® ® ® Pro Tools Avid Unity MediaNetwork Guide Version 9.
Legal Notices This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid.
contents Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Avid MediaNetwork Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Avid Interplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Overview of a MediaNetwork System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 4. Avid Unity MediaNetwork Workflows for Pro Tools . . . . . . . . . . . . . . . . . . 27 Exporting Audio and Video from Media Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Checking In a Sequence to Interplay for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Importing Audio and Video into Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Editing Audio in Pro Tools . . . . . . . . . . . . . . . . . . .
chapter 1 Introduction This guide explains how to configure a Pro Tools®|HD or Pro Tools|HD Native system as a Unity MediaNetwork client within an Avid MediaNetwork system, as well how to exchange audio and video media sequences between Pro Tools and Avid application clients attached to a MediaNetwork system. • Share AAF, OMF, and MXF audio and video sequences and media This guide is written for Unity administrators, Pro Tools users, and Avid users.
Overview of a MediaNetwork System This guide describes how to configure and work with a Pro Tools client within an Avid MediaNetwork system. The MediaNetwork installations addressed in this guide typically comprise the following components: MediaNetwork System Entire set of components within an individual MediaNetwork installation. MEDIASwitch One or more central routers directing communication between different components within a MediaNetwork system.
AAF, OMF, and MXF Basics AAF and OMF files are mechanisms for storing and retrieving media data and metadata so that projects can be freely exchanged between different applications and platforms (such as between Pro Tools and Avid video editing applications). Media data and metadata enable an application that receives AAF and OMF sequence files to automatically and quickly reassemble the composition.
AAF OMF AAF sequences are the best way to exchange projects and maintain valuable metadata. An AAF sequence can refer to OMF and/or MXF media files, or have OMF and MXF media files embedded within them. There is no such thing as an AAF audio or video media file. OMF is both a media file and sequence format. OMF media files can be audio or video.
Embedded Media Exporting to OMF or AAF with embedded media results in one large OMF or AAF file containing both the metadata and all associated media files. This guide refers to the root folder name (Avid MediaFiles) whenever referencing this folder. OMF Media Data Locations On the volumes you have designated, Avid editing applications store all OMF media in the OMFI MediaFiles folder. Media Data (Media Files) Media data represents raw audio or video material and is stored in individual media files.
Embedded Media and Linked Media There are two ways to handle media files when exporting AAF or OMF files: • Embedded media (in which the media files are embedded in an AAF or OMF sequence) • Linked media (in which media files are referenced by an AAF or OMF sequence) Pro Tools lets you import AAF or OMF sequences containing embedded audio files. You can also import AAF or OMF sequences containing embedded video files, but only if you are importing them to a video satellite track.
One Pro Tools audio region 5 frame video clip The original audio region does not line up on video frame boundaries Figure 1. Original audio region New audio region padded with silence New audio region padded with silence Three exported audio regions 5 frame video clip Exported audio regions line up on video frame boundaries Figure 2.
System Requirements and Compatibility About Avid Unity MediaNetwork Guides Using Pro Tools within a Unity MediaNetwork system requires the following; PDF versions of Avid Read Mes are installed automatically with Avid Unity MediaNetwork software. Also, searchable online help files containing the same information are accessible from the Help menus in the Interplay Access and Interplay Administrator applications. • A qualified Mac computer running Mac OS X or PC running Windows 7 • Pro Tools 9.
Related Information The following documents located on the Documentation disc provide more information about configuring and managing your work environment: • Avid Unity MediaNetwork File Manager Setup Guide • Avid Unity MediaNetwork Release Notes • Avid Unity MediaNetwork Upgrade Notes • Avid Unity MediaNetwork System Overview • MediaNetwork Windows Fibre Channel Client Quick Start Card Support for Avid Unity MediaNetwork For support on Avid Unity MediaNetwork, visit Avid’s online Knowledge Base (www.
Conventions Used in This Guide Convention Action The Avid website (www.avid.com) is your best online source for information to help you get the most out of your Pro Tools system. The following are just a few of the services and features available. File > Save Choose Save from the File menu Product Registration Register your purchase online.
chapter 2 Configuring a Workstation as a MediaNetwork Client This chapter is for Unity administrators and describes how to install and configure individual Pro Tools workstations as clients of an Avid Unity MediaNetwork system.
To install the Fibre Channel HBA in a client workstation: 1 Shut down and power off your computer and expansion chassis (if one is present). 3 Plug the optical cable connector into the Fibre Channel HBA. The connector and the Fibre Channel HBA are keyed and only fit together one way. You should hear a click when the cable is properly seated. 2 Open your computer according to the instruc- tions included with it. 3 Release any static electricity by touching the power supply, or another grounded item.
Fibre Channel HBA LED States The LEDs on the Fibre Channel HBA indicate whether or not the card is functioning correctly. See Table 1 for the 2 Gb Fibre Channel HBA or Table 2 for 4 GB Fibre Channel HBAs. Table 1. ATTO FC 3300 2 Gb Fibre Channel HBA LED states LED LED State Meaning Required Action Green On Normal—link up No action required Yellow On Link down Check cable connection to MEDIASwitch and Fibre Channel HBA. If condition persists, contact Avid customer support.
Installing MediaNetwork Client Software The MediaNetwork client software lets the Mac or Windows Fibre Channel-equipped client log in to the MediaNetwork File Manager and to map accessible workspaces. The client software is supplied on the MediaNetwork Release CDROM in the Mac or Windows client kit. You must have a supported version of Mac OS or Windows 7 installed before you install the MediaNetwork client software.
Setting the Date and Time To install the MediaNetwork client software (Windows): 1 Insert the MediaNetwork DVD-ROM in the DVD-ROM drive. The DVD-ROM is set to start automatically and open the Avid Unity Installation window. If the DVD-ROM does not start automatically, start the installation manually as follows: • Double-click the My Computer icon on the desktop. The My Computer window opens. • Right-click the DVD-ROM icon, and select Play. The Avid Unity Installation window opens.
To set the date, time and time zone on Windows 7: 1 Right-click the clock icon on the taskbar. A menu will appear. 2 Choose Adjust Date and Time from the menu. The Date and Time dialog box will appear. 3 Click the Adjust date and time... button. 4 Set the date and time to the correct values. 5 Press OK to close the window. 6 Click the Change Time Zone button and select the correct time zone. 7 Make sure that “Automatically adjust clock for daylight savings changes” is selected.
chapter 3 Using a Client in a MediaNetwork System This chapter describes how to use MediaNetwork client software to configure your Pro Tools workstation as a MediaNetwork client, as well as set up and work with Pro Tools in a MediaNetwork system. Getting Started Using a Workstation as a MediaNetwork Client To get started using your workstation as a MediaNetwork client, follow these steps: 1 Log into MediaNetwork: See “Logging into a MediaNetwork System” on page 17.
2 Do one of the following: Macintosh: Double-click the Connection Manager alias icon on the desktop, or double-click the Connection Manager alias icon in the dock, and then select Connections > Manage Connections. Windows: Click the Connection Manager icon in the Windows taskbar, and select Manage Connections. 3 If you are not logged in with a valid MediaNetwork user name and password, you are prompted to supply them before the Avid Unity Connection Manager dialog box opens.
Mounting and Unmounting Workspaces Configuring the Pro Tools Playback Engine Mounting a workspace to your Pro Tools workstation is equivalent to connecting to a network drive or mounting a FireWire drive to your computer. Once the drive is mounted, you can connect to that workspace, stream media from it, save media to it, and unmount it. Pro Tools|HD and Pro Tools|HD Native systems have multiple playback modes at different sample rates.
Configuring Pro Tools Session Settings for a New Session The following describes the recommended session settings for creating a new Pro Tools session when working in a MediaNetwork system. To create a new Pro Tools session for Avid Unity MediaNetwork: 1 In Pro Tools, choose File > New Session. Audio File Type Pro Tools supports AIFF and BWF (.WAV) audio files natively. All Sound Designer II files must be converted to a Windows-compatible format.
Bit Depth Some older Avid workstations support only 16-bit audio. Make sure you consider the following when you are starting a new audio session: • For maximum compatibility when using a Pro Tools workstation to share audio files and sequences with older Avid workstations in a MediaNetwork system, set the bit depth to 16-bit in the New Session dialog box when you are creating new session files.
Mixed Systems Drive Requirements Mixed System A Table 3 on page 22 shows the number of dedicated drives required for the specified number of Pro Tools systems to play back 48 tracks of 48 kHz, 24-bit audio at the specified edit density. The 4-, 5-, and 9-client configurations are only supported with 2- and 4-Gb Fibre Channel switches and IBODs/JBODs. These numbers are approximate, performance will vary depending on configuration and program material.
Sharing Allocation Groups and Media Audio and video files can be shared among several MediaNetwork clients. However, keep in mind the following restrictions when sharing Allocation Groups and files: • Audio files for Pro Tools clients should be in a separate allocation group from the video files. • Pro Tools clients cannot use files that are in a shared uncompressed allocation group.
For example: • Counters, meters, scrolling, and other animated user interface elements are visually smooth in operation. • Faders and panners move smoothly when automated. • Mouse control of faders and panners is immediate and responsive. This includes TDM plugins. RTAS and AudioSuite plug-ins, because of their host-based implementation, might provide less-than-smooth operation under certain circumstances.
Destructive Editing The following Pro Tools features can destructively modify audio files: • Pencil Tool • “Destructive” AudioSuite MXF and OMF Files Pro Tools treats all MXF and OMF media that are both created by Avid and stored on Unity shared storage as read-only. Consequently, destructive editing tools cannot be used to modify MXF and OMF media files. However, you can delete or overwrite MXF and OMF files.
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chapter 4 Avid Unity MediaNetwork Workflows for Pro Tools This chapter covers workflows for using an Avid editing application (such as Media Composer) and Pro Tools to exchange AAF and OMF sequences using MediaNetwork shared storage, as follows: • Exporting audio and video from Media Composer • Importing audio and video into Pro Tools • Exporting audio from Pro Tools for Avid editing applications • Importing audio into an Avid application from Pro Tools • Synchronizing audio with an Avid sequence Exportin
Using the Send To Templates to Export an AAF or OMF Sequence from Media Composer Choose this option for any scenario in which Pro Tools will link to the same media files as the current Avid sequence. The Send To Templates option lets you create one AAF sequence that references audio and video files used in the sequence, and save it to the volume selected in your Avid Preferences. To use the Send To Pro Tools templates: 1 Select a sequence in a bin.
Manually Exporting an AAF Sequence from Media Composer Manually exporting an AAF sequence from an Avid editing application involves more steps than using the Send To templates, but it provides more flexibility. You will need to render all video effects before manually exporting the sequence. Once all effects have been rendered, export the sequence as an AAF sequence. To manually export an AAF sequence: 1 Select the sequence in the bin. 2 Select File > Export.
Video Mixdown The exported AAF sequence will reference a video mixdown. This setting lets you have a choice of whether to export the video mixdown alone or the video mixdown along with additional video track edits. The choice depends largely on the version of Pro Tools to which you are exporting. Pro Tools 7.2 and higher can show the video mixdown alongside video edits; in this case, you should select both the video mixdown and the video edits. For versions of Pro Tools lower than 7.
The following settings may also appear under the Audio Details tab, depending on the selected export method: Embedded in AAF This option embeds the video media in the AAF sequence that is exported from the Avid application. Render All Audio Effects Select the Render All Audio Effects option so that all audio effects are rendered before export. If you already manually rendered effects, selecting this option will not create new files.
Embedded in AAF This option embeds the audio media in the AAF sequence that is exported from the Avid application. Unlike embedded video, Pro Tools can import and play audio which is embedded in an AAF sequence. Embedding audio within the AAF sequence makes file management much simpler because there is only one file to move—the sequence. There is a limit of 2 GB for embedded AAF.
4 Use the controls underneath the Source Monitor to locate the first frame of the portion of the clip that you want to edit into the sequence: • To begin playing the clip, click Play (or press the Spacebar). Click Play or press the Spacebar again to Pause. • To move to the beginning of the clip, click Rewind (or press the Home key). • To move to the end of the clip, click FastForward (or press the End key).
Checking In a Sequence to Interplay for Pro Tools 3 If you have previously set the Editor Export Settings for Pro Tools for the folder, the Pro Tools Video Options dialog appears. This section describes how to use an Avid editing application to check in a sequence to Interplay for Pro Tools. The following instructions apply to Media Composer 3.5.4 or higher. To check in a sequence to Interplay for Pro Tools: 1 Navigate to the bin containing the sequence you want to export.
Transcode video Transcodes the video to the resolution specified in the Pro Tools Export Settings and renders all effects. This option is grayed out when the project format is set to 720p or 1080. If the media has already been transcoded, then it won’t be transcoded again. If only some files require transcoding, only those files will be transcoded. New video mixdown Exports a video mixdown using the video transcode resolution in the Editor Export Settings or the Pro Tools Export Settings dialog.
Exported Files in Interplay If this is the first time the you have checked in a sequence to Interplay for Pro Tools for this project, the system performs the following operations: The following illustration shows the contents of the Pro Tools folder after the first export. • Checks in the Avid sequence to the bin_name folder. • Creates a Pro Tools folder within the bin_name folder. • Checks in the files for the Pro Tools editor to the Pro Tools folder.
Importing an AAF or OMF Sequence as a Pro Tools Session 6 Click OK. The easiest way of using Pro Tools to edit a sequence exported from an Avid application is to open it as a new session. To open an AAF (or OMF) sequence as a Pro Tools session: 1 Launch Pro Tools. Pro Tools Session Naming dialog 2 Choose File > Open Session. 7 Name the session and click Save. 3 In the Open Session dialog, navigate to the The Import Session Data dialog appears. AAF or OMF sequence you want to import. 4 Click Open.
8 From the Audio Media Options pop-up menu, choose how you want to import audio files into Pro Tools: • If the audio files reside on a volume from which Pro Tools can play back audio, select Link to Source Media (Where Possible).
3 From the Audio Media Options pop-up menu, choose how you want to import audio files into Pro Tools: • If the audio files reside on a volume from which Pro Tools can play back audio, select Link to Source Media (Where Possible). • If the audio files reside on a volume from which Pro Tools cannot play back audio, select Copy from Source Media to copy all audio to the Pro Tools audio storage or Consolidate from Source Media to copy only the audio used in the session to the Pro Tools audio storage.
level of the volume, create a folder with the session name on the desired Unity workspace, then create a folder within that session folder named Video Files. Importing a Sequence into Pro Tools from Interplay (Avid Interplay System Only) This section describes how to locate a sequence on the Interplay database and import it into Pro Tools. This section assumes that you have already configured the Pro Tools Import settings in the Interplay Administration tool.
8 Enter your username and password, and click OK. 12 If the Pro Tools Import Session Data dialog appears, select the appropriate options and click OK. Logon to Interplay dialog 9 In the Interplay Access window, locate and se- lect the sequence that you want to import. Files that appear in greyed out text out are not available for import into Pro Tools. This dialog does not appear if you configured the Pro Tools Import Settings in the Avid Interplay Administrator.
Exporting Audio from Pro Tools for Avid Editing Applications In Pro Tools, you can export audio tracks for use in the Avid application using any of the following commands: • Exporting selected tracks as an AAF or OMF • Bouncing to disk • Exporting selected regions as files • Exporting edited audio tracks to Interplay from Pro Tools (Avid Interplay system required) For other export methods, see the Pro Tools Reference Guide.
11 In the Please Choose a Folder for Converted Audio Files dialog, do one of the following: An OMF sequence cannot reference MXF media files. In the Export Selected Tracks as OMF/AAF dialog, MXF is only available when AAF is selected in the Export As popup menu 5 Ensure that the Target Project Time Code For- mat pop-up menu displays the correct frame rate for the Avid project.
Exporting Audio Files Using Bounce to Disk Use the Bounce to Disk command to create premixed files of the current Pro Tools session. This does not export all of the individual files on the Timeline, but it does guarantee that the mix you hear in the Avid application will be identical to the mix you hear in Pro Tools, including all panning, effects and automation. To export audio files using Bounce to Disk: 1 In Pro Tools, finalize the mix. 2 Select the time range of the session that you want to export.
Add Selected Tracks Adds the edited audio tracks to the Pro Tools sequence on the Interplay database. Select this option if you want to preserve the original audio in the sequence. When adding selected tracks, ensure that the total number of tracks in the sequence residing on the Interplay server does not exceed the total allowed number of tracks for an Avid application—24 audio and 24 video tracks. 5 Click OK. A confirmation message box appears. 6 Click OK.
2 Drag the sequence into the bin. The Avid application checks out the sequence and imports it and its related files into the bin. The following illustration shows the audio tracks cut into the original sequence. In this example, the original tracks are overwritten. Imported sequence Video mixdown created during first check in to Interplay Original sequence Bin after import 3 You can now do one of the following: • Add the new audio tracks into the original sequence.
Frame-Rate Accurate Video Editing and Sample-Rate Accurate Audio Editing After a sequence has been exported back to Interplay from Pro Tools, a number of additional media files appear in the Interplay Window and in the bin. Some have names containing the prefix Sample accurate edit. These are the additional media files that Pro Tools creates to make sure that the Avid application receives frame-accurate audio.
Synchronizing Audio with an Avid Sequence Once you have imported an audio file or sequence from Pro Tools into a bin in the Avid application, you can synchronize it with video. This is especially useful for verifying sync with the original video sequence, then laying audio and video back to tape or creating a digital movie with your final mix. 3 Drag the imported audio clip or sequence from the bin to the Source Monitor.
8 Choose Clip > New Audio Track to add audio Step Forward 1 Frame Rewind Mark In FastForward Step Backward 1 Frame tracks to the sequence. (This leaves any original audio tracks in place to compare synchronization.) Add a new track for each channel of audio you want to add. Cursor Mark Clip Existing audio tracks Clear Both Marks Play/ Pause Mark Out New audio tracks Source Monitor controls Audio tracks in the Timeline Enable the Caps Lock to hear audio while scrubbing.
10 If the original audio tracks still display yellow 13 Under the Record Monitor, click the Clear speaker icons, click the speaker icons in the Track Enable button to mute them. The speaker icons for the original tracks will disappear, and the speaker icons should appear yellow in the new tracks, indicating that they will be heard. Both Marks button to remove any In and Out points (if present).
15 If you want to display audio waveforms in the Timeline, click the Fast Menu (located on the lower left hand corner of the Timeline), and choose Audio Data > Energy Plot. Ensure that the new audio tracks appear synchronized with the originals. Fast menu Fast menu 16 If necessary, make sure the video track’s Monitor button is enabled (purple). This will allow you to view the video portion of the sequence in the Record Monitor (or client monitor).
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appendix a Slot Configurations for Avid Video Peripherals This appendix covers slot configurations for Pro Tools HD Native systems with Avid video peripherals on Mac and Windows. These slot configurations have been qualified and recommended by Avid. For the most up-to-date compatibility information, visit www.avid.com.
HP Z800 with expansion chassis (shared storage) • Magma or Digidesign EB7 Chassis with PCIe host card, using ATTO Celerity FC-41ES PCIe host card to 4 GB Unity MediaNetwork • Magma PE6R4 Chassis with PCIe host card, using ATTO Celerity FC-41ES PCIe host card to 4 GB Unity MediaNetwork See “Configurations for HP Z800 with Expansion Chassis” on page 57.
HP Z400 Slot Configurations This section describes qualified and recommended slot configurations for HP Z400, configured with a Pro Tools HD Native card.
HP Z800 Slot Configurations This section describes qualified and recommended slot configurations for HP Z800, in configurations with host-cards-only, and with a qualified expansion chassis.
Configurations for HP Z800 with Expansion Chassis This section describes qualified and recommended slot configurations for HP Z800 systems, with the following expansion chassis: • Magma or Digidesign EB7 Chassis with PCIe host card, using ATTO Celerity FC-41ES PCIe host card to 4 GB Unity MediaNetwork • Magma PE6R4 Chassis with PCIe host card, using ATTO Celerity FC-41ES PCIe host card to 4 GB Unity MediaNetwork HP Z800 with Magma or Digidesign EB7 PCIe Chassis: ATTO Celerity FC-41ES PCIe Host Card to 4 GB
HP Z800 with Magma or Digidesign PE6R4 PCIe-PCI-X Chassis: ATTO Celerity FC41ES PCIe Host Card to 4 GB Unity MediaNetwork Slot orders in the chassis run from left (closest to the power supply) to right.
HP xw8600 Slot Configurations This section describes qualified and recommended slot configurations for HP xw8600.
Mac Slot Configurations This section describes qualified and recommended slot configurations for Apple Mac machines.
index Symbols .
Avid Unity MediaNetwork Management Guide 8 Avid Unity MediaNetwork Site Preparation Guide 8 Avid Unity MediaNetwork Windows Fibre Channel Client Setup Guide 8 Avid Unity MediaNetwork, see MediaNetwork Avid Unity Transfer Engine 2 B bit depth 21 Bounce to Disk exporting audio tracks with 44 BWF (.
F Fibre Channel HBA 11 installing in workstation 12 LED states 13 file locations MXF media files 5 OMF media files 5 File Manager 2 Forward control 33 frame-rate accuracy (Avid applications) 6 Interplay after check-in 35, 44 delivering audio stems for 44, 8 exporting audio tracks to Interplay from Pro Tools 44 handling after check-in 35 importing edited audio stems from Interplay back into an Avid application 45 location of files after checking in to Interplay for Pro Tools 35 MediaNetwork capabilities 1 I
media files 5 allocation groups 23 MediaNetwork additional documentation 8, 23, 1 capabilities 1, 8, 19, 20, 11 diagram of system components 2 installing client hardware for 11, 14 logging into 17 number of configurable users 1 performance guidelines 21 support information 9, 2, 8 using clients in the system 17 MEDIASwitch 2 connecting to optical cable 12 metadata and AudioSuite effects 5 definition of 5 mounting workspaces 19 MXF Avid support for 3 definition of 3, 25 editing 25 media file locations 5 Pro
S U Sample Rate 20 sample rates for use with Pro Tools and Avid applications together 20 sample-rate accuracy (Pro Tools) 6 scrubbing, in Source Monitor 33 Send To dialog 28 Send To Templates using to export AAF/OMF sequences from Media Composer 28 sequences exporting manually a portion of a sequence 32 from Media Composer 29, 28 Interplay handling after check-in 35 session data drive selection 39 selecting a Unity workspace when importing 39 sessions importing an AAF/OMF sequence as a new session 37, 38
Avid Technical Support (USA) Product Information 2001 Junipero Serra Boulevard Daly City, CA 94014-3886 USA Visit the Online Support Center at www.avid.com/support For company and product information, visit us on the web at www.avid.
