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Avid
®
Interplay
™
Best Practices
m a k e m a n a g e m o v e | m e d i a
™
Avid
®
Copyright and Disclaimer
Product specifications are subject to change without notice and do not represent a commitment on the part of
Avid Technology, Inc.
The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com
. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement.
Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663;
5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423;
5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029;
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6,546,190; 6,636,869; 6,747,705, 6,763,523; 6,813,622. Other patents are pending.
This document is protected under copyright law. An authorized licensee of Avid Interplay Transfer may reproduce this publication for the licensee’s own use in learning how to use the software. This document may not be reproduced or distributed, in whole or in part, for commercial purposes, such as selling copies of this document or providing support or educational services to others. This document is supplied as a guide for Avid Interplay Transfer. Reasonable care has been taken in preparing the information it contains. However, this document may contain omissions, technical inaccuracies, or typographical errors. Avid Technology, Inc. does not accept responsibility of any kind for customers’ losses due to the use of this document. Product specifications are subject to change without notice.
Copyright © 2006 Avid Technology, Inc. and its licensors. All rights reserved.
The following disclaimer is required by Apple Computer, Inc.
APPLE COMPUTER, INC. MAKES NO WARRANTIES WHATSOEVER, EITHER EXPRESS OR IMPLIED, REGARDING
THIS PRODUCT, INCLUDING WARRANTIES WITH RESPECT TO ITS MERCHANTABILITY OR ITS FITNESS FOR ANY
PARTICULAR PURPOSE. THE EXCLUSION OF IMPLIED WARRANTIES IS NOT PERMITTED BY SOME STATES. THE
ABOVE EXCLUSION MAY NOT APPLY TO YOU. THIS WARRANTY PROVIDES YOU WITH SPECIFIC LEGAL RIGHTS.
THERE MAY BE OTHER RIGHTS THAT YOU MAY HAVE WHICH VARY FROM STATE TO STATE.
The following disclaimer is required by Sam Leffler and Silicon Graphics, Inc. for the use of their TIFF library:
Copyright © 1988–1997 Sam Leffler
Copyright © 1991–1997 Silicon Graphics, Inc.
Permission to use, copy, modify, distribute, and sell this software [i.e., the TIFF library] and its documentation for any purpose is hereby granted without fee, provided that (i) the above copyright notices and this permission notice appear in all copies of the software and related documentation, and (ii) the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific, prior written permission of Sam Leffler and Silicon
Graphics.
THE SOFTWARE IS PROVIDED “AS-IS” AND WITHOUT WARRANTY OF ANY KIND, EXPRESS, IMPLIED OR
OTHERWISE, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A
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IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT
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The following disclaimer is required by the Independent JPEG Group:
Portions of this software are based on work of the Independent JPEG Group.
This Software may contain components licensed under the following conditions:
Copyright © 1989 The Regents of the University of California. All rights reserved.
Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the
University may not be used to endorse or promote products derived from this software without specific prior written permission. THIS SOFTWARE IS PROVIDED ``AS IS'' AND WITHOUT ANY EXPRESS OR IMPLIED WARRANTIES,
INCLUDING, WITHOUT LIMITATION, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A
PARTICULAR PURPOSE.
2
Copyright © 1989, 1991 by Jef Poskanzer.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.
Copyright 1995, Trinity College Computing Center. Written by David Chappell.
Permission to use, copy, modify, and distribute this software and its documentation for any purpose and without fee is hereby granted, provided that the above copyright notice appear in all copies and that both that copyright notice and this permission notice appear in supporting documentation. This software is provided "as is" without express or implied warranty.
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. Daniel Dardailler makes no representations about the suitability of this software for any purpose. It is provided "as is" without express or implied warranty.
Modifications Copyright 1999 Matt Koss, under the same license as above.
Copyright © 1991 by AT&T.
Permission to use, copy, modify, and distribute this software for any purpose without fee is hereby granted, provided that this entire notice is included in all copies of any software which is or includes a copy or modification of this software and in all copies of the supporting documentation for such software.
THIS SOFTWARE IS BEING PROVIDED "AS IS", WITHOUT ANY EXPRESS OR IMPLIED WARRANTY. IN PARTICULAR,
NEITHER THE AUTHOR NOR AT&T MAKES ANY REPRESENTATION OR WARRANTY OF ANY KIND CONCERNING THE
MERCHANTABILITY OF THIS SOFTWARE OR ITS FITNESS FOR ANY PARTICULAR PURPOSE.
This product includes software developed by the University of California, Berkeley and its contributors.
The following disclaimer is required by Paradigm Matrix:
Portions of this software licensed from Paradigm Matrix.
The following disclaimer is required by Ray Sauers Associates, Inc.:
“Install-It” is licensed from Ray Sauers Associates, Inc. End-User is prohibited from taking any action to derive a source code equivalent of “Install-It,” including by reverse assembly or reverse compilation, Ray Sauers Associates, Inc. shall in no event be liable for any damages resulting from reseller’s failure to perform reseller’s obligation; or any damages arising from use or operation of reseller’s products or the software; or any other damages, including but not limited to, incidental, direct, indirect, special or consequential Damages including lost profits, or damages resulting from loss of use or inability to use reseller’s products or the software for any reason including copyright or patent infringement, or lost data, even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages.
The following disclaimer is required by Videomedia, Inc.:
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“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by
Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.”
The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample
Source Code:
©1993–1998 Altura Software, Inc.
The following disclaimer is required by 3Prong.com Inc.:
Certain waveform and vector monitoring capabilities are provided under a license from 3Prong.com Inc.
The following disclaimer is required by Interplay Entertainment Corp.:
The “Interplay” name is used with the permission of Interplay Entertainment Corp., which bears no responsibility for Avid products.
This product includes portions of the Alloy Look & Feel software from Incors GmbH.
3
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 (c) 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. These components may only be used as part of and in connection with Avid Interplay.
Attn. Government User(s). Restricted Rights Legend
U.S. GOVERNMENT RESTRICTED RIGHTS. This Software and its documentation are “commercial computer software” or
“commercial computer software documentation.” In the event that such Software or documentation is acquired by or on behalf of a unit or agency of the U.S. Government, all rights with respect to this Software and documentation are subject to the terms of the License Agreement, pursuant to FAR §12.212(a) and/or DFARS §227.7202-1(a), as applicable.
Trademarks
888 I/O, Adrenaline, AirPlay, AirSPACE, AirSPACE HD, AirSpeed, AniMatte, AudioSuite, AudioVision, AutoSync, Avid,
Avid DNA, Avid DNxcel, Avid DNxHD, AVIDdrive, AVIDdrive Towers, Avid DS Assist Station, Avid ISIS,
Avid Learning Excellerator, Avid Liquid, Avid Mojo, AvidNet, AvidNetwork, Avid Remote Response, AVIDstripe, Avid Unity,
Avid Unity ISIS, Avid Xpress, AVoption, AVX, CamCutter, ChromaCurve, ChromaWheel, DAE, Dazzle, Deko, DekoCast, D-Fi,
D-fx, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigiDrive,
Digital Nonlinear Accelerator, DigiTranslator, DINR, DNxchange, do more, D-Verb, Equinox, ExpertRender, Face Robot,
FieldPak, Film Composer, FilmScribe, FluidMotion, HIIP, HyperSPACE, HyperSPACE HDCAM, IllusionFX,
Image Independence, iNEWS, iNEWS ControlAir, Instinct, Interplay, Intraframe, iS9, iS18, iS23, iS36, LaunchPad, Lightning,
Lo-Fi, Magic Mask, make manage move | media, Marquee, Matador, Maxim, MCXpress, Media Browse, Media Composer,
MediaDock, MediaDock Shuttle, Media Fusion, Media Illusion, MediaLog, Media Reader, Media Recorder, MEDIArray,
MediaShare, MediaStream, Meridien, MetaSync, MissionControl, NaturalMatch, Nearchive, NetReview, NewsCutter, Nitris,
OMF, OMF Interchange, OMM, Open Media Framework, Open Media Management, PCTV, Pinnacle MediaSuite,
Pinnacle Studio, Pinnacle Systems, ProEncode, Pro Tools, QuietDrive, Recti-Fi, RetroLoop, rS9, rS18, Sci-Fi, ScriptSync,
SecureProductionEnvironment, Show Center, Softimage, Sound Designer II, SPACE, SPACEShift, SpectraGraph,
SpectraMatte, SteadyGlide, Symphony, TARGA, Thunder, Trilligent, UnityRAID, Vari-Fi, Video RAID, Video Slave Driver,
VideoSPACE, and Xdeck are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.
Adobe and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. Apple and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Windows is either a registered trademark or trademark of Microsoft Corporation in the United States and/or other countries. All other trademarks contained herein are the property of their respective owners.
Footage
Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc.,
Editor/Producer Bryan Foote.
Eco Challenge Morocco — Courtesy of Discovery Communications, Inc.
News material provided by WFTV Television Inc.
Tornados + Belle Isle footage — Courtesy of KWTV News 9.
WCAU Fire Story — Courtesy of NBC-10, Philadelphia, PA.
Women in Sports – Paragliding — Courtesy of Legendary Entertainment, Inc.
Avid Interplay Best Practices • 0130-07639-01 Rev C • November 2006 • 12/06/06 17:05
4
Contents
Chapter 1
Avid Interplay Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Nearchive and MediaManager Archive Solutions . . . . . . . . . . . . . . . . . . . . . . . 23
6
Chapter 2
Sample Configuration Diagrams. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Small Broadcast, Avid Unity MediaNetwork, 10-25 Clients . . . . . . . . . . . . . . . . . . . 29
Medium Post, Avid Unity MediaNetwork, 10-25 Clients . . . . . . . . . . . . . . . . . . . . . . 30
Large Post, Avid Unity MediaNetwork, 25-60 Clients. . . . . . . . . . . . . . . . . . . . . . . . 31
Large Broadcast, Avid Unity ISIS, more than 60 Clients . . . . . . . . . . . . . . . . . . . . . 34
Chapter 3
Setting Up a User Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Assigning Access Rights to User Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Chapter 4
Configuring Avid Interplay Media Indexers . . . . . . . . . . . . . . . . . . . . . . . 49
Adding Additional Media Indexers to Monitor Shared Storage . . . . . . . . . . . . . 53
Configuring an Interplay Environment with Media Indexer Delegates . . . . 55
Monitoring Shared Storage from Within the High Availability Group . . . . . 61
Adding Redundancy for Media Indexers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Check Whether the Media Indexer just Restarted. . . . . . . . . . . . . . . . . . . . . . . 63
Verify That the Media Indexer Monitoring Shared Storage has the
If The Media Indexer Service does not appear on the Client . . . . . . . . . . . . . . 64
Rebuilding the Media Indexer Cache on a Small Configuration. . . . . . . . . . . . . 65
Chapter 5
Working with the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Mounting Workspaces on an Avid Unity MediaNetwork System . . . . . . . . . . . . 69
Mounting Workspaces on an Avid Unity ISIS System . . . . . . . . . . . . . . . . . . . . 70
Working with Avid Assets in the Interplay Database . . . . . . . . . . . . . . . . . . . . . 74
Checking Avid Assets Out of the Interplay Database. . . . . . . . . . . . . . . . . . . . . 75
Checking Avid Assets In to the Interplay Database . . . . . . . . . . . . . . . . . . . . . . 76
Performing Searches on Interplay Folders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Keeping Search Results in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . 82
Chapter 6
Using Pro Tools and Interplay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Installing Interplay Access and the Pro Tools Interplay Option . . . . . . . . . . 86
Configuring the Pro Tools Plug-Ins for Interplay . . . . . . . . . . . . . . . . . . . . . . . . 88
If You Do Not Configure the Pro Tools Export Settings. . . . . . . . . . . . . . . . 92
Performing a Check in to Interplay for Pro Tools Operation . . . . . . . . . . . . . . . . . . . 95
7
Importing the Pro Tools Audio Files Back into the Avid Editing Application. . . . . . 109
Frame-Rate Accurate Video Editing and Sample-Rate Accurate Audio
Version Control Between the Avid Video Editor and Pro Tools Editor . . . . . . . . . . 114
Subsequent Check Ins from the Video Editor and the Pro Tools Editor . . . . . 116
Chapter 7
Using Frame Chase Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Limitations When Working With In-Progress Clips. . . . . . . . . . . . . . . . . . . . . . . . . 126
Chapter 8
Using the Interplay Archive Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Overriding Metadata When you Archive an Asset. . . . . . . . . . . . . . . . . . . . . . 132
Deleting Online Media After an Archive Operation . . . . . . . . . . . . . . . . . . . . . 135
Setting Up and Maintaining an Interplay Archive Engine Database. . . . . . . . . . . . 136
Appendix A
Interplay Maintenance Recommendations . . . . . . . . . . . . . . . . . . . . . . 139
8
Using This Guide
Congratulation on your purchase of an Avid Interplay system. 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.
This guide is intended for all Interplay users, from beginning to advanced.
n
The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.
Revision History
Date Revised
12/06/06
Changes Made
Updated Media Indexer and Health Monitor information and minor edits to Maintenance chapter.
Symbols and Conventions
Avid documentation uses the following symbols and conventions: t
>
Symbol or Convention Meaning or Action
n c
A note provides important related information, reminders, recommendations, and strong suggestions.
A caution means that a specific action you take could cause harm to your computer or cause you to lose data.
This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the
File menu and then select the Import command.
This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.
Using This Guide
Symbol or Convention Meaning or Action
Italic font
Courier Bold font
Ctrl+key or mouse action
Italic font is used to emphasize certain words and to indicate variables.
Courier Bold font identifies text that you type.
Press and hold the first key while you press the last key or perform the mouse action. For example, Ctrl+drag.
If You Need Help
If you are having trouble using the Avid Interplay products:
1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow.
2. Check for the latest information that might have become available after the documentation was published: The latest information for your Avid Interplay products are provided as a set of ReadMe files. The Readme files are supplied at the top level of your Avid Interplay Installer DVD as PDF documents and are also available online.
You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes
available. To view these online versions, visit the Knowledge Base at www.avid.com/readme .
3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues.
4. Visit the online Knowledge Base at www.avid.com/onlinesupport . Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.
Accessing the Online Library
The Online Library for your Avid Interplay system contains all the software documentation in PDF format.
The Online Library for your Avid Interplay system is available on the Avid Interplay Online
Library DVD.
n
You need Adobe
®
Reader
®
to view the PDF documentation online. You can download the latest version from the Adobe web site.
10
How to Order Documentation
How to Order Documentation
To order additional copies of this documentation from within the United States, call Avid
Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United
States, contact your local Avid representative.
Avid Training Services
Avid makes lifelong learning, career advancement, and personal development easy and convenient. Avid understands that the knowledge you need to differentiate yourself is always changing, and Avid continually updates course content and offers new training delivery methods that accommodate your pressured and competitive work environment.
To learn about Avid's new online learning environment, Avid Learning Excellerator
™
(ALEX), visit http://learn.avid.com
.
For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID
(800-949-2843).
11
Using This Guide
12
Chapter 1
Avid Interplay Components
This chapter provides a brief overview of the main components that make up an Avid
Interplay environment.
•
•
•
•
•
•
•
•
•
•
•
MediaManager to Avid Interplay Migration Tool
•
•
•
•
•
•
Access Control and Media Deletion Model
Chapter 1 Avid Interplay Components
MultiRez Features
MultiRez (a term derived from “multiple resolutions”) allows you to associate a master clip with multiple media files of different resolutions. For example, you can associate the same master clip with low-resolution MPEG-2, JFIF 15:1s, and uncompressed media files.
MultiRez also works with audio files: you can associate an audio clip with more than one sample rate.
In an Avid Interplay environment, you can capture a master clip in multiple resolutions or transcode a clip to another resolution, and you can easily switch between the different resolutions. This switching is referred to as dynamic relink. Dynamic relink is useful when you want to work with low-resolution media and create your final master in high-resolution media. For more information, see the following documents:
• Avid Interplay Access User’s Guide
• Avid Media Composer Basics Guide
• Avid Symphony Nitris Basics Guide
• Avid NewsCutter Products Basics Guide
Also see the Help for these products.
Avid Interplay Engine
The Avid Interplay Engine provides the following features:
• Management of Avid assets (for example, master clips and sequences) as well as
file assets (for example, Adobe Photoshop
®
and Microsoft
®
Office files)
• Version control for sequences and file assets
• Integration with Avid Unity ISIS
™
and Avid Unity
™
MediaNetwork
• Support for MultiRez (multiple resolution) workflows
• Access control through groups as follows:
Five fixed user roles: Administrator, Read/Write/Delete, Read/Write, Read, and No
Access
A user can be part of several groups
Permissions can be modified at the folder level
• Import on the desktop level to Avid Interplay Access
• Use the Interplay Window to check in and check out to the database from the Avid editing application
14
Avid Interplay Access
• Support for MXF media files and AAF metadata
• Failover capability (using Windows
®
2003 Enterprise Server), including Auto-Failover to hot spare (Avid Interplay Engine and Avid Interplay Archive Engine only)
• Simplified workgroup delete rules including the following:
The administrator can specify the delete permissions that users and groups have on particular folders
Media can be protected by reservations that have time and date expirations
Reservations protect assets and media placed in a protected folder
You can use the Avid Interplay Access software to place personal reservations on folders
For information on the Avid Interplay Engine, see Avid Interplay Engine and Avid Interplay
Access Administration Guide and the Avid Interplay Access User’s Guide.
Avid Interplay Access
The Avid Interplay Access software is a dedicated application that can be used by system administrators and other designated users such as editors, assistants, and producers to interact with the Avid Interplay Engine.
The Avid Interplay Access user interface allows you to quickly search or browse its contents for assets of interest. Drag-and-drop support allows you to obtain Avid assets by dragging them to the Avid editing applications Interplay Window.
Avid Interplay Access provides search tools and an Object Inspector that allow anyone from artists to editors to easily find shots, clips, sequences, or other elements defined for the project without even knowing file names, and to quickly see the dependencies and relatives involved. You can also use Avid Interplay Access to manage sequences and other Avid assets whose media is no longer online. You can then search for these assets, view information about them such as the source tape name, obtain the source footage, and recapture it.
The following illustration shows Avid Interplay Access.
15
Chapter 1 Avid Interplay Components
For information on the Avid Interplay Access, see the Avid Interplay Access User’s Guide.
Avid Interplay Administrator
The Interplay Administrator is a cross-platform application used for basic administration of the Avid Interplay Engine and the Avid Interplay Archive Engine. Supported capabilities include the following:
• Database activation, creation, and security
• Scheduling backups
• Server licensing configuration
• Central configuration server setup of users
16
Avid Interplay Transfer
The following illustration shows the User Management window of the Avid Interplay
Administrator application.
For information on using the Interplay Administrator, see the Avid Interplay Engine and
Avid Interplay Access Administration Guide. For information on setting up a user database, see
“Setting Up a User Database” on page 35
.
Avid Interplay Transfer
The Avid 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 Avid Interplay transfers from a MediaManager browser to a an Avid Interplay Transfer Status window or to a bin in an Avid Editing application within your Avid Interplay environment.
17
Chapter 1 Avid Interplay Components
• Standalone Interplay Transfer support is provided in the Avid editing applications.
• Support for a Transfer Cache Engine that can monitor transfers for a large number of users. This removes the task of reporting transfer status from the Interplay Transfer
Engine.
The following illustration shows the Interplay Transfer Status window viewed from the
Avid Interplay Administrator.
For information on Interplay Transfer, see Avid Interplay Transfer Setup and User’s Guide.
n
Avid Interplay to OMF transfers are not supported.
Avid iNEWS Instinct
Avid iNEWS
®
Instinct
™
is a story creation tool that introduces a story line designed to support the way that journalists create a story. Avid iNEWS Instinct, an iNEWS
®
client, is a script-based application that is tightly integrated with iNEWS. It uses iNEWS metadata for the story that is being written. iNEWS Instinct supports a subset of the Avid editing features, including the following:
18
Transcode Service Providers
• Recording voice-over to the story line
• Simple searches
• Edit while capture
• Send to Playback iNEWS Instinct also incorporates the following new features that support the Avid Interplay environment:
• Support for MultiRez workflow
• Access to iNEWS stories and Avid Interplay Window assets eliminates the need to copy media and story information to a local system
• Integrated asset management, providing search, query, and organization capabilities with the Interplay Window.
For more information, see the Avid iNEWS Instinct User’s Guide.
Transcode Service Providers
The Avid Interplay Media Services application supports the following types of transcode services:
• Avid 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.
• Avid Interplay ProEncode services use third party software for non-Avid format transcode operations. For example, you can transcode from an Avid resolution to
Windows Media File format.
You can perform transcode operations from within the Avid editing application or from within Avid Interplay Access.
For more information, see the Avid Interplay Media Services Setup and User’s Guide.
Avid Interplay Assist
Avid Interplay Assist allows you to perform the following tasks:
• Search the Avid Interplay Engine database
• Play media
• Add locators and locator information
19
Chapter 1 Avid Interplay Components
• Select, view, and create shotlists
• Send to playback
• Archive
The following illustration shows Avid Interplay Assist.
20
You can also use Avid Interplay Assist to quickly preview clips. All resolutions supported by the Avid editing applications are supported.
Avid Interplay Assist also provides the following additional features:
iNews
• 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. This feature is also referred to as Digital Rights
Management (DRM).
• Annotations — labels you can attach to locators. Annotations support special markers such as the following:
Restricted flag
Best Picture
Best Sound
User-created custom annotation markers
• Metadata — textual data you can use to identify and describe the creation, contents, and disposition of a clip or shotlist
• Searching across multiple logs
• Log filtering
For more information, see the Avid Interplay Assist User’s Guide.
iNews
iNEWS and the COM interface provide new features for the Avid Interplay release. The
Avid NewsCutter
®
products and Avid iNEWS Instinct use an interface that is available through the COM Control component of iNEWS. This new interface replaces the FTP interface used by the NewsCutter products in a MediaManager environment, and allows the following additional functionality:
• Embedded Video IDs in story
• Stories locked during editing
• Forced logout
• Queue update notification
• Licensing enforcement
The iNEWS server provides the license for an Avid iNEWS Instinct application.
21
Chapter 1 Avid Interplay Components
Archive and Restore Providers
An Avid Interplay environment supports a separate asset manager known as the Avid
Interplay Archive Engine to track archived assets. The basic features and functionality that are used to track assets in the online storage system, including MultiRez support, are also available for the archived assets. The Interplay Archive Engine also supports partial file restore of Avid MXF media in the archive. A partial restore refers to a situation where there might be a large master clip in the archive but your sequence only uses a small portion of the master clip. A partial restore restores only the portion of the file that you need.
The following illustration shows an archive database displayed in Interplay Access.
Safe image identifies the archive database
Tree view
Avid Interplay online database
Avid Interplay
Archive database
The Avid Interplay Media 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 Avid Interplay Access.
You can send high-resolution media to archive and keep a low-resolution version of the asset in the online storage system. This allows you to edit with the low-res asset and conform a
“partial” file of the high-res asset from the archive.
The Auto Archive feature includes the following:
• An auto-archive folder that triggers an archive of any material placed in the folder
• Duplication of archive items automatically prevented (default option)
22
MediaManager to Avid Interplay Migration Tool
• Ability to append metadata and logging information to archived material
For details on Avid Interplay Archive documentation, see “Using the Interplay Archive
.
Nearchive and MediaManager Archive Solutions
The current Nearchive
™
solution is supported through the Workgroup to Workgroup transfers supported by Interplay Transfer.
The Avid Interplay v1.0 release does not include any tools to allow customers with existing
MediaManager Archive solutions to migrate existing archive data directly to the new
Archive Manager.
MediaManager to Avid Interplay Migration Tool
You can migrate much of your MediaManager environment metadata to an Avid Interplay workgroup with the Migration tool. You can migrate clips, sequences, and effects from projects, catalogs, workspaces, and users. For more information, see your Avid representative.
Interplay Window
The Interplay window allow you to share Avid assets with other users in the Avid Interplay environment. The Interplay window provide the following capabilities:
• Avid editing applications such as Avid NewsCutter, Avid NewsCutter XP, Avid Media
Composer
®
, and Avid Symphony
™
can work with Avid assets through the Avid
Interplay window. The Avid Interplay window displays the same folder structure you see in the Avid Interplay Access interface. You can capture material to an Avid Interplay window and edit those clips into a sequence in a bin. You can also check sequences into the Avid Interplay window for asset management and for sharing with other editors.
• The Avid iNEWS Instinct and Avid Assist allows you to access remote assets directly.
The interface is similar to the Avid Interplay window. For example, an iNEWS Instinct journalist can work with remote assets without copying the files locally and without having to check the files in and out of the Interplay Engine. The interface provides quick access to story information. You can work on and finish your stories without having to copy files to your local system.
Key features of the Interplay Window include the following:
• Capture (digitize) directly into an Avid Interplay window
23
Chapter 1 Avid Interplay Components
• Save current state and restore on relaunch
• Drag from editing application bins to the Avid Interplay window and vice versa
• Edit remote clips directly into a sequence
• Search the Avid Interplay database
• Create shortcuts
Avid editors must edit sequences, render, and consolidate in bins.
The following illustration shows the Interplay Window within an Avid editing application.
24
For more information, see
“Working with the Interplay Window” on page 67
.
Avid Interplay Media Indexer
Avid Interplay Media Indexer
The Avid Interplay Media Indexer is a background service that keeps track of the media files in storage locations that you identify. In an Avid Interplay environment, each Avid editing application has its own local Media Indexer that manages the local storage areas on that system. Each Avid Interplay environment also has at least one Media Indexer that manages media on shared storage. When the Avid editing application needs to access media on shared storage, it communicates with its local Media Indexer, which then communicates with the
shared storage Media Indexer. For more information, see “Configuring Avid Interplay
Avid Interplay Low-Res Encode
CaptureManager
™
allows you to capture high resolution and low-resolution material at the same time. CaptureManager uses Avid AirSpeed
®
to capture high-resolution material and uses Avid Interplay Low Res Encode software to capture low-resolution material.
The Interplay Low Res Encode solution is delivered in a rack-mountable CPU. The Avid
Low Res Encoding solution supports the following features:
• Real-time MPEG-2 encoding of low-resolution material
• 2 or 4 encode SDI audio embedded channels
• Optional scene detection
For more information, see the Avid CaptureManager User’s Guide and the Avid
CaptureManager Installation and Configuration Guide.
Interplay Framework Services
The Avid Interplay Framework provides the following tools for Avid Interplay:
• Scalable notification mechanism
• Configuration tool for centralizing configuration tasks
• Diagnostic Logging application for consistent logging across all Interplay applications
• Health and Monitoring application
For more information, see the Avid Interplay Framework User’s Guide.
25
Chapter 1 Avid Interplay Components
CaptureManager Enhancements
CaptureManager is intended for customers who require a management system for video capture. It is a key part of the MultiRez workflow and provides control for dual-resolution capture of live feeds via AirSpeed and Avid Low Res Encode. The CaptureManager components have been extracted from the existing Media Browse
™
Client software. The application also provides the following new features:
• Modify router sources during recording sessions
• Detect feed scheduling conflicts in advance
• Turn auto-archive on or off
• Check-in of Source Route and Ingest Operator fields from CaptureManager
• Support for Avid Low Res Encode
For more information, see the Avid CaptureManager User’s Guide and the Avid
CaptureManager Installation and Configuration Guide.
Access Control and Media Deletion Model
One of the most essential aspects of asset management is developing a system by which assets and their associated media files (for example, video and audio files) can be automatically and accurately protected from normal deletion. The administrator can specify the delete permissions that users and groups have on particular folders. Administrators and users can also use folder reservations to protect media files.
• A reserved folder protects any media files referred to by the assets in that folder.
• Folder reservations can have an expiration date so they don’t needlessly protect media files after they are inactive.
• Administrators and file owners can override folder reservations.
For more information, see the Avid Interplay Access User’s Guide.
26
Chapter 2
Sample Configuration Diagrams
This chapter contains sample configuration diagrams for postproduction and broadcast installations.
For information on installing and configuring software on these systems, see the Avid
Interplay Software Installation and Configuration Guide.
See the following diagrams:
•
Small Post, Avid Unity LANshare, 10-25 Clients
•
Small Broadcast, Avid Unity MediaNetwork, 10-25 Clients
•
Medium Post, Avid Unity MediaNetwork, 10-25 Clients
•
Large Post, Avid Unity MediaNetwork, 25-60 Clients
•
Medium Broadcast, Avid Unity ISIS, 10-25 Clients
•
Medium Post, Avid Unity ISIS, 10-25 Clients
•
Large Broadcast, Avid Unity ISIS, more than 60 Clients
28
Small Post, Unity LANshare
10-25 Clients
House Core Switch
Media Composer Software-only
Avid Network Switch
Media Composer Adrenaline
Interplay Access and Interplay Admin
Graphic Workstations using Interplay Access
Avid Interplay Engine and Interplay Media Indexer
LANShare LP
LEGEND
Fibre connection
1GB Ethernet connection
Small Broadcast, Unity MediaNetwork, 10-25 Clients
House Core Switch
Avid Network Switch
NewsCutter XP, NewsCutter Adrenaline,
Media Composer Adrenaline iNEWS Server
Fibre Switch iNEWS Instinct
Interplay Assist
CaptureManager Server
AirSpeed
Interplay Access
Interplay Admin
NewsCutter XP, NewsCutter Adrenaline,
Media Composer Adrenaline
Avid Interplay Engine Server
Interplay Media Indexer Server
File Manager Server
Avid Unity Storage
PortServer Pro
Graphic Workstations using Interplay Access
LEGEND
Fibre connection
1GB Ethernet connection
29
Medium Post, Unity MediaNetwork, 10-25 Clients
House Core Switch
Avid Network Switch
Media Composer Adrenaline
Media Composer software-only
Symphony Nitris
Media Composer Adrenaline
Fibre Switch
Interplay Assist
Interplay Engine Server
Interplay Media Indexer Server
Interplay Transcode Server
Interplay Access and Interplay Admin
File Manager Server
Avid Unity Storage
PortServer Pro
Graphic Workstations using Interplay Access
LEGEND
Fibre connection
1GB Ethernet connection
30
Large Post, Unity MediaNetwork
25-60 Clients
House Core Switch
Media Composer
Adrenaline
Avid Network Switch
Media Composer software-only
Symphony Nitris
Media Composer Adrenaline
Fibre Switch
Interplay Assist
Interplay Engine Cluster and
RAID drives
Interplay Transcode Server
Interplay Access or
Interplay Admin
Graphic Workstation using
Interplay Access
LEGEND
Fibre connection
1GB Ethernet connection
Interplay Media Indexer Servers
Interplay Archive Engine Server
Interplay Archive Provider
Interplay Transfer
File Manager Server
Avid Unity Storage
PortServer Pro
31
32
Medium Broadcast, Unity ISIS, 10-25 Clients
Graphic Workstation using
Interplay Access
Interplay Access and Interplay Admin
House Core Switch
CaptureManager for AirSpeed and Interplay Low Res Encode iNEWS Instinct and Interplay Assist
AirSpeed Playout Control iNEWS Server
Interplay Media Indexer Servers
Interplay Engine Cluster and RAID array
Interplay Archive Engine Server
AirSpeed
Interplay Low Res Encode
Avid editors
VL10 VL20
Avid Network Switch
System Directors
Avid editors
Avid ISIS
Drive Arrays
VLAN 10
LEGEND
100Base-T
Gigabit Ethernet Copper
10 Gig
Fibre connection
Interplay Transcode
VL10
Interplay Transfer
Archive/Restore
Provider
VL20
VLAN 20
Medium Post, Unity ISIS, 10-25 Clients
House Core Switch
Graphic Workstation using
Interplay Access
Interplay Access and Interplay Admin
Avid editors
Interplay Media Indexer Server
Interplay Engine
Avid Network Switch
VL10 VL20
System Directors
Avid editors
Avid ISIS
Drive Arrays
VLAN 10
Interplay Transcode
VL10
Interplay Transfer
VL20
Archive/Restore
Provider
LEGEND
Gigabit Ethernet Copper
10 Gig
VLAN 20
33
34
Large Broadcast, Unity ISIS, more than 60 Clients
iNEWS Instinct and Interplay Assist iNEWS Server
Interplay Access and
Interplay Admin
Avid editors
House Core Switch iNEWS Instinct and Interplay Assist
Corporate Network
CaptureManager for
AirSpeed and Low Res Encode
AirSpeed Playout Control
Interplay Transcode
Interplay Media Indexer Servers
Interplay Archive Engine Cluster and RAID array
AirSpeed Ingest
Interplay Low Res Encode
Avid editors
Interplay Engine Cluster and RAID array
VL10 VL20
System Directors
Avid ISIS
Drive Arrays
Avid Network Switch
Avid editors
AirSpeed PIayout
VLAN 10
VLAN 10
LEGEND
100Base-T
Gigabit Ethernet Copper
10 Gig
Fibre connection
VL10
Interplay Transfer
VL20
Archive/Restore
Provider
VLAN 20
Chapter 3
Setting Up a User Database
This chapter describes the process of setting up a user database for your Avid Interplay environment. The following topics are covered:
•
Setting Up a Folder Structure in Interplay Access
•
Basic Setup: Assigning Access to User Groups
•
Assigning Database Access on a Project Basis
•
Managing the Editor Database Settings
•
Managing the Instinct/Assist User Settings
•
Creating Folders for Capturing Media
The permissions that you assign to users in your workgroup define which folders users have access to. For example:
• At a small site you might have a small group of editors and graphic artists that should always have read/write/delete privileges on all files. You might also have a group of assistants that should have read/write privileges. In this case you can set up two user groups that have different sets of privileges. The access privileges you assign to those groups would apply across the entire database. You can also change access for particular folders when necessary.
• At a larger site you might have editors and graphic artists that work on different projects.
Depending on the workload, they might be assigned to different projects at different times. In this case you might want to avoid confusion and not allow editors on one project to have write and delete privileges on projects they are not working on. This is easy to accomplish by creating project groups that have privileges that are inherited by any user that is added to the group. In this scenario, an editor can work on more than one project at the same time and they inherit permissions from both projects.
Chapter 3 Setting Up a User Database
This chapter describes how to set up both scenarios.
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. The following illustration shows folders used by the
DocWG database. The administrator uses the default Catalogs folder for common elements that might be used by different projects. A new folder was created in the Projects folder for a documentary named 01 Ice Island.
Catalogs folder used for common elements
Projects created within the Projects folder
36
You can set up a folder structure that compliments your workflow and allows people in your
Interplay workgroup to easily navigate to their working folders.
Basic Setup: Assigning Access to User Groups
Basic Setup: Assigning Access to User Groups
If you work at a relatively small site where all of the editors have access to all the current projects, then you can set user permissions by user groups. For example, in the following illustration, the Editors group and the Graphics Artists groups have Read/Write/Delete privileges for the entire database. The Assistants group has Read/Write access to the database. You set up the permissions for each group in the User Management View of the
Interplay Administrator window.
Assistants group has Read/Write permission on the entire database
For more information, see the Avid interplay Engine and Avid Interplay Access
Administration Guide.
37
Chapter 3 Setting Up a User Database
Assigning Access Rights to User Groups
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 we would like to give them Read/Write/Delete permission to the Catalogs folder.
To use the Manage Database Roles window to assign permissions for a group:
1. Click Manage Database Roles in the Interplay Administrator tool.
Manage
Database
Roles
38
Basic Setup: Assigning Access to User Groups
The Manage Database Roles window opens.
Database panel User/Group panel
Roles 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
39
Chapter 3 Setting Up a User Database
The permissions for that user group appear in the bottom panel as shown in the following illustration.
Assistants group has Read/Write/Delete access to the Catalogs folder
Assigning Database Access on a Project Basis
It is often useful to prevent users on one project from modifying or deleting material used by other projects. There are several ways to achieve this type of structure and the following guidelines show one way to accomplish this:
• Create user groups (for example, Editors, Graphic Artists, and Assistants) and give each user group “No Access” (or perhaps just Read only access) to the database. Then add your users to the groups.
• Create another user group for Projects and assign either No Access or Read only access to that group. Then create folders within that group for each project.
• Assign permissions to the folders within the Projects folder.
• Copy your users into the folders in the Projects folder. A single user can be copied to more than one Project folder.
This section covers each of these topics.
40
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. In this model you can assign different permissions to the different user groups within the Ice Island project.
User groups start with
No Access to database
Copy users into the Project groups
Users can belong to multiple groups. The user inherits the privileges from both groups. In this example we initially give no access to Project groups. Use the Manage Database Roles window to assign the permissions for each group.
41
Chapter 3 Setting Up a User Database
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.
Manage
Database Roles
42
Assigning Database Access on a Project Basis
The following illustrations shows the permissions for the Ice Island Editors and Ice Island
Assistants groups. Any user copied to these folders will inherit these permissions when he or she is working in the 01 Ice Island folder.
43
Chapter 3 Setting Up a User Database
For details on assigning permissions, see “Assigning Access Rights to User Groups” on page 38 .
Managing the Editor Database Settings
After you set up your folder and user structure, you need to 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 Avid Instinct and Avid Assist such as target resolution, and audio settings.
For additional information on the Editor Database Settings, see the Avid interplay Engine
and Avid Interplay Access Administration Guide.
To set the Editor Database settings:
1. Double-click Editor Database Settings in the Interplay Administrator window.
Editor
Database
Settings
The Editor Database Settings window opens.
44
Managing the Editor Database Settings
2. Click the root node for the database and define the default settings for the entire database.
Settings for the entire database
Auto reservations and
Automatic Checkin settings apply to all Avid editing applications
45
Chapter 3 Setting Up a User Database a.
Click the Apply button in the lower right of the window. The settings apply to all folders in the hierarchy.
3. (Option) Select a folder and define the settings for the folder.
Settings apply to the currently selected folder
46
Managing the Instinct/Assist User Settings
For more information, see the Avid interplay Engine and Avid Interplay Access
Administration Guide.
Managing the Instinct/Assist User Settings
If you have Avid Instinct or Avid Assist users in your Interplay environment, an administrator must set the following in the Interplay Administrator window:
• Set the following in the Instinct/Assist User Settings window:
The working resolution for each Avid Instinct or Assist user. For this release, this value must be for each user individually.
Access settings that allow users to perform operations such as adding locators and restrictions, creating shotlists, and sending to playback. These can be set on a user basis or on a group basis.
• Set the project-related settings, such as such as target resolution, and audio settings, in
the Editor Database Settings window. See “Managing the Editor Database Settings” on page 44
• Set the workgroup name in the Server Hostname Settings window. The Avid Instinct and
Avid Assist clients use this setting to locate the Media Indexer that monitors shared storage.
c
The workgroup name you enter in the Server Hostname Settings window must match the Workgroup name used by the Interplay Framework. The name must match exactly and it is case sensitive. You can locate and set the name in the Avid Interplay
Workgroup Properties window. The following illustration shows the Avid Interplay
Workgroup Properties window.
47
Chapter 3 Setting Up a User Database
Creating Folders for Capturing Media
When you are setting up your folder structure, you can determine how you want to set up the folders that you will use for temporary storage of captured material. The Interplay Engine automatically creates an Incoming Media folder that you can use for this purpose.
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.
48
Chapter 4
Configuring Avid Interplay Media
Indexers
The Avid Interplay Media Indexer is a background service that keeps track of the media files in storage locations that you identify.
In an Avid Interplay environment, each Avid editing system has its own local Media Indexer that manages the local storage areas on that system. Each Avid Interplay environment also has at least one Media Indexer that manages media on shared storage. When the Avid editing system needs to access media on shared storage, it communicates with its local Media
Indexer, which then communicates with the shared storage Media Indexer.
Avid Interplay server
Media Indexer on server indexes shared storage
Chain the local Media Indexer to the shared storage
Media Indexer
Avid Unity MediaNetwork or Avid Unity ISIS storage
Local Media Indexer indexes local storage
Avid editing application
Chapter 4 Configuring Avid Interplay Media Indexers
This chapter provides an overview of the procedures required to configure Media Indexers on a large system. For configuration details, see the Avid Interplay Framework User’s Guide and the Avid Interplay Software Installation and Configuration Guide.
Configuring Media Indexers
On a small site, configure one Media Indexer as a High Availability Group (in this case, a group of one) and configure it to index your Unity workspaces as shown in the following illustration.
HIgh Availability Group
Media Indexer 1
Workspaces 1 through 3
50
Workspaces 4 through 6
Local Media Indexer connects to High
Availability Group
Avid editing application n
On a small system you might have the Media Indexer that monitors shared storage running on the same system as the Avid Interplay Engine. In this case, when the Media Indexer is scanning shared storage, the Interplay Engine cannot be used to service user requests.
See the Avid Interplay Software Installation and Configuration Guide for details on this type of configuration.
The following illustration shows a second Media Indexer added to the High Availability
Group for redundancy and load balancing. You configure the leader of the group to monitor shared storage. Media Indexers that you add to the group automatically monitor the same storage locations as the leader.
Configuring Media Indexers
HIgh Availability Group
Media Indexer 1
Media Indexer 2
Workspaces 1 through 3
Workspaces 4 through 6
Local Media Indexer connects to High
Availability Group
Avid editing application
When you configure a Media Indexer to join a High Availability Group, you specify the name of the group and assign a weight value to the Media Indexer that is joining the group.
The Media Indexer with the highest weight value is the leader (also referred to as the
President of the High Availability Group).
Weight in group
Group name
For more information about Media Indexer groups, see the Avid Interplay Framework User’s
Guide.
51
Chapter 4 Configuring Avid Interplay Media Indexers
Media Indexer Memory Limitations
An individual Media Indexer is capable of indexing a specific number of files. The actual number of files depends on the memory used by the Media Indexer monitoring that particular portion of shared storage. As the number of files within the environment increases, the Media Indexer uses more memory. You can monitor the amount of memory used by the
Media Indexer and take steps to add additional Media Indexers if necessary.
n
See the Avid Interplay Readme for the current Media Indexer file limitations.
To check the Media Indexer memory usage:
1. Click the Start button, and then select Programs > Avid > Workgroup Framework >
Avid Interplay Health Monitor.
The Health Monitor login window appears.
2. Log in and select the Avid Media Indexer service on the system running the
Media Indexer.
52
Media Indexer Memory
Usage
3. Check the memory usage for the Media Indexer.
Configuring Media Indexers
Each Media Indexer has a certain amount of allocated memory. When the amount of free memory available for the Media Indexer goes below 10% of that amount, the Media Indexer stops indexing files. The Media Indexer still attempts to answer requests from the Avid editing applications, but it does not index any new files.
By default, the color bar at the top of the Health Monitor window turns yellow when the free memory available to the Media Indexer goes below 15%. It turns red when the free memory goes below 10%. If you check the Avid Interplay Diagnostics tool at this point, you might see “Memory usage too high” messages.
You can use the sliders on the Avid Interplay Media Indexer panel of the Avid Interplay
Service Configuration tool to adjust when the bars change color.
• Low memory threshold - controls when the color bar 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%. The default settings are appropriate for most installations.
If your Media Indexer reaches the critical memory threshold, an Interplay system administrator can use the following techniques to resolve the problem:
• Delete unnecessary files from the folders monitored by that Media Indexer
• Archive files and delete online versions of media files
• Use the Interplay Framework Configuration service to remove workspaces or folders from the Media Indexer’s Media table
• If practical, index specific folders within a workspace.
• Split the storages being indexed between more than one Media Indexer. This involves adding additional Media Indexer servers as delegates to the High Availability Group.
See the Interplay Readme (README_Interplay.pdf) for additional information based on your particular Interplay release.
Adding Additional Media Indexers to Monitor Shared Storage
An individual Media indexer is capable of indexing a specific number of files. This means that you must either have multiple workspaces or separate directory trees in a single workspace that do not contain more than the maximum number of files.
n
See the Avid Interplay Readme for the current Media Indexer file limitations.
53
Chapter 4 Configuring Avid Interplay Media Indexers
This section describes how to add additional Media Indexers to monitor storage areas of the appropriate size. This method assigns a Media Indexer to each designated portion of shared storage and then configures one High Availability Group Media Indexer to monitor all of these Media Indexers.
The following illustration shows how to set up this type of configuration. In this example,
Media Indexer 2 is part of the High Availability Group and provides redundancy and load balancing for Media Indexer 1.
Local Media Indexer connects to High
Availability Group
This leader monitor three Media
Indexer delegates.
HIgh Availability Group
Media Indexer 1 (leader)
Avid editing application
Additional Media indexers within a
High Availability Group provide load balancing and redundancy for the leader.
Media Indexer 2
Media Indexer 3 (delegate)
Workspaces 1 through 3
Maximum number of files
Media Indexer 4 (delegate)
Media Indexer 5 (delegate)
Workspaces 4 through 6
Maximum number of files
Workspaces 7 through 9
Maximum number of files
54
Configuring Media Indexers
Configuring an Interplay Environment with Media Indexer Delegates
This section describes how to configure Media indexer delegates.
To configure the High Availability Group Leader:
1. Configure Media Indexer 1 as the leader of a High Availability Group.
In this example, the name of the High Availability Group is Unity.
2. Click the Configure Storages button when configuring Media Indexer 1, and use the
Add Interplay Media Indexer option to add Media Indexers 3 through 5.
55
Chapter 4 Configuring Avid Interplay Media Indexers
3. When you add a Media Indexer, select the system that contains the Media Indexer and click Apply and OK.
To configure the Media Indexer delegates to monitor shared storage:
1. Configure Media Indexer 3 to monitor the Avid MediaFiles folders for workspaces 1 through 3.
2. Configure Media Indexer 4 and 5 in a similar fashion to monitor their corresponding workspaces.
56
Configuring Media Indexers
To configure a Media Indexer to join the High Availability Group:
1. Select the Media Indexer that you want to add to the group and type in the name of the group you want to join
Apply button
Group name
2. Click the Apply button.
The Apply Succeeded message appears in the dialog box.
Configure Storages button
Apply Succeeded message
57
Chapter 4 Configuring Avid Interplay Media Indexers
The system adds the Media Indexer to the High Availability Group.
3. (Option) Click the Configure Storages button.
The system displays the Media Table for this Media Indexer. Notice that the storage is automatically replicated from the leader. The system also identifies the Media Indexer as a backup for the high Availability Group. You cannot configure separate storage for a member of a High Availability Group.
Replicated storage Backup for the High Availability Group
Besides acting as a backup, the additional Media Indexer also performs load balancing for the High Availability Group. Local Media Indexers on the Avid editing systems randomly connect to different members of the High Availability group to provide load balancing. n
For Interplay environments with more than 50 clients, a second Media Indexer is required in a High Availability Group.
To connect the Media Indexers on the Avid Editing Systems to the Group:
t Connect the Media Indexers on your Avid editing systems to the High Availability
Group as shown in the following illustration. In this example, the name of the group is
Unity.
58
Group name
Choose Load Balanced
The following illustration shows the Media Table for a Media Indexer on an Avid editing system connected to the High Availability Group.
Configuring Media Indexers
Media Indexer Example
In this example, three delegate Media Indexers monitor shared storage. A fourth Media
Indexer (the leader of the High Availability Group) monitors those three delegates. The following illustration shows the Media Tables for the three delegate Media Indexers. They are monitoring a combination of workspaces and media folders.
n
In general, don’t monitor the high level workspace. Monitor a folder within the workspace to ensure that you don’t attempt to monitor non-Avid files.
Media Indexer 3
Media Indexer 4
Media Indexer 5
59
Chapter 4 Configuring Avid Interplay Media Indexers
The following illustration shows the Media Table for Media Indexer 1 (the leader of the
High Availability Group). In this example the leader does not monitor any shared storage directly. Media Indexer 1 monitors the three delegates.
Media Indexer 3
Media Indexer 4
Media Indexer 5
60
Configuring Media Indexers
Monitoring Shared Storage from Within the High Availability Group
The following illustration shows a Media Indexer in the High Availability Group that monitors shared storage and delegates at the same time. Media Indexer 1 monitors workspaces 1 through 3 and also monitors Media Indexers 3 and 4. In order to ensure that
Media Indexer 1 has enough bandwidth, configure Media Indexer 1 to monitor a smaller amount of shared storage. See the Interplay Readme for more information.
Local Media Indexer connects to High
Availability Group
Avid editing application
Monitor two Media Indexers
HIgh Availability Group
Media Indexer 1
Media Indexer 2
Also monitor Shared storage
Less than the maximum number of files
Workspaces 1 through 3
Media Indexer 3
Workspaces 4 through 6
Maximum number of files
Media Indexer 4
Workspaces 7 through 9
Maximum number of files
61
Chapter 4 Configuring Avid Interplay Media Indexers
Adding Redundancy for Media Indexers
In order to add redundancy to this system, you double the number of Media Indexers. The following illustration shows an example configuration.
In this example, configure Media Indexers 6, 7, and 8 the same as Media Indexers 2, 3, and 4 and add them to the Media Table for Media Indexer 1 (the leader). Add Media Indexer 5 to the High Availability Group to provide redundancy for the leader.
HIgh Availability Group
Media Indexer 1 (leader)
Media Indexer 5 (redundancy for the leader)
Media Indexer 2 (delegate)
Media Indexer 6 (delegate)
Storage Space A
Media Indexer 3 (delegate)
Media Indexer 7 (delegate)
Media Indexer 4 (delegate)
Storage Space B
Media Indexer 8 (delegate)
Storage Space C
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Trouble Shooting Media Indexer
Trouble Shooting Media Indexer
This section describes what to do if you have captured new media and it is not coming online. It usually means that the Media Indexer does not see the media and there are several things to check.
Before you begin troubleshooting, verify the following:
• Shared storage volumes (Avid Unity MediaNetwork or Unity ISIS workspaces) are mounted and the user, that mounted the workspace has read/write privileges.
• The editing application is logged in to the Interplay Engine with a user that has sufficient privileges.
• The Windows Firewall is disabled.
• It is possible to ping the machine that runs the shared storage Media Indexer by IP address and by Name from the Editing system and vise versa.
• The framework is up and running so you can see the Media Indexer Service in the
Interplay Service configuration for all machines that have the Service installed.
Verify that Media Indexer is Running
Open the Workgroup Framework Properties window and see if the Media Indexer service is running on the Media Indexer system that monitors shared storage.
To open the Workgroup Framework Properties window:
t Click the Start button, and then select Programs > Avid > Workgroup Framework >
Avid Workgroup Properties.
Check Whether the Media Indexer just Restarted
If the Media Indexer recently restarted and there are many media files, it might take time for all of them to come on-line.
Verify That the Media Indexer Monitoring Shared Storage has the
Correct Mapping
To verify correct mapping:
1. Invoke Avid Interplay Service Configuration utility.
2. Open client that has this Media Indexer running on it.
3. Click on the Avid Interplay Media Indexer.
4. Verify that “Join High Availability Group” is selected.
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Chapter 4 Configuring Avid Interplay Media Indexers n
Media Indexers on Avid editing systems should not should have this option selected.
5. Click the Configure Storages button.
6. Verify the UNC path for the workspaces are displayed. Add them if they are not displayed.
If The Media Indexer Service does not appear on the Client
If you cannot see the client’s Media Indexer in the Avid Interplay Service Configuration utility, try the following procedures.
1. To determine if there is a network problem, go to the client system and try pinging the system that has the Media Indexer monitoring shared storage.
2. Open the Avid Interplay Workgroup Properties utility and verify that the Workgroup name is correct. The workgroup name is case sensitive. If necessary, change the name in the Workgroup Properties window.
3. Determine if the client is within the same subnet as the Media Indexer monitoring shared storage. If it is not, you must configure a Multicast Repeater.
For information on Multicast repeaters, see Installing and Configuring Workgroup 5
Software. n
After installing and configuring a multi-cast repeater, stop all Avid services (Workgroup framework and Media Indexer) before you configure the lookup-service tab in the Avid
Properties Management utility.
Quarantined Files
If Media Indexer has trouble reading a file, it attempts to move the file into a Quarantined
Files folder. Use this procedure 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.
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Trouble Shooting Media Indexer
Shutting Down the Media Indexer
Do not shut down the Media Indexer while it is scanning files. If you do, the Media Indexer may have to rebuild it’s cache when it starts up again. This can take a long time on a large system. You can use the Health Monitor to determine whether the Media Indexer is scanning files.
1. Launch the Health Monitor and navigate to the system that is running the Media Indexer that you want to shut down.
2. Click Avid Interplay Media Indexer
3. Open the Avid Interplay Media Indexer pane.
4. Check the value of the “Pending Files (scan)” field.
If the Media Indexer is not scanning files, then it is safe to shut it down. To shut down the service, use the Avid Interplay Workgroup Properties tool.
Rebuilding the Media Indexer Cache on a Small Configuration
In a small configuration (10 or less users) you can have the Media Indexer that monitors shared storage on the same system as the Avid Interplay Engine. If the Media Indexer needs to rebuild its cache on this type of configuration the Interplay Engine may become unresponsive during the operation. Note that this does not happen when the Media Indexer is scanning drives, only when it needs to completely rebuild its cache.
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Chapter 4 Configuring Avid Interplay Media Indexers
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Chapter 5
Working with the Interplay Window
This chapter provides a brief overview of the Avid Interplay Window and describes how to edit with remote Avid assets in your Avid editing application such as Avid
Media Composer, Avid NewsCutter Adrenaline, Avid NewsCutter XP, or Avid Symphony
Nitris.
For more information on the Avid Interplay window, see the following guides or the online
Help associated with each product:
• Avid Interplay Access User’s Guide
• Avid Media Composer Basics Guide
• Avid Symphony Nitris Basics Guide
• Avid NewsCutter Products Basics Guide
See the following topics:
•
•
Connecting to the Avid Interplay Database
•
•
•
Capturing Media to Interplay Folders
The Avid Interplay Window
The Avid Interplay Window allows you to work with clips and sequences in a shared storage environment without first checking out assets from a workgroup. When you are working in an Avid Interplay environment and you open a bin with assets stored in the Interplay
Chapter 5 Working with the Interplay Window database, the Avid application gets the bin contents from the database and displays the contents of the bin locally, but the application does not copy the assets to your local system.
Changes made to the bin are saved to the Interplay database and maintained by an asset manager called the Avid Interplay Engine.
In a workgroup environment, assets managed remotely are Avid assets. They include master clips, subclips, and sequences, as well as any related metadata files (such as effects). When you work with remote Avid assets, you can edit the remote assets into a sequence, which you save to your bin. When you finish editing the sequence, you can move the sequence to a folder managed by the Avid Interplay Engine, automatically checking in the remote assets to the database.
There are some differences between bins and Interplay folders with remote Avid assets. For instance, you cannot edit a sequence in an Interplay folder. To edit a sequence, you copy it to a bin, edit it, and then you copy the modified sequence to the Interplay database for sharing.
The Avid Interplay Window provides the following capabilities:
• Preview remote assets directly from a bin or the Interplay Window
• Drag and drop remote assets between bins and the asset manager
• Edit remote clips into local sequences
• Save current state and restore it upon restarting the application
• Delete remote assets from bins
• Capture media to an Interplay folder on the asset manager
The following topics describe how to access and to use remote assets in your Avid editing application:
•
•
•
Capturing Media to Interplay Folders
Connecting to the Avid Interplay Database
68
Before you can access remote assets, you need to check to see that you are connected to the
Avid Unity media network, and you must configure the Interplay settings in your editing application.
n
If you log in to your Avid editing application before mounting a workspace, you must use the
Mount Volumes option in the application before viewing Avid assets in the database.
For information on mounting workspaces and configuring settings, see the following topics:
Connecting to the Avid Interplay Database
•
“Mounting Workspaces on an Avid Unity MediaNetwork System” on page 69
•
“Mounting Workspaces on an Avid Unity ISIS System” on page 70
•
“Configuring Interplay Settings” on page 72
Mounting Workspaces on an Avid Unity MediaNetwork System
If your system is connected to an Avid Unity MediaNetwork, you can mount an Avid Unity
MediaNetwork workspace before you begin your editing session by using Avid Unity
Connection Manager.
To mount Avid Unity MediaNetwork workspaces on your system:
1. Make sure your Avid editing application is not running.
2. Click the Connection Manager icon in the Windows taskbar, and select Manage
Connections.
If you are logged in to your local system using a valid Avid Unity MediaNetwork user name and password, the Avid Unity Connection Manager dialog box opens and displays a list of all the Avid Unity MediaNetwork workspaces to which you have access. (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.)
3. If you want the selected workspaces remounted the next time you log in, select
“Automatically remount these workspaces the next time I log in.”
4. Click Apply.
The Connection Manager mounts the selected workspaces on your client.
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Chapter 5 Working with the Interplay Window n
When workspaces are mounted, the square in the top right corner of the Connection
Manager icon changes from red to green.
Mounting Workspaces on an Avid Unity ISIS System
If your system is connected to an Avid Unity ISIS media network, you can mount an
Avid Unity ISIS workspace before you begin your editing session by using Avid Unity
Client Manager.
n
You must be connected to an Avid Unity ISIS System Director before you can mount workspaces. For more information, see the Avid Unity ISIS Client Manager Help.
To mount Avid Unity ISIS workspaces on your system:
1. Do one of the following: t If the Client Manager icon is not available in the Windows taskbar, select Start >
Programs > AvidUnityISIS > ClientManager.
t Click the Client Manager icon in the Windows taskbar.
t Right-click the Client Manager icon and select Unity ISIS Client Manager.
The Avid Unity ISIS Client Manager opens.
2. In the Menu panel, click Workspaces.
The Workspaces list opens. The Mount button appears green for workspaces that are already mounted.
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Connecting to the Avid Interplay Database
Menu panel
Fast menu
Workspaces list
Auto
Mount button
Mount button
Mounted drive
3. In the Workspaces list, select the workspace you want to mount.
4. Do one of the following: t Click the Mount button.
t Click the Fast menu, and select Mount.
The Client Manager mounts the selected workspace on your client and the Mount button changes to green. The Workspaces list displays the drive or volume the workspace is mounted to. If you use letterless drive mappings, the Workspaces list displays “UNC” next to the workspace (see the Avid Unity ISIS Client Manager
Help).
5. (Option) If you want the selected workspaces remounted the next time you log in, do one of the following: t Click the Auto Mount button.
t Click the Fast menu, and select Auto Mount On.
The Auto Mount button changes to blue.
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Chapter 5 Working with the Interplay Window
Configuring Interplay Settings
You need to specify your Interplay workgroup settings and the Interplay Server location before you can use your remote assets. For procedures on using remote assets, see the Basics guide or Help for your Avid editing application.
Interplay Server is a Project setting, which is a setting that applies to all users working on a particular project. If you want to access another asset manager, you must modify the
Interplay Server settings to reflect the new server.
To configure workgroup settings:
1. Start the Avid editing application.
2. Click the Settings tab in the Project window.
The Settings list appears.
3. Double-click Interplay Server.
The Interplay Server Settings dialog box opens.
4. In the Interplay Server Name text box, type the computer name of your Interplay server, and then click OK.
It is important to type the correct computer name. This is the location where the editing system looks to access remote assets and to check in and check out Avid assets. You can also enter the IP address instead of the computer name.
5. Double-click Interplay Folder.
The Interplay Folder Settings dialog box opens.
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Editing with Remote Assets
6. Click the Set button, select a folder to use as the default Interplay Root Folder for your project, and click OK. The Interplay Window uses a subdirectory within the default directory and named after the bin for checking in media to the asset manager, unless you manually drag media from a bin and drop it in a remote directory. For more information on checking in media using the drag-and-drop method, see
“Checking Avid Assets In to the Interplay Database” on page 76
.
7. (Option) Select “Append project to directory path” if you want the Interplay Window automatically to create a folder with your project name in the project directory.
8. Click OK.
9. In the Settings list, double-click Interplay User.
The Interplay User Settings dialog box opens.
10. In the User Name text box, type a user name. This name must be a known user on your workgroup system. For information on creating a new user, see the Avid Interplay
Engine and Avid Interplay Access Administration Guide.
11. Select “Automatic Login at Project Selection” if you want to log in to the Interplay database automatically every time you open a project.
n
If you do not select this option, you must open this dialog box when you want to access the database.
12. Click OK.
Editing with Remote Assets
When you edit with remote assets in a workgroup environment, you need to keep in mind that other users might share the clips and sequences in your project. When you first set up your project, you can load the assets you want to work with to the Source monitor, mark In and Out points, and add them to your sequence in the Timeline where you can create your effects and edit your footage. You can then check in your sequence, including titles and
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Chapter 5 Working with the Interplay Window effects, to the database so others can access your work. Also, you should update the sequence in your bin to ensure that the remote assets in your sequence include the most recent changes you and other users have made.
The following topics provide more information on how to include remote assets in your projects:
•
“Working with Avid Assets in the Interplay Database” on page 74
•
“Checking Avid Assets Out of the Interplay Database” on page 75
•
“Checking Avid Assets In to the Interplay Database” on page 76
•
“Automatically Checking In Avid Assets” on page 78
•
“Updating Remote Assets in Bins” on page 79
Working with Avid Assets in the Interplay Database
You use the Interplay Window to access master clips and sequences in the Interplay database. When you locate the appropriate Avid asset, you open the asset in the Source monitor where you can preview it and mark In and Out points. You can then add the assets to the sequence in the Timeline just as you would any other media clip. You then save your sequence to the bin, and you can move it to an Interplay folder in the Interplay Window, which checks in the sequence to the database.
To access Avid assets on the asset manager:
1. Start the Avid editing application, and either create a new project or open a bin in an existing project.
2. Log in to the Interplay database (see
“Connecting to the Avid Interplay Database” on page 68 ).
3. Select Tools > Interplay Window.
The Interplay Window opens.
4. Navigate to the project containing the master clips and sequences you want to use, and click the project folder.
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Editing with Remote Assets
The Interplay Window displays the Avid assets in the Interplay folder.
5. Click the asset you want to edit, and drag it to the Source monitor.
The Source monitor displays the remote asset.
Checking Avid Assets Out of the Interplay Database
You can also move your assets from the Interplay database to a bin. This automatically checks them out from the asset manager, as long as the assets are not currently checked out by another user. Checking out assets from the asset manager creates a local copy of the assets. When you check in the assets, Interplay looks for any changes to the assets and copies the changes back to the database. For more information on checking out assets from
Interplay, see the Avid Interplay Access User’s Guide.
To access Avid assets on the asset manager:
1. Start the Avid editing application, and either create a new project or open a bin in an existing project.
2. Log in to the Interplay database (see
“Connecting to the Avid Interplay Database” on page 68 ).
3. Select Tools > Interplay Window.
The Interplay Window opens.
4. Navigate to the project containing the master clips and sequences you want to use, and click the project folder.
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Chapter 5 Working with the Interplay Window
The Interplay Window displays the Avid assets in the Interplay folder.
5. Click the assets you want to check out, and drag them to your bin.
The bin displays the clips and sequences.
Checking Avid Assets In to the Interplay Database
When you check in clips, sequences, or other assets for the first time, the Interplay Engine automatically creates a database entry for each Avid asset. You can check in individual assets, multiple assets, or all assets in an open bin. Checking in Avid assets that were previously checked out updates the version of the asset in the Interplay database.
When you use a menu command to check in assets, a subfolder, named after the bin, is created within the Interplay Root Folder. (For information on setting the Interplay Root
Folder directory, see
“Configuring Interplay Settings” on page 72
.)
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Editing with Remote Assets
When you use the drag-hand-drop method for checking in assets, you can select any appropriate Interplay folder to store your assets.
The first time you check in an Avid asset from a bin that has not been checked in to the
Interplay database before, an automatic reservation is placed on the Interplay folder. The default duration of the reservation is set in the Avid Interplay Administrator. For more information on reservations, see the Basics guide or Help for your Avid editing application.
To add Avid assets from your bin to the Interplay database:
1. Open the bin that contains your clips or sequences.
2. Log in to the Interplay database if you have not already done so (see
Avid Interplay Database” on page 68
).
3. Select Tools > Interplay Window.
The Interplay Window opens.
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Chapter 5 Working with the Interplay Window
4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New
Folder, and then type a name for the folder.
5. Do one of the following: t To check in an Avid asset, click a master clip or sequence and drop it in the folder in the Interplay Window.
t To check in an Avid asset, right-click a master clip or sequence and select Check In
To Interplay.
t To check in all Avid assets in the bin, select Bin > Check In Bin To Interplay.
t To check in Avid assets in all open bins, select Bin > Check In All Open Bins to
Interplay.
The Interplay Engine checks in the assets either to the target folder where you drag the assets or to a subfolder within the Interplay Root Folder. (For information on specifying the Interplay Root Folder, see
“Configuring Interplay Settings” on page 72 .)
Automatically Checking In Avid Assets
You can automatically check in media assets by setting the appropriate option in the Avid
Interplay Administrator. The “Check in bins when closing” setting in the Editor Database
Settings provides the following options for checking in media from bins:
• Always check in — the editing application checks in media assets in a bin whenever you close it (for example, when you close an individual bin or a super bin, close a project, or quit the application)
• Never check in — the editing application does not check in media assets in a bin when you close it
• Ask User — a dialog box asks you if you want to check in a bin or bins to Interplay that you are closing (this is the default setting)
When you automatically check in media assets from a bin, assets are checked in to a subfolder within the Interplay Root Folder, which is specified in the Interplay Folder settings. For information on Interplay Folder settings, see
“Configuring Interplay Settings” on page 72 .
If you are not sure which option is set for your system, see your Interplay administrator. For more information about Avid Interplay settings, see “Editor Database Settings” in the Avid
Interplay Engine and Avid Interplay Access Administration Guide or the Avid Interplay
Administrator Help.
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Finding Remote Assets
Updating Remote Assets in Bins
Every time you open a Interplay project that includes remote assets, your bins display any
Avid assets that you have checked out as part of your project. You can update the contents of bins in your project without using the Interplay Window by updating the remote assets from the database. Updating from the database automatically checks out the most recent version of the clips or sequences in your project.
n
You can update selected bin items, or you can update all items in a selected bin.
To update remote assets:
1. Open the project bin that contains the local copies of your remote assets.
2. Do one of the following: t Select Bin > Update Bin from Interplay.
t Click the Bin fast menu, and select Update Bin from Interplay.
The latest version of the project items is copied to the bin.
Finding Remote Assets
You find Avid assets stored in the Interplay database by searching Interplay folders.
This section discusses the following topics:
•
“Overview of Finding Remote Assets” on page 79
•
“Performing Searches on Interplay Folders” on page 80
•
“Keeping Search Results in the Interplay Window” on page 82
Overview of Finding Remote Assets
The most common method of finding remote assets is to perform a search based on attributes. The Interplay Window searches for the attributes associated with Avid assets.
Each attribute can define statistical information (such as the date) or descriptive information
(such as clip name). The search function allows you to search by a date, a word, or a few characters.
The database returns the results of any search in the Research panel, which allows you to access more detailed information about displayed assets.
n
You can have multiple searches running at the same time.
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Chapter 5 Working with the Interplay Window
Typically, you conduct database searches for Avid assets based on their associated attributes. For example, you could find all master clips modified in the last hour, all sequences in a particular project, or all subclips in a particular project that have the word
“feature” in their names.
Performing Searches on Interplay Folders
When you perform a search, the Search controls open on a separate tab of the Research panel. Searches allow you to define your search based on standard media attributes, described in the following table:
Interplay Window — Search Attributes
Attribute
Text
Search In
Types
Category
Time
Options Description
User supplied text Allows you to search text-based attributes:
• Name
• Tape
• VideoID
• Comments
• User-created fields
Master Clip
Subclip
Sequence
Allows you to search in any Interplay folder in the database
Allows you to specify the type of media object for your search
(you must select at least one type for each search)
Weather
Sports
Local News
Politics
International
Whenever
Last 10 minutes
Last hour
Last 24 hours
Last week
Last month
Last year
Allows you to specify which category to search. The specific categories listed for this attribute are defined by the system administrator.
Allows you to set a time parameter for your search (time parameters refer to the date the media object was last modified)
80
To perform a search:
1. Do one of the following: t Press Ctrl+F.
t Right-click an Interplay folder, and select Search.
The Media Search tab opens in the Research panel.
Finding Remote Assets
2. In the Text text box, type a search term. You can specify words or characters for your search. Search terms are not case-sensitive and apply to all searchable text attributes of the Avid assets in your search.
3. Expand the Search In area and navigate to the folder you want to search. If you do not specify a location, the Interplay Window searches the entire Interplay database.
n
If you right-click a folder and select Search, the Search in field displays the name of the selected folder.
4. Expand the Types area and select the type of media object you want to search for. You can select multiple types. By default, all three types of media objects are selected — master clips, subclips, and sequences.
5. Expand the Category area and select the asset category you want to search for. You can select multiple categories.
6. Click the Time menu, and select a time parameter for your search.
n
If you accept the default settings and specify no additional attributes, the search returns all clips, subclips, and sequences in the database.
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[
Chapter 5 Working with the Interplay Window
7. Click Search.
The Interplay Window performs the specified search and returns all matching records in the Research panel.
8. (Option) To start a new search, click Reset and then repeat steps 1 through 7. For information on keeping your search results when you perform another search, see
“Keeping Search Results in the Interplay Window” on page 82 .
n
To get the best response times for your searches, make them as specific as possible.
Keeping Search Results in the Interplay Window
If you want to keep the results of your search when you perform another search, you must
“pin” the search tab to keep it open before you start a new one.
To keep your search results:
t Click the Pin button.
The search is kept open as a tab in the Research panel.
Capturing Media to Interplay Folders
By using the Interplay Window to connect to the Interplay database, you can capture media directly to an Interplay folder. You can capture to any folder currently open in the Interplay
Window.
n
You can open multiple Interplay folders by using multiple tabs in the Research panel of the
Interplay Window. For more information, see the Basics guide or Help for your Avid editing application.
To capture media to an Interplay folder:
1. Select Tools > Interplay Window.
The Interplay Window opens.
2. Navigate to the Interplay folder to which you want to capture media, and click the folder.
The Interplay Window displays the Avid assets in the Interplay folder.
3. Select Tools > Capture.
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Bin menu
The Capture tool opens.
Capturing Media to Interplay Folders
Interplay
Folders
4. Set up the Capture tool as described in “Capturing Media: Basics” in the Help.
5. Click the Interplay Folders selection button.
6. Click the Bin menu, and select an open Interplay folder.
7. Start capturing as usual. For information on different methods and procedures for capturing media, see “Capturing Media: Advanced” in the Help.
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Chapter 5 Working with the Interplay Window
84
Chapter 6
Using Pro Tools and Interplay
This chapter describes how to use Interplay to pass audio files back and forth between Avid video editing systems and Pro Tools
®
audio editing and mixing systems. This chapter includes the following topics:
•
Setting Up Interplay for Pro Tools Check In
•
Configuring the Pro Tools Plug-Ins for Interplay
•
Performing a Check in to Interplay for Pro Tools Operation
•
Importing the Sequence into Pro Tools
•
Exporting Tracks to Interplay from Pro Tools
•
Importing the Pro Tools Audio Files Back into the Avid Editing Application
•
Version Control Between the Avid Video Editor and Pro Tools Editor
System Requirements
This feature requires the following software:
• Interplay v1.0.3 or higher and supported Avid editing applications
• Pro Tools v7.3 or higher
Chapter 6 Using Pro Tools and Interplay
Setting Up Interplay for Pro Tools Check In
Before you use your Avid editing application to check files into Interplay for Pro Tools, you must do the following:
1. Install the Pro Tools and Interplay software on your Pro Tools system. See
.
2. Determine the check-in destination folder. See
“The Check-In Destination Folder” on page 87 .
3. Configure the import and export settings. See “Configuring the Pro Tools Plug-Ins for
.
Software Installation
Installation Order
Install software in the following order on the Pro Tools system:
1. Pro Tools v7.3 or higher
2. Avid Interplay Access v1.0.3 or higher
3. Pro Tools Interplay Option
You can also install Interplay Access and the Pro Tools Interplay option on any Windows system that you want to use as an Interplay Administrator system. This allows the
Administrator to configure the Import and Export settings from another system in the
Interplay environment. Always install Interplay Access before you install the Pro Tools
Interplay Option.
Installing Interplay Access and the Pro Tools Interplay Option
Use the Avid Interplay Installer DVD to install the Interplay Access and the Pro Tools
Interplay Option on your Pro Tools system. The Pro Tools Interplay Option installer adds the following plug-ins to the Interplay Administration tool
• Pro Tools Import Settings
• Editor Export Settings for Pro Tools
The installer also adds the following plug-in to the Pro Tools installation folder:
• ProToolsInterplayOption.dll
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Setting Up Interplay for Pro Tools Check In
Obtain Interplay Access and the Pro Tools Interplay Option from the Avid Interplay Installer
DVD. Use the Install Client Support page of the installer. For information on installing the
Pro Tools Interplay Option, see the Avid Interplay Software Installation and Configuration
Guide.
n
The Interplay Access installer automatically installs the Interplay Administrator tool.
The Check-In Destination Folder
By default, the Avid editing application stores the files that the Pro Tools editor will use in the following folder in the Interplay database:
Projects\project_name\bin_name\Pro Tools
The Avid editing application checks the sequence into the bin_name folder in Interplay and checks a special version of the sequence into the Pro Tools folder. The Pro Tools editor checks out the version in the Pro Tools folder.
The following illustration shows a folder structure in Interplay Access after a “Check In to
Interplay for Pro Tools” operation. The check in was performed from a bin named
Interop Demo within a project named Joe and Michaels.
Exported file
Projects folder
Project name
Bin name
Pro Tools folder
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Chapter 6 Using Pro Tools and Interplay
Defining the Check-in Destination Folder
You select File > Check In to Interplay for Pro Tools in the Avid editing application when you want to check in a sequence for Pro Tools.
The Avid editing application selects a check-in destination folder according to your
Interplay Folder settings. You can use the default settings or change them by modifying the
Interplay Folder Settings in the Project window. The following illustration shows the default
“Projects” destination.
Project Window Interplay Folder Settings n
When you perform a “Check In to Interplay for Pro Tools” operation, the Avid editing application duplicates the sequence and does not modify the original sequence.
Configuring the Pro Tools Plug-Ins for Interplay
Before you use the Avid editing application to check files into Interplay for Pro Tools, you must install the Pro Tools Interplay Option on that system. The installation software adds the following plug-ins to the Administrator tool on the Pro Tools system.
• Editor Export Settings for Pro Tools
• Pro Tools Import Settings n
You can install Interplay Access and the Pro Tools Interplay Option on any Windows system that you want to use to configure the import and export settings.
The following illustration shows the plug-ins in the Avid Interplay Administrator window.
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Setting Up Interplay for Pro Tools Check In
Pro Tools Interplay
Option settings
For information on installing the Pro Tools Interplay Option, see the Avid Interplay Software
Installation and Configuration Guide.
Configuring the Export Plug-In
You can configure the plug-ins before you perform the Audio export from your Avid editing system or you can wait until you begin the export process and the system will prompt you for the settings as part of the export. You can select export settings for the entire database or for particular folders.
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To configure the Editor Export Settings for Pro Tools:
1. In the Interplay Administrator window, open the Editor Export Settings for Pro Tools view.
The following illustration shows the settings for a project folder named
“PR3 NTSC 30i.” You can modify the settings for any folder in the hierarchy.
Subfolders inherit settings.
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2. Select options as described in the following table.
Category
Video Details
Option
Transcode Video
Resolution
Description
The Avid editing application uses this value to perform a video mixdown when you select the Video Mixdown option for a “Check In to Interplay for Pro Tools” operation.
The application might also use the value when you perform a “link to existing media” export. For more information, see
“Video Mixdown Options for Check In to Interplay for Pro
.
Setting Up Interplay for Pro Tools Check In
Category
Audio Details
Option Description
Audio Mixdown Specifies whether to include an audio mixdown with each export. Available options are No Mixdown, Stereo, and
Mono.
Convert Audio Sample
Rate
Specifies the audio sample rate for the export. The Project option refers to the current Avid editor project setting.
Convert Audio Bit Depth Specifies the audio bit depth for the export. The Project option refers to the current Avid editor project setting.
3. Click Apply in the lower right corner of the view.
n
Changes take effect for the Avid editing application the next time they log into the Interplay
Window. The editor may have to log out of the Interplay Window and log back in.
4. Click the Menu button in the top left corner to return to the Administrator window.
Menu button
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If You Do Not Configure the Pro Tools Export Settings
If you do not configure settings for a particular folder, the Avid editing application displays the Pro Tools Export Settings dialog box when you perform the “Check In to Interplay for
Pro Tools” operation. You can specify the settings for that particular export in the dialog box.
The following illustration shows the Pro Tools Export Settings dialog box.
Configuring the Import Plug-In
To configure the Pro Tools Import settings:
1. Open the Pro Tools Import Settings view in the Administrator window.
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Setting Up Interplay for Pro Tools Check In
The following illustration shows the Pro Tools Import Settings view. In this example, the settings are configured for the entire database. You can also select an individual folder and set specific values for that folder and its sub folders. Settings are inherited from the parent folder.
Settings configured for the entire database
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The Pro Tools Import Settings dialog box allows you to specify the values that Pro
Tools uses to import the files and create a new session. Values correspond to the values used in the Pro Tools AAF import dialog box and the new session creation dialog box.
See your Pro Tools documentation for more information.
n
If there are no settings for a particular folder, the Pro Tools editor can modify those settings in the New Session dialog box and the Import Session Data dialog box during the import into Pro Tools. Usually, the Administrator sets the import and export settings for either the entire database or for particular project level folders. Subfolders inherit settings.
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Performing a Check in to Interplay for Pro Tools Operation
Performing a Check in to Interplay for Pro Tools
Operation
The following illustration shows a Media Composer bin and sequence.
Sequence to check in
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In this example, the sequence we will export is named “Episode 1 opening Exported 03”.
To check the sequence into Interplay for Pro Tools:
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You cannot import HD video formats into Pro Tools.
1. If you are in an HD project, use the Format tab in the Project window to switch to the corresponding SD resolution. For example, in an NTSC 1080i/59.94 project, switch to a
30i format and in a PAL 1080i/50 project, switch to a 25 format.
The following illustration shows the Format tab in the Project window.
n
For 720p projects there is no corresponding SD resolution, so you can export only the audio files for this procedure.
2. Select File > Check In To Interplay for Pro Tools.
If you have previously set the Pro Tools Export Settings for the folder, the Pro Tools
Video Mixdown dialog box opens.
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Performing a Check in to Interplay for Pro Tools Operation
3. Select one of the options as described in the following table.
Video Mixdown Options for Check In to Interplay for Pro Tools
Category Description
New video mixdown
The Avid editing application performs the following operations:
• Checks the existing sequence into Interplay without rendering any video effects. By default, the system checks the sequence in to the following folder:
Projects\project_name\bin_name
• Creates a new video mixdown sequence which renders all video effects into the video mixdown, then checks the video mixdown sequence into the following folder:
Projects\project_name\bin_name\Pro Tools
Link to existing video media
Use this option when you either don’t need to render the video effects or you have already rendered the effects. The Avid editing application performs the following operations:
• Checks the existing sequence into Interplay without rendering any effects. The system checks the sequence in to the following folder:
Projects\project_name\bin_name
• Determines whether the current resolution matches the Transcode resolution in the
Editor Export Settings for Pro Tools view in the Interplay Administrator.
- If the settings match, the system does not create a video mixdown or render any video effects. It creates a sequence that links to the existing media.
- If the settings do not match, the system ignores the link to existing media option and transcodes the sequence according to the setting in the Editor Settings for Pro Tools view. The system also renders (or re-renders) all video effects to match the transcode resolution. This guarantees that the Pro Tools editor will have access to a video format that is supported by Pro Tools. Then it checks the transcoded sequence into the following folder:
Projects\Project name\Bin name\Pro Tools n
The application overrides the “link to” option in order to guarantee that the Pro
Tools editor has access to a resolution that is supported by Pro Tools.
4. Click OK.
The system performs the export and check in to Interplay based on the video and audio setting you defined in the Editor Export Settings for Pro Tools view of the Interplay
Administrator. See
“Configuring the Export Plug-In” on page 89
. Those settings apply to either the entire database or to folders, depending on how you configure them.
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If your check-in destination folder is a folder for which you have not defined settings, the system displays the Pro Tools Export Settings dialog box so you can specify the settings.
The following illustration shows the Pro Tools Export Settings dialog box.
The Exported Files in Interplay
When you perform a “Check In to Interplay for Pro Tools” operation, the system chooses a destination folder in the Interplay database based on your current Interplay view settings.
For more information, see
“Defining the Check-in Destination Folder” on page 88 .
The default destination folder is as follows:
Projects\project_name\bin_name
The system performs the following operations:
• Checks the sequence into the bin_name folder
• Creates a Pro Tools folder within the bin_name folder
• Checks the files for the Pro Tools editor into the Pro Tools folder
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Performing a Check in to Interplay for Pro Tools Operation
The following illustration shows the sequence and related files checked in to the project and bin folders in Interplay Access.
The name matches the name in the Avid editing application bin
The Avid editing application also checks an additional sequence into the Pro Tools folder.
The first time you export the sequence, the system appends the text “_v1_forPT” to the sequence name in the Pro Tools folder. The next time you export the sequence, it uses the text “_v2_forPT,” and so on.
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The following illustration shows the contents of the Pro Tools directory.
The system appends the text “_v1_forPT” to the sequence name
Red dots
You can import the sequence in the Pro Tools folder into Pro Tools.
n
The red dots in the illustration indicate that the system has placed a reservation on the files to prevent unauthorized deletion for a fixed period of time. For more information, see the
Avid Interplay Access User’s Guide.
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Importing the Sequence into Pro Tools
Importing the Sequence into Pro Tools
This section describes how to check out the exported sequence from Interplay and import it into Pro Tools. This section assumes that you have already configured the Pro Tools Import settings in the Interplay Administration tool. For more information, see
Export Plug-In” on page 89 . If you do not establish settings before the import, you can type
the appropriate values in the Import Session Data dialog box during the import process.
To check out the sequence and import it into Pro Tools:
1. Do one of the following on the Pro Tools system: t Start Pro Tools and choose File > Import > Sequence from Avid Interplay.
t Start Interplay Access, right-click the sequence, and choose Import to Digidesign
Pro Tools.
The following illustration shows the sequence selected in Interplay Access.
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You can perform the File > Import > Sequence from Avid Interplay command either with or without a session open in Pro Tools as follows:
• If you perform the command from within an open session, Pro Tools imports the sequence into the session.
• If you perform the command without an open session, Pro Tools prompts you to create a new session.
The following procedure describes how to import the file from within the
Pro Tools application. This example does not have a currently open session.
To import the file from within the Pro Tools application:
1. Start Pro Tools and choose File > Import > Sequence from Avid Interplay.
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2. The Interplay Engine Browser and the Logon to Interplay windows open.
Importing the Sequence into Pro Tools
3. Log in to Interplay and expand the Avid workgroup folder in the Interplay Engine
Browser. n
The folder structure matches the structure in Interplay Access.
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4. Navigate to the sequence that you want to import.
Projects folder
Project name
Bin name
Pro Tools folder
Sequence to import n
Files that are grayed out are not available for import into Pro Tools.
5. Click OK in the bottom right corner of the window.
OK button
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Importing the Sequence into Pro Tools
The “Name the Session” dialog box opens. n
If you already have a session open, this dialog box does not appear.
6. Select appropriate options, and then click Save.
7. The Import Session Data dialog box opens.
Pro Tools automatically uses the options you selected in the Pro Tools Import Settings panel of the Interplay Administration tool. If the configuration has not been completed at this time, select the appropriate options and click OK.
n
If the sequence was linked to media files on unmounted volumes, the system provides a warning and asks you to mount those volumes before you proceed with copying or linking to media.
The system imports the files, copies the files locally (if the settings require copy), and displays the imported sequence.
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The following illustration shows the imported sequence.
Video edit track
Video mixdown
Audio tracks
.
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Exporting Tracks to Interplay from Pro Tools
Exporting Tracks to Interplay from Pro Tools
After you edit your session in Pro Tools, you can export the audio tracks back into the sequence in Interplay.
n
It is often advisable for the Pro Tools user to provide completed audio stems rather than audio tracks with complicated edits. If you choose to export complete audio stems, be sure that you have recorded your mixed audio to one or more Aux tracks. You can do so by connecting the Master Fader output to one or more Aux tracks via busses and then performing a complete playback/record pass with the Aux track(s) armed to Record. This ensures that you have complete audio stems to export back into the sequence in Interplay.
To export audio tracks and check them into Interplay:
1. In Pro Tools, select File > Export > Selected Tracks to Sequence in Avid Interplay.
The Export Comment dialog box opens.
2. Type a comment and click OK.
The Replace or Add Selected Tracks dialog box appears.
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This dialog box allows you to choose whether to replace the audio tracks or add the selected audio tracks to the sequence in the Interplay folder. In this example we choose to replace the audio tracks.
3. Select Replace with Selected Tracks and click OK.
A confirmation message box opens.
4. Click OK.
The sequence in the Avid Interplay database is now ready to be checked out and imported by the Avid editor.
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Importing the Pro Tools Audio Files Back into the Avid Editing Application
Importing the Pro Tools Audio Files Back into the
Avid Editing Application
This section describes how to import the sequence back into the Avid editing application after the Pro Tools editor has finished editing and mixing the audio and exported completed audio stems back to the Pro Tools sequence.
To import the sequence back into the Avid editing application:
1. Open the Interplay Window and navigate to the location of the checked-in sequence.
File checked in by Pro Tools editor
Pro Tools folder n
Depending on the edits you made in Pro Tools, you might see several audio files that have names prefixed with “Sample accurate edit” in the Interplay folder. For more information, see
“Frame-Rate Accurate Video Editing and Sample-Rate Accurate Audio Editing” on page 112
.
2. Drag the sequence into your bin.
The Avid editing application checks out the sequence and imports the sequence and the related files into the bin.
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Imported sequence
Video mixdown created during first check in to
Interplay
Original sequence
3. At this point you have two choices: a.
Edit the new audio tracks back into the original sequence.
b.
Work with the imported sequence.
In this example, we edit the Pro Tools audio tracks back into the original sequence.
n
If you plan to export the sequence again to the Pro Tools editor, it is simpler to import the audio into the original sequence. Every time you export a sequence for Pro Tools the system
appends the text “_vx_forPT”, where x is the number of times the sequence has been
exported. It can become confusing if several similar text strings are appended to the name.
4. Load the imported sequence into the Source monitor.
5. Edit the audio into the original sequence using standard editing techniques. For more information, see the Help for your Avid editing application.
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Importing the Pro Tools Audio Files Back into the Avid Editing Application
The following illustration shows the audio tracks cut into the original sequence. In this example, the original tracks are overwritten.
Imported sequence
Original sequence
6. Now you can make any adjustments to the sequence and do the following:
Create a digital cut
Perform a Send to Playback operation
Check the sequence back into Interplay for Pro Tools if the Pro Tools editor needs to work on the files again
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Frame-Rate Accurate Video Editing and Sample-Rate Accurate Audio
Editing
When you use File > Export > Selected Tracks to Sequence in Avid Interplay to export tracks from Pro Tools, a number of additional media files appear in the Interplay Window and in your bin. Some have names that are prefixed with “Sample accurate edit”. These are the additional media files that Pro Tools creates to make sure that the Avid editing application receives frame-accurate audio. You also see the sample-accurate edit media files if you zoom in on portions of the imported audio in the Timeline.
The following illustration shows Sample accurate edit files in the Interplay Window.
Sample accurate edit audio files.
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Importing the Pro Tools Audio Files Back into the Avid Editing Application
Avid video editing applications edit with frame accuracy. This means that in a 30-fps project, you can edit at 30 different locations for every one second of video. Pro Tools edits with sample rate accuracy. In a 48-kHz session, there are potentially 48000 locations to edit for every second of audio.
When Pro Tools exports a file that will be used by an Avid editing application, it must ensure that the audio media files line up on frame boundaries. To do this, it might have to split an existing audio clip into three clips. For example, the following illustration shows a
5-frame video clip and a corresponding audio clip. In Pro Tools, the audio clips might not line up on video frame boundaries.
One Pro Tools
Audio clip
5 frame video clip
The original audio clip does not line up on video frame boundaries
In order to export frame accurate audio clips, Pro Tools splits the audio media on frame boundaries and fills any gaps with silence. The following illustration shows the resulting audio clips that are exported to the Avid editing application.
New audio clip with padded silence
Three exported
Audio clips
5 frame video clip
New audio clip with padded silence
Exported audio clips line up on video frame boundaries
To cut down on the number of Sample accurate edit files, the Pro Tools editor can perform a
Bounce to disk for each track (or a bus-record to an Aux track) rather than exporting the tracks that contain all of the audio edits. For information on recording to an Aux track, see
“Exporting Tracks to Interplay from Pro Tools” on page 107 .
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Version Control Between the Avid Video Editor and Pro Tools Editor
This section describes differences between the version control operations for the Avid editor and Pro Tools editor.
The First Round Trip Check In
When the Avid video editor checks in a sequence for the first time, the following occurs:
• The system checks the sequence into the corresponding folder in Interplay (by default, the Project\project_name\bin_name folder).
• The system creates a Pro Tools folder in the same directory and checks the following file into that folder:
Sequence_name_v1_forPT
The Pro Tools editor checks out the Sequence_name_v1_forPT file. After the Pro Tools editor completes the audio editing, he or she checks the file back into the same location.
The following illustration shows the sequence in Interplay Access. The sequence name does not change when it’s checked in to Interplay.
Sequence checked in from Avid video editor maintains original name
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Version Control Between the Avid Video Editor and Pro Tools Editor
The following illustration shows the sequence for the Pro Tools editor after the Pro Tools editor has checked the sequence out, modified it, and checked it back in. This illustration also shows the History window for the sequence. Two versions are now available for the sequence.
Two versions checked in Sequence for Pro Tools editor
To open the History window for a file in Interplay Access:
t Right-click the file and select Version Control > History.
At this point the Avid video editor can check out sequence_name_v1_forPT and either edit the sequence directly or cut the audio back into the original sequence. For more information, see
“Importing the Pro Tools Audio Files Back into the Avid Editing Application” on page 109 .
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Subsequent Check Ins from the Video Editor and the Pro Tools Editor
In this example, assume that the Avid video editor does the following:
1. Checks out sequence_name_v1_forPT file and cuts the new audio into the original sequence.
2. Checks the version with the updated audio files into Interplay without making any additional changes.
3. Later that day he or she makes additional changes to the video and checks the file back into Interplay so that the Pro Tools editor can make additional audio changes.
The following illustration shows the exported video sequence in Interplay Access along with a version history of the sequence. There are now three versions of the sequence in Interplay.
Three versions of the sequence
Main video sequence
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Version Control Between the Avid Video Editor and Pro Tools Editor
Each time the Video editor checks in the sequence to Interplay for Pro Tools, the following occurs:
• The sequence_name file in the corresponding bin folder in Interplay is updated with a new version. The file name does not change.
• The Avid editing system creates a new file for the Pro Tools folder and changes the vx portion of the name.
The following illustration shows the sequences in the Pro Tools folder after the sequence has been checked in three times by the Avid video editor. The illustration also shows the version history of one of the sequences.
Three sequences for three different check ins from the Avid video editor
Two versions of v1 sequence - one checked in by Pro Tools editor
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Keeping Track of the Versions
While it is easy to check the versions of the main sequence file in the bin folder, it can be more complicated to keep track of the individual files in the Pro Tools folder. It is important that the Avid video editor and the Pro Tools editor stay in touch and let each other know when files are ready and which file should be worked on next. Of course, most times you would work on the latest version.
In order to speed up communication, you can use the email Messenger service available in
Interplay Access. The Interplay Administrator sets up individual users for email notification and then the editors can send an email identifying the specific file that is ready for editing.
To set up email notification in Interplay Access:
1. Enable email notification for Interplay. See the Avid Interplay Engine and Interplay
Access Administration Guide.
2. Use the User Management view in the Interplay Administrator tool to set up email notification for individual users.
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Version Control Between the Avid Video Editor and Pro Tools Editor
To send email notification about a file:
1. Right-click the file in Interplay and choose Messenger > Send Link To.
The following illustration shows the menu item.
Context menu
The email notification window appears with a link to the file.
2. Fill in the information and click Send.
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The following illustration shows the Messenger window.
The recipient receives an email message containing a link to the file and any additional information.
For more information on working with different versions of the files and for more details on working with the files in Pro Tools, see the Pro Tools Avid Interplay Guide.
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Chapter 7
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 Avid
Interplay Transfer.
This chapter includes the following topics:
•
Understanding Frame Chase Editing
•
Workflow for Frame Chase Editing
•
Limitations When Working With In-Progress Clips
Understanding Frame Chase Editing
Frame Chase editing is a time-saving feature that lets an editor view and edit media while it is being captured from a line feed or ingest device. After the capture starts, the editor can use the captured media to create a sequence, view the media as it is captured, and complete a sequence even before the capture has finished.
Clips that are in the process of being captured are referred to as in-progress clips.
In-progress clips are indicated by the following icons:
In-progress master clip In-progress audio clip
Chapter 7 Using 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 workgroup that includes Avid
Interplay Transfer and a supported external device. Media must be in the MXF format. The process consists of three basic parts:
1. A capture is started on a line feed or ingest device (for example, an Avid AirSpeed video server). This capture is controlled by an application such as Avid
CaptureManager. Depending on the device, you can also “hot record” a clip by using controls on the device itself.
2. After the capture begins, the Interplay Transfer software on the AirSpeed checks the inprogress clip into the Interplay database. Interplay Transfer also manages the transfer of media to Avid Unity shared storage.
3. The editor or journalist loads the in-progress clip. You can work with in-progress clips on an Avid editing system, Avid Instinct, or Avid Interplay Assist. On an Avid editing system, you can work directly from the Interplay window, or you can check out a clip to a bin.
The following diagram illustrates these basic parts of the process.
1
The capture application starts the capture.
CaptureManager
AirSpeed with
Interplay Transfer
2
Interplay Transfer
checks in the clip.
Unity shared storage Avid editing system
The editor loads the in-progress clip.
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The length of an in-progress clip is based on the expected duration of the capture. For on-the-fly or open-ended captures, the length of the clip is based on the maximum capture time set by the capture application. The Frame Chase process creates one media file for each
Workflow for Frame Chase Editing track of the captured media. As a capture continues, the size of the associated media file increases. After the capture is complete, the clip is updated to reflect the actual duration of the capture and the in-progress icon is replaced by the standard icon.
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. When an editor loads an in-process clip, the version that is displayed is determined by one of the following:
• If dynamic relink is enabled, the dynamic relink settings determine which version is displayed.
• If dynamic relink is not enabled, the latest version checked in to the Interplay database is displayed.
For more information about dual-ingest configurations, see the Avid CaptureManager
Installation and Configuration Guide. For more information about dynamic relink, see
“Using MultiRez and Dynamic Relink” in the Help for your Avid editing system.
Workflow for Frame Chase Editing
The following workflow is one example of how to use Frame Chase editing.This workflow includes the following components:
• An Avid editing system that is an Avid Interplay client. This workflow uses Avid
NewsCutter Adrenaline. It also uses the Interplay Window to access the Interplay database.
• A supported line-feed or ingest device. This workflow uses an Avid AirSpeed server.
• A capture application. This workflow uses Avid CaptureManager software, which schedules the ingest on the AirSpeed server.
• Avid Interplay Transfer software. In this workflow, the AirSpeed server contains its own version of Interplay Transfer.
You can adapt this workflow to suit the requirements of your working environment.
In the following workflow, an editor uses Avid NewsCutter Adrenaline to create a news story from a timed feed. CaptureManager has been set up to work with an AirSpeed server to automatically create clips of a set duration from the feed, as shown in the following illustration.
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For more information on CaptureManager, see the Avid CaptureManager User’s Guide.
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 Unity workspace is mounted.
3. Open the Avid editing application, 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.
In-progress master clip
Workflow for Frame Chase Editing
A clip that is being captured displays an 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 Avid Interplay Assist, press Alt+F5 to update the media displayed in the monitor.
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6. Create a sequence in a bin on your Avid editing system.
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
During the capture process the final length of the clip is unknown until the capture is complete and the clip information is updated. Because of this, there are some limitations when you work with in-progress clips.
The following editing functions are limited to working with the available captured media of an in-progress clip:
•
Editing in-progress clips into a sequence — You can edit the captured portions of in-progress clips into a sequence.
•
Subclips — When creating a subclip from an in-progress clip you must place the IN and
OUT points where media has already been captured and is available.
•
Trimming — The right-side trim limit of an in-progress clip is determined by the currently available media. When you trim an in-progress clip to the end of available media the trim functions as if it had reached the end of the clip. As more media is captured the trim limit increases. Performing the trim at a later time might allow more trimming as more media might become available.
The following editing functions are not available when working with in-progress clips:
•
Clip duplication — Duplication of an in-progress clip is not allowed because the duplicated clip loses its relationship with the original in-progress master clip.
•
Group clips — You cannot use an in-progress clip in a group clip, because the length of an in-progress clip is unknown until the capture is complete. Group clips are based on the length of the contributing clips. This limitation applies to all of the related grouping operations, such as AutoSync, Group Clips, and MultiGroup.
• Consolidate, Transcode, and Audio Conversion — You cannot use consolidate, transcode, or audio conversion with an in-progress clip. All the media must be available and the length of the clip known before you can perform these functions. However, you can use consolidate and transcode on subclips and sequences that reference or contain in-progress clips. In these cases, any right-side handles are restricted by the known media duration of the in-progress clip at the time of the operation.
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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.
• Non-Check-in export — You cannot export an in-progress clip or a sequence that contains in-progress clips because the final clip length might be different than the clip length at the time of the export.
•
Variable-bit-rate media — The only variable-bit-rate (variable-frame-size) media supported for Frame Chase editing is low-res long-GOP MPEG-2 media captured by the
Avid Interplay low-res encoder. Only media captured by supported ingest devices is supported for Frame Chase editing.
•
Using the Capture tool—Frame Chase editing is not available when capturing media from the Avid editing application’s Capture tool.
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Chapter 8
Using the Interplay Archive Engine
This chapter provides a quick overview of archiving, describes some important workflow issues, and lists the manuals that cover the various aspects of setting up and using the Avid
Interplay Archive Engine.
Avid Interplay supports two types of databases:
• An online database maintained by the Interplay Engine. The name must be AvidWG.
• An offline database maintained the Interplay Archive Engine. The name must be
AvidAM. The Interplay Archive Engine requires its own Windows 3000 server.
The following illustration shows an online database and an archive database.
Tree view
Safe image identifies the archive database
Avid Interplay online database
Avid Interplay
Archive database
Chapter 8 Using the Interplay Archive Engine
Archiving allows permanent archiving of important material and also allows you to locate and restore archived material.
The Avid Interplay Archive solution integrates the Avid Archive Engine with FlashNet
™ from Software Generation Limited (SGL) to perform archival and retrieval operations.
Archiving is performed from a central Windows server to mass storage devices for subsequent retrieval back to disk. FlashNet provides the interface between the Archive
Engine and the storage devices. For more information on SGL software and to download copies of the latest FlashNet documentation, see the SGL Web page at www/sgluk.com.
Archival Workflow Issues
This section provides some guidelines for determining your archiving workflow. Developing a standard workflow will help you make the best use of your archival tape library and will increase the efficiency of transferring files to and from the library.
Archiving Duplicate Versions of Media
You can choose whether the Archive Provider archives duplicate versions of media. By default, the archive Provider does not archive duplicate versions of media.
When you archive a master clip, subclip, or sequence for the first time, the Archive Provider automatically archives all the associated media. If you are archive another subclip or sequence that refers to the original masterclip, the Archive Provider does not automatically archive a duplicate version of the associated media. The Archive Provider archives all of the metadata associated with the new subclip or sequence but it does not archive duplicate versions of the media.
The Archive Engine avoids duplication by default. If you prefer to have the Archive Engine archive duplicate media files you can use the Interplay Administrator tool to change the setting.
To change whether archive operations create duplicate media:
1. Open the Interplay Administrator on the system running the Archive Engine.
2. Select Archive Settings.
3. Select the Archive database.
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Archival Workflow Issues
The system displays the Archive Settings window for the Interplay Archive Engine.
Avid Interplay Archive Engine database
Archive settings
4. Select Yes or No and click the Apply Changes button at the bottom of the window. The system uses the following options:
No - when you archive an Avid asset the first time, the Archive Provider archives all associated media. If you archive other assets that reference the same media, the
Archive Provider archives the metadata but does not archive duplicate versions the associated media.
Yes - The Archive Provider archives the associated media each time you archive an asset. If you delete an asset that references the duplicated media, the system asks if you want to delete the associated media files. If you choose the delete the media, the system deletes all copies of the media.
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Additional Archive Settings
When you select the Archive Settings option for an online database (AvidWG), the system displays a different set of option. The following illustration shows the Archive options for an online database.
Avid Interplay Engine (online) database
For more information on these settings, see the Avid Interplay Engine and Avid Interplay
Access Administration Guide and the Avid Interplay Media Services Setup and User’s
Guide.
Overriding Metadata When you Archive an Asset
By default, the Archive Provider overrides the metadata for an Avid asset each time you archive the asset. You can use the Metadata Override feature to change the behavior for the assets in a particular folder.
To change whether the Archive Provider automatically overrides metadata during an archive operation:
1. Open Interplay Access and log on to the Archive database.
2. Right click a folder and choose Metadata Override.
Interplay Access displays a dialog box that allows you to select the Metadata Override option for the folder.
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Archival Workflow Issues
3. Select Yes or No in the dialog box.
Yes (default) - Override the metadata for an asset when it is archived a second time
(and any subsequent times).
No - Do not override the metadata when an Avid asset is archived in this folder a second time (and any subsequent times).
n
There is currently no way to check the metadata override status for a folder. If you change the status on a folder in the archive database, you might want to change the name of the folder to reflect the status.
Using Partial Restore
Using partial restore can save time and disk space when restoring files from the archive. The concept of partial restore refers to the ability to restore just the necessary portion of a large master clip. The following are two examples:
• Restoring a subclip - If you perform a partial restore, you restore only the media that makes up the subclip. Otherwise you restore the entire masterclip associated with the subclip.
• Restoring a sequence - You can restore only the portions of the clips that are used by the sequence.
Partial Restore Example
This section describes an example of a partial restore operation.
To perform a partial restore from an archive:
1. Assume you have a 10 minute master clip and you have both 15:1s and DV 25 versions of the media.
2. Archive the DV 25 version of the media.
3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online.
4. Edit one minute of the low-resolution version of the clip into a sequence.
5. Select the sequence in the bin and use Avid Interplay Archive to restore the DV 25 version of the clip from the archive. 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.
Now when you look in the bin, the DV 25 resolution shows as partially online.
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Chapter 8 Using the Interplay Archive Engine
The following illustration shows a similar example. The Penguins clip is completely online for 15:1s and partially online for DV 25.
Partially online for DV 25
You specify whether you want to allow partial restores when you set up a Restore Profile.
For more information on using partial restore and creating a restore profile, see the Avid
Interplay Media Services Setup and User’s Guide. For more information on working with multiple resolutions (MultiRez), see the Basics Guide or Help for your Avid editing application.
Consolidating Clips and Sequences
Consolidating can conserve space in the archive database. Consolidating creates new media from an existing master clip. The new media is a new master clip that does not have a link to the original master clip. n
If you do not consolidate before archiving, you can perform partial restores and only restore the portions of the material that you need.
You have two basic choices for consolidating before you archive:
• If you have a sequence that references long master clips, you can consolidate the sequence before you archive it. This creates new media files for each clip in the sequence. Then, when you archive the new consolidated sequence, the system only archives the new, shorter master clips. Archiving is relatively fast using this method because you only archive the media that is used in the sequence.
The main drawback to this method is that you can’t specify handles on an individual clip basis. You only have the option of setting one handle length for all the clips in the sequence. So you might not archive enough of the original clips to perform edits at a later time.
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Archival Workflow Issues
• You can consolidate before you edit. This is a more efficient method because you can determine the length of each clip as you work with it. In this workflow you would use the following general procedure: a.
Create subclips from the original long master clip.
b.
Consolidate the subclips. This operation creates new subclips and new master clips.
c.
Store the consolidated subclips or master clips on a predetermined folder in the
Interplay database.
d.
Work with the consolidated subclips or master clips.
If you use this method, any archiving operations that the editors perform will be relatively fast because they are only archiving the material that is directly associated with the sequence or master clip.
Deleting Online Media After an Archive Operation
After you archive media files, you can delete the online media. Use the following guidelines to ensure that you do not delete the online material before the archive operation is complete.
• Place a reservation on material that you are going to archive to make sure you don’t delete your online media before it is archived:
• Do not delete the material until the archival process has finished completely. You can use the Avid Interplay Media Services window or the Avid Interplay Media Services and
Transfer Status tool to check the progress of an archive operation. The following illustration shows the Avid Interplay Media Services window.
Archive in progress
You can also use Avid Interplay Access to check the archive database to make sure the archive operation has completed
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Chapter 8 Using the Interplay Archive Engine
• Consider creating a folder in the Interplay database with a name such as “7 Day Hold and then Delete,” “Delete in 48 hours,” “Delete after Archive,” or “Aired Stories”. The media in that folder can be deleted either on a regular basis or after a particular archive operation is completed.
Archive Configuration and Setup
You typically set up four servers for archiving:
• The Archive Engine server (includes the FlashNet client software)
• The Avid Interplay Media Services server
• The Archive Provider server (includes the FlashNet client software)
• The SGL FlashNet server
You can also set up a Cluster configuration for your Archive Engine.
See the configuration diagrams in “Sample Configuration Diagrams” on page 27 for sample configurations.
The Archive Provider is the system that moves the media to and from the offline database.
Your SGL representative installs and configures the FlashNet client software on the Archive
Engine server and the Archive Provider. The FlashNet software provides the interface between the Archive Provider and the archival hardware. Your SGL representative also sets up and configures the FlashNet server.
Setting Up and Maintaining an Interplay Archive
Engine Database
Install the Archive Engine, Interplay Access, and the FlashNet client on the Archive Engine server. For information on installing and the Archive Engine and Interplay Access, see the following documents:
•
Avid Interplay Software Installation and Configuration Guide describes how to use the
Avid Interplay Installation DVD
•
Avid Interplay Installation Guide for Avid Interplay Engine, Avid Interplay Archive
Engine, and Avid Interplay Access describes how to install and configure the Archive
Engine software.
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Using Archive and Restore
You use Avid Interplay Access and the Avid Interplay Administrator to communicate with the Archive Engine. See the following documents:
• Avid Interplay Engine and Avid Interplay Access Administration Guide describes how to administer the database. You use the same techniques to administer the Avid Interplay
Archive Engine database and the Avid Interplay Engine database.
• Avid Interplay Access User’s Guide describes how to use Interplay Access.
Typically, your SGL representative installs and configures the FlashNet client software when he or she configures the archiving system. For information on using the FlashNet client, see the Avid Media Services Setup and User’s Guide and the documentation provided by your
SGL representative.
Using Archive and Restore
You can archive and restore material from the following applications:
• Avid editing applications
• Avid Interplay Access
• Avid Interplay Assist (archive only).
You can also set up AutoArchive folders in Interplay Access that allow you to start an archive operation as soon as a file is placed in the folder.
You can view the progress of an archive or restore operation. The following illustration shows an archive operation in progress in the Avid Interplay Media Services window.
Archive in progress
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Chapter 8 Using the Interplay Archive Engine
You use Interplay Access to search for archived clips and sequences. The following shows the results of a search of an archive database.
Search window
Archive database
Search results
See the Avid Media Services Setup and User’s Guide for details on setting up archive and restore services and performing archive and restore operations.
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Appendix A
Interplay Maintenance
Recommendations
This chapter provides a list of maintenance activities that should be performed regularly on an Interplay environment.
•
•
•
Monthly Maintenance Check List
Appendix A Interplay Maintenance Recommendations
Daily Maintenance Check List
Task For more information
Avid Unity ISIS
!
Check Storage Element status (e.g. Failures, Network Degraded) in the
ISIS System Administrator
Avid Unity ISIS System Setup
Guide
!
Check Active System Director “System Director Control Panel” for errors.
!
Verify Standby System Director is “Started”, and in “Standby” mode.
!
Check available “Free Space” on ISIS workspaces.
Avid Unity MediaNetwork
!
Check the Active File Manager “Monitor Tool” for errors.
Avid Unity MediaNetwork
File Manager Setup Guide
!
Verify that the Standby File Manager is “Started”, and in “Standby” mode.
!
Check available “Free Space” on Unity workspaces.
AirSPACE Playout Servers
!
Check Dashboard for “Warnings” or “Alerts”.
Avid AirSpeed Installation and
User’s Guide
Flight Plan for Countdown
!
Clean out material on the playback AirSpeeds.
Avid Airspeed Flight Plan and
Pilot User’s Guide
Avid Interplay Media Indexer
!
Use the Avid Interplay Framework Health Monitor to check memory and CPU usage. If the available memory falls below 10% (red zone in
Health Monitor), the Media Indexer stops indexing new files.
Avid Interplay Best Practices
!
Check the Health Monitor to make sure the number of “Table adapter listeners” is consistent with the number of actual clients connected to the MI. This number should be close to the actual number of machines connected to the MI. If this number keeps growing and becomes greater than the number of clients by an order of magnitude, call Avid
Technical Support and schedule a restart for the MI.
Avid Interplay Readme
140
Daily Maintenance Check List (Continued)
Task For more information
Avid Editing Applications
!
Restart all Avid editing client systems, including Media Composer,
NewsCutter, NewsCutter XP, Symphony, Avid Assist, and Avid iNEWS
Instinct.
!
Restart all Avid Adrenaline, and Avid Nitris media I/O peripherals.
Avid Interplay Low Res Encoder
!
Restart the Low Res Encoder systems every eight hours.
Avid Interplay
CaptureManager Installation and Configuration Guide
Weekly Maintenance Check List
Task For more information
Avid Unity ISIS
!
Perform System Director Primary to Secondary Failover Avid Unity ISIS System
Setup Guide
!
Review ISS/IXS switch error state
!
Review Windows Event logs
Interplay Engine and Interplay Archive Engine
!
Ensure that individual ingest folders do not contain more than 20K objects each.
Avid Interplay Readme
AirSpeed Ingest Servers
!
Reboot all AirSpeed ingest servers.
Avid AirSpeed Installation and User’s Guide
Interplay Transfer Server
!
Restart the TransferManager Engine application.
Avid Interplay Transfer
Setup and User’s Guide
141
Appendix A Interplay Maintenance Recommendations
Weekly Maintenance Check List (Continued)
Task For more information
Interplay Media Services
!
Purge all jobs and restart the Media Services server and Provider systems.
Including Transcode Provider, Archive Provider, and ProEncode Provider.
To purge jobs, use the Avid Interplay Media Services and Transfer Status window.
n
Do not shut down the Media Services server while jobs are in progress. It is fine to shut down the server while jobs are pending.
They will restart after the server is restarted.
Avid Interplay Media
Services Setup and User’s
Guide
Avid Media Indexer
!
Rebalance the Media Indexer configuration and/or storages to make sure sufficient indexing memory is available for the Media Indexer.
Use the Avid Interplay Service Configuration tool to check and modify the
Media Indexer configuration.
!
If the file count is growing close to the maximum number of files for all
Media Indexers, prepare to configure a new Media Indexer.
Avid Interplay Software
Installation and
Configuration Guide
Avid Interplay Readme
142
Monthly Maintenance Check List
Task For more information
Avid Unity ISIS
!
Verify free space on Primary and Secondary System Director C: and D: drives.
!
Shut down all Unity ISIS systems using the following shut down order:
• Avid editing applications
• AirSpeeds
• Capture Manager
• Interplay Transfer
• Avid Interplay Media Services and Providers
• Interplay Engine and Avid Interplay Archive Engine
• Media Indexers (don’t stop Media Indexer while it is indexing storage)
• Systems running Interplay Framework Multicast Repeaters
• Systems running the Interplay Framework Lookup Service
• Secondary System Director: stop server, then shutdown
• Primary System Director: stop server, then shutdown
On reboots where you want to switch System Directors, shut down the
Primary System Director first, which will trigger a failover to the Secondary.
Once the failover is complete, reboot the Secondary System Director and then power up the Primary.
n
The ISIS chassis and Foundry switches do not have to be rebooted as a part of this procedure.
!
Restart all Unity ISIS systems using the following restart order:
• Primary System Director
• Secondary System Director
• System running the Avid Interplay Framework Lookup Service
• Systems running Interplay Framework Multicast Repeaters
• Media Indexers
• Restart the remainder of the systems in any order.
Avid Unity ISIS System
Setup Guide
Avid Interplay Software
Installation and
Configuration Guide
143
Appendix A Interplay Maintenance Recommendations
Monthly Maintenance Check List (Continued)
Task For more information
Avid Unity MediaNetwork
!
Shutdown all ethernet and fiber channel clients. Use same shutdown order of clients as for Avid Unity ISIS.
!
Invoke Fail-Over on Unity FileManagers.
!
Restart Unity MediaNetwork system and all clients. Use same restart order of clients as for Avid Unity ISIS.
!
Verify that all clients have mounted the necessary Unity workspaces.
Avid Unity MediaNetwork
File Manager Setup Guide
Interplay Transfer Server
!
Delete the following Interplay Transfer temp files from the C: drive:
• My Computer>Local Disk C:\temp
• My Computer>Local Disk C:\tmp
!
Delete the following Interplay Transfer server log files from the C: drive:
• My Computer>Local Disk C:\Program Files\Avid\TransferManager
Server\tmserverlog
!
Reboot Interplay Transfer server CPUs. Stop the server and then reboot the
CPU.
!
Restart Interplay Transfer Engine application from the desktop shortcut.
Avid Interplay Transfer
Setup and User’s Guide
Avid Interplay Framework
!
Use the Health Monitor to check memory and CPU usage of server-side
Framework services (Lookup, System Configuration, Time Sync Master,
Email, SNMP). Check to make sure that none are growing memory at an unusual rate and that none have persistent high CPU usage.
Avid Interplay Framework
User’s Guide
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Index
A
Access Control
Access control
Instinct and Assist User settings
Accuracy
frame rate 113 sample rate 113
AirSpeed server
Frame Chase editing with
consolidating before archive
Installing
partial restore
Asset manager
Admin client
automatically checking in assets
Avid Unity media network
capturing media
connecting to
logging in
using drag-and-drop method to check in assets
76 using menu command to check in assets 76
Assets
Attributes
searching remote assets for 80
Automounting workspaces
Avid assets
automatically checking in to asset manager 78
checking in to asset manager 76
checking out from asset manager 75
defined
Avid Interplay Administrator
Editor Database Settings
Avid Interplay Assist
Avid Interplay Media Indexer 25
delegate
Avid Interplay Transfer
Avid Interplay Window
Avid Logging application
Avid Unity Connection Manager
Avid Unity ISIS sample configuration 32 , 33 , 34
Avid Unity ISIS Client Manager
Avid Unity MediaNetwork sample configurations 28
C
Capture
Frame Chase editing
Interplay Folders option
82 media to remote projects 82
Capture command (Tools menu, Toolset menus)
Capture tool
Interplay Folders option
CaptureManager
Index
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Check In All Open Bins To Interplay command (Bin menu)
Check In Bin To Interplay command (Bin menu) 76
Client Manager
configuring
D
Delegate Media Indexer
Deleting media
Digital Rights Management
Dual-ingest configuration
Frame Chase editing
E
Edit while capture
Editing
Editor Database settings
F
Folders defining a database
for capturing media
Frame Chase editing
limitations
overview
Frame-rate accuracy (Avid Xpress Pro HD) 113
I
Incoming Media folder and performance
146
In-progress clips editing during capture
limitations
Instinct
Instinct and Assist User Settings
Interplay Check in for Pro Tools 85
Interplay Folder Settings dialog box 72
Interplay Folders option (Capture tool) 82
Interplay Media Services
Interplay Root Folder checking in assets
Interplay Server
Interplay Server Settings dialog box 72
Interplay User
Interplay User Settings dialog box 72
Interplay Window
checking in assets to the Interplay Root Folder 76
connecting to database
defined
Interplay folders
searching
Interplay Window command (Tools menu) 74
ISIS sample configuration 32 , 33 , 34
L
Logging application
M
Master clips
Media deletion
see Avid Interplay Media Indexer 49
Media Search tab searching in Interplay Window
Mount command (Unity ISIS Client Manager Fast
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Mounting workspaces
MultiRez
partially online clips, restoring from an archive
P
Partially online clips
Permissions assigning
Pin button (Interplay Window)
Projects
assigning permission to users 40
R
Remote assets
automatically checking in to asset manager 78
Avid assets
checking in bin contents
76 checking in to asset manager 76
checking out assets by updating 79
checking out from asset manager 75
finding
79 searching 79 updating in local bin 79
using drag-and-drop method to check in
using menu command to check in
Research panel (Interplay Window)
Restricted flag
S
Sample configuration diagrams 27
Sample-rate accuracy (Pro Tools LE) 113
Searches
Index
,
remote assets attributes
Types attribute
Sequences searching remote assets
Server Hostname Settings
Subclips searching remote assets
T
Transcode services
TransferManager
U
Update from Interplay command (Bin menu, Bin Fast
Updating
User database defining
W
Workflow archive
configuring Interplay Media Indexer 49
frame chase editing
setting up user database
using the Interplay Window 67 working with Remote Assets 67
Workgroups
configuring Interplay Server settings 72
configuring Interplay settings
workgroup settings
Workspaces
147
Index
automounting
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
148
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