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AMA Conversion Work Flow

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Ludmil Kazakov
AMA Conversion Work Flow
on Nov 10, 2015 at 7:33:09 pm

Guys.. I have a movie 26TB which is all AMA.. works slow and laggy.. i mean i got to eat 16 seconds in between actions when it comes to trim mode or any text edit.. so i will convert/transcode the entire cut.. but what if i want to make changes. its not locked.. do I mix in new AMA footage with the converted.. I want to separate AMA and converted footage on 2 separate drives...


whats the best way to deal with tat..


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Bill Ravens
Re: AMA Conversion Work Flow
on Nov 10, 2015 at 8:37:30 pm

I'd break up the timeline into shorter working pieces.



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Ludmil Kazakov
Re: AMA Conversion Work Flow
on Nov 10, 2015 at 9:04:24 pm

its minor changes here and there.. title work here.. change shot there.. come on avid.. final cut 7 can handle that... no need to break timeline


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Shane Ross
Re: AMA Conversion Work Flow
on Nov 11, 2015 at 2:13:29 am

[Ludmil Kazakov] "come on avid.. final cut 7 can handle that... "

FCP requires that you convert all the footage to editable footage...typically ProRes. Did didn't work with camera files natively (unless they happen to be ProRes).

Avid is the same way...in order for it to work smoothly, the footage needs to be converted to a format Avid works with...MXF. And best if put into the file structure it employs. Yes, even if you have ProRes files, and Avid does work with ProRes now...it would really prefer the footage be ProRes MXF, and in the Avid MediaFiles folder. Anything other than that, and Avid will be sluggish. And the longer the sequence you have with AMA footage...the more sluggish it will get.

Only Avid marketing tells you "Hey, you can work native via AMA!" Every single experienced Avid editor will tell you it doesn't work that way. AMA is just that, AVID MEDIA ACCESS...a way to ACCESS the media. Once you do, you transode to a low res format for offline/online working, or consolidate if the media is Avid friendly and you want to work full res, or Transcode (if a non-friendly format like H.264 or AVCHD or MP4) to full res if you want to work full res.

So the best workflow is to use AMA to access the footage on the archive/backup drive, transcode it to Avid media putting it onto the MEDIA drive, and working with that footage. Relinking to AMA if you transcoded to offline media and now want to online.

SO, what can you do? Transcode the cut, sure. Any new media, transcode to Avid media. If you want to keep the AMA and the transcoded separate, color code them so you can spot them right away, or put them on different V tracks.

And in the future...consolidate or transcode from the get go.

Shane
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Read my blog, Little Frog in High Def


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Ludmil Kazakov
Re: AMA Conversion Work Flow
on Nov 11, 2015 at 2:18:07 am

i know.. most footage in avid project is pro res... anyhow.. i did convert the entire 90 minute movie to ProRes MXF and that still takes 3-4 seconds in between actions.. lets say i want to go to trip mode, i get it activated and before i go left or right a frame or two i have to wait.. its beyond ridiculous.. and the computers we use is maxed out mac pro tower.. with 64TB Pegasus Thunderbolt.. still the timeline does not work as smooth as FCP would when everything is converted to ProRes.. either way.. i am happy with avid but the experience is not smoothly. and when i export the red footage is much darker...

so the question is.. once i covert the entire move.. and i want to add footage... whats the best way to handle it? work off converted footage and mix it in with the new AMA footage??


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Ludmil Kazakov
Re: AMA Conversion Work Flow
on Nov 11, 2015 at 2:21:21 am

and to add one more thing.. since i am on the subject of bitching about avid.. my friend outputted music file for our promo.. once in avid this file has a metallic sound to it.. i would have to export picture only and add the new sound mix in premiere to get the sound right! WTF!!!


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