload across available resources. ContentAgent also has the added ability to utilize GPU horsepower on a per encode process.
By way of comparison, an Avid on 8 core 3.2 GHz MacPro is processing RED files around 5:1 RT. (1 minute of footage = 5 minute encode). ContentAgent is encoding that file in approximately 2:1 (DNX36). It should be noted that Avid is simply utilizing the QuickTime wavelet extraction files – not the R3D file. ContentAgent has full R3D support. This yields better quality at a faster pace.
ContentAgent RED Workflow
While that certainly enhances the turnaround time for encodes, it doesn’t solve the issue of baseband encodes. This is where ContentAgents hardware hooks become that much more powerful. Utilizing a Digital Rapids I/O card, either in an SD or HD Flavor – the ContentAgent now has the functionality of batch or crash capture and layback from any SD or HD deck source with RS422 control.
So, now we have an encoding solution that is faster than most anything else out there AND can pull tape. What else can it do?
Glad you asked.
Avid, for all its ability, has always had a proprietary media management system. Depending on whom you ask, this is a curse or a blessing. As it pertains to raw media files, it requires virtually all media (exception: AMA Volumes in v3.5) to be used in an Avid timeline to be encoded into OMF or the newer MXF format. This ties up a considerable amount of time on a billable suite. ContentAgent has the ability to encode media into OMF and MXF formats (even in the DNxHD codec) so as to bypass the “wrapping” OMF/MXF encode Avid does with non Avid Media. This means instantaneous media access in the suite. Those of us on Unity will appreciate the ability of ContentAgent to write the data to the Unity database for even faster usage.
Store
Metadata, especially when going tapeless, is almost as important as the pixels themselves. Getting the metadata inherent in the filename AND header (*cough* RED *cough*) becomes a massive chore when the file conversions are not followed precisely. ContentAgent has remedied that as well, utilizing an SQL database as the system’s backend to store and manage all data imported or encoded for referencing. This means the link between the 2 files (pre and post encode) plus all pertinent data located within those file can be referenced (or in some cases, parsed) by 3rd party applications.
Oh yeah, ContentAgent has that feature, too. XML schemas; which enable custom XML files to be written, containing the data from the pre and post encoded file, ready to dish out to applications supporting it. While not the easiest to understand, the functionality is there.
Those of you who have edited on higher end finishing applications (Autodesk, for one), or even some DVD authoring applications (DVD Studio pro, for one), may be familiar with the concept of node based editing. That is, each node (or “room”) contains parameters for a specific task. The results of that node can then be fed to single or multiple other nodes, where the process continues. This means intelligent, decision based workflows, easy troubleshooting and – drum roll – automation. Watch folders, FTP, file copying, status emails, copy / delete responses – all handled by developing these node based actions – called workflows. Once a workflow is devised, it can be saved and utilized by a few button pushes later. This means your Tape Operator in your Core can initialize a workflow without reinventing it. User permissions and a user interface with larger buttons create an environment designed for touch panel usage in a machine room.
Content Agent Workflow
Support for other hardware interop include Rimage support, for automating CD and SD and Blu-Ray DVDs with disc graphic design capability – either local or over a network. Another facet of this is the ability to create basic DVD menu layouts, with slates, watermarks, and chapter breaks. While rudimentary, for dailies and simple, trackable dupes, this fits the bill.
DVD Authoring Pane (Click to Enlarge)
DVD Label Editor (Click to Enlarge)
Saving you the headache of building some kluge machine is the fact that ContentAgent is built upon the same machine your PC Avid or Autodesk products are using. HP Workstation CPUs. As of this writing, the XW 8600 running Windows XP SP2 is the current config. The addition of 4 15K SAS drives allows for the system to capture uncompressed HD locally prior to encode. With the software understanding any volume the OS sees, shared storage is always an option. Facilis and Unity showed no issues. ContentAgent utilizes the ATI Fire GL card for its GPU acceleration. My tests have shown a 10-15% speed increase when this is enabled.
So, what are the downsides?
- Support. 8 hour time difference from SoCal to SoHo means some delays in troubleshooting. U.S. Support is very knowledgeable, but spread thin.
- Interface. Although it is designed purposely for pudgy fingers on a touch panel, it’s decidedly not Mac / not PC interface takes away some typically standard conventions on where to click next.
- Modular. Many of the codecs and abilities ContentAgent has are built upon a basic licensing structure. Pay to play. This means a system, after all is added up, (qualified computer and varying degrees of software licenses) can run the gamut: Between $30K-$50K. However, in all fairness, no other application – or collection thereof – can do all of this so as eloquently as ContentAgent.
Update: With NAB around the corner, updates promised in 2.5 and 3.0 software include: distributed encoding (Content Central) to further utilize horsepower on multiple machines, most notably, Blade servers. Blu-Ray authoring support is also in Beta.
*Obligatory Disclaimer: My opinion on the technology contained therein is independent of my affiliation with the reseller of this product.
Cheatsheet for Stereoscopic in Avid Media Composer 3.5
Summary: Avid Media Composer now has the ability to edit stereoscopic footage, by combining the 2 separate “eyes” into a single video stream.
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Launch Metafuze on a PC. (comes with the Avid installer, or download here.)
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Import the Left Eye & Right Eye (in that order) Folders. Avid calls this scanning. These will have unique file names, but the numeric values in each file name will match Left Eye & Right Eye files, and must have the same file format (size & resolution) and same duration.
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Highlight a Left Eye file AND a Right Eye file. On the right window pane there are transcoding options. Select your flavor of DNxHD, and Click the Create Stereo Group button.
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You now have Avid appropriate (OP1a) MXF wrapped video files which can be loaded into Avid (without Avid having to re-wrap the file). Utilizing the Stereoscopic settings in Avid, you can now view Left Eye or Right Eye only, over/under, or checkerboard. Remember, you can only view your 3D playout correctly via the DVI port on your computer – not via the baseband video output on your Mojo or Nitris DX. Don’t forget your IR 3D glasses and 3D capable display!
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