® Interplay | Production Best Practices Guide Version 3.
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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.
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Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Interplay Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Chapter 1 Interplay | Production Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Interplay | Engine . . . . . . . .
Managing the Instinct/Assist User Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Creating Folders for Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Chapter 3 Developing an Interplay Delete Strategy. . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Introduction to Interplay Deletion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Interplay Database Folder Structure . . . . . .
Chapter 7 720p MultiRez Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Overview of the 720p MultiRez Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Editor MultiRez Workflow for 720p . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 720p MultiRez Workflow Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 16 DNxHR Resolutions Supported in Interplay | Production . . . . . . . . . . . . . 225 Chapter 17 Using Frame Chase Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Frame Chase Editing and Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Understanding Frame Chase Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Workflow for Frame Chase Editing . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide Congratulations on your purchase of Interplay® Production, a powerful system for managing media in a shared storage environment. This guide contains an overview of Avid Interplay and also contains task-oriented instructions, conceptual information, and reference material you need to use your Avid Interplay system.
Interplay Documentation • Avid Interplay Transfer Setup and User’s Guide — describes how to use Interplay Transfer to transfer media to and from another workgroup, send finished sequences to a configured playback device, ingest media from a configured ingest device, and perform standalone transfers between workstations. • Avid Service Framework User’s Guide — describes how to use the logging, monitoring, and management features of the Avid Service Framework applications.
1 Interplay | Production Components This chapter provides a brief overview of the main components that make up an Interplay Production environment.
Interplay | Engine In an Interplay Production environment, you can capture a master clip in multiple resolutions or transcode a clip to another resolution, and you can easily switch between the different resolutions. This switching is referred to as dynamic relink. Dynamic relink is useful when you want to work with low-resolution media and create your final master in high-resolution media. For more information, see “Using MultiRez and Dynamic Relink” in the Avid Media Composer Editing Guide.
Interplay | Access • Simplified workgroup delete rules including the following: - The administrator can specify the delete permissions that users and groups have on particular folders. You use Reservations to protect the media files related to Avid assets.
Interplay | Administrator The following illustration shows Interplay Access. You can play Avid video and audio clips in the Interplay Access Monitor if the clips are associated with MPEG-4/H.263 or H.264 video media, MPEG1 Layer 2 audio media, or both. For more information about Interplay Access, see the Interplay Access User’s Guide.
Interplay | Administrator The following illustration shows the User Management window of the Interplay Administrator application. For information on using the Interplay Administrator, see the Interplay Engine and Interplay Archive Engine Administration Guide. For information on setting up a user database, see “Setting Up a Folder Structure in Interplay | Access” on page 29.
Interplay Window Interplay Window The Interplay window allow you to share Avid assets with other users in the Interplay Production environment. The Interplay window provide the following capabilities: • Avid editing applications such as Avid Media Composer® can work with Avid assets through the Interplay window. The Interplay window displays the same folder structure you see in the Interplay Access interface. You can capture material to an Interplay window and edit those clips into a sequence in a bin.
Interplay Window The following illustration shows the Interplay Window within an Avid editing application. For more information, see “Working with Interplay Production from an Avid Editing System” in the Interplay Production Help, the Help for your Avid editing application or the Avid Media Composer Editing Guide.
Interplay | Transfer Interplay | Transfer Interplay Transfer lets you transfer Avid assets to and from another workgroup, send finished sequences to a configured playback device, and capture media from a configured ingest device. You can also use Interplay Transfer in a standalone environment (an environment other than Avid shared storage) to move Avid assets between workstations. The Interplay Transfer Engine and client software operates as TransferManager does in a MediaManager environment.
Avid Instinct For information on Interplay Transfer, see the Interplay Transfer Setup and User’s Guide. n Interplay-to-OMF transfers are not supported. Avid Instinct Avid Instinct™ is a story creation tool that introduces a story line designed to support the way that journalists create a story. Avid Instinct, an iNEWS client, is a script-based application that is tightly integrated with iNEWS. It uses iNEWS metadata for the story that is being written.
Interplay | Assist • The STP Encode service allows you off load time-consuming processing involved in exporting and transferring of Long GOP OP1a media, during a send-to-playback request from the Avid editing application or Avid Interplay Assist. See “Workflow for Background Processing of Long GOP Splicing and Transferring of Long GOP OP1a Media” on page 140.
Interplay | Assist The following illustration shows Interplay Assist. You can also use Interplay Assist to quickly preview clips. All resolutions supported by the Avid editing applications are supported. Interplay Assist also provides the following additional features: • Restrictions — Support for a restriction marker indicating that a range of media being used is somehow restricted for use. These markers do not prevent usage, but alert the user that a restriction is in place.
iNews and Avid Instinct - Best Sound - User-created custom annotation markers • Metadata — textual data you can use to identify and describe the creation, contents, and disposition of a clip or shotlist • Searching across multiple logs • Log filtering For more information, see the Interplay Assist User’s Guide. iNews and Avid Instinct The Avid iNEWS newsroom computer system (NRCS) is a powerful tool for developing news, rundowns, and stories.
Archive and Restore Services The following illustration shows an archive database displayed in Interplay Access. Safe image identifies the archive database Tree view Avid Interplay online database Avid Interplay Archive database The Interplay Production Services application supports Archive and Restore services that manage the process of moving data. You can access the Archive and Restore operations from within the Avid editing applications and from within Interplay Access.
MediaManager to Interplay Migration Tool MediaManager to Interplay Migration Tool You can migrate much of your MediaManager environment metadata to an Interplay Production workgroup with the Migration tool. You can migrate clips, sequences, and effects from projects, catalogs, workspaces, and users. You can also migrate MediaManager Archive metadata to an Interplay Archive system. For more information, see your Avid representative.
Interplay | Capture Interplay | Capture Interplay Capture is intended for customers who require a management system for video capture. This application is a key part of the MultiRez workflow. Interplay Capture stores its schedule and other metadata in the Interplay database, which allows for easy access to the captured material within the Interplay work environment.
Interplay Application Icons Interplay Application Icons This section describes the Interplay Production icons. Interplay | Access, Administrator, Instinct, and Assist The Interplay Access icon has a purple background to signify that it is the main entry point that most people will use to work with the Interplay Production database. The Interplay Administrator has a similar look but with a key to denote the administrator. The Assist icon represents adding metadata to a locator track in Assist.
Interplay Application Icons The Interplay Transcode and STP Encode icons use broken lines and arrows to indicate that the application processes the media. Interplay Archive and Restore use the metaphor of moving media to and from an archive. Interplay Production Services Engine Interplay Archive Interplay Delivery Interplay Transcode Interplay Move Interplay Copy Interplay STP Encode Interplay Restore Interplay | Transfer The Interplay Transfer icons share a double arrow that represents transfers.
2 Setting Up a Folder Structure and a User Database This chapter describes the process of setting up a user database for your Interplay Production environment.
Setting Up a Folder Structure in Interplay | Access Setting Up a Folder Structure in Interplay | Access Every project that you work on must have a folder structure. You can create folders within the default folders or create new ones. You can set up a folder structure that complements your workflow and allows people in your Interplay workgroup to easily navigate to their working folders. The following illustration shows folders used by the DocWG database.
Basic Setup: Assigning Access to User Groups Maximum Number of Characters for Clip Names, Folders, and Files Avid recommends adhering to a best practice of a 255 character limit for clip names. While it is technically possible for clip names to be longer, folders and files are hard set at this 255 maximum and using it as a guideline may be easier to enforce over time across staff or teams.
Basic Setup: Assigning Access to User Groups For more information, see the Interplay Engine and Interplay Archive Engine Administration Guide. Assigning Access Rights to User Groups on a Folder Basis You can use the Manage Database Roles view of the Interplay Administrator window to set permissions on specific folders for user groups. In this example, the Assistants group has Read/Write access to the entire database but you would like to give them Read/Write/Delete permission to the Catalogs folder.
Basic Setup: Assigning Access to User Groups The Manage Database Roles window opens. Database panel Roles panel User/Group panel 2. Select the folder that you want to assign permission to in the Database panel. 3. Select the folder containing the group in the User/Group panel and select the permissions in the Roles panel. 4. Click the Set Roles button.
Assigning Database Access on a Project Basis The permissions for that user group appear in the bottom panel as shown in the following illustration. Assistants group has Read/Write/Delete access to the Catalogs folder Assigning Database Access on a Project Basis It is often useful to prevent users on one project from modifying or deleting material used by other projects.
Assigning Database Access on a Project Basis The following illustration shows the user structure for two sample projects: • The Hunt Club project group uses a one-level hierarchy. All users in the Hunt Club group will be given Read/Write/Delete access to all the files in the Hunt Club folder. • The Ice Island project group shows a more complex structure where users are copied to different folders within the Project Folder.
Assigning Database Access on a Project Basis Managing Database Roles In this example, users and groups initially inherit their Read/Write/Delete permissions from the folder they are working in. You use the Manage Database Roles window to assign these permissions. The following illustration shows the Manage Database Roles button in the Interplay Administrator window.
Assigning Database Access on a Project Basis The following illustrations shows the permissions for the Ice Island Editors and Ice Island Assistants groups. Any user copied to these folders inherits these permissions when he or she is working in the 01 Ice Island folder.
Defining the Editor Database Settings For details on assigning permissions, see “Assigning Access Rights to User Groups on a Folder Basis” on page 31. Defining the Editor Database Settings After you set up your folder and user structure, you use the Editor Database Settings window to define the following settings: • Automatic Checkin and Auto Reservation settings. These settings apply to all editing applications, including Media Composer, Symphony, and NewsCutter Adrenaline, and NewsCutter XP.
Defining the Editor Database Settings The Editor Database Settings window opens. 2. Click the root node for the database and define the default settings for the entire database.
Managing the Instinct/Assist User Settings 3. Click the Apply button in the lower right of the window. The settings apply to all folders in the hierarchy. 4. (Option) Select a folder and define the settings for the folder.
Creating Folders for Capturing Media Creating Folders for Capturing Media When you are setting up your folder structure, you can determine how you want to set up the folders that you will use for temporary storage of captured material. For additional information, see “Interplay Database Folder Structure” on page 42. To ensure the best performance with the Interplay Engine, you should not store more than 20,000 files in a single folder.
3 Developing an Interplay Delete Strategy This document describes how to develop a workflow for deleting material from your Interplay system and covers the following topics: • Introduction to Interplay Deletion • Interplay Database Folder Structure • Creating Avid Editing Projects in an Interplay Environment • Project Workflow Samples • Example: Deletion for Day-of-the-Week Workflow • Example: Orphan Clips Deletion • Deletion Guidelines • Determining How Much Space a Delete Operation Will Fre
Interplay Database Folder Structure • n Delete out-of-date files from AirSpeed and Interplay Capture systems Become familiar with the Interplay Access Extended Search feature to let you easily locate material that should be deleted. The deletion process changed in Interplay v2.4 so that Interplay administrators can schedule the most load-demanding part of deletion operations during times of low activity.
Interplay Database Folder Structure Folder Function Incoming Media This is the destination for incoming clips from AirSpeed, AirSpeed Multi Stream or Interplay Transfer. The folder structure is organized by workspace name. See “Folders Used by AirSpeed” on page 44 and “Folders Used by Interplay | Transfer Checkins” on page 47. Orphan Clips Contains master clip and rendered effects that have been deleted from the Interplay folders but still point to media files on shared storage.
Interplay Database Folder Structure Folder Function Project The following information is stored in this folder: • This is the default folder for Avid editing application projects. See “Project and Bin Folders Created by the Avid Editing Applications” on page 48. • Capture Manager creates folders here. See “Folders Used by AirSpeed” on page 44. • AirSpeeds create folders here and/or under the Catalogs folder. See “Folders Used by AirSpeed” on page 44.
Interplay Database Folder Structure Assets Created During an AirSpeed Capture Each AirSpeed capture automatically creates either two or three Interplay assets as follows: • One asset is checked into the Incoming Media folder. The system places the asset in a folder named after the workspace that AirSpeed uses for the capture. You specify the workspace in the Airspeed Destination template as shown in the following illustration.
Interplay Database Folder Structure • One asset is checked into either the Projects folder or the Catalogs folder, depending on how you configure the Destination template in the AirSpeed application interface. Project name Catalog name Bin name In this example the Projects folder is specified and names for the folder and sub folder are entered. The following illustration shows the corresponding folders that AirSpeed creates under the Projects folder when it checks in the asset.
Interplay Database Folder Structure • • For an AirSpeed capture scheduled by Interplay Capture, the system checks in three assets for each captured media file.
Interplay Database Folder Structure You can also instruct the system to create an additional folder in the Catalogs folder. The following illustration shows a Sent to MSS002 folder created in the Catalogs folder. In this case an asset is also checked in to the Sent to Playback folder. Custom Sent to folder For more information on creating an additional folder, see “Configuring an Ingest Device Catalog” in the Interplay Transfer Setup and User’s Guide.
Creating Avid Editing Projects in an Interplay Environment Creating Avid Editing Projects in an Interplay Environment One of the biggest decisions you will make regarding your workflow is the location of the projects and bins created by the editing applications.
Creating Avid Editing Projects in an Interplay Environment Private A Private Project is stored locally. It can be accessed only by the user currently logged on to the editing machine. On a Windows system, a Private Project is always stored under the user’s Documents directory. An administrator may be able to access this project if they have read/write permission to the user’s directory.
Creating Avid Editing Projects in an Interplay Environment Shared A Shared Project is stored locally. It can be accessed by any user that can log on the editing machine. On a Windows system, a Shared Project is always stored in the machine’s Shared Documents directory. Shared Project - under the Shared Avid Projects folder External An External Project can be saved to any directory, either local or remote.
Creating Avid Editing Projects in an Interplay Environment n Avid does not support sharing bins in an Interplay environment. If you create projects on shared storage, do not allow editors to work in the same bin at the same time. This can result in data loss or media corruption. Instead of sharing bins, editors should use the Interplay Window to collaborate and share material.
Creating Avid Editing Projects in an Interplay Environment Option Description Interplay Folder (Project Setting) Interplay Production organizes assets and media by folders. The default checkin folder must be set on each Avid editing application. By default, the folder path is empty. The Interplay database Projects folder is a good location to use. This will check the assets into a folder with the name of the bin inside the folder for the project.
Creating Avid Editing Projects in an Interplay Environment The following illustration shows a folder for a project named “The Big Swell” created in the Projects folder. The folder was created automatically when the editor checked the first bin into Interplay Production using the Check in Bin to Interplay command. The system automatically created both folders and checked in the assets into the folder.
Project Workflow Samples 5. Select the video resolution and shared storage workspace for capturing new material. 6. Select the options for the other tabs (Import, Render, etc.). Project Workflow Samples This section describes sample folder structures for Broadcast and Post environments. Whatever the structure, the more simplified the Project and the Interplay Folder structure, the easier it is to maintain the Interplay environment.
Project Workflow Samples The following table shows some sample project names. Weekly Structure Monthly Structure (September) 1Monday 0903 Monday 2Tuesday 0904 Tuesday 3Wednesday 0905 Wednesday 4Thursday 0906 Thursday 5Friday 0907 Friday 6Saturday 0908 Saturday 7Sunday 0909 Sunday Hold Hold Permanent Permanent In these examples the day of the week is the project and the story is the bin.
Project Workflow Samples The following illustration shows a sample Post structure for a project named Ice Island. Most of the subfolders were created when bins were checked in by the editors. The HOLD folder is created by the Media Manager in Interplay Access and is used for master clips, frequently used graphics, and other elements that should not be deleted.
Example: Deletion for Day-of-the-Week Workflow To copy a project template to a local system: 1. Navigate to the location of the Project Templates. 2. Right-click on the 1Monday folder and select Copy. 3. Navigate to the current 1Monday folder on the local machine and delete the folder. 4. Paste the template 1Monday folder into the same location.
Example: Deletion for Day-of-the-Week Workflow Sample Delete Workflow The following table lists deletion activities based on the Day-of-the-Week Project workflow and points to the sections that explain the operations. Interplay Production Component Activity Interplay Access Delete daily project and those other projects ready for deletion. See “Project Folders – Editor Projects (Daily)” on page 59. Delete material from the AirSpeed project or catalog. Sift the results by creation date and delete.
Example: Deletion for Day-of-the-Week Workflow After using the system for a few weeks, determine how long it takes to reach the maximum storage capacity of your shared storage workspaces. Then you can determine how often you will need to delete material. On Avid ISIS, attempt to keep the used space under 80% of the capacity of the Storage Group for each Storage Group on the ISIS. Use the ISIS Administration Tool/Storage Groups tab to view this information.
Example: Deletion for Day-of-the-Week Workflow 4. Click Select All to select all the assets, files, and resolutions. The center portion of the dialog box shows how much free space you will gain from the Delete operation. The amount of disk space that will be freed by the deletion n The number of media files and the amount of data that will be deleted are only affected by the option “Delete only media created with the selected clip or clips.
Example: Deletion for Day-of-the-Week Workflow Using Reservations to Protect Media All users (for example, editors, producers, and journalists) must know how to use Reservations to protect assets if they want to keep media on the system any longer than this number of days. If an editor wants to keep material on this system, the assets must be in a folder with a reservation on it. The media files will be protected as long as there is a reservation on the folder containing the asset.
Example: Deletion for Day-of-the-Week Workflow Incoming Media (Daily) Media that is transferred from an Interplay Transfer server or captured by an AirSpeed creates an asset under the Incoming Media Files. The folder is sub-divided by the name of the workspace that the media was transferred to or captured to. See “Folders Used by AirSpeed” on page 44 and “Folders Used by Interplay | Transfer Checkins” on page 47. This area should be maintained and entries should be cleaned out.
Example: Deletion for Day-of-the-Week Workflow Avid Instinct Assets (Daily) Search or navigate to each Instinct project under the Projects folder and delete story folders and sequences. When you save a story in Instinct, the story sequence gets checked in to Interplay Production in a path that mimics the location of the story in iNEWS. n Avid Instinct cannot adhere to a Day-of-the-Week structure. The following illustration shows a typical Instinct structure under the Projects folder.
Example: Deletion for Day-of-the-Week Workflow are used by any sequences. Then you can decide whether you want to delete the master clips and media or move the associated clips out of the Orphan Clips folder to the folders that contain the sequences. See “Example: Orphan Clips Deletion” on page 67. Some workflows may involve deleting master clips when they are no longer needed and later deleting the media from the Orphan Clips folder.
Example: Deletion for Day-of-the-Week Workflow The Deleted Items folder for a non-Administrator shows only the items deleted by the user who is logged in, while the Administrator sees all items deleted by all users. The following illustration shows the Deleted items folder. Avid Editing Application Maintenance After you clean up the Interplay Production folder structure, you should also delete the corresponding projects and bins used by the Avid editing applications.
Example: Orphan Clips Deletion To delete projects when using the 01Monday – 07Sunday workflow: 1. Open My Computer on the Avid editing system. 2. In the Network Drives section, locate the workspace that contains the Project Templates folder and open the folder. 3. Locate the day of the week you are going to delete and replace, right-click the folder and select Copy. 4. Navigate to the Project folder that you want to replace. 5. Select the folder that you want to delete and press the Delete key 6.
Example: Orphan Clips Deletion n n Starting with Interplay v2.3, you cannot delete a referenced asset unless you also delete the asset the references it. For more information, see the “Deleting Assets” chapter of the Interplay Access User’s Guide. Beginning with Interplay Access v2.4, the Orphan Clips folder contains links for assets deleted from Interplay folders whose media files were also deleted.
Example: Orphan Clips Deletion 4. In the Delete dialog box, select the metadata but do not select the media. The following illustration shows the Delete dialog box for this operation. 5. Perform additional metadata deletions as your workflow requires. For example, delete from the folders as described in “Example: Deletion for Day-of-the-Week Workflow” on page 58. To delete metadata and media from the Orphan Clips folder: 1. When you are ready to delete the media files, open the Orphan Clips folder.
Example: Orphan Clips Deletion The two assets deleted earlier are now in the Orphan Clips folder. Since the two assets were the last copies associated with their media files, they were both moved to the Orphan Clips folder. 2. (Option) Place reservations on any folders that you know you do not want media to be deleted from. For example, place a reservation on the Unchecked-in Avid Assets to protect any media files that editors have created but have not yet checked in.
Example: Orphan Clips Deletion 4. Select all the clips in the Orphan Clips folder, right click one of the clips and select Update Status from Media Indexer. The following illustration shows the Update Status from Interplay Media Indexer command. c Updating the status is a critical step for Interplay v1.2.3 and earlier releases. This guarantees that Interplay Access has the latest information on the files before you perform the deletion. 5.
Example: Orphan Clips Deletion 6. Select all of the assets in the search results window and delete them. Delete the metadata and the media as shown in the following illustration. To check for relatives of clips in the Orphan Clips folder: 1. Open the Orphan Clips folder. 2. Select the clip and click the Relatives tab in the Object Inspector.
Deletion Guidelines The following illustration shows that the underwater clip is referenced by several sequences. That is why it did not appear in the search results for the “not in use” search. Deletion Guidelines In general, avoid the following: • Deleting material from the Avid MediaFiles folders on the workspace itself. • Using the Media Tool on Avid shared storage workspaces for searching or deleting.
Deletion Guidelines • Do Not Delete More Than 2,000 Assets at a Time • Folder Limitations • Deleting By Workspace • Perform Deletions from One Interplay | Access Client • Guideline for Number of Deletions Per Hour • Priorities with Deletion • Delete Sequences When Possible • Amount of Space Freed Up by Deletion Using Reservations Reservations are an excellent method for protecting media and metadata from deletion. Reservations work on folders, not on individual assets.
Deletion Guidelines Deletion consists of three parts: deletion of links, deletion of media, and deletion of database assets. • In Interplay v2.3 and earlier, deletion was synchronous: links, media, and database assets were all deleted at approximately the same time. Disadvantages to synchronous deletion were the impact on the engine (particularly the database assets) and the length of time required for the deletion to take place. Starting with Interplay Engine v2.
Deletion Guidelines Deleting By Workspace Starting at Interplay v1.5, the Delete dialog box includes an option to select which workspace you want to delete media from. If you select media files and resolutions for deletion, all workspaces that contain the selected media are listed and are selected by default. Perform Deletions from One Interplay | Access Client Media management and large deletions should only be executed from one Interplay Access client.
Determining How Much Space a Delete Operation Will Free Up Determining How Much Space a Delete Operation Will Free Up The Delete dialog in Interplay Access provides the most reliable measurement of the space that will be freed up by a Delete operation. To determine how much space will be freed up by a deletion: 1. Make sure that Referenced Assets are displayed in Interplay Access. This is necessary so that you can see all of the master clips that are referenced by sequences in your Interplay folders.
Searching for Media 4. Click Select All to select all the assets, files, and resolutions. The center portion of the dialog box shows how much free space you will gain from the Delete operation. The amount of disk space that will be freed by the deletion 5. Click OK or Cancel, depending on whether you want to perform the deletion or whether you were just checking on the disk space. Searching for Media Interplay Access can search across all projects and bins in the Interplay environment.
Searching for Media Saved Searches Searches can be saved and made public (available to all users) or private by clicking on the Save button. Depending on the site, the entire deletion strategy can be based on searching. Below are some common examples of saved searches used in such environments.
Searching for Media Find clips : unshared • Find clips that have no relatives. The Search syntax is: In use : Is not in use The following illustration shows these criteria in the Extended search tab. After you run this search, you can delete the results from the Search Results list. Example 2 You can associate the criteria used in Example 1 with specific folders to include or exclude specific locations in the search.
Searching for Media You need to create two different groups in the Extended tab: one that combines the criteria in Example 1 with the first path and one that combines the criteria in Example 1 with the second path. These groups are separated by OR, as in the following illustration. The results of this search are clips that are stored either in one of the Archived folders or in the “To be deleted” folder. You see the contents of both folders in the Search Results list.
Searching for Media Example 3 This example is similar to Example 2. However, instead of searching for clips stored either in one of the Archived folder or in the “To be deleted” folder, these criteria search for clips stored both in an Archived folder and in the “To be deleted” folder. The following illustration shows these criteria in the Extended tab.
Searching for Media Example: Searching for Unused Rendered Effects When you design a deletion strategy, usually the precomputes (rendered effects) are deleted along with the usual deletion searches because they are based on creation date and project. Anything inside a project that is older than a certain number of days is deleted, and that usually takes care of the rendered effects as well.
Searching for Media n Only use the “in use” flag example for Interplay v1.2.3 and later. Older Interplay versions did not set the in use flag correctly. To search for unrendered effects in a particular folder: 1. In the Assets pane, click a Search tab. 2. Select Simple from the Search Type list. If necessary, click the Search Conditions arrow to show the search criteria. 3. Click the Search Root button and navigate to the folder. The Search root button displays the folder you selected to search.
Searching for Media The Search button changes to a Stop button, which you can click if you want to stop the search. The Interplay search engine limits the database to rendered effects that have been modified in the time period you selected, and then searches within that subset for rendered effects that are not in use. The results are displayed in the Search Results pane. They are visible until you close Interplay Access or until you perform a new search. To delete the unused rendered effects: 1.
Searching for Media The system displays the Delete dialog box and allows you to delete the metadata, the media, or both. The following illustration shows the Delete dialog box for this example. 3. Select the rendered effects (metadata) and the Media Resolutions (media files). 4. Click OK.
4 Refining Your Search in Interplay | Production Interplay Production includes a powerful, customizable search. If you are working in a facility with a large database, you can speed up the search process by specifying a particular folder as the search root and by using attributes. For example, by using the Time attribute, you can limit your search to clips modified within the last 24 hours, the last 7 days, and other time periods.
Using the Search Root and Attributes to Speed Up Interplay | Production Search Using the Search Root and Attributes to Speed Up Interplay | Production Search To speed up your search, make your search as specific as possible. The more specific you can make your search, the faster you can get the results you want.
Basic Interplay | Production Search Attributes Basic Interplay | Production Search Attributes The following table lists the basic Interplay search attributes. These are available in the Media Search tab in Interplay Assist, Avid Instinct, and the Interplay Window. They are available in a slightly different format in the Simple Search tab of Interplay Access.
Searching in Interplay | Assist, Avid Instinct, and the Interplay Window Attribute Options Description Category Site-specific list of categories Allows you to specify which category to search. The specific categories listed for this attribute are defined by the system administrator.
Searching in Interplay | Assist, Avid Instinct, and the Interplay Window To search for clips in Interplay Assist, Instinct, or the Interplay Window: 1. Open a Media Search tab. t In the Interplay Window, a Media Search tab is always displayed. t In Interplay Assist or Instinct, right-click an Interplay folder and select Search. A Media Search tab opens in the Research panel. 2. In the Text field, type a search term. In this case, type the word “fire.
Searching in Interplay | Access Searching in Interplay | Access Interplay Access provides more options for refining your search than other Interplay applications.
Searching in Interplay | Access 2. If necessary, click the Search Conditions arrow to show the search criteria. Search Type list Search Root button Search Conditions arrow 3. (Option) If you know which folder might contain the clips, click the Search Root button and navigate to the folder. The Search root button displays the database or folder you selected to search. Selecting a particular database or folder will make the search faster.
Searching in Interplay | Access To search for clips in Interplay Access (Extended search): 1. Do one of the following: t Select Extended from the Search Type list. t Select Edit > Search to open a new Search tab. You can also press F3 or Ctrl+F (Windows) or Command+F (Macintosh). Then select Extended from the Search Type list. 2. If necessary, click the Search Conditions arrow to show the search criteria.
Example: Finding Assets By Using a Unique Identifier - Specify a date and time. You can edit the default date and time in the field. You can also use the calendar button to select a date. 8. Do one of the following: t Press Enter. t Click the Search button. The Search button changes to a Stop button, which you can click if you want to stop the search. The Interplay search engine searches only the names of clips for those that contain the word “fire” that were created after April 22, 2010.
Example: Finding Assets By Using a Unique Identifier A more efficient approach is to create a custom property (or metadata field) that is used exclusively to hold the identifier. You can then search for the asset by using an exact match rather than a full-text search, and you can rename the asset without needing to add the identifier. You use the Interplay Administrator to create a custom property, and then use Interplay Access to set and search for the identifier.
Example: Finding Assets By Using a Unique Identifier 7. Select the options to include the property in the Content tab and the Object Inspector’s Properties tab. Users can then add or edit a value for Identifier in Interplay Access. 8. Click Apply to save the added custom property and new layout. The next time a user logs in to Interplay Access, the Identifier property will be displayed.
Example: Finding Assets By Using a Unique Identifier 4. Click the text box and type the identifier. You need write permissions on the asset to add the identifier. An orange box highlights the controls for adding a property value.
Example: Finding Assets By Using a Unique Identifier 5. Click Apply. The identifier is displayed in the Identifier column in the Contents tab. To search for an asset using the unique identifier: 1. In Interplay Access, click the Search tab, then select Extended from the Search type list. 2. Click the Attribute Name field, scroll down the list, and select Identifier. 3. In the Operator field, select “is.
Example: Finding Assets By Using a Unique Identifier 4. In the Value field, type the identifier, and click Search. The asset is displayed in the Search results list. If you know only part of an identifier, select “contains” from Operator field and type part of the identifier. This is less efficient than an exact match, but is much more efficient than a full-text search on the name.
5 Using AMA Material in Interplay | Production This chapter contains the following topics: • Overview of Working with AMA Material • AMA on Interplay | Production Workflow • How Interplay | Media Indexer Works with AMA Material • Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media • Using Third-Party Storage for AMA Media • Viewing AMA Clips in Interplay | Access • Deleting AMA Clips Using Interplay | Access • Resyncing AMA Media Files Overview of Working
AMA on Interplay | Production Workflow introduced in Interplay v3.0 uses a second, low bandwidth ISIS 2000 as a parking storage area for the AMA media. Later, when the material that should be saved is identified, it can be consolidated from the AMA source to the ISIS production system at full resolution. AMA on Interplay | Production Workflow The following illustration shows a basic AMA workflow for Interplay Production.
AMA on Interplay | Production Workflow 1. Copy the AMA Material to Shared Storage This step involves copying files from the camera media card or disk to shared storage and does not have to be performed on an editing workstation. n In order to be able to perform a dynamic relink to AMA material, the AMA material must reside on shared storage at the time of checkin. This workflow uses a shared storage system such as an ISIS 2000 as a parking area for the AMA media.
AMA on Interplay | Production Workflow For information on checking assets into Interplay Production, see “Checking Avid Assets into the Interplay Database.” For information on using DMFs, see “Creating Dynamic Media Folders.” Both topics are in the Avid Media Composer | Software Editing Guide and the Media Composer Help. When you check the AMA clips into Interplay Production, the Interplay client library creates files that the Interplay Media Indexer can index. There are two types of files: • .
How Interplay | Media Indexer Works with AMA Material 6. High Res Consolidate If you are working with a transcoded resolution, you can dynamically relink back to the high resolution AMA material when you want to consolidate a high res version of your final sequence to your production ISIS system. This allows you to finish the sequence using the original AMA resolution. In this case only the portions of the AMA material that are used for the final sequence need to be stored on the production ISIS system.
How Interplay | Media Indexer Works with AMA Material AMA AAF (OP-1A) Avid AAF (OP-ATOM) C C One file ID containing three descriptors. One descriptor per channel. D.V1 D.A1 D.A2 Media V1 A1 A2 Three file IDs. One per channel. MyAMA.mov S S Interplay checkin Create .spaaf files C C V1 ID-4 A1 ID-5 S S d.spaaf C C e.spaaf A2 V1 C ID-1 C A1 ID-2 A2 ID-3 ID-6 S f.spaaf Reference to the media S S S Media Media Media a.mxf b.mxf c.
How Interplay | Media Indexer Works with AMA Material Avid AAF (OP-ATOM) Format The example in the previous illustration uses a clip with one video channel and two audio channels. The top portion of the Avid AAF section is a representation of what you can see in an Avid editing system bin for digitized MXF material. The metadata contains the following: • A clip ID • Three file IDS, one for each video and audio track.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media The Interplay Administrator and Interplay Media Indexer work together to index and manage AMA media. Starting with Interplay v3.2, the AMA metadata location you specify in the Interplay Administrator is automatically set in the Media Indexer.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media To configure the AMA metadata location in the Interplay Administrator: 1. Log in to the Interplay Administrator tool and open the Server Hostname Settings view. The following illustration shows the Server Hostname Settings view. 2. In the “AMA Metadata Location (SPAAF)” text box, enter the location for the .spaaf and AAF files. Enter the value as a full UNC path (on both Windows and Macintosh systems).
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media The path displayed is the top level of the storage location for the .spaaf files and AAF files created when you check an AMA clip into Interplay Production. The path that is displayed must match the path that you entered in the Interplay Administrator. If it does not match, enter the UNC path as shown in the previous illustration and click Apply Configuration.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media The system displays the locations of .mxf media on shared storage as well as any previously defined AMA storage locations. The following illustration shows three locations for Avid media files and two locations for AMA media files (circled). 3. Click the Add AMA Storage Location button. The system displays a path dialog, a browse button, and an OK button. 4.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media 5. Click OK. The AMA storage location appears in the list of storage locations. n Do not mix .mxf media files and AMA media files in the same storage location. Also, do not mix .spaaf files and AMA media files in the same location. Viewing Statistics about AMA Media You can view information about AMA files using the Interplay Media Indexer Statistics page and Storage Browser.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media Interplay Media Indexer displays separate panes for .mxf files and AMA media files. Note that the Total size entries provided in the AMA Storage Workspaces window relates to the total size of the .spaaf files associated with the AMA media files.
Using Third-Party Storage for AMA Media To view information about AMA media in the Storage Browser: 1. Click the Storage Browser tab. The Storage Browser window opens to show separate folders for MXF and AMA media. You can use the storage browser to see how the AMA media files are organized. In this example, the AMA files were copied to a subfolder on a workspace named amafiles. To view the location of the associated .spaaf files, scroll over to the right in the window.
Using Third-Party Storage for AMA Media //UNAVAILABLE/nnnn/filename where nnnn is a variable four-digit number. The following illustration shows an example of how this path is displayed in the Object Inspector. A full path is shown if the system is properly licensed. The third-party storage must be defined as a network share that is publicly accessible. It must appear on the network as a UNC path.
Using Third-Party Storage for AMA Media To define a third-party storage share as a Windows share: 1. On the Windows desktop, right-click the storage location you want to use as third-party storage and select Properties. The Storage Properties dialog opens.
Using Third-Party Storage for AMA Media 2. Select the Sharing tab. 3. Click Advanced Sharing. The Share Permissions dialog opens.
Using Third-Party Storage for AMA Media 4. Give Everyone full access to the share and click Apply and OK. The share is ready to be added to the Interplay environment. To configure the third-party storage share in the Interplay Administrator: 1. Purchase one or more Key-CI licenses from your Avid representative and add the licenses to your Interplay system using the Licenses view in the Interplay Administration tool. You need a license for each third-party location that you configure.
Using Third-Party Storage for AMA Media The storage location is added to the list. 5. Click Apply. The Interplay Administrator sends both the licenses and the storage information to the Media Indexer. The following procedure describes how to check the storage location. To check the third-party storage share in the Media Indexer: 1.
Using Third-Party Storage for AMA Media 2. Click the Configuration button at the top of the window and click Storage Locations. The third-party storage location should be listed. If it is not, add it manually, as described in the following step. 3. Click Add AMA Storage Location and add the network share as a UNC path. Then click OK. The third-party storage location is added to the list of storage locations.
Viewing AMA Clips in Interplay | Access Viewing AMA Clips in Interplay | Access After you check an AMA clip into Interplay Production you can search for or navigate to the clip in Interplay Access. The following illustration shows an AMA clip in the Interplay Access Object Inspector. Assets that only have AMA media are shown with a purple circle. The following information is specific to using Interplay Access with AMA material.
Viewing AMA Clips in Interplay | Access The following illustration shows an example of each value. • There are several new search criteria for an Interplay Access extended search, as described in the following table. Criterion Description has AMA media linked Search for clips linked to AMA media. These clips can include only AMA media or both AMA media and native Avid media. has native media linked Search for clips linked to native Avid media or both native Avid media and AMA media.
Viewing AMA Clips in Interplay | Access 5. Select AMA Media Status and click Apply. The AMA Media Status column appears in the Assets view and now you can perform an extended search for AMA Media Status values. AMA Source File Locations in Access The Interplay Object Inspector shows the location of the associated AMA source file in the File Path column of the File Locations tab. The following illustration shows a clip that only has AMA media associated with it.
Viewing AMA Clips in Interplay | Access The extension of the AMA source file depends on the AMA plugin used to create the file. For example, QuickTime files have a .mov extension. Note that when you delete the AMA clip in Access you delete only the reference to this source file. The following illustration shows the file locations for a clip that has both AMA media and proxy media. The AMA source file is highlighted. Note that the AMA media is stored in a separate workspace (named AMAfiles in this example).
Deleting AMA Clips Using Interplay | Access Beginning with Interplay v3.1, there is an additional column in the File Locations tab named Essence Type, which shows if the media file is AMA or not. Deleting AMA Clips Using Interplay | Access When you delete an AMA clip from the Interplay database, you delete the reference to the AMA source file. This reference includes a number of .spaaf files, one for each track in the AMA source file, and since v3.1 an AMA AAF file. For additional information on .
Deleting AMA Clips Using Interplay | Access The following illustration shows two clips selected for deletion. Both clips have green dots meaning they are online. In this case the clips have associated AMA and native proxy media. The following illustration shows the Delete dialog box for this example.
Resyncing AMA Media Files • n Two associated AMA references (.spaaf files) When you delete an AMA clip from the Interplay database the system does not delete the AMA source files. It deletes only the database object and the associated .spaaf files. Resyncing AMA Media Files The Resync process, which you initiate from Interplay Access, synchronizes metadata contained in Media Indexer with metadata contained in the Interplay Production database.
Resyncing AMA Media Files For Interplay Production v3.2, the Resync process has been extended to include resync of AMA (Avid Media Access) media files. Resync works with Media Indexer and checks if the AMA media files indexed in the MI (through their associated .spaaf files) are managed in the Interplay database. n Media Indexer v3.2 is required when using Resync from Interplay Access v3.2. This requirement applies to resyncing both AMA media files and Avid media files.
Resyncing AMA Media Files To resync the Interplay database with Avid shared-storage workspaces that contain AMA media: 1. Log in to Interplay Access with an Administrator account. 2. In the Asset tree, right-click the database and select Resync. The Resynchronize Media dialog box opens. 3. Click the triangle next to the AMA folder. All workspaces indexed by the Media Indexer are displayed.
Resyncing AMA Media Files 4. Select the workspace or workspaces with which you want to resync. Click the triangle next to the workspace name to view folders in the workspace. You can select one or more individual folders or sub-folders. 5. Click OK. A dialog box displays the progress. If Resync discovers .spaaf files to be deleted for an AMA media file, a message is displayed. Click Yes to delete .
6 Sony XDCAM HD and XDCAM EX End-to-End Workflow Interplay v1.6 and greater supports an end-to-end Long GOP workflow for several of the Sony® XDCAM™ HD and XDCAM EX formats and modes that are used at many broadcast sites. This section describes the overall workflow and lists the limitations particular to the release. For a list of supported formats (also known as operating points), see the Interplay Production ReadMe.
MPEG-2 Long GOP Overview For an overview of MPEG-2 and other compression standards, see Symes, Peter. Digital Video Compression. McGraw-Hill, 2003. Long GOP Benefits and Limitations Long GOP native workflows provide the following benefits in a broadcast environment: • Efficiency: Lower data rates mean faster network transfer times and lower storage (bandwidth and capacity) requirements. • Compatibility: Many common ingest and playout devices employ Long GOP compression.
Supported File Formats for XDCAM HD and XDCAM EX Media Supported File Formats for XDCAM HD and XDCAM EX Media The following formats are associated with XDCAM HD and XDCAM EX media: • MXF OP-ATOM: This is the Avid editing application native media format for XDCAM HD and XDCAM EX material. This format stores each audio and video tracks as a separate file. • MXF OP-1A: XDCAM HD devices store media in MXF OP-1A format.
Long GOP Workflows The following illustration shows four Long GOP ingest paths. The ingest paths in the illustration are marked with the letters A through E. The following sections describe the ingest paths: Path A.
Long GOP Workflows select the sequence or clips and use the Consolidate command to create new OP-ATOM media files. The Consolidate command copies the new files to shared storage and performs a check-in to Interplay Production. You can also copy the native files from the disk or card directly to a folder on shared storage and work with them there before you edit the files and perform the consolidation. This frees up the editor from the process of copying the XDCAM data from the cards.
Long GOP Workflows database. Your Avid editing application maintains the connection between the proxy media and the high-resolution media, so you can relink the edited clips at any time to the high-resolution master clips in an Interplay environment. Path B.
Long GOP Workflows Path E. Third-party Applications that Support the Interplay Web Services API This path applies to third party applications that take advantage of the Interplay Web Services application programmer interface (API). The third party application performs the following tasks: • Create separate MXF OP-ATOM media files and AAF metadata files.
Long GOP Workflows The following illustration shows three Long GOP output paths. n The FTP transfer to the third party device does not use Generic FTP. The output devices in the illustration are marked with the letters A through C. The following sections describe the output paths: Path A. Editor Export to XDCAM HD Device The XDCAM HD device mounts on the system using Sony provided drivers, and appears to the Avid editing application as a standard volume.
Long GOP Workflows • The Interplay Transfer Engine performs the following operations: - n Send an XML file describing the clip to an Interplay Transfer Engine. The XML file contains the shared storage location and the target location. Initiate an FTP transfer of the temporary MXF OP-1A clip file to the target location. This step does not use Generic FTP. This Interplay Transfer step is simply a file move operation. The frames are not published to the DHM interface.
Long GOP Workflows Long GOP Sequences Not Saved in Sent to Playback Folder Long GOP OP1a sequences that are sent to playback are not copied to the Interplay Access Sent to Playback folder. Interplay Transfer, which performs the send to playback, requires AAF metadata to perform checkins to Interplay Access. In an OP1a transfer, Interplay Transfer does not receive AAF metadata. Instead, it receives the path to an OP1a media file.
Long GOP Workflows n Performing the Long GOP splicing in the background might not improve on the time it takes to run the process in the foreground. However, by using the background process, you can continue to work with the Avid editing application for other tasks. The following steps describe the workflow for playout through AirSpeed Multi Stream or a supported third-party server: • The editor selects a sequence in a bin and chooses the Send To Playback command.
Long GOP Workflows • • The Interplay STP Encode provider performs the following operations: - Generates a temporary MXF OP1A clip and writes it to a Temp folder on shared storage. The application automatically selects a Temp folder on the top level of the workspace with the most free space. - Sends an XML file describing the clip to an Interplay Transfer Engine. The XML file contains the shared storage location and the target location.
7 720p MultiRez Workflow This chapter describes a 720p MultiRez workflow. It is similar to other MultiRez workflows except that it always requires a transcode operation to create the low-res proxy. This document covers the following topics: • Overview of the 720p MultiRez Workflow • Editor MultiRez Workflow for 720p • 720p MultiRez Workflow Components • Setting Up the Production Services Profiles for a 720p MultiRez Workflow Overview of the 720p MultiRez Workflow Interplay v2.
Editor MultiRez Workflow for 720p The following illustration shows the main stages of the workflow.
Editor MultiRez Workflow for 720p Working with a MultiRez Clip in the Editor and Performing a Partial Restore This section describes the following topics: • Opening a 720p project and checking out the clip • Setting Dynamic Relink to work with the low-res proxy • Performing a partial restore to restore the portions of the clip used in the sequence. • Using Dynamic Relink to start working with the high-res material. To set up a 720p project: 1.
Editor MultiRez Workflow for 720p To check out the clip and set Dynamic Relink: 1. Select Tools > Interplay Window. 2. Locate the clip in the Interplay Window and drag it to the bin. The following illustration shows the clip in the Interplay window and the bin. Notice that the clip has been transcoded and both the high-res and low-res are online.
Editor MultiRez Workflow for 720p 3. Open the Dynamic Relink dialog box and set the working resolution to the low-res proxy. The following illustration shows the Dynamic Relink values used in this example to link to the low-res media.
Editor MultiRez Workflow for 720p 4. Edit the low-res media into a sequence. The following illustration shows the bin after the sequence is created. Notice that at this point the high-res material has been deleted and is showing completely offline. high-res has been deleted and is completely offline 5. When you are finished editing the sequence, right-click the sequence in the bin and select Restore. Select a profile that is set up to perform partial restore.
720p MultiRez Workflow Components 6. Open the Dynamic Relink dialog box and set the working resolution to the high-res version. The following illustration shows the Dynamic Relink values used to link to the high-res video and audio in this example. This is linking to a specific resolution. You could also link to the highest available resolution. 7. Now you can work with the restored high-res material.
720p MultiRez Workflow Components • Archiving the High Res 720p Material • Deleting the High Res Media • Searching for and Restoring High Res Master Clips • Performing a Partial Restore Capturing High Res 720p Material You can capture 720p high-res material directly from the editing application or using Interplay Capture. This example assumes that you are capturing DNx145 720p/59.94 media.
720p MultiRez Workflow Components To transcode a clip from within Interplay Access: 1. Right-click the clip in Interplay Access and select Transcode. The Transcode profile dialog box opens. 2. Select the profile and click Set. The Transcode service transcodes the clip and stores the media according to the instructions in the profile. The new media is associated with the original clip metadata. The following illustration shows the low-res proxy in the Interplay Window.
720p MultiRez Workflow Components Archiving the High Res 720p Material You can use Interplay Access or the Avid editing application to archive the high-res material: Both techniques use a Production Services profile as described in “Archive Profile” on page 164. n You can also set up an Auto Archive folder and use Interplay Access to drag and drop files to archive into the folder. For additional information, see the Interplay Production Services Setup and User’s Guide.
720p MultiRez Workflow Components 5. (Option) Select “Launch Interplay Media Services Status window.” 6. Click OK. The system starts the Archive operation. The following illustration shows the Media Services and Transfer Status tool with the archive operation in progress. Archive in progress 7. (Option) For details about the job, select the job and click the Details button.: 8. (Option) Navigate to the destination folder in the archive database and verify that your file has been archived.
720p MultiRez Workflow Components Deleting the High Res Media After the high-res material is archived, you can delete the online version. Use the Delete dialog box in Interplay Access to select Avid assets for deletion. You have the option of deleting the assets only, the media only, or both assets and media. Delete only the high-res media associated with the master clips; do not delete the master clips or the low-res proxy.
720p MultiRez Workflow Components The following illustration shows the results of selecting a master clip for deletion. The master clip is associated with both high-res and low-res media files but you are only deleting the high res material. Leave the master clip and low res material online. 3. In the “Delete selected items” area, deselect the master clip as shown in the above illustration. Keep the associated media files box checked.
720p MultiRez Workflow Components 4. Specify the media that you want to delete. a. Select the resolutions you want to delete. The Media Resolutions section of the dialog box lists all video resolutions and audio formats for the clips you selected, including media associated through the Dynamic Relink feature. All resolutions are selected by default. Deselect the resolutions you want to keep. In this example, deselect the low-res media and keep the high-res DNxHD media selected for deletion. b.
720p MultiRez Workflow Components To search the online database for clips: 1. In the Assets view, click the Search tab. 2. Click the Simple tab. If necessary, click the Search Conditions arrow to show the search criteria. Search tab Search Root button Search Conditions arrow Simple tab Search results 3. Select a search root folder by doing one of the following: t Use the Search Root button to select the archive database. t Click a folder in the Tree view and drag it onto the Search Root button.
720p MultiRez Workflow Components 5. Click the Search button. The Search button changes to a Stop button, which you can click if you want to stop the search. The results are displayed in the Search Results pane. They are visible until you close Interplay Access or until you perform a new search. For additional information on searching and search criteria, see the Interplay Access Users Guide. To search for a clip in the archive database: 1. Connect to the archive database. 2.
720p MultiRez Workflow Components 3. Click the Search Root button The Choose Search Root dialog box opens. 4. Select the Archive database (AvidAM) and click OK. n If necessary, expand the bottom of the window to display the Search Results area. 5. Type the name (or a portion of the name) of the clip you want to search for and select the appropriate search criteria.
720p MultiRez Workflow Components 6. Click the Search button. The system displays the search results. In this example, one master clip in the archive database has the text “4HOUR” in its name. Restoring a Full Clip from the Archive This example uses the results of a search to select a clip to restore. You can also use the Tree view to locate the clip you want to restore. To restore a clip located in the Search Results area of the Avid Interplay Access: 1.
720p MultiRez Workflow Components 2. Right-click the clip in the Search Results area and choose Restore. Archive database Tree view Search results The Restore dialog box opens. 3. Select a profile from the Use Profile menu. For information about profiles, see “Creating Profiles” on page 162. 4. Click OK. The system performs the restore operation. You can use the Production Services Status window to view the progress and results of the restore operation. 5.
Setting Up the Production Services Profiles for a 720p MultiRez Workflow Setting Up the Production Services Profiles for a 720p MultiRez Workflow This workflow requires a number of Media Service profiles for the transcode, archive, and restore operations. This section describes the profiles. For details on creating a profile see the Interplay Production Help or the Interplay Production Services Setup and User Guide.
Setting Up the Production Services Profiles for a 720p MultiRez Workflow 3. Click Add and type in a name for the new profile. 4. Add the appropriate values and click Save. For more information on creating profiles, see the Interplay Production Help or the Interplay Production Services User and Setup Guide.For examples of the profiles used in this workflow, see “Interplay | Production Service Profile Examples” on page 163.
Setting Up the Production Services Profiles for a 720p MultiRez Workflow Parameter Value TargetVideoQuality AVCIBP-BLL3.0 60 VideoTimeCodeFormat FUTURE_USE Workspace Broadcast Archive Profile The following illustration shows an archive profile. Parameter Value Destination_Path AvidAM/Catalogs/WW/720p Partition DETArchive% Priority 50 TargetVideoQuality DNxHD 720 60-75-145 Full Restore Profile The following illustration shows a profile used for restoring full clips from the archive.
Setting Up the Production Services Profiles for a 720p MultiRez Workflow Parameter Value Destination_Path AvidWG/Catalogs/HighestFull Destination_Server a51wg-eng01 Destination_Workspace Transfer Partial Not checked Priority 50 TargetVideoQuality DNxHD 720 60-75-145 165
Setting Up the Production Services Profiles for a 720p MultiRez Workflow Partial Restore Profile The following illustration shows a profile used to perform a partial restore of 720p high-res material. This profile only restores a specific resolution: DNxHD 720 60-75-145. You could also select “Highest” and restore the highest available resolution.
8 Determining Interplay Database Scalability This document describes how to use the size of the Interplay Engine database and the amount of available RAM to make decisions about how much larger your database can grow while maintaining your current workflow and hardware.
Total Used Database Pages and Estimated Database Page Limit Database Object A database object contains the metadata that defines an asset in the Interplay Production database. One database object can reference many other objects. For example, a sequence is represented as a database object and each sequence references other database objects such as master clips and audio tracks.
Total Used Database Pages and Estimated Database Page Limit level of performance, the total number of used database pages should not exceed the recommended database page limit for your system. Recommended values are listed in the “Interplay | Engine Database Page Limits” on page 169. For Interplay v2.6 and higher, you can view the total number of database pages in use in the Database Information view of the Interplay Administration tool. See “Comparing Database Page Count and Cache Size” on page 171.
Total Used Database Pages and Estimated Database Page Limit The table also shows values for the Interplay Bundle. An Interplay Bundle consists of an Interplay Engine, Interplay Media Indexer, and Lookup Service running on the same system. A configurator script is run on the system to limit the memory requirements of the Interplay Engine and the Interplay Media Indexer.
Comparing Database Page Count and Cache Size Comparing Database Page Count and Cache Size The following illustration shows an example of the Database Information view for Interplay v2.6. The Database and Cache Size parameters are described as follows: • Configuration Maximum Cache Size: The number of database pages that can be loaded into RAM for this system. This value corresponds directly to the “Maximum Cache Size” column in the tables listed in “Interplay | Engine Database Page Limits” on page 169.
Comparing Database Page Count and Cache Size • The fourth entry in the display differs depending on whether you are using Interplay v2.6 or v2.7 and higher: - Interplay v2.7: Database Load Factor. Shows the percentage of the database that is currently loaded into RAM. On a completely loaded database the ratio would be 100%, but since some pages of a database are never loaded, it will always stay below 100%.
Comparing Database Page Count and Cache Size As mentioned earlier, the permissible overusage depends on the customer's workflows and might exceed or be lower than the estimated 20%. Therefore it is important that you closely monitor the performance of the Interplay Engine once the total used database pages exceed the Maximum Cache size. Database Activity Information The following illustration shows the Database Activity parameters at the bottom of the Database Statistics tab.
Tips for Improving Database Performance Tips for Improving Database Performance The following list provides some tips for improving performance: • Determine the ratio between the number of objects in your Interplay database and the number of total pages used in the database to understand how the number of objects stored in the database relate to the size of your database. See “Establish a Stable Ratio Between Database Objects and Database Pages” on page 175. • Reduce the number of highly linked objects.
Establish a Stable Ratio Between Database Objects and Database Pages Establish a Stable Ratio Between Database Objects and Database Pages The number of database objects that an Interplay environment can support is dependent on the workflow at a particular site. For additional information, see “Database Object” on page 168. For a given workflow, the ratio of database objects per total number of database pages remains fairly constant. Stable ratios are often in the range of 0.4 to 1.
Establish a Stable Ratio Between Database Objects and Database Pages Example: Using the Ratio to Plan for Database Growth The following illustration shows an example database. The following statistics apply to this database: • Maximum cache size: For this hardware configuration, the maximum number of database pages that can fit into RAM is 1.8 million. For additional information, see “Interplay | Engine Database Page Limits” on page 169.
Establish a Stable Ratio Between Database Objects and Database Pages n You can add an additional 20% of pages to the database once the number of pages reaches the maximum cache size. This is the “overusage” value described in “Total Used Database Pages and Estimated Database Page Limit” on page 168. The extra 20% is not included in these calculations and you can consider it as an additional buffer. Calculating the Objects per Page Ratio Interplay v2.
Establish a Stable Ratio Between Database Objects and Database Pages In this example, the database can grow by 45% or roughly 829K database pages. Using a ratio of 1:2.91, that means you can add 2.4 million objects and the database should still be able to load into RAM. (829K x 2.
9 H.264 End-to-End MultiRez Workflow The following topics describe stages in a MultiRez workflow that uses H.264 low-res proxy media for editing and high-res media for output, both ingested through an AirSpeed Multi Stream server. They also describe a workflow that uses Interplay Transcode to create the low-res proxy media. • H.264 Resolutions Supported by Interplay | Production • Installation and Configuration for an H.264 Workflow • Acquiring Media for an H.264 Workflow • Editing with H.
H.264 Resolutions Supported by Interplay | Production Note the following limitation: • Partial delivery and partial restore are not supported for H.264 proxy resolutions. The following table lists the supported H.264 800 Kbps resolutions. KBit/Sec Aspect Ratio Proxy Raster Size H.264 800Kbps Proxy 625 800 Kbps 4:3 352x288 29.97 H.264 800Kbps Proxy 525 800 Kbps 4:3 352x240 720p 23.976 23.976 H.264 800Kbps Proxy 720p 23.976 800 Kbps 16:9 320x180 720p 50 50 H.
Installation and Configuration for an H.264 Workflow Note the following limitations: • Partial archive and partial restore are not supported for H.264 proxy resolutions. The following table lists the supported H.264 2.0 Mbps resolutions. Bit/Sec Aspect Ratio Proxy Raster Size H.264 1500Kbps Proxy 625 1500 Kbps 4:3 352x288 29.97 H.264 1500Kbps Proxy 525 1500 Kbps 4:3 352x240 720p 50 50 H.264 2.0Mbps Proxy 720p 50 2.0 Mbps 16:9 320x180 720p 59.94 59.94 H.264 2.0Mbps Proxy 720p 59.
Installation and Configuration for an H.264 Workflow H.264 Workflow Overview Interplay version 2.3 and later supports an end-to-end workflow that includes H.264 resolutions. This topic describes two workflows: n • AirSpeed MultiStream server to ingest both high-res and H.264 proxy media (H.264 800 Kbps only) • Interplay Transcode to create H.264 media (either H.264 800 Kbps or H.264 2.0 Mbps) This topic describes two possible workflows.
Installation and Configuration for an H.264 Workflow For information about input and output workflows for XDCAM HD media, see “Sony XDCAM HD and XDCAM EX End-to-End Workflow” on page 131. 4. Archive: From an Avid editing system, a user consolidates the sequence and uses the Interplay Archive Provider to send metadata to the Interplay Archive Engine and send media to a third-party storage solution.
Installation and Configuration for an H.264 Workflow 3. Editing: A user on an Avid editing system edits with H.264 proxy media (working resolution). 4. Output: When the sequence is complete, the user dynamically relinks to the high-res media (target resolution) and sends the sequence to playback. For information about input and output workflows for XDCAM HD media, see “Sony XDCAM HD and XDCAM EX End-to-End Workflow” on page 131. 5.
Installation and Configuration for an H.264 Workflow Configuring AirSpeed Multi Stream for an H.264 800Kbps Workflow To configure AirSpeed Multi Stream to ingest H.
Installation and Configuration for an H.264 Workflow For an H.264 workflow, use the settings described in the following sections. Record Templates Tab Use the Record Templates tab to specify the audio settings for each template that you use to record a high-res resolution and H.264 proxy resolution. In the Type column, select an audio format for each high-resolution stream you are recording. In the Pri/Sec (Primary/Secondary) column, select one stream as Pri to record H.264 proxy audio.
Installation and Configuration for an H.264 Workflow Destination Templates Tab Use the Destination Templates tab to specify the folder in which AirSpeed Multi Stream should store ingested clips and the workspace in which it should store the ingested media. • Interplay Folder Path: Type the name of a subfolder in the Interplay database Projects folder in which to store the ingested clips.
Installation and Configuration for an H.264 Workflow Default Templates Tab Use the Default Templates tab to select the Record template, proxy resolution, and Destination template for each channel you are going to record. In the Record column, select the Record template for the high-res resolution. In the Proxy column, select an H.264 proxy resolution. (The correct corresponding proxy is displayed in the list automatically.
Installation and Configuration for an H.264 Workflow Inventory Tab Use the Inventory tab to specify if you want to capture the audio for the H.264 proxy video. Select the option “Transfer Compressed Audio Streams to Interplay?” n The setting “Generate local MPEG-1 proxy after playback transfer completes?” applies only to local playback on the AirSpeed Multi Stream. It is not related to H.264 proxy media. Specifying the Folder Location in Interplay Capture for H.
Installation and Configuration for an H.264 Workflow The following figure shows Interplay Capture set to store clips in the Interplay folder /Projects/Workflows/1080iXDCAM50. After a capture is completed, the editor should work with the clip that is stored in the Projects folder. See “Acquiring Media for an H.264 Workflow” on page 195.
Installation and Configuration for an H.264 Workflow Interplay | Production Services Profiles for an H.264 Workflow Depending on your workflow, you may need to create profiles for the following Interplay Production Services. You set these profiles in the Profiles tab of the Interplay Production Services and Transfer Status tool. For information about supported H.264 resolutions, see “H.264 Resolutions Supported by Interplay | Production” on page 179.
Installation and Configuration for an H.264 Workflow n • Interplay Archive Service: If you plan to archive H.264 media, select your desired resolution from the TargetVideoQuality list. For H.264 media, you can select All, Lowest, or a specific resolution. • Interplay Restore Service. If you plan to restore H.264 media from archive, select your desired resolution from the TargetVideoQuality list. For H.264 media, you can select All, Lowest, or a specific resolution.
Installation and Configuration for an H.264 Workflow Configuring Interplay | Production Clients for an H.264 MultiRez Workflow To prepare for editing with H.264 proxy media, specify your desired working and target settings in the Dynamic Relink Settings dialog box in your Avid editing application. The following are typical settings for a multirez workflow with H.264 proxy media: • Working Settings: Relink to the specific resolution H.
Installation and Configuration for an H.264 Workflow The following illustration shows the Target Settings tab for relinking to an XDCAM HD resolution. Target Settings: 1080i/59.94 XDCAM HD 50 For more information on MultiRez, see “Using MultiRez and Dynamic Relink” in the Interplay Production Help or the Help for your Avid editing application.
Acquiring Media for an H.264 Workflow Acquiring Media for an H.264 Workflow The following topics describe two methods for acquiring H.264 media: n • Dual-Ingest for High-Res Media and H.264 Proxy Media • Transcoding to Create H.264 Media You can stream H.264 media over a wide area network from the Interplay Streaming Server and play the media in Interplay Access. Dual-Ingest for High-Res Media and H.264 Proxy Media An AirSpeed Multi Stream server with an H.
Acquiring Media for an H.264 Workflow - Projects\name, where name is the folder name you set in the General tab of the Capture Settings plugin in the Interplay Administrator. Make sure to distinguish this folder from the folder you set for the Capture master clip. Avid recommends that these three folders be hidden from all users except administrators, because the multi-res associations are managed only on the Capture master clip. For more information, see Interplay Capture Best Practices.
Acquiring Media for an H.264 Workflow The following illustration shows the associations for the Interplay Capture master clip. Because it is a multi-res clip, it is associated with both the low-res and the high-res device clips. Interplay Capture appends a .1 to the low-res and the high-res device clips.
Acquiring Media for an H.264 Workflow The following illustration shows the associations for the high-res device clip: three folders and the Interplay Capture master clip. Both high-res and low-res device clips are located in these three folders. Transcoding to Create H.264 Media If you do not use a dual-ingest configuration, you can use the Interplay Transcode service to create H.264 media for proxy editing or streaming over the web. Transcoding to create H.
Editing with H.264 and High-Res Editing with H.264 and High-Res After the H.264 media is acquired, you can use the MultiRez and Dynamic Relink features to edit with H.264 low-res proxy media and output high-res media. When editing with H.264 media in an Avid editing system, for the best performance during playback, right-click the Video Quality menu button below the Timeline and select Best Performance (yellow/yellow).
Archiving, Restoring, and Deleting H.264 and High-Res Media • Archiving the final sequence and its media. - Create a sequence using H.264 media. - Use Dynamic Relink to create the final output. - Consolidate the sequence to create only the media used in the sequence. - Use Interplay Archive to archive the sequence and the consolidated media. For information about delete workflows, see “Developing an Interplay Delete Strategy” on page 41.
10 HD 23.976p and HD 24p Support The following topics describe Interplay Production support for HD 23.976p and HD 24p formats and their associated proxy resolutions: • Interplay Production Support for Native HD 23.976p and HD 24p Formats • Interplay Production Support for HD 23.976p and HD 24p Proxy Resolutions Interplay Production Support for Native HD 23.976p and HD 24p Formats Interplay version 2.
Interplay Production Support for Native HD 23.976p and HD 24p Formats n n Interplay Production does not support dynamic relink between sources that use different edit rates. For example, you cannot dynamically relink a 1080p/23.976 master clip to 720p/23.976 media. Interplay Production also does not support dynamic relink between NTSC sources from which pulldown has been removed (23.976p or 24p projects) and their HD 23.976p and 24p equivalents.
Interplay Production Support for Native HD 23.976p and HD 24p Formats Project Type and Raster Size Resolution Notes DNxHD 1080 175-185-220 DNxHD 1080 175X-185X-220X DNxHD 444 1080 350X-365X-440X RGB color space DNxHD 1080p 100 XDCAM-EX 35mbps 1080p 23.976 XDCAM-HD 50mbps 1080p 23.976 Apple ProRes Proxy 1080p 23.976 Apple ProRes LT 1080p 23.976 Apple ProRes 1080p 23.976 Apple ProRes HQ 1080p 23.976 Apple ProRes 4444 1080p 23.976 JPEG 2000 1080p 23.
Interplay Production Support for Native HD 23.976p and HD 24p Formats Project Type and Raster Size Resolution Notes JPEG 2000 1080p 24 720p/23.976 1280x720 1:1 MXF Not a supported target for Interplay Transcode 1:1p 10b MXF Not a supported target for Interplay Transcode AVC-Intra 50 720p 23.976 AVC-Intra 100 720p 29.97 DNxHD 720 60-75-145 DNxHD 720 90-110-220 DNxHD 720 90X-110X-220X DNxHD 720p 100 XDCAM-EX 35mbps 720p 23.976 DVCPRO HD Apple ProRes Proxy 720p 23.976 Apple ProRes LT 720p 23.
Interplay Production Support for HD 23.976p and HD 24p Proxy Resolutions Film Option When Creating a New Project If you want to use Dynamic Relink in any of the following project types: • 1080p 23.976 • 1080p 24 • 720p 23.976 do not select the Film option in the Create New Project dialog box. Selecting the Film option disables Dynamic Relink. Interplay Production Support for HD 23.976p and HD 24p Proxy Resolutions Interplay version 2.5 and later includes support for HD 23.
Interplay Production Support for HD 23.976p and HD 24p Proxy Resolutions Because these proxy resolutions use the H.264 format, you can play clips and sequences through Interplay Access over a WAN. In an Avid editing system, you can use the low-res proxy media to edit a sequence, and then use dynamic relink to link to the high-res media for conforming and finishing. For important limitations, see the latest version of the Interplay Production ReadMe, available on the Customer Support Knowledge Base at www.
11 Apple ProRes Resolutions Supported in Interplay | Production Interplay v2.6 supports workflows for clips and sequences that use Apple ProRes resolutions, with some limitations. You can work with Apple ProRes clips in an Avid editing application, check them in and out of the Interplay database, process them through Interplay Production Services, and use Interplay Transfer for workgroup-to-workgroup transfers. Note the following limitations: • Apple ProRes 4444 is not supported for 720p projects.
Project Edit Rate Resolution Name in Interplay Access and Interplay Transcode Mbit/sec Raster Size 720p 59.
Project Edit Rate Resolution Name in Interplay Access and Interplay Transcode Mbit/sec Raster Size 1080i 59.
12 JPEG 2000 Resolutions Supported in Interplay | Production Interplay v2.6 supports workflows for clips and sequences that use JPEG 2000 (J2K) resolutions, with some limitations. You can work with JPEG 2000 material in an Avid editing application, check it in and out of the Interplay Production database, and process it using Interplay Production Services and use Interplay Transfer for workgroup-to-workgroup transfers. JPEG 2000 resolutions are supported in Media Composer v6.1 and later.
13 Support for Stereoscopic 3D Workflows The following topics describe support for stereoscopic 3D workflows in Interplay Production: • Overview of Stereoscopic Support • Stereoscopic Media and Stereoscopic Clips • Stereoscopic 3D Support in Interplay | Access • Stereoscopic 3D Support in Interplay | Transcode • Stereoscopic 3D Support in the Interplay Window, Interplay | Assist, and Avid Instinct • Properties for Stereoscopic Clips Overview of Stereoscopic Support Interplay v2.
Stereoscopic Media and Stereoscopic Clips The following project types and resolutions are supported: • • • 1080p 23.976 - DNxHD 36, 115, 175, 175x, 444 - AVC-Intra 50 and 100 - 8-bit HD Uncompressed (1:1 MXF in Avid editing systems) 1080i 60 - DNxHD 145.
Stereoscopic Media and Stereoscopic Clips The following illustration shows the four different types of 3D master clips. It also shows how all 3D master clips and a monoscopic clip can be associated with the same stereoscopic clip.
Stereoscopic 3D Support in Interplay | Access n For more information about working with stereoscopic clips on an Avid editing system, see the Avid Stereoscopic 3D Editing Workflow Guide, which is available on the Customer Support Knowledge Base. Stereoscopic 3D Support in Interplay | Access Interplay Access v2.
Stereoscopic 3D Support in Interplay | Access The following illustration shows a stereoscopic clip in the Assets window and the related master clips (full left and full right) in the Master Clip Relative tab of the Object Inspector. The Assets window shows some of the stereoscopic property columns.
Stereoscopic 3D Support in Interplay | Access The following illustration shows a sequence in the Assets window and its referenced stereoscopic clip in the Relatives tab of the Object Inspector. For a list of all stereoscopic properties available for display, see “Properties for Stereoscopic Clips” on page 218. Stereoscopic Search Criteria Interplay Access Search now includes the following criteria.
Stereoscopic 3D Support in Interplay | Transcode Type of Search Criteria S3D Inversion S3D InversionR S3D Leading Eye Stereoscopic 3D Support in Interplay | Transcode Interplay Transcode v2.6 includes the following stereoscopic 3D support: • Transcoding of stereoscopic clips, stereoscopic subclips, and sequences containing stereoscopic clips and subclips, in WHOLE and CONSOLIDATE modes. • Mixdown of sequences containing only stereoscopic clips, stereoscopic subclips, or both.
Stereoscopic 3D Support in the Interplay Window, Interplay | Assist, and Avid Instinct • Frame locators (markers) are not preserved during mixdowns. • H.263 and H.264 resolutions are not supported as target resolutions for transcoding.
Properties for Stereoscopic Clips Bin column Description S3D Channel Displays which channel this master clip will deliver into the stereoscopic clip. (Left eye, right eye and monoscopic are full frame channels, while Side by Side and Over/Under are frame compatible channels.) Left Eye: Indicates that the contents of this clip are to be used as the Left eye. Right Eye: Indicates that the contents of this clip are to be used as the Right eye.
Properties for Stereoscopic Clips Bin column Description S3D Group name A common name used to identify all master clips originating from the same stereoscopic footage. The group name is used by the application to create a single stereoscopic clip that references these master clips. Therefore, this name must be exactly the same for all clips that need to be grouped into a stereoscopic clip.
14 DNxHD Resolutions Supported in Interplay | Production Interplay v3.2 and later supports workflows for clips and sequences that use many of the DNxHD resolutions.
Resolution Edit Rate Name in Avid (frames/ Editing sec) Application Resolution Name in Interplay Access and Interplay Transcode Approx. Video Bit Rate Raster (Mbit/Sec) Size DNxHD 720 90X-110X-220X 1 Field DNxHD 720 90-110-220 1 Field DNxHD 720 60-75-145 1 Field 220 Mbit 220 Mbit 145 Mbit Project Resolution Edit Rate Name in Avid (frames/ Editing sec) Application Resolution Name in Interplay Access and Interplay Transcode Approx. Video Bit Rate Raster (Mbit/Sec) Size 1080p/23.97 23.
Project Resolution Edit Rate Name in Avid (frames/ Editing sec) Application 1080p/50 50 1080p/59.94 59.94 Resolution Name in Interplay Access and Interplay Transcode Approx.
15 XAVC-Intra HD Resolutions Supported in Interplay | Production Interplay v3.2 and later supports workflows for clips and sequences that use XAVC-Intra HD resolutions.
16 DNxHR Resolutions Supported in Interplay | Production Interplay v3.
The following table lists the supported resolutions. Resolution Name in Interplay Access Video Bit Rate (Mbit/Sec) 59.94p DNxHR LB DNxHR SQ DNxHR HQ DNxHR HQX DNxHR 444 359 1154 1747 1747 3494 3840 x 2160 Ultra HD 50p DNxHR LB DNxHR SQ DNxHR HQ DNxHR HQX DNxHR 444 299 963 1457 1457 2914 3840 x 2160 Ultra HD 29.
17 Using Frame Chase Editing This chapter describes how to use Frame Chase™ editing. Frame Chase editing (sometimes called “edit while capture”) lets an Avid editing application that is part of an Interplay workgroup view and edit clips while they are being captured. Frame Chase editing is supported only when media is captured from a supported external device through Interplay Transfer.
Understanding Frame Chase Editing When the capture is complete, the icon is replaced by the standard master clip or audio clip icon. To view the updated icon in the Interplay Window, press F5. To view the updated icon in a bin, select Bin > Update from Interplay. Frame Chase editing is available only in an Interplay Production workgroup that includes Interplay Transfer and a supported external device. Media must be in the MXF format.
Workflow for Frame Chase Editing n The default duration on an AirSpeed server is one hour (01:00:00:00). When the capture is complete, the duration is updated. If a clip goes beyond one hour, the default duration is two hours (02:00:00:00). Frame Chase editing is supported in a dual-ingest configuration, in which both a low-res and a high-res version of a clip is created.
Workflow for Frame Chase Editing In this example workflow, an editor uses Media Composer to create a news story from a timed feed. Interplay Capture has been set up to work with an AirSpeed server to automatically create clips of a set duration from the feed, as shown in the following illustration. To use Frame Chase editing: 1. Make sure that the ingest device is properly connected and set up for recording and transfer. 2.
Workflow for Frame Chase Editing 4. In the Interplay Window, navigate to the folder that holds the clip that you want to use for editing. If you know some information about the clip, you can use the Search feature. A clip that is being captured displays an in-progress icon. In-progress icon 5. Load the clip into the Source monitor and play the clip. The clip plays in the Source monitor at the same time the media is being captured.
Limitations When Working With In-Progress Clips n In Avid Instinct or Interplay Assist, press Alt+F5 to update the media displayed in the monitor. 6. Create a sequence in a bin on Media Composer. 7. Use standard editing techniques to build a sequence from the in-progress clip. 8. When the clip is completely captured, select Bin > Update from Interplay. This command ensures that the latest version of the clip is used in your sequence.
Limitations When Working With In-Progress Clips and transcode on subclips and sequences that reference or contain in-progress clips. In these cases, any right-side handles are restricted by the known media duration of the in-progress clip at the time of the operation. For example, if you set 2 second handles but there is only 1 second of media available for a handle at the time the consolidate or transcode operation is executed, then the right-side handle is restricted to 1 second.
18 Additional Interplay | Production Topics This chapter covers the following topics: • Changing Source Information for a Clip in Interplay | Production • Ingest and Playout of Ancillary Data • Dynamic Relink: Working with a Single Resolution • Disconnecting an Avid Editing Application from the Interplay Environment Changing Source Information for a Clip in Interplay | Production There are two types of source information that usually should not be changed for a master clip in an Interplay environmen
Ingest and Playout of Ancillary Data 3. To change the tape name, do the following: a. Select Set Source from the Modify dialog box popup menu. The Select Tape dialog box opens. b. Change the source tape name. Use an existing tape name or create a new one. 4. To change the timecode format to drop or non-drop frame, do the following: n a. Select ”Set Timecode Drop/Non-drop” from the Modify dialog box popup menu. b. Select the format and click OK.
Support for AFD Ancillary Data The following table lists editor and AirSpeed Multi Stream ingest and playout capabilities for HD resolutions that support ancillary data in an Interplay environment. Resolution with Editor AirSpeed Multi Stream Supported with Ancillary a Ancillary Data Capture Ingest/STP Data for Interplay v2.2.1 b XDCAM HD Yes Yes Yes AVC-Intra Yes Yes Yes DNxHD Yes Yes Yes a. Captured with DX hardware and a device that supports ancillary data.
Support for AFD Ancillary Data Interplay v2.7 and later supports workflows for sequences that include modified AFD values. AFD values are preserved when you check sequences in and out of the Interplay database, process them through Interplay Production Services, and use Interplay Transfer for workgroup-to-workgroup transfers and send-to-playback operations. AFD values are displayed in the metadata property labeled AFD, which can be displayed in an Avid editing application bin and in Interplay Access.
Dynamic Relink: Working with a Single Resolution The following illustration shows a Timeline in which an AFD value has been applied to the sequence. The D1 track for the first master clip is empty: it does not include essence. The D1 track for the second master clip includes essence with an AFD value. This value is superseded by the AFD value applied to the sequence.
Dynamic Relink: Working with a Single Resolution Restricting Clips to a Single Resolution This section describes how to set values in the Dynamic Relink dialog box if you know that you will only be working with one resolution. For Sites that Use Only One Resolution If your site never creates multiple resolutions of the same master clip, you can disable Dynamic Relink in the editing applications. To turn off Dynamic Relink: 1. In the Avid editing application, open the Project window and click Settings. 2.
Dynamic Relink: Working with a Single Resolution Turning Off Dynamic Relink for Interplay | Assist and Avid Instinct Interplay Assist supports the ability to disable dynamic relink. Dynamic relink allows you to link your working media to a target resolution for send-to-playback operations. If your workflow doesn’t require dynamic relinking, you can disable this feature. You set dynamic relink options in the Interplay Administrator in the Editor Database settings and in the Instinct/Assist User settings.
Disconnecting an Avid Editing Application from the Interplay Environment Disconnecting an Avid Editing Application from the Interplay Environment Starting at Interplay v1.1.1, Interplay Production supports a Disconnected Client mode that allows you to work while disconnected from the Interplay Production environment.
19 Working with Interplay | Media Indexers This chapter covers the following topics: • New Features for Interplay | Media Indexer V3.2 • New Features for Media | Indexer V3.0 and V3.1 • Interplay | Media Indexer Overview • Web-Based User Interface • Managing Interplay | Media Indexers in an Interplay Environment • Troubleshooting Interplay | Media Indexer • Interplay | Media Indexer Health Monitor Options New Features for Interplay | Media Indexer V3.
New Features for Interplay | Media Indexer V3.2 Note the following: • The previous URL http:\\:8888/mi redirects to the new URL. • Access through the secure port uses the Secure Sockets Layer (SSL), which requires the server to have a digital certificate. Media Indexer uses a self-signed certificate. • With a self-signed certificate, the user is presented with a warning message. The exact message depends on the browser, but in all cases the user will be able to access Media Indexer.
New Features for Interplay | Media Indexer V3.2 Media Indexer Configuration Import/Export You can export and import a Media Indexer configuration, which can save time and effort when setting up another instance of Media Indexer. The following information is included in the exported .
New Features for Interplay | Media Indexer V3.2 Media Indexer Storage Location Icons (Introduced in V3.1) The icons used for MI storage locations depend on the storage type (ISIS or licensed 3rd party) and whether the storage location is used for AMA or for non-AMA media. ISIS Storage types are further delineated by the ISIS family. For example, ISIS 7500 is defined as Realtime and ISIS 2500 is defined as Nearline. The following table shows the Media Indexer web interface icons for Interplay v3.
New Features for Interplay | Media Indexer V3.2 Media Indexer Statistics The Statistics page includes new and expanded information for the following sections: • Quarantined files in Storage Statistics and AMA Storage Statistics. Now use subfolders labeled by month and year. - Quarantined file count is displayed for MXF and AMA storage locations. Only files in subfolders labeled yyyymm are listed.
New Features for Interplay | Media Indexer V3.2 - • Removed split-off file count and size are shown for the AMA metadata (SPAAF) workspace. Network Information (new) A green check mark is displayed when the current and initial IP addresses are the same. A warning triangle is displayed when current and initial IP addresses are different, as in the following illustration.
New Features for Interplay | Media Indexer V3.2 • AMQ Server Adapters Information (new). AMQ server connection is displayed in AMQ Server Adapters section The Server Adapters section for the ASF server connection has been removed. • Memory Usage Information (new) Memory usage for different Java memory pools is displayed.
New Features for Interplay | Media Indexer V3.2 Media Indexer AMA Configuration Enhancements In the Storage Locations tab, wording has been improved and explanatory text added. In the Storage Browser, you can browse AMA files by the AMA Metadata Location.
New Features for Interplay | Media Indexer V3.2 Media Indexer MQ Resource View There is a new page for MQ Resources, which provides technical details about the embedded messaging infrastructure. Media Indexer Web UI Security You can add security to a session through the Security page: • Click the Enable button to enable security. Security is disabled by default. • Create an Administrator account for secure access. This is the only account available. The password is stored in userCache.cache.
New Features for Interplay | Media Indexer V3.2 • Logging in as administrator is required to make changes to the UI if Security is enabled. Media Indexer Web UI Shutdown You can shut down Media Indexer from the Web UI. Shutdown is available only when logged on to the system displaying the Web UI, and admin permissions are granted to the logged-in Media Indexer Web UI user. There are two options for shutdown: • Shutdown immediately • Shutdown after all requests are processed.
New Features for Media | Indexer V3.0 and V3.1 New Features for Media | Indexer V3.0 and V3.1 The following new features are added for Media Indexer v3.x: • Starting in Interplay v3.0, there is a new method for connecting Avid editing clients to the HAG. See “Configuring Media Indexer Servers and Clients” in the Interplay Production Software Installation and Configuration Guide. • Media Indexer v3.x can index and relink to AMA material.
New Features for Media | Indexer V3.0 and V3.1 • Configure the ISIS client on the Interplay Media Indexer to recognize all available ISIS systems. Use the Remote Host Settings button to connect to additional ISIS systems as shown in the following illustration. • Configure the leader of the HAG to see all of the storage locations that you want to access on both ISIS systems. For example, the following illustration shows connections to the workspaces on two ISIS systems.
New Features for Media | Indexer V3.0 and V3.1 Changes for Log Files and Cache Files Starting with Media Indexer 2.6, the log and cache files are located in the following folder on Windows 7, Windows Server2003, and Windows Server 2008: %ALLUSERSPROFILE%\Avid\AvidMI This usually translates to the following location: C:\Program Data\Avid\AvidMI On a Macintosh editor, the log and cache files are in the following location: • log files: /Applications/Avid Media Indexer/state/log • cache files: /Applications
New Features for Media | Indexer V3.0 and V3.1 Default jini config file values The default values for configuring the saving and purging of archive files are as follows: // Period for scheduling task which purges log archives (in milliseconds). static archivesPurgerPeriod = new Long( 300000 ); // Retained archives count for task which purges log archives. static archivesCount = new Integer( 60 ); // Retained archives size for task which purges log archives (in bytes).
New Features for Media | Indexer V3.0 and V3.1 adapters.txt Adapters.txt is a readable file that contains the configured workspaces. Interplay Media Indexer keeps that in sync with the caches but does not need this for loading data from the cache. The file is informational only and is overwritten each time the cache is flushed or the storage locations are changed. The file is basically a readable version of adapters.cache. Interplay Media Indexer does not read any information from the file.
New Features for Media | Indexer V3.0 and V3.1 When you enter the above command, the dump feature converts the dot file to an image. The operation will fail if graphviz is not installed. Compare Option Removed The compare option for UTest is no longer available starting at Media Indexer v2.6. In order to compare two reports, simply compare them using a diff tool, such as kdiff3.
New Features for Media | Indexer V3.0 and V3.1 You can use the Interplay Media Indexer Web-based user interface to view the progress of the file scanning. This value (Current Queue Length) is displayed in the Statistics window as shown in the following illustration: The Current Queue Length value shows the number of folders that must still be scanned. Note that the display is not dynamic. Click the Refresh button to update the value. For additional information, see “Web-Based User Interface” on page 263.
New Features for Media | Indexer V3.0 and V3.1 Managing the Order of Storage Locations Media Indexer v2.7 added support for changing the order of storage locations. This feature is already available in the Service Configuration tool. The following illustration shows the new buttons. n • Move up and Move down buttons: Allow you to move the storage locations within the list. When Sorting by Priority is enabled, you can manage the priority by moving the storage locations up and down in the list.
New Features for Media | Indexer V3.0 and V3.1 Viewing the Size of Indexed Workspaces and Folders You can view the total size of the files indexed by a storage location and by a particular folder. The following illustration shows the total size of each storage location in the Statistics tab. n The Interplay Media Indexer only calculates the size of files that are indexed. If there are non-indexed files in the folder they are not reported in this value.
Interplay | Media Indexer Overview The following illustration shows the size of folders in the Storage Browser tab. The Deep value is the size of the currently selected folder and all subfolders under this folder. The value on the right is the size of the currently selected folder. In this example the top folder is empty but the subfolders contain indexed media.
Interplay | Media Indexer Overview Configuring Interplay | Media Indexers At a small site, configure one Interplay Media Indexer as a High Availability Group (in this case, a group with one member) and configure it to index your Avid shared storage workspaces as shown in the following illustration.
Web-Based User Interface The following illustration shows a second Interplay Media Indexer added to the High Availability Group. You configure the leader of the group to monitor shared storage. Interplay Media Indexers that you add to the group automatically monitor the same storage locations as the leader.
Web-Based User Interface Each Interplay Media Indexer running v2.6 or higher hosts its own web-based user interface. This includes MIs on editor systems. The Web-based user interface is only available while the Interplay Media Indexer application is running. Configuration Section Click the Configuration tab to open a window that works similarly to the Service Framework Service Configuration tool.
Web-Based User Interface In the case of local storage on an editor, the Interplay Media Indexer displays the full UNC path to the storage location as well as the local path to the media files. The following illustration shows the configuration for an editor named a51-wg1-sn1. It is connected to the HAG (via the Interplay Media Indexer named A51-WG1-MI1) and has local storage on the C: drive. You can configure storage locations in the same way that you do for the Service Configuration tool.
Web-Based User Interface Note that you can add a storage location before it is available online. Interplay Media Indexer will check whether its available at the next resync. Or once the storage location is available you can select the folder in the Storage Browser and select Rescan or Reindex.
Web-Based User Interface Statistics Section The Statistics section presents the information that is sent to the Service Framework Health Monitor. You can leave sections open and move sections around on the window. Your browser retains the arrangement the next time you open the window. The following illustration shows a portion of the Statistics section.
Web-Based User Interface Storage Browser and Storage Search The Storage Browser allows you to browse the storage locations and examine the media files that are being indexed. Click on a folder to view details about the media files. The following illustration shows the contents of a selected folder in the Storage Browser. The Storage Browser does not update dynamically.
Web-Based User Interface Possible uses of the Storage Browser for troubleshooting include the following: • When investigating dynamic relink and media offline issues, check for problems with the start time, duration, offset, and channel ID.
Web-Based User Interface The following illustration shows an example with multiple workspaces. To rescan the entire workspace named ams3, select the workspace and choose Rescan > Deep. Note that you can also right-click the workspace and select Rescan > Deep. In the above example, Shallow would have no use since there are no individual files at the top level of the workspace. In the following example, to rescan the folder named a51-wg1-ap1.1, select the folder and choose either Shallow or Deep.
Web-Based User Interface Since editor applications usually structure folders on ISIS without extra files at the top level, the Shallow option is rarely needed. It is provided in case an application uses a different folder layout. Viewing the Scan or Reindex Progress When performing a reindex or rescan you can view the progress on the Statistics window under Scanning Workers Thread Pool Statistics and Indexing Workers Thread Pool Statistics.
Web-Based User Interface Storage Search Section The Storage Search window allows you to search for the following: • folder path • file path (supply the full path to a file) • File mob ID • Channel ID The following illustration shows the results of a search for a File mob ID. Performance Monitor Section The Performance Monitor tab provides access to Interplay Media Indexer specific performance reports based on JAMon. JAMon stands for Java Application Monitor.
Managing Interplay | Media Indexers in an Interplay Environment Managing Interplay | Media Indexers in an Interplay Environment This section covers the following topics: • “Improving Interplay | Media Indexer Performance by Limiting the File Count in Media File Folders” on page 273 • “Interplay | Media Indexer Restart Behavior” on page 275 • “Ignoring Global Delete Notifications” on page 276 • “Changing the Resync Interval for an Interplay | Media Indexer” on page 279 • “Import and Export Configur
Managing Interplay | Media Indexers in an Interplay Environment 4. Open the Service Configuration tool and add the workspace back into the Interplay Media Indexer storage configuration. The files will still be online in the Avid editing application but they will be offline in Interplay Access.
Managing Interplay | Media Indexers in an Interplay Environment Interplay | Media Indexer Restart Behavior Starting with Media Indexer v2.2.3, you have the following options when you restart a Interplay Media Indexer that has existing cache files: • REINDEX_CHANGED: This is the default option. The Interplay Media Indexer indexes media files that have been added or changed within the last two hours since the cache was last saved. The amount of time is configurable.
Managing Interplay | Media Indexers in an Interplay Environment // REINDEX_CHANGED_SHARED - Reindex known files on shared storages if // they were changed and all known files on local storages // Default value: REINDEX_CHANGED static reindexingMode = ReindexingMode.REINDEX_CHANGED; The time range value is in milliseconds and is set to 2 hours by default. After you edit and save the file, use the Workgroup Properties tool to restart the Interplay Media Indexer service.
Managing Interplay | Media Indexers in an Interplay Environment To ignore delete notifications on a global basis: 1. Open the Service Configuration Window and select the Interplay Media Indexer monitoring shared storage. 2. Click the Ignore delete notifications check box and click Apply. The following illustration shows the global option. To ignore delete notifications for a specific workspace: 1. Open the Service Configuration Window and select the Interplay Media Indexer monitoring shared storage. 2.
Managing Interplay | Media Indexers in an Interplay Environment Scheduling Large File Deletions The “ignore delete notifications” feature should only be used after careful discussion of how this will affect your workflow.
Managing Interplay | Media Indexers in an Interplay Environment Changing the Resync Interval for an Interplay | Media Indexer Depending on your version of Interplay Production and ISIS, you may be able to improve Interplay Media Indexer performance by increasing the resync interval. This is referred to as a relaxed scan interval. The default resync intervals are referred to as aggressive scan intervals. Use the following guidelines to determine whether you should change the resync interval.
Troubleshooting Interplay | Media Indexer The following list shows the completed values for a relaxed scan: static partialResyncDelay = new Long( 60000 ); static fullResyncMinDelay = new Long(10800000); static fullResyncMaxDelay = new Long(18000000); 6. Save the file. Import and Export Configuration Files The Configuration Storage dialog box has Import Config and Export Config buttons that allow you to import and export the configuration of a Interplay Media Indexer as a simple text file.
Troubleshooting Interplay | Media Indexer Before you begin troubleshooting, verify the following: • Shared storage volumes (ISIS workspaces) are mounted and the user that mounted the workspace has Read/Write privileges. • On Avid ISIS, Interplay Media Indexers that monitor shared storage must use letterless drive mapping. In general other Interplay clients, such as Avid editing applications, must use Lettered drive mappings. Interplay Media Indexers in the High Availability Group.
Troubleshooting Interplay | Media Indexer c Do not use the Remote Mode button. It is intended for a future release and has not been qualified. Interplay | Media Indexer Diagnostics The Interplay Media Indexer supplies additional information to the Service Framework Diagnostics tool. The following illustration shows the Diagnostics window showing Logger name information for the Interplay Media Indexer process on the system named DocMI.
Troubleshooting Interplay | Media Indexer • Filter on “INDEXING ERROR” to view indexing errors as they happen. • Filter on “Quarantined file” to view information on bad media files as they are quarantined. Note that if you see a lot of Quarantined file messages about OMFI media files, it can be a sign of the presence of legacy OMF files, or still unsupported OMF precompute media files. • Filter on the Message “Commit” to see when the Interplay Media Indexer saved the cache.
Troubleshooting Interplay | Media Indexer 5. Save the file and restart the Interplay Media Indexer. This enables the new audit trail mechanism to track file system operations. This level of logging can be increased to FINER or FINEST if more detailed information is required. c Only use the audit trail for troubleshooting. The feature uses Interplay Media Indexer resources and can affect system performance.
Troubleshooting Interplay | Media Indexer Interplay | Media Indexer, Interplay | Assist, and Avid Instinct When Interplay Media Indexers in the HAG are not running or are not communicating with clients, Assist and Instinct clients report all media offline. This happens because the Assist and Instinct do not have local Interplay Media Indexers and rely on the Interplay Media Indexer defined in Interplay Administrator Server Hostname view.
Troubleshooting Interplay | Media Indexer 5. Click the Configure button. 6. Verify the UNC paths for the workspaces are displayed. Add them if they are not displayed. To check whether the files you are looking for are in a Quarantined folder: 1. Determine who (client, hostname) created the media and which workspace it resides on. 2. Using Windows Explorer, open the Avid MediaFiles\MXF directory that has the hostname of the client who created the media. 3.
Interplay | Media Indexer Health Monitor Options 3. Open the Interplay Media Indexer pane. 4. Check the value of the “Pending Files (scan)” field. If the Interplay Media Indexer is not scanning files, it is safe to shut it down. To shut down the service, use the Avid Workgroup Properties tool. Interplay | Media Indexer Health Monitor Options This section describes the options available in the Health Monitor. These options are added for Interplay v1.2.3.
Interplay | Media Indexer Health Monitor Options Interplay | Media Indexing Workers Thread Pool The following illustration shows the Media Indexing Workers Thread Pool window. The following table describes the values. Option Description Handshake errors Counts number of handshaking errors between the Interplay Media Indexer process and the ummdworkers. Timeout errors Number of times a ummdworker process failed to return the metadata information to the Interplay Media Indexer.
Interplay | Media Indexer Health Monitor Options Storage Activity, Storage Resync Status, and Storage Root There is a Storage Activity, Storage Resync Status, and a Storage Root window for each shared storage location that the Interplay Media Indexer is monitoring. Storage locations can be folders on shared storage for Interplay Media Indexers in the HAG, or local storage areas for an Interplay Media Indexer running on an Avid editing application.
Interplay | Media Indexer Health Monitor Options Option Description Storage Activity Shows the time when the last “file created” or “file deleted” notifications from the file system were received by the Interplay Media Indexer. This information is useful for debugging media offline problems. It lets you know whether the Interplay Media Indexer received the notification. For example, when a file is ingested or deleted, the corresponding entry should show the time.
Interplay | Media Indexer Health Monitor Options Media Table Statistics The following illustration shows the Media Table Statistics window. This window has not changed from versions prior to v1.2.3. The following table describes the values. Value Description High Availability Group Specifies whether the Interplay Media Indexer is a member of a High Availability Group and if so, identifies the Interplay Media Indexer’s position in the group.
Interplay | Media Indexer Health Monitor Options Value Description Table Adapter Listeners The number of Interplay Media Indexer services that are connected to this Interplay Media Indexer This number should be close to the actual number of machines connected to the Interplay Media Indexer. If this number keeps growing and becomes greater than the number of clients by an order of magnitude, call Avid Technical Support and schedule a restart for the Interplay Media Indexer.
Interplay | Media Indexer Health Monitor Options Media Table Operations and Media Table Queries Performance The following illustration shows these two windows. The following table describes the values. Option Description Media Table Operations Next media table commit time - The next time that the system will save the Interplay Media Indexer cache file. You set the frequency of cache saves in the Service Configuration window.
Interplay | Media Indexer Health Monitor Options Checking Interplay | Media Indexer Memory Usage An individual Interplay Media Indexer is capable of indexing a specific number of files. The actual number of files depends on the memory used by the Interplay Media Indexer monitoring that particular portion of shared storage.
Interplay | Media Indexer Health Monitor Options 3. Check the memory usage for the Interplay Media Indexer. (Also check the number of files that this Interplay Media Indexer is currently indexing. For the maximum supported number, see the Interplay Production Production ReadMe.) Each Interplay Media Indexer has a certain amount of allocated memory. When the amount of free memory available for the Interplay Media Indexer goes below 10% of that amount, the Interplay Media Indexer stops indexing files.
Interplay | Media Indexer Health Monitor Options 3. Use the sliders on the Interplay Media Indexer panel to control when the bars change color. n The default settings are appropriate for most installations. The following illustration shows the sliders in the Interplay Service Configuration dialog box.
Interplay | Media Indexer Health Monitor Options environment. For example, if one media drive is filling up, the “Overall system state warning” at the top of the Health Monitor window turns yellow. This can sometimes obscure other more important issues that are occurring in the Interplay environment. The problem arises because you cannot adjust the threshold values for individual drives on a system.
Interplay | Media Indexer Health Monitor Options 3. Right-click the % Free Space text on the drive that you don’t want the alerts coming from and choose Suppress Health Alerts. The following illustration shows the same system with the alert suppressed for the Disk Health Information for one drive. The drive displays as yellow in the Disk Health Information window but the overall system health shows as green.
Interplay | Media Indexer Health Monitor Options • A new Heartbeat monitor feature in the Storage Roots area allows you to monitor the network connectivity of the Interplay Media Indexer to each shared storage workspace. See “Heartbeat Information” on page 302. • The Storage Roots windows are now listed in alphabetical order. The following illustration shows the new organization.
Interplay | Media Indexer Health Monitor Options New Storages Window Starting in Interplay v2.4, a new Storages window displays information from all the Storage Roots windows in one location. The following illustration shows an example of the Storages window. All items in each workspace list are suffixed with the integer value that is associated with that particular workspace. This is the RTID (real time ID) value displayed in the Storage Root window associated with that workspace.
Interplay | Media Indexer Health Monitor Options New Information for Monitored Workspaces Starting with Interplay v2.4, the Storage Roots windows displays additional information about each workspace as shown in the following illustration. In addition to the new information about modified files and folders, the window also shows the “Startup reindexing mode” for the Interplay Media Indexer.
Interplay | Media Indexer Health Monitor Options Heartbeat Information Starting in Interplay v2.4, you can view heartbeat information for each workspace being monitored by the Interplay Media Indexer. Heartbeat refers to the network connectivity between the Interplay Media Indexer and the shared storage workspace. The system displays the Heartbeat information at the bottom of each Storage Root window as shown in the following illustration.
Interplay | Media Indexer Health Monitor Options Each received heartbeat notification is also logged to the storage-notification log in the following directory: \Program Files\Avid\AvidMI\state\log If a problem occurs you can check the log to determine when the problem started and correlate it with any other occurrences in your Interplay environment that happened around the same time.
A Interplay | Production Maintenance Recommendations This chapter provides a list of maintenance activities that should be performed regularly in an Interplay Production environment. • Interplay Daily Maintenance Check List • Interplay Weekly Maintenance Check List • Interplay Monthly Maintenance Check List • Avid ISIS Recommended Maintenance • Complete Server Room Shutdown The Interplay Administrator includes a set of maintenance tools for specific problems.
Interplay Weekly Maintenance Check List Interplay Daily Maintenance Check List (Continued) Task For more information Interplay Media Indexer Use the Avid Service Framework Health Monitor to check memory and Interplay Production Best CPU usage. If the available memory falls below 10% (red zone in Practices Health Monitor), the Interplay Media Indexer stops indexing new files.
Interplay Weekly Maintenance Check List Interplay Weekly Maintenance Check List (Continued) Task For more information Restart the Interplay Transfer Engine application. Interplay Transfer Setup and User’s Guide Inspect the Transfer Engine internal disc drive for minimal normal free space.
Interplay Monthly Maintenance Check List Interplay Monthly Maintenance Check List Interplay Monthly Maintenance Check List Task For more information Interplay Engine Check the ratio between the number of database pages and the number of See the chapter on objects in the database. This value is automatically calculated and displayed “Determining Interplay in the Interplay Administrator tool.
Avid ISIS Recommended Maintenance Interplay Monthly Maintenance Check List (Continued) Task For more information Interplay Streaming Server Reboot the server. and clean up the log files. In the log folder, keep the following files (these are the current ones) C:\Program Files\Darwin Streaming Server\Logs • StreamingServer.log • Error.log • server_status and delete the following categories of log files: • Error.xxyyzzaaaa.log • mp3_access.xxyyzzaaa.log • StreamingServer.xxyyzzaaa.
Complete Server Room Shutdown Complete Server Room Shutdown There is no requirement to power cycle the entire Avid infrastructure but, if the need arises to turn off all the equipment (such as a relocating the server room), turn off the components in the following order. When turning on the components, use the reverse order. To shut down the entire Interplay Production workgroup (server room): 1. Shut down all Avid editing systems and attached media I/O equipment. 2.
B Archive Migration (Workgroup 4) Starting at Interplay v1.1.4, you can migrate MediaManager v4.5.x (also known as Workgroup 4) archived assets to an Interplay Archive environment. See your Avid representative for details on migrating. n Conversion of OMF to AAF metadata does not happen during the migration process. The OMF to AAF conversion occurs when the metadata is checked in and out of an Interplay Window using a separate Interplay API.
Restoring Migrated Assets The following illustration shows the Workgroup 4 attributes and the icons used to identify Workgroup 4 assets before the restore process. The Workgroup 4 icons are similar to the masterclip, subclip, and sequence icons used with Interplay assets, except they include a 4. After the restore process the 4 is removed from the Workgroup 4 icons to display the type of asset, such as clip, subclip, sequence, and so on.
Restoring Different Versions of a MediaManager Archive Clip Be aware of the following when restoring migrated clips: • Avid recommends that you schedule time to restore all of your archived Workgroup 4 media and then re-archive it in Interplay Archive. See “Working with OMF Media Files After an Archive Migration” on page 317. • Avid recommends that restored Workgroup 4 clips be rearchived to a separate partition to keep the restored Workgroup 4 assets separate from the Workgroup 4 tapes.
Restoring Different Versions of a MediaManager Archive Clip Locating the Correct Version to Restore To use SQL Management Studio to locate the correct version: 1. On the FlashNet server, select Start > Programs > Microsoft SQL Server 2005 > SQL Server Management Studio. 2. Select the appropriate database and select New Query. 3.
Restoring Different Versions of a MediaManager Archive Clip The following illustration shows the Query window in more detail. The following illustration shows the result panel for this search. The migration tool imports only the latest archived asset. In the preceding illustration, this is the version archived at 2004-07-27. In this example, the version archived at 2004-07-06 is a more desired version. The clip archive number is 123 and the Volume name is RNC164.
Restoring Different Versions of a MediaManager Archive Clip 4. Scroll down the Name list and locate WGArchive ID and WGArchiveTapeID. The following illustration shows the selections for this example. Archive ID. Tape ID (Volume name) The All Properties tab shows the current WG4Archive ID and Archive Tape ID values. In this example, we want to change the WGArchive ID to 123 and change the WG4ArchiveTapeID to RNC164. 5. Click the Get/Set Property tab and select WG4ArchiveID from the Name list.
Restoring Different Versions of a MediaManager Archive Clip 6. Click the Get button. The system displays the current value in the Value window. 7. Type the new value in the Value window and click the Apply button. The following illustration shows the new value for this example. 8. Select the WG4ArchivetapeID from the Name menu and click Get. The system displays the current value in the Value window. 9. Change the value, and click the Apply button. In this example we change the value to RNC164. 10.
Working with OMF Media Files After an Archive Migration Restoring the Clip from the MediaManager Database To restore the correct version of the clip: 1. Locate the clip that you want to restore in Interplay Access. 2. Delete the media for the clip. c If you have already restored the clip and want to restore a different version, delete the Interplay Production version of the media before you perform the restore. 3. Right-click the clip in Interplay Access and select Restore.
Working with OMF Media Files After an Archive Migration c. Select Convert Video. d. (Option) Select Create New Sequence, if you want to create a new sequence for the MXF media that is separate from the OMF media. e. Click Transcode. New MXF media is created for the entire sequence. Turn on Dynamic Relink to link the sequence to the new MXF media. 5. (Option) Rename the OMF sequence so you can identify it as being linked to OMF media. This makes it easier to delete the OMF version later.
Retained Workgroup 4 Clip Attributes Retained Workgroup 4 Clip Attributes The following table list the Workgroup 4 attributes that carry over to the Interplay Archive database. n These attributes are not available in Interplay Access until after you perform a restore of the Workgroup 4 assets.
Retained Workgroup 4 Clip Attributes Workgroup 4 Clip Attributes Retained in Interplay Environment (Continued) Attribute Master clip Subclip Sequence Modified_Date X X X Media_Size X X X Comment X X X 320
ACDEFHIJLMOPRSTUVWX Index Symbols .spaaf files described 105 Numerics 1080p/23.976 proxy support 205 1080p/23.976 support 201 1080p/24 support 201 1080p/24 support proxy 205 720p/23.976 proxy support 205 720p/23.976 support 201 A Access control 25, 28, 37 Instinct and Interplay Assist User settings 39 AFD (Active Format Description) support for 236 AirSpeed Multi Stream configuring for H.264 workflow 185 AirSpeed server Frame Chase editing with 229 AMA (Avid Media Access) material .
ACDEFHIJLMOPRSTUVWX Index D H Deleting Avid assets and media 154 best practices guidelines 73 determining how much space will be freed up 77 examples with search 79 introduction 41 media 25 media and metadata 42 Digital Rights Management 20 DNxHD 100 support 221 DNxHR support 225 Dual-ingest configuration Frame Chase editing 229 Dynamic Relink described 12 Dynamic relink working with a single resolution 238 H.
ACDEFHIJLMOPRSTUVWX J Index Properties stereoscopic 3D 218 ProRes support 207 JPEG 2000 support 210 L R Logging application 20 Long GOP 131 Capture workflow 133 editing workflow 137 Output workflow 137 Low memory threshold 296 Restoring a clip 160 Restricted flag 20 S Manage Database Roles 31, 35 Media deletion 25 Media files deleting 154 Media Indexer 24 see Avid Interplay Media Indexer 261 Migration from MediaManager 24 MPEG-2 131 MultiRez described 11 partially online clips, restoring from an ar
ACDEFHIJLMOPRSTUVWX W Workflow configuring Interplay Media Indexer 261 delete workflows 55 frame chase editing 227 H.
