I have a large external hard drive of RED camera footage, about 15 hours worth. I have transcoded almost all of it to DNX145 in the Avid.
I was going to digital cut it all to HDCAM tape for long term storage, but now we think we want to keep it in a file format.
The question is, should I copy the bins I created to a hard drive and copy the Avid MXF files to a new folder on this new drive.
Or is there a better way. I don't really want to make QT files of everything. I've already spent hours transcoding the footage to DNX145.
Or if you are already archiving the R3D files, is there a need to also archive the MXF files as well? All you need to archive is the project and bins, and then you have the ability to recreate from the original sources as needed.
You're correct. i just thought that since I have already done all of the heavy lifting of transcoding all the footage to DNX145, that I may be able to preserve that footage. Does Media Mover help me in any way?
Media Mover can help if you have multiple projects that being managed. If it's only one project, then it's just a matter of copying the Avid MediaFile folders. Or you can always just keep what's in the final sequence by consolidating to a target drive when done.
As Michael said, you should be able to simply archive the R3d's. If you have to go back to your cut sequence for changes you can always AMA the r3ds, relink your sequence to the ama clips instead of the original transcodes, and do any changes using the r3d links, or at that point only transcode the clips needed for the sequence.
We try to avoid keeping raw transcodes if possible. We back up the camera originals, and then charge the client for a restore fee in the future if we have to come back and redo everything. If its a job that we know will be using this footage off and on for several versions and revisions we will keep the transcodes.
Thank you for the suggestions.
We're going to keep the raw RED files on their drive.
I think I may create a low-res QT file of each individual bin as a quick reference. 15 to 19 hours of footage is a lot to keep track of, and the producers may want to have a way to see the footage easily.