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Re: AMA Conversion Work Flow

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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.

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