Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Managing an offline to online workflow (with AMA and batch importing)

From: Migrating from Final Cut Pro 7 to Avid Media Composer 5.5

Video: Managing an offline to online workflow (with AMA and batch importing)

Taking what we've learned about AMA linking, importing, and media management to a new level, we're going to simulate offline-to-online workflows for both some AMA-linked media and for some imported media. If you've worked in the Media Manager inside FCP, then what I'm about the cover should be fairly familiar. Offline-to-online workflows can be desirable for many different reasons. One reason may be that you just don't have enough storage space or the system bandwidth to bring all of your project media online at full resolution at the same time.

Managing an offline to online workflow (with AMA and batch importing)

Taking what we've learned about AMA linking, importing, and media management to a new level, we're going to simulate offline-to-online workflows for both some AMA-linked media and for some imported media. If you've worked in the Media Manager inside FCP, then what I'm about the cover should be fairly familiar. Offline-to-online workflows can be desirable for many different reasons. One reason may be that you just don't have enough storage space or the system bandwidth to bring all of your project media online at full resolution at the same time.

One way to achieve an offline-to-online workflow with AMA-linked media then is to first link to it, make any metadata adjustments you wish--such as adding a disk label and renaming clips--and then transcode the AMA clips to smaller, more compressed resolutions for offline editing. In order to simulate an offline-to- online workflow, let's go back to the 04_05 subfolder, and inside the Transcode bin, we have the two clips that we transcoded earlier. Let's make selections from these clips as if we were actually editing. There we go! An In point an Out point, and then let's look at the next clip.

(clip playing) Okay. So we just created two clips there and marked them up in the Source viewer. And now what I'm going to do is I'm going to switch over to my offline_to_online Bin. Right-click, create a New Sequence called offline_online. You can see I have a blank sequence down in the Timeline area, and I'm going to take this clip, drop it into the sequence, and then I'm going to go back to our other clip, go down to GOPRO500.new.01, because we want the transcoded version, edit that into my sequence, and now we've got a couple of different clips, both of them at offline resolution.

I'm just going to do one quick thing here. I'm going to come up to our Tool palette, into the area that we carved out for effects manipulation, and then click on the Quick Transition button. All I'm going to do here in the Quick Transition dialog is choose to add a dissolve centered on the cut for 6 frames. Choose Add, and now we've added the dissolve and an audio fade to our transition point. (clip playing) There we go! So now let's pretend that we're zooming forward in time and this is the picture lock. This is the final result of all our work.

And now what we'd like to do is link this sequence back to the high-res original camera media that it came from in the first place. To do that, I'm going to come back over to my Bin area, return to my transcode bin, select my two transcoded versions of my clips, hit the Delete key on my keyboard, and delete the four associated media files. Choose OK and Delete. I left the original clips in the Bin there and if I go to Script view then they of course are offline, just like the sequence itself is now also offline.

This is pretty much the state you'd be in if say you've done your offline at home with the proxy material and now you'd email your bin to the online facility and turned out with a bunch of drives in a big cardboard box. You'd open up your bin, load up your sequence, which would be offline like this, and because you as the editor and the data wrangler and the PA on set and a whole bunch of other good folks did their jobs correctly, we know exactly where to find the original source file. With the sequence in a bin, use the AMA dialog to point back to the parent directory that you know contains your AMA media.

With the Bin highlighted, File > Link to AMA Volume, back on the Media Drive, in the catalyst_CONTAINER, inside the catalyst_SRC_Camera folder, we have the catalyst_SRC_5994, and in there, we have the 7D material. You can see that that's now come back online in our bin. Let's also right-click in the bin and Link to AMA File(s), and let's choose GOPRO500 and make sure that that's online as well. Great! Now what I'm going to do is I'm going to take these two clips and drag them and drop them into the offline_to_online bin.

In the offline_to_online bin, I now have my two original AMA-linked files and my offline_online sequence. If I select them all and now right-click, I can choose to Relink. I can look across all available drives. I'm going to uncheck Relink only to media from the current project, which will widen the net of my search, and I'm going to allow relinking or importing of AMA clips by Source File name.

And I'm going to uncheck Match case when comparing tape and source file names-- that's for a tape-based workflow. Next, I'm going to say choose Any HD video format, Highest Quality and create a new sequence, a new copy sequence. Click OK. Now you can see a new sequence has been created in my bin. There's the original offline_online. Here's the new one offline_online.relinked.01. If I load that up into my Record viewer, I pressed O, there's my media with the Dissolve, and there's the second clip.

So now we've gotten rid of our offline media and relinked the results of our work to the pristine camera original files. Now after relinking, there are then three different options open to you in terms of producing a master. First, you could take the sequence and create a QuickTime Reference and render out a final master in a third-party app. This doesn't work for every single codec, but where it does, it makes for a killer-fast workflow. Second, you could take the sequence and consolidate just the media needed for the sequence, perhaps with some small handles to the Avid MediaFiles folder.

Or finally, you could transcode the sequence to a new resolution for finishing and final output. Okay, so that was offline-to- online workflow for AMA-linkable media. Now let's turn to the same up-res workflow, but with the imported media instead. In Chapter 04 part 2, we imported some graphics at XDCAM HD35 megabits resolution and created a sequence called graphics. Let's go back there now, 04_02, import.

Here's our graphic sequence right here. The sequence is offline, as are the source graphics in the bin here. Let's go back to Text view and select just the source graphics themselves. Now, from the Clip menu, choose Batch Import, offline clips only, and now we get a list of all of the different clips that we're choosing to batch import, along with their last known import file location.

If this location is still the same, leave it like that, and now choose Video Resolution. Now at the moment, I'm still looking at the choices available through the medium raster in the Format tab. I'm going to cancel out of this, go back to the Format tab, and choose Full 1920x1080, so I can have the full-resolution codecs available. With the clips still selected in the bin, return to the Clip menu, choose Batch Import, Offline only, and this time I could choose AVC-Intra 100, or if you have a more powerful system, choose DNxHD 220 10-bit (DNxHD X).

We're going to go to the Media Drive and Import. Now our graphics are all live in the bin and our sequence here has refreshed. And in fact, if we zoom in, we can now see the new resolution of our sequence, DNxHD 220 10-bit. Unlike the first example, where the up-res sequence was still linked to AMA media, this sequence is now linked to Avid MXF media in the Avid MediaFiles folder.

That means there are no caveats about output. We can choose whatever output mechanism we would like, including outputting to tape. So, rest assured, if you do need to do an offline-to-online workflow using baseband signals instead, no problem. You could either capture the material at a lower resolution in HD and then recapture at full resolution later on, or you could even capture a down- converted, anamorphic version of your HD master, edit at SD, and then flip your Format tab up to HD and then recapture.

So, in summary, whether you're using AMA-linked files, imported clips, or even clips captured from tape, there is a standard procedure in place for allowing offline-to-online workflows in Media Composer. Knowing which workflow options, codecs, and formats can facilitate the most efficient path for your production, will save time, money, and stress.

Show transcript

This video is part of

Expand all | Collapse all
  1. 3m 43s
    1. Welcome
      53s
    2. Hardware and software requirements for this course
      1m 6s
    3. Using the exercise files
      1m 44s
  2. 52m 17s
    1. Exploring the similarities and differences
      8m 6s
    2. Comparing the interfaces
      8m 17s
    3. Clips, bins, folders, and the Project window
      9m 32s
    4. Viewing, selecting, navigating, and playing clips
      6m 5s
    5. Marking clips and using the Timeline window
      6m 32s
    6. Creating basic sequences
      9m 20s
    7. Accessing clips from other projects
      4m 25s
  3. 45m 24s
    1. Project structure, formats, frame rates, and the Format tab
      11m 31s
    2. Comparing backup structure
      9m 51s
    3. Organizing media and project assets
      5m 32s
    4. Bringing media into the project
      8m 19s
    5. Understanding media resolutions and locations
      10m 11s
  4. 30m 59s
    1. Exploring site, project, and user settings
      7m 39s
    2. Customizing user settings and keyboard layout
      6m 52s
    3. Using toolsets and workspaces
      6m 36s
    4. Customizing the Bin and Timeline views
      5m 18s
    5. Creating a custom tool palette
      4m 34s
  5. 1h 0m
    1. Linking to multimedia files using Avid Media Access (AMA)
      15m 8s
    2. Importing video, audio, and graphics
      15m 40s
    3. Deleting clips and using the Media tool
      4m 30s
    4. Consolidating
      5m 20s
    5. Transcoding
      9m 58s
    6. Managing an offline to online workflow (with AMA and batch importing)
      9m 38s
  6. 38m 39s
    1. Customizing bin layouts, columns, and tools
      11m 6s
    2. Creating subclips and subsequences
      11m 3s
    3. Using locators for organizing, logging, and editing
      10m 54s
    4. Searching using metadata and PhraseFind
      5m 36s
  7. 46m 10s
    1. Getting tracks into the timeline
      6m 59s
    2. Touring the Timeline window
      9m 41s
    3. Using drag, drop, and gestural editing techniques
      5m 48s
    4. Using timeline selections
      7m 1s
    5. Editing with the keyboard and interface buttons
      9m 45s
    6. Editing vertically
      6m 56s
  8. 56m 31s
    1. Using basic trim tools
      4m 59s
    2. Using smart trim tools
      7m 32s
    3. Combining trim tools
      7m 7s
    4. Using the Trim mode
      8m 0s
    5. Trimming with transition effects
      3m 48s
    6. Using sync locks
      3m 10s
    7. Using Slip and Slide mode
      7m 56s
    8. Setting up the timeline for multi-cam editing
      8m 41s
    9. Multi-cam editing
      5m 18s
  9. 33m 16s
    1. Exploring the audio environment
      5m 29s
    2. Understanding audio basics
      4m 25s
    3. Using the Audio Mixer and audio keyframes
      8m 29s
    4. Applying audio effects
      5m 5s
    5. Importing audio and input settings
      6m 19s
    6. Exporting audio and output settings
      3m 29s
  10. 1h 1m
    1. Creating freeze frames and motion effects
      7m 11s
    2. Using timewarp effects
      4m 40s
    3. Adding transition effects
      7m 33s
    4. Using segment-based effects and nesting effects
      8m 15s
    5. Compositing with keyframes
      11m 0s
    6. Creating titles
      8m 15s
    7. Adding titles and using them in sequences
      7m 27s
    8. Using the color correction interface
      7m 34s
  11. 10m 18s
    1. Preparing and outputting master sequences
      10m 18s
  12. 21s
    1. Additional resources
      21s

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold
Share a link to this course

What are exercise files?

Exercise files are the same files the author uses in the course. Save time by downloading the author's files instead of setting up your own files, and learn by following along with the instructor.

Can I take this course without the exercise files?

Yes! If you decide you would like the exercise files later, you can upgrade to a premium account any time.

Become a member Download sample files See plans and pricing

Please wait... please wait ...
Upgrade to get access to exercise files.

Exercise files video

How to use exercise files.

Learn by watching, listening, and doing, Exercise files are the same files the author uses in the course, so you can download them and follow along Premium memberships include access to all exercise files in the library.


Exercise files

Exercise files video

How to use exercise files.

For additional information on downloading and using exercise files, watch our instructional video or read the instructions in the FAQ.

This course includes free exercise files, so you can practice while you watch the course. To access all the exercise files in our library, become a Premium Member.

Are you sure you want to mark all the videos in this course as unwatched?

This will not affect your course history, your reports, or your certificates of completion for this course.


Mark all as unwatched Cancel

Congratulations

You have completed Migrating from Final Cut Pro 7 to Avid Media Composer 5.5.

Return to your organization's learning portal to continue training, or close this page.


OK
Become a member to add this course to a playlist

Join today and get unlimited access to the entire library of video courses—and create as many playlists as you like.

Get started

Already a member?

Become a member to like this course.

Join today and get unlimited access to the entire library of video courses.

Get started

Already a member?

Exercise files

Learn by watching, listening, and doing! Exercise files are the same files the author uses in the course, so you can download them and follow along. Exercise files are available with all Premium memberships. Learn more

Get started

Already a Premium member?

Exercise files video

How to use exercise files.

Ask a question

Thanks for contacting us.
You’ll hear from our Customer Service team within 24 hours.

Please enter the text shown below:

The classic layout automatically defaults to the latest Flash Player.

To choose a different player, hold the cursor over your name at the top right of any lynda.com page and choose Site preferencesfrom the dropdown menu.

Continue to classic layout Stay on new layout
Exercise files

Access exercise files from a button right under the course name.

Mark videos as unwatched

Remove icons showing you already watched videos if you want to start over.

Control your viewing experience

Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.

Interactive transcripts

Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.

Are you sure you want to delete this note?

No

Your file was successfully uploaded.

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.