® Interplay | Production Best Practices Guide Version 3.
Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement. This product may be protected by one or more U.S. and non-U.S patents. Details are available at www.avid.com/patents. This document is protected under copyright law.
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.
This product includes software developed by the Apache Software Foundation (http://www.apache.org/). © DevelopMentor This product may include the JCifs library, for which the following notice applies: JCifs © Copyright 2004, The JCIFS Project, is licensed under LGPL (http://jcifs.samba.org/). See the LGPL.txt file in the Third Party Software directory on the installation CD. Avid Interplay contains components licensed from LavanTech.
Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Interplay Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Chapter 1 Interplay | Production Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Interplay | Engine . . . . . . . .
Chapter 3 Developing an Interplay Delete Strategy. . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Introduction to Interplay Deletion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Interplay Database Folder Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Creating Avid Editing Projects in an Interplay Environment . . . . . . . . . . . . . . . . . . . . . . 47 Project Workflow Samples . . . . . . . . . . . . . . . .
20p MultiRez Workflow Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Setting Up the Production Services Profiles for a 720p MultiRez Workflow . . . . . . . . . 158 Chapter 8 Determining Interplay Database Scalability . . . . . . . . . . . . . . . . . . . . . . . . 163 Definition of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Total Used Database Pages and Estimated Database Page Limit. . . . . .
Workflow for Frame Chase Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Limitations When Working With In-Progress Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 Chapter 18 Additional Interplay | Production Topics . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Changing Source Information for a Clip in Interplay | Production . . . . . . . . . . . . . . . . . 229 Ingest and Playout of Ancillary Data . . . . . . . . . . . . . . . . . . .
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 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. This information is also included in the Help for these products or the Interplay Production Help.For additional information, see “Dynamic Relink: Working with a Single Resolution” on page 233. Interplay | Engine The Interplay Engine forms the backbone of the Interplay environment.
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 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 Interplay Administrator is a cross-platform application used for basic administration of the Interplay Engine and the Interplay Archive Engine.
Interplay | Administrator 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 28.
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 | Transfer 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 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.
Interplay | Transfer The Interplay Transfer Engine and client software operates as TransferManager does in a MediaManager environment. In addition, it supports the following features: • You can perform MediaManager-to-Interplay Production transfers from a MediaManager browser to a an Interplay Transfer Status window or to a bin in an Avid editing application within your Interplay Production environment. • Standalone Interplay Transfer support is provided in the Avid editing applications.
Interplay | Production Services Providers Interplay | Production Services Providers The Interplay Production Services application supports the following services: • Interplay Transcode allows you to transcode clips from one Avid-supported resolution to another. For example, you can create a low-resolution version of a sequence or master clip. You can perform transcode operations from within the Avid editing application or from within Interplay Access.
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 - 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 The Avid iNEWS newsroom computer system (NRCS) is a powerful tool for developing news, rundowns, and stories.
Archive and Restore Services 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 Access Interplay Administrator Interplay Assist Avid Service Framework The Avid Service Framework icons use a tools-based hex nut design in all four icons. Service Configuration Avid Health Monitor Workgroup Properties Avid Diagnostics Interplay | Production Services The Interplay Production Services Engine icon represents a controller or Broker controlling the Production Services jobs.
Interplay Application Icons 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. In the case of FTP Clips List and FTP Media Browse, the arrows show that the application only transfers in one direction.
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 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. Set Roles button The permissions for that user group appear in the bottom panel as shown in the following illustration.
Assigning Database Access on a Project Basis 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. Editor Database Settings The following illustrations shows the permissions for the Ice Island Editors and Ice Island Assistants groups.
Assigning Database Access on a Project Basis For details on assigning permissions, see “Assigning Access Rights to User Groups on a Folder Basis” on page 30.
Defining the Editor Database Settings 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. • Project-related settings for Interplay Assist such as target resolution and audio settings.
Defining the Editor Database Settings Settings for the entire database Auto reservations and Automatic Checkin settings apply to all Avid editing applications 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.
Managing the Assist User Settings Managing the Assist User Settings If you have Interplay Assist users in your Interplay environment, an administrator must select options in the Interplay Administrator window: • c Set the following in the Assist User Settings window: - The working resolution for each Assist user. For this release, this value must be for each user individually.
Creating Folders for Capturing Media To ensure the best performance with the Interplay Engine, you should not store more than 20,000 files in a single folder. For example, if you are going to use the Incoming Media folder for captures, perform periodic deletions of files you no longer need in that folder. If you know that you will have recurring captures, you can set up folders for those captures. For example, you could name folders for the days of the week or for specific types of captures.
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 43 and “Folders Used by Interplay | Transfer Checkins” on page 46. 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: Sent to Playback • This is the default folder for Avid editing application projects. See “Project and Bin Folders Created by the Avid Editing Applications” on page 47. • Capture Manager creates folders here. See “Folders Used by AirSpeed” on page 43. • AirSpeeds create folders here and/or under the Catalogs folder. See “Folders Used by AirSpeed” on page 43.
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 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. Folder created If you use the Catalog option, the system creates a folder with the name you specify and places it at the top level of the Catalogs folder.
Interplay Database Folder Structure • • For an AirSpeed capture scheduled by Interplay Capture, the system checks in three assets for each captured media file.
Creating Avid Editing Projects in an Interplay Environment Custom Sent to For more information on creating an additional folder, see “Configuring an Ingest Device Catalog” in the Interplay Transfer Setup and User’s Guide. Project and Bin Folders Created by the Avid Editing Applications Editors, after login, select a project that they will work in. This project and its associated bins are checked in to the Interplay database when the editor uses the Check in Bin to Interplay command.
Creating Avid Editing Projects in an Interplay Environment Creating Projects In a large Interplay environment it is important to locate Avid editing projects in areas that are easily accessible by the Administrator that has to delete the projects. This section describes the options for choosing a location for newly created projects. When you start the editing application, the system displays the project log in window. From this window, you can create a project that is either Private, Shared, or External.
Creating Avid Editing Projects in an Interplay Environment Private Project - under the My Documents/Avid Projects folder 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.
Creating Avid Editing Projects in an Interplay Environment External An External Project can be saved to any directory, either local or remote. Depending on the file-system permissions set on the selected folder, other users or an administrator may or may not be able to access the project. The external option is particularly useful when you want to save the project on shared network drive to make project maintenance easier. n Avid does not support sharing bins in an Interplay environment.
Creating Avid Editing Projects in an Interplay Environment Option Description Interplay User (User Setting) Specify the name of the default Interplay user (if applicable) and check the Automatic Login at Project Selection checkbox. This does not auto-login to Interplay, but prompts the user to do so after logging in to their project. Interplay Folder (Project Setting) Interplay Production organizes assets and media by folders. The default checkin folder must be set on each Avid editing application.
Creating Avid Editing Projects in an Interplay Environment Projects folder selected Click the Append project checkbox. 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 Defining the Media Creation Settings Use the Media Creation dialog box to define where you want the Avid editing application to store newly created media.This is usually a workspace on shared storage that is monitored by the Interplay Media Indexer High Availability Group. To define the Media Creation settings: 1. Click the Settings tab in the Project window of the Avid editing application. 2. Double-click Media Creation. 3.
Project Workflow Samples Local projects guarantee that only one user will be in a project at any given time. Other editors must access the material through the Interplay folder structure. Broadcast Project Examples Many broadcast sites use a Day-of-the-Week structure for organization and ease of administration. Broadcast projects are time-sensitive and items are often removed from the system within days.
Project Workflow Samples Post Environment Project Example The Day-of-the-Week structure is usually not appropriate for Post environments because a Post site may work on projects for several weeks or months at a time. You should develop your own structure based on your particular workflow. Keep in mind that when projects and bins are clearly named (for example by program name) it is much easier to maintain the folder structure.
Example: Deletion for Day-of-the-Week Workflow Using Project Templates Typically, a site creates a folder called Project Templates (either locally or on a shared storage workspace). This example uses the Day-of-the-Week structure. In the example the Administrator deletes the current “1Monday” project from the editor’s local machine and copies and pastes the template to provide a new starting point. To copy a project template to a local system: 1. Navigate to the location of the Project Templates. 2.
Example: Deletion for Day-of-the-Week Workflow Interplay Production Component Interplay Access Activity Delete daily project and those other projects ready for deletion. See “Project Folders – Editor Projects (Daily)” on page 57. Delete material from the AirSpeed project or catalog. Sift the results by creation date and delete.“Projects Folder – Ingest or AirSpeed Folders (Daily)” on page 59. Delete material created by Interplay Capture under the Projects folder. See “Incoming Media (Daily)” on page 60.
Example: Deletion for Day-of-the-Week Workflow 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. For the Day-of-the-Week model, after you determine how long it takes to reach your maximum capacity, set up a schedule to delete the day of the week project a specific number of days after the project day.
Example: Deletion for Day-of-the-Week Workflow 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.” This information is not affected by your selections in the Media Resolutions or Media Workspace sections of the dialog box. 5. Click OK. The system displays the Delete in Progress window and indicates whether any files were reserved.
Example: Deletion for Day-of-the-Week Workflow Sort By list 4. Ctrl-click on all the clips from the day that was deleted in the previous section. 5. Right-click on one of the clips and select Delete. 6. Select the metadata and media that you want to delete. 7. Click OK. 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.
Example: Deletion for Day-of-the-Week Workflow 3. Delete the search results. The following illustration shows the Interplay Access search dialog. Sent to Playback folder 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.
Example: Deletion for Day-of-the-Week Workflow Orphan Clips (Weekly) If you delete a master clip from all of the Interplay Production folders and do not delete the associated media, the system automatically moves the last copy of the asset to the Orphan Clips folder. To delete these objects and their associated media and free up the disk space, you must delete them from the Orphan Clips folder. n Beginning with Interplay Access v2.
Example: Deletion for Day-of-the-Week Workflow To delete using search results: 1. Open a search and select the Unchecked in Avid Assets folder. 2. Perform an extended search for “Creation date is” before a specified date. 3. Delete the search results. For additional information on extended searches, see “Searching for Media” on page 75. Deleted Items (Weekly) The Deleted Items folder serves as a recycle bin for non-Avid assets such as graphics files and Microsoft word documents.
Example: Orphan Clips Deletion n Depending on your workflow you may find it more convenient to delete the projects on the editor systems before you delete the corresponding assets and media from Interplay Access. This avoids the possibility of editors re-opening the projects and checking in material after it has been deleted from Interplay Production. Deleting the Project Files This section describes how to replace a project file folder with a clean template.
Example: Orphan Clips Deletion clip that someone else might be using. Using reservations can also avoid this problem but depending on your site’s workflow, you might find that this provides an additional security step before media is fully deleted. You can have several copies of an asset that all reference the same media file. If you delete the last reference to the asset and do not also delete the associated media files, the system moves the last reference to the Orphan Clips folder.
Example: Orphan Clips Deletion 3. Right-click the assets and select Delete. 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 56.
Example: Orphan Clips Deletion 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. By default, only administrators can view this folder. An Administrator can assign read/write/delete permissions for this folder to users or groups using the Managing Database Roles view in the Interplay Administration tool. The two assets deleted earlier are now in the Orphan Clips folder.
Example: Orphan Clips Deletion 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. Create an Extended search that searches the Orphan Clips folder for files that are “not in use.” The following illustration shows the Search and the results. The burning sky 2 asset appears in the search results but the underwater clip is not in the list.
Example: Orphan Clips Deletion 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. 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 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. • Deleting workspaces without first deleting Interplay Production assets and media files from the workspace. Avid ISIS will not let you delete a workspace with any files on it (whether the files are media or any other type of file, even hidden files).
Deletion Guidelines folder, and try to delete the master clip and media associated with Clip 1, you can delete the master clip, but the media remains protected. If the master clip is the last link to the media, the link is moved to the Orphan Clips folder and the master clip and media remain protected. Use the following guidelines when using reservations: • Do not reserve the top level folders with an expiration date of “never.” This protects all of the assets in the top level folder and all subfolders.
Deletion Guidelines Do Not Delete More Than 2,000 Assets at a Time Earlier versions of Interplay Production documentation recommended deleting up to 2,000 assets at a time. With the introduction of scheduled deletion, this recommendation is less critical unless you are deleting media. If you delete media (with or without its corresponding assets), wait at least 5 minutes in between deletions to give the Interplay Media Indexer time to update its structure.
Determining How Much Space a Delete Operation Will Free Up Priorities with Deletion • By default, a scheduled deletion stops when an Interplay Production backup begins, and resumes when the backup ends or at the next scheduled deletion. You can select an option in the Delete Behavior dialog box to allow both processes to operate at the same time. • Ingest operations are not impacted by scheduled deletions because scheduled deletion has a lower priority.
Determining How Much Space a Delete Operation Will Free Up 3. The value in the center of the dialog box shows the disk space that will be freed up if you perform the deletion. The number of media files and the amount of disk space that will be freed up are only affected by the option “Delete only media created with the selected clip or clips.” This information is not affected by your selections in the Media Resolutions or Media Workspace sections of the dialog box. 4.
Searching for Media Searching for Media Interplay Access can search across all projects and bins in the Interplay environment. This makes it much faster to search in Interplay Access than to open multiple Projects and Bins in the editing application.
Searching for Media Examples: Using Search with Delete You can use an Extended search to create a list of assets that match your criteria for deleting. This topic provides several examples. Example 1 This first example uses the following criteria: • Find clips without an active reservation. The Search syntax is: Reserved : by anyone : is expired • Find clips that are not shared (only one instance, no links in other folders).
Searching for Media Example 2 You can associate the criteria used in Example 1 with specific folders to include or exclude specific locations in the search. This example adds the following criteria: • Find clips that are located in a folder whose name contains the word “archived.” The Search syntax is: Path : contains : archived • Or find clips that are located in the folder named “To be deleted.
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 To delete the unused rendered effects: 1. Click in the Results pane and use CTRL-A to select all of the rendered effects. 2. Press the Delete key. 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.
Searching for Media 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 2. In the Text field, type a search term. In this case, type the word “fire.” You can specify words or characters for your search. Search terms are not case-sensitive and apply to all text attributes of the media objects in your search. If you specify more than one word, the search engine searches for the exact phrase. 3. Click the Text Fields menu, and select the kinds of text fields to search in. 4.
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 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. You can also select a folder to search before you open a Search tab. 4. Type the text for the search. In this case, type the word “fire.” 5.
Searching in Interplay | Access 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. Search Type list Search Root button Search Conditions arrow The Extended search uses a set of statements to construct a search. In this example, you can limit the search to the Name field.
Example: Finding Assets By Using a Unique Identifier 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. The results are displayed in the Search Results pane. 9. (Option) To start a new search, click Clear and repeat steps 2 through 8.
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 5. Click Apply. The identifier is displayed in the Identifier column in the Contents tab.
Example: Finding Assets By Using a Unique Identifier 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.” 4. In the Value field, type the identifier, and click Search. The asset is displayed in the Search results list.
Example: Finding Assets By Using a Unique Identifier 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 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). In the above example, the name of the ISIS System Director system is a51-wg1-sd1. A specific workspace is set aside for the .spaaf files named spaaf.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media 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. Specifying the AMA Media Files Location You need to specify the storage folder that holds the AMA media files so that Media Indexer can identify the media files.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media 3. Click the Add AMA Storage Location button. The system displays a path dialog, a browse button, and an OK button. 4. Click the Browse button to navigate to the location of a folder containing AMA media on shared storage. You can have multiple AMA media folders in different locations. 5. Click OK. The AMA storage location appears in the list of storage locations.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media 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. Note that this information is not available until you check the AMA media into the Interplay Production database.
Configuring Interplay | Administrator and Interplay | Media Indexer to Manage AMA Media 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. To obtain the total file count for the Interplay Media Indexer: t Add the Files value from the Storage Statistics section (top window in the example above) and add the number of .spaaf files on the ISIS file system. Since the .
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. 2. Select the Sharing tab.
Using Third-Party Storage for AMA Media 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.
Viewing AMA Clips in Interplay | Access 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. Note that storage locations with a third-party license associated with them are designated with a green E (stands for explicit license) icon.
Viewing AMA Clips in Interplay | Access The following information is specific to using Interplay Access with AMA material. • The AMA Media Status column in the Assets view allows you to determine whether the object you are looking at contains AMA material. The column displays one of the values described in the following table.
Viewing AMA Clips in Interplay | Access 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. has only AMA media linked Search for clips that are linked to AMA media but not to native Avid media.
Viewing AMA Clips in Interplay | Access 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. The extension of the AMA source file depends on the AMA plugin used to create the file.
Viewing AMA Clips in Interplay | Access 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). Following this best practice helps you to organize your AMA material. 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 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 .spaaf files, see “How Interplay | Media Indexer Works with AMA Material” on page 101. The following illustration shows two clips selected for deletion.
Deleting AMA Clips Using Interplay | Access The following illustration shows the Delete dialog box for this example. It shows that three types of objects will be deleted: • Two master clips (database objects) • 18 media files (native proxy media, not native AMA media) • Two associated AMA references (.
Resyncing AMA Media Files n 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. For Interplay Production v3.
Resyncing AMA Media Files 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. You should run Resync for AMA media in the following cases: n • After restoring the database from backup. (This is also a case in which you should run Resync for Avid media.) • When upgrading from Interplay v3.0.x to Interplay v3.2. In this case, Resync adds file locations to AMA assets created in v3.0.x.
Resyncing AMA Media Files 3. Click the triangle next to the AMA folder. All workspaces indexed by the Media Indexer are displayed. 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.
Resyncing AMA Media Files 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 .spaaf files for this AMA media file, click “No” to preserve them, or click “Cancel” to end the Resync process. Select “Apply to all items” if you want to apply the action to any additional AMA media files, then click Yes or No. If you do not select this option, a dialog box is displayed for each set of .spaaf files.
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 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. The editing application writes the MXF OP-1A file directly to the device.
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 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. • The editing application performs the following operations: - If necessary, performs an audio mixdown. - If the sequence contains any mixed resolutions, performs a transcode operation.
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 Editor or Interplay Capture Capture 720p HD media Editor or Interplay Access Editor or Interplay Access Transcode to 720p proxy Interplay Access Archive the high-res media and delete high-res from online shared storage Editor Work with low-res proxy in the editing application Perform a partial restore to restore only the portions used in the sequence Interplay Access Interplay Access Search for clips in order to restore from archive Restore clips from the archive an
Editor MultiRez Workflow for 720p To set up a 720p project: 1. When you create the project, make sure it supports the resolution you want to use. For example, the following illustration shows the Project selection dialog box used in this example. 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.
Editor MultiRez Workflow for 720p high-res and low-res media is online 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.
Editor MultiRez Workflow for 720p 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. The following illustration shows the Restore profile used in this example. If the profile that you choose is set up to perform partial restores, the application restores only the portion of the clip that is in the sequence.
720p MultiRez Workflow Components 7. Now you can work with the restored high-res material.
720p MultiRez Workflow Components 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. For additional information, see the following: • For information on capturing from within the Avid editing application, see the editing application Help or the Basics Guide for your editing application.
720p MultiRez Workflow Components 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. You can see that the current resolution for the clip is AVCIBP-BLL3.0.60. This is the Avid editing application representation for 720p/59.94 proxy media.
720p MultiRez Workflow Components Select a Profile Select a database 4. Select a profile from the Use Profile menu. See “Archive Profile” on page 160. n Avid recommends that you use profiles for archiving, because profiles define many key settings such as target folders and archive partitions. For example, if you do not use a profile with an SGL archive implementation, the system uses the default SGL archive volume name. If this volume is not defined on the SGL system, the archive operation will fail.
720p MultiRez Workflow Components 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. The following illustration shows the clip in the Archive database. Archive database Deleting the High Res Media After the high-res material is archived, you can delete the online version.
720p MultiRez Workflow Components with the master clips; do not delete the master clips or the low-res proxy. For additional information on deleting assets and media, see the Interplay Access User’s Guide and the Interplay Production Best Practices Guide. To delete the high-res media: 1. In the Interplay Access Content tab, select the assets you want to delete. You can select multiple folders or clips for deletion. You can also delete folders by selecting them in the tree structure in the Folders pane. 2.
720p MultiRez Workflow Components 3. In the “Delete selected items” area, deselect the master clip as shown in the above illustration. Keep the associated media files box checked. 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.
720p MultiRez Workflow Components b. Select which workspaces you want to delete media from. All workspaces that contain the selected media are listed and are selected by default. c. Select whether to force the deletion of media files locked by an editor or to skip deletion of locked files. These options are available only if the user has administrative rights or if they are enabled by an administrator. “Skip locked media” is the default. d.
720p MultiRez Workflow Components 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. The Search root button displays the database or folder you selected to search. 4. Type the text or select the attributes and values you want to use for the search.
720p MultiRez Workflow Components 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. Click the Search tab in the Avid Interplay Access window. Search Tab 3. Click the Search Root button The Choose Search Root dialog box opens.
720p MultiRez Workflow Components 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. 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.
720p MultiRez Workflow Components 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. Make sure the Media Services Engine application and Interplay Archive service are connected.
720p MultiRez Workflow Components 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 158. 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. (Option) Navigate to the destination folder in the Avid Interplay Access window and verify that the clip was restored.
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 159.
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 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.
Setting Up the Production Services Profiles for a 720p MultiRez Workflow Parameter Value Destination_Path AvidWG/Catalogs/HighestPartial Destination_Server a51wg-eng01 Destination_Workspace Transfer Partial Checked Priority 50 TargetVideoQuality DNxHD 720 60-75-145 162
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 165. 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 166.
Comparing Database Page Count and Cache Size 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 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 165. In this example, the RAM cache can hold 1.8 million pages. This corresponds to an SR2500 or AS3000 with 12 GB of RAM.
Comparing Database Page Count and Cache Size Note that if the “Total pages used compared to Maximum Cache Size” of the database exceeds 100%, then the load factor can never reach 100%. The bigger the database grows over the maximum cache size, the less database pages can be loaded into the cache. - Interplay v2.6: Cache Utilization. Shows a graphical representation of how much RAM you are currently using.
Tips for Improving Database Performance The page activity counters are accumulated for two different intervals: • The time interval since the last time the Interplay Engine was started • The three minute interval that ended at the time displayed at the bottom of the screen. The Interplay Engine collects the information every three minutes and displays the results at the bottom of the screen.
Establish a Stable Ratio Between Database Objects and Database Pages example, you could create a Promo_Intro_clip and a News_Intro_Clip, and put those clips in folders that would be accessed by the different groups. Delete the old Intro_clip asset and have the groups start using the new versions. This can dramatically reduce the number of highly linked objects. • Develop an efficient deletion workflow and only perform large deletions using a custom deletion schedule.
Establish a Stable Ratio Between Database Objects and Database Pages Calculating the Ratio Between Pages and Objects The method for determining the ratio differs depending on your Interplay Production version. The following table shows where to locate the data for each version. Interplay Production version Total Objects Total Database Pages Ratio v2.7 and higher Objects Statistics tab Database Statistics tab Automatically calculated and displayed on the Objects Statistics tab v2.
Establish a Stable Ratio Between Database Objects and Database Pages 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 165. • Database Pages: The total number of database pages is currently 1,003,618. • The number of database pages currently loaded into cache (RAM) is 824,397.
Establish a Stable Ratio Between Database Objects and Database Pages The objects per pate ratio can help determine how much you can grow your database while maintaining the same workflow. When your workflow is stable, the ratio tends to be constant over time. If you change your workflow then you need to calculate a new ratio.
Establish a Stable Ratio Between Database Objects and Database Pages In this example, masterclips make up approximately 10% of the total number of database objects. Since the database can grow by 2.4 million objects, this means that you can add approximately 240K masterclips (10% of 2.4 million). In summary, you can increase the size of the database by adding 240K masterclips and the database should still be able to load into RAM.
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 127. 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 127. 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 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 190.
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 175.
Installation and Configuration for an H.264 Workflow • n 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. If you use a profile in which Partial is selected, H.264 media is fully restored.
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.
Acquiring Media 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 The following topics describe two methods for acquiring H.264 media: • Dual-Ingest for High-Res Media and H.
Acquiring Media for an H.264 Workflow n 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.264 encoder card can simultaneously ingest both high-res media and low-res H.264 800 Kbps media. You can use Interplay Capture to manage the ingesting process. For specific H.264 settings, see “Folders and Shared-Storage Workspaces for an H.
Acquiring Media for an H.264 Workflow The following illustration shows the high-res media and the low-res media associated with the Interplay Capture master clip, as displayed in Interplay Access. High-res media Low-res media 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 Projects folder that holds the Capture master clip High-res device clip Low-res device clip 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.
Editing with H.264 and High-Res 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.264 media requires a Transcode profile (see “Interplay | Production Services Profiles for an H.264 Workflow” on page 186 and “H.264 Resolutions Supported by Interplay | Production” on page 175).
Archiving, Restoring, and Deleting H.264 and 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). Video Quality Menu Button For more information, see the documentation for your Avid editing system. Archiving, Restoring, and Deleting H.264 and High-Res Media Procedures for archiving, restoring, and deleting H.
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 For important limitations, see the latest version of the Interplay Production ReadMe, available on the Customer Support Knowledge Base at www.avid.com/readme.
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, and Interplay | Assist • 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 CAPTURE/IMPORT FORMAT MASTER CLIPS CREATED IN BIN AVAILABLE MEDIA VERSIONS ON DISK STORAGE Full Frame LEFT STEREOSCOPIC CLIP GENERATED IN BIN Full-Res Stereo Media Full Frame RIGHT Full-Res Stereo Media Frame Compatible SIDE_BY_SIDE Half-Res Stereo Media A single Stereo Clip is generated for all captures done for the same timeframe.
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 sequence in the Assets window and its referenced stereoscopic clip in the Relatives tab of the Object Inspector.
Stereoscopic 3D Support in Interplay | Transcode For a list of all stereoscopic properties available for display, see “Properties for Stereoscopic Clips” on page 213. Stereoscopic Search Criteria Interplay Access Search now includes the following criteria. To display the extended criteria, you need to enable them for display in the Property Layout view in the Interplay Administrator.
Stereoscopic 3D Support in Interplay | Transcode The following table lists the stereoscopic project types you can select and the resulting mixed-down clips.
Stereoscopic 3D Support in the Interplay Window, and Interplay | Assist Stereoscopic 3D Support in the Interplay Window, and Interplay | Assist Stereoscopic 3D clips are supported in the Interplay Window, and Interplay Assist in the same way as other master clips are supported. Playback of full S3D clips in Interplay Assist uses the leading eye only, as set in the Avid editing application. Properties for Stereoscopic Clips The following properties are available for display in Interplay Access.
Properties for Stereoscopic Clips Bin column Description S3D Eye Ordering Only available if the media is in a frame compatible format with the S3D Channel set to either Over/Under or Side by Side. Specifies which half of the image the eye is displayed. Left-Right: • For Side by Side format, the Left eye is on the left, the Right eye is on the right. • For Over/Under format, the Left eye is in the top half of the image, Right eye is in the bottom.
Properties for Stereoscopic Clips Bin column Description S3D InversionR Only available if the media is in a frame compatible format with the S3D Channel set to either Over/Under or Side by Side. Displays how the part of the image that provides the right eye should be inverted before being used. None: Leaves the image as is. Horizontal: Inverts the right eye image horizontally. Vertical: Inverts the right eye image vertically. Horizontal/Vertical: Inverts the right eye image horizontally and vertically.
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 v3.3 and later supports workflows for clips and sequences that use the following DNxHR resolutions for UHDTV1 (Ultra HD) formats: n • DNxHR LB (low bandwidth) • DNxHR SQ (standard quality) • DNxHR HQ (high quality) • DNxHR HQX (high quality 12-bit) • DNxHR 444 (cinema quality 12-bit) DNxHR HQX 10 bit and DNxHR 444 10-bit are not supported.
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 To use Frame Chase editing: 1. Make sure that the ingest device is properly connected and set up for recording and transfer. 2. On the Avid editing system, make sure an Avid shared storage workspace is mounted. 3. Open Media Composer, open a project, and open the Interplay Window. 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.
Workflow for Frame Chase Editing 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. n Portions of a clip that are not currently available display a “Capture in Progress” slide until the sections are captured. 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.
Limitations When Working With In-Progress Clips 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. For more information, see “Updating Remote Assets in a Bin” in the Help for your Avid editing system. 9. Save the sequence and prepare it for playback.
Limitations When Working With In-Progress Clips 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. • Decompose — The restrictions for decompose are the same as consolidate and transcode. The right-side handles cannot exceed the known media duration of the clip.
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 Resolution with Editor AirSpeed Multi Stream Ancillary Data Capture a Ingest/STP Supported with Ancillary 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. For details, see “Ancillary Data and Avid Editing Functions” in the Avid editing application Help. b.
Support for AFD Ancillary Data Working with AFD Values on Avid Editing Systems When you add an AFD value to a Media Composer sequence, you add the value to the entire sequence. If there is not already a D1 track in the sequence Timeline, Media Composer creates one. The D1 track must be present and monitored during playback to display the AFD value when the sequence is played back through an ancillary data decoder.
Dynamic Relink: Working with a Single Resolution AFD Values and Send to Playback The modified AFD value is preserved through a send-to-playback operation, resulting in an asset on the destination playback server that holds the AFD value of the sequence in a D1 track with data essence. If the user on an Avid editing system assigns an AFD value, then deletes a sequence's D1 track before sending it to the playback server, the AFD value will be written on a newly created D1 data track.
Dynamic Relink: Working with a Single 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. Open the Dynamic Relink dialog box and deselect the Enable Dynamic Relink checkbox.
Disconnecting an Avid Editing Application from the Interplay Environment Option Setting Description Audio Target Resolution Sets an audio resolution for output to a playback device. The default is PCM. Also sets the Sample Rate and Bit Depth of the audio for playback. Video Settings (Instinct/Assist User Settings) Working Resolution Sets the user’s working video resolution. Audio Settings (Instinct/Assist User Settings) Working Resolution Sets the user’s working audio resolution.
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. - Removed split-off file count and size are shown for the AMA metadata (SPAAF) workspace.
New Features for Interplay | Media Indexer V3.2 • 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. • AMQ Server Adapters Information (new).
New Features for Interplay | Media Indexer V3.2 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. Media Indexer MQ Resource View There is a new page for MQ Resources, which provides technical details about the embedded messaging infrastructure.
New Features for Interplay | Media Indexer V3.2 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. The security status and password can be reset when the Media Indexer Web UI is opened on the machine on which it was installed.
New Features for Media | Indexer V3.0 and V3.1 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. After a shutdown, the browser page will be automatically loaded when Media Indexer starts up again.
New Features for Media | Indexer V3.0 and V3.1 • Starting in Interplay v3.1, you can configure third party (3rd party) storage for AMA material. See “Using Third-Party Storage for AMA Media” on page 110. • Starting in Interplay v3.1, you can delete the .spaaf files associated with AMA material. See “Deleting AMA Clips Using Interplay | Access” on page 121. The following information was added at Interplay v2.6 and v2.
New Features for Media | Indexer V3.0 and V3.1 • 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. The two System Directors are named A51-wg1-sd1 and BSI-Multi-ISIS. Changes for Log Files and Cache Files Starting with Media Indexer 2.
New Features for Media | Indexer V3.0 and V3.1 %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/Avid Media Indexer/state Archived Log Files Log files are now automatically archived in the following folder: %ProgramData%\Avid\AvidMI\log\archive This usually translates to the following
New Features for Media | Indexer V3.0 and V3.1 // Retained archives size for task which purges log archives (in bytes). static archivesSize = new Long( 104857600 ); Different Format of Interplay | Media Indexer Cache Files Starting with Media Indexer 2.6, the cache files have different names and format. Note that cache files are binary files and are not intended to be human-readable. adapters.cache The adapters.
New Features for Media | Indexer V3.0 and V3.1 Changes in Behavior for Local Interplay | Media Indexers The local Interplay Media Indexer no longer caches data that is available on the Interplay Media Indexer server. Refer to the server cache files for that information. Using the UTest Diagnostic Utility For troubleshooting issues, you can consult the Web interface for the individual Interplay Media Indexer or use the UTest diagnostics tool. This section provides tips on using UTest.
New Features for Media | Indexer V3.0 and V3.1 Commit Cache Files Before Creating Tabledump Report The UTest tabledump report creates text file reports from the cache files at a location that you specify. When you are ready to generate a tabledump report, it is useful to flush the cache files to disk so that the files on disk represent the actual status. Open the Service Framework Service Configuration tool and navigate to the Interplay Media Indexer of interest.
New Features for Media | Indexer V3.0 and V3.1 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 256. Files Per Folder Limitations Avid strongly recommends that you keep no more than 5,000 files in an ISIS folder that is being indexed by an Interplay Media Indexer.
New Features for Media | Indexer V3.0 and V3.1 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. The highest priority storage location is at the top of the list. • Sort by buttons: Allow you to switch between the default priority order and alphabetical order.
New Features for Media | Indexer V3.0 and V3.1 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. 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.
Interplay | Media Indexer Overview Interplay | Media Indexer Overview The Interplay Media Indexer is a background service that keeps track of media files in storage locations that you identify. In an Interplay Production environment, each Avid editing system has its own local Media Indexer that manages the local storage areas on that system. Each Interplay Production environment also has at least one Interplay Media Indexer that manages media on shared storage.
Web-Based User Interface You can add additional Interplay Media Indexers to a High Availability Group for the following reasons: • Load balancing: The Avid editing applications randomly connect to the different members of the group. This helps spread the load over the Interplay Media Indexers. • Adding redundancy to the High Availability Group: If the leader of the group goes offline, the Interplay Media Indexer with the highest weight automatically takes over as leader.
Web-Based User Interface For example: http://a51-wg1-mi1:8888/mi Note that the Interplay Media Indexer uses the first available port from 8888 through 8892. When setting up a Interplay Media Indexer, make sure that these ports are available. For additional information, see the Port Usage chapter in the Interplay Production Software Installation and Configuration Guide. Each Interplay Media Indexer running v2.6 or higher hosts its own web-based user interface. This includes MIs on editor systems.
Web-Based User Interface You can configure storage locations in the same way that you do for the Service Configuration tool. The following illustration shows the configuration buttons and text fields. 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 Updating the Interplay | Media Indexer Cache and Configuring the HAG Use the “Cache and HAG Information” tab to update the Interplay Media Indexer cache and configure the Interplay Media Indexer HAG (High Availability Group). This works the same as the Service Configuration tool. 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.
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.
Web-Based User Interface The Storage Browser does not update dynamically. Do one of the following to update the display: • If a storage location is added after you open the page, press the Refresh button to show the new information. • To see changes within an existing folder, select the folder again.
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 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. 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.
Web-Based User Interface 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. The Current Queue Length value shows the number of folders or files that still need to be processed. Use the Refresh button to update the display. The following illustration shows the Scanning and Indexing sections of the Statistics window.
Managing Interplay | Media Indexers in an Interplay Environment 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. It allows developers to monitor applications such as Interplay Media Indexer.
Managing Interplay | Media Indexers in an Interplay Environment Improving Interplay | Media Indexer Performance by Limiting the File Count in Media File Folders Avid strongly recommends that you keep no more than 5,000 files in an ISIS folder that is being indexed by a Interplay Media Indexer. The number of files per folder affects the speed at which the Interplay Media Indexer can traverse the folder.
Managing Interplay | Media Indexers in an Interplay Environment Limiting the Number of Files Captured by the Editor or by Interplay | Production Starting at Media Composer v5.0.3 (and NewsCutter v9.0.3 and Symphony v5.0.3), The Avid editing applications keep track of the number of media files in a folder and automatically create a new folder when the total exceeds 5,000 files.
Managing Interplay | Media Indexers in an Interplay Environment The following shows the relevant portion of the file: // Tolerance on reindexing of known files // Media files modified up to this specified time, before the last time // the MI cache was saved will NOT need to be re-validated.
Managing Interplay | Media Indexers in an Interplay Environment n The global setting is persistent (remembered after a restart), the workspace specific one not persistent. 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.
Managing Interplay | Media Indexers in an Interplay Environment 5. Click OK to confirm your changes. 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 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 c Only use the audit trail for troubleshooting. The feature uses Interplay Media Indexer resources and can affect system performance. After you finish troubleshooting, comment out the modified lines and restart the Interplay Media Indexer. For example: #com.avid.workgroup.diagnostics.logging.AvidFileHandler.count = 500 #com.avid.ummd.util.AuditTrail.level = FINE Additional Logging Capabilities Media Indexer v2.2.
Troubleshooting Interplay | Media Indexer In contrast, Avid editing applications such as Avid Media Composer use local Interplay Media Indexers. They only rely on the shared storage Interplay Media Indexer to locate media. Once the media is located, the local Interplay Media Indexer can find the media even if the shared storage Interplay Media Indexer stops running.
Troubleshooting Interplay | Media Indexer 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. Look in the Quarantined folder to see if the media files were moved there.
Interplay | Media Indexer Health Monitor Options 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. Terminology The following terms are used in this section: • ummdworker - An Interplay Media Indexer process (ummdworker.exe). Two processes run per CPU on each system running an Interplay Media Indexer, so each machine running the Interplay Media Indexer software has two ummdworkers processes.
Interplay | Media Indexer Health Monitor Options 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. This value can be a good indication of corrupted media files.
Interplay | Media Indexer Health Monitor Options The following table describes the values. 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 Option Description Storage Resync Status Shows the resync status of this particular shared storage folder or workspace. Displays the following information: • Delay time between resyncs. • Time of last resync and time of next resync. • The number of files and folders added, updated, or removed since the last full resync. • The number of files and folders added, updated, or removed for all resyncs since the Interplay Media Indexer was last started.
Interplay | Media Indexer Health Monitor Options 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. The member with the highest priority value is the leader of the group. You set the priority in the Service Configuration tool.
Interplay | Media Indexer Health Monitor Options Value Description Pending channel events Pending notification messages for new, removed, or updated media. Pending table adapter events Pending notifications between HAG members for media table configuration changes. These communications are sent from the primary Interplay Media Indexers to the backup Interplay Media Indexers in the HAG. Pending server events This option is reserved for future use.
Interplay | Media Indexer Health Monitor Options 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. A Commit Immediately button in the Service Configuration window also allows you to save the cache file immediately. Setting the periodic save value too low can affect performance in a large Interplay environment.
Interplay | Media Indexer Health Monitor Options Media Indexer Memory Usage The number of files currently monitored by this Media Indexer. 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.
Interplay | Media Indexer Health Monitor Options Low memory threshold Critical memory threshold Adjust the sliders as follows: - Low memory threshold — controls when the color bar in the Health Monitor turns yellow - Critical memory threshold — controls when the color bar turns red For example, if you want the bars to warn you before the free memory is 20%, you can change the Low memory threshold to 20%.
Interplay | Media Indexer Health Monitor Options The problem arises because you cannot adjust the threshold values for individual drives on a system. If you change the threshold values for one drive, the value applies to all drives physically connected to the system. This can be a problem because while you want to know if any system drives are running out of free space, you might be less concerned about whether media drives are filling up. The workaround is to turn off the alert for individual drives.
Interplay | Media Indexer Health Monitor Options n The alert suppression of the individual drive will not persist when the Machine Monitor is restarted or if the machine is rebooted. Interplay | Media Indexer Health Monitor Changes Media Indexer v2.
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.
Interplay | Media Indexer Health Monitor Options 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. 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.
Interplay | Media Indexer Health Monitor Options In addition to the new information about modified files and folders, the window also shows the “Startup reindexing mode” for the Interplay Media Indexer. The startup reindexing mode options allow you to postpone the complete reindexing of all the files when an Interplay Media Indexer starts up. This can help get an Interplay Media Indexer up and running faster during production times. This feature was added in Interplay v2.3.
Interplay | Media Indexer Health Monitor Options The “Last received heartbeat notification delay” is the value of interest. Check the value periodically and record the value. Over time you will get an idea of the normal delay value for that workspace. If you notice a spike in the value it may indicate that there is a problem with the connectivity to shared storage.
Interplay | Media Indexer Health Monitor Options not coming online fast enough. In that case, compare the values on the other Interplay Media Indexers in the HAG to see if there is a problem with one of them or to rule them out as part of the problem. The default for the heartbeat is 600 seconds (10 minutes). You can change the heartbeat interval value by editing the following line in the jini.config file: static notifiactionsHeartbeatInterval = new Integer( 600 ); The jini.
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 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 Monthly Maintenance Check List Interplay Weekly Maintenance Check List (Continued) Task For more information Inspect the Transfer Engine internal disc drive for minimal normal free space. If the discs are reporting higher than normal use, inspect for the presence of large logging or other error reporting files with recent creation dates, Report any unusual findings to the site management for follow on activities. n Interplay Transfer Setup and User’s Guide Starting in Interplay v3.
Interplay Monthly Maintenance Check List Interplay Monthly Maintenance Check List (Continued) Task For more information Check the ratio between the number of database pages and the number of See “Determining objects in the database. This value is automatically calculated and displayed Interplay Database in the Interplay Administrator tool. Scalability” on page 163.
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 Workgroup 4 asset icon after import process but before restore process. To search for Workgroup 4 assets in Interplay Access: t Perform a normal search using the type of asset you want to restore. The values allowed are masterclip, subclip, and sequence. Restoring Migrated Assets After you migrate the Workgroup 4 archive metadata, you can restore the migrated clips at your convenience.
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 308. • 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 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. The file size is also larger than the 2004-07-27 version.
Restoring Different Versions of a MediaManager Archive Clip 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. 6. Click the Get button. The system displays the current value in the Value window.
Restoring Different Versions of a MediaManager Archive Clip 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. Click the All Properties tab and verify that the new values are correct. 11.
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 311
Index Symbols .spaaf files described 101 Numerics 1080p/23.976 proxy support 200 1080p/23.976 support 196 1080p/24 support 196 1080p/24 support proxy 200 720p/23.976 proxy support 200 720p/23.976 support 196 A Access control 24, 27, 36 Instinct and Interplay Assist User settings 38 AFD (Active Format Description) support for 231 AirSpeed Multi Stream configuring for H.264 workflow 181 AirSpeed server Frame Chase editing with 224 AMA (Avid Media Access) material .
Index Digital Rights Management 19 DNxHD 100 support 216 DNxHR support 220 Dual-ingest configuration Frame Chase editing 224 Dynamic Relink described 11 Dynamic relink working with a single resolution 233 Production Services profiles 186 transcoding 194 with AirSpeed Multistream 178 with Interplay Transcode 178 I Icons new for Interplay 2.
Index Media deletion 24 Media files deleting 149 Media Indexer 23 see Avid Interplay Media Indexer 255 Migration from MediaManager 23 MPEG-2 127 MultiRez described 11 partially online clips, restoring from an archive 140 MXF OP-1A 129 MXF OP-ATOM 129 Server Hostname Settings 38 Stereoscopic 3D support in Interplay Access 209 in Interplay Transcode 211 in Interplay Window, Interplay Assist, Avid Instinct 213 media and clips 207 overview 206 properties 213 STP Encode service workflow 136 System maintenance
