Avid Media Composer software only?

[John Logan]

I'm a professional editor who's only ever worked with Avid's that have the hardware attached. But as I understand it, Avid does sell a software only version that supposedly can run without the hardware.

Does anyone have any experience using this "software only" version to edit Red footage? Is it even possible?

Thanks!

 

[Greg Huson]

I'm a professional editor who's only ever worked with Avid's that have the hardware attached. But as I understand it, Avid does sell a software only version that supposedly can run without the hardware.

Does anyone have any experience using this "software only" version to edit Red footage? Is it even possible?

Thanks!

The software only version is identical to the hardware version, but without any I/O connections - other than what's native to the computer. You can use the computer monitor in full screen mode as a full screen monitor. If you use a 'qualified' computer, it's a rock-solid editing system, and what you're used to already.

As far as RED is concerned, you have to convert your R3Ds into an avid-friendly format, like DNX36, DNX175 or whatever. There are a number of ways to do this- Red Rushes, etc., or Avid's metafuse, which is PC-only right now. Metafuse makes MXF media; as far as I know the red-branded programs all make DNX wrapped in QT, so you have to do a 'fast import' into Avid, which copies the media and re-wraps it as MXF. Sounds more complex than it actually is. (Avid does not edit QT-wrapped native .r3ds at this time, but most FCP users I've talked to don't recommend that method anyway.)

You can always add an I/O device later (or bring the finished project to us - www.digitalservicestation.com - for output to tape!) The only real limitation is your 'client' monitor will be one of the computer monitors.

www.avid.com/red

 

[Jason Diamond]

Greg is 100% correct. RED media must be transcoded to AVID compatible media anyway so once thats happened there's no difference.
The I/O box at this point is simply that: I/O.
AVID has stopped coding the chips for their boxes to have any kind of native AVID media benefits in their hardware after the Adrenaline HW.

 

[Jörgen Persson]

AVID has stopped coding the chips for their boxes to have any kind of native AVID media benefits in their hardware after the Adrenaline HW.

Just a note: The Nitris DX has hardware encoding of DNxHD for HD capture. That means you can use a computer with less CPU power compared to capturing with the Mojo DX.

But for this discussion that is irrelevant since RED is a file based format and no capture is needed to edit the media.

 

[John Logan]

First of all, thanks for the information, it's very encouraging, happy to hear that the software version works so well.

Okay, next question:

I know about about having to to transcode to dnxHD already.

But what about mixing formats? I think I heard that you can have different formats in the timeline at the same time. Or did I just make that up?

Specifically, what about a project that will be using both P2 and Red footage? Do you just transcode the P2 files to dnxHD as well?

And as far as a "qualified machine" goes, I'm assuming an 8 core with a good video card is qualified?

One last thing, how complicated would on-lining something like this be? Or can you use your dnxHD media as your full res media, a la Prores?

 

[Igor Ridanovic]

But what about mixing formats? I think I heard that you can have different formats in the timeline at the same time.

Once the material is captured it's in MXF file format regardless of its origin. So yes you can mix formats as long as you can capture them into Media Composer. The new version 4 also allows you to mix and match frame rates.

And as far as a "qualified machine" goes, I'm assuming an 8 core with a good video card is qualified?

It's likely to be fine. The Avid qualified configurations have been tested and known to work well. You can't get official Avid Support unless you're running on a qualified configuration (I think).

One last thing, how complicated would on-lining something like this be? Or can you use your dnxHD media as your full res media, a la Prores?

More complicated than tape based approach but not a brain surgery. You can use your DNxHD media as the final media if you are satisfied with the quality and the delivery spec allows it.

 

[M Most]

Specifically, what about a project that will be using both P2 and Red footage? Do you just transcode the P2 files to dnxHD as well?

You don't have to transcode P2 files. They are already in an Avid readable MXF format. You can copy them to a local drive (or even edit directly from the P2 card) and use them directly via the new AMA architecture. Both DVC Pro and AVC Intra are supported natively, as is Sony XDCam.

 

[Jason Diamond]

I don't believe any of the new DX hardware accelerates or is encoded for Native MXF/DNx, at least not on playback/output as the Adrenaline Boxes used to be. the Nitris DS box however is heavily coded for MXF and DNxHD performance.

But yes in this instance this is all moot

 

[MichaelP]

V3.5 allowed different formats to be edited together (native and DNxHD, SD, etc.) as long as they were of all the same frame rate. V4 allows anything and everything to be mixed together for editing and playback.

Michael

 

[John Logan]

Igor,

What exactly do you mean when you say "captured", it's been a while since I've done anything but straight editing on an Avid. I know it means digitizing when it comes to a tape based workflow, so as far as tapeless is concerned, I'm assuming that "captured" means transcoded and imported?

- John

 

[MichaelP]

Capture is the generic term used for bringing in material via signal or FireWire. Import/batch import tend to be terms used for file based formats. With AMA, the term "link to" gets used. MC software can link to, import, or capture from FireWire based formats. Avid hardware is needed for capturing analog and SDI sources as well as AES/EBU digital audio, etc.

Michael

 

[Stefan Christou]

If you are editing offline why not use DNX36 (as was used in the edit for Transformers: Revenge of the Fallen) as this won't look much (if any) different in the edit and will save you lots of space.

Also remember as far as workflow goes with P2 it's best to create a number of copies of your P2 media for security, then link to the "Virtual" P2 card under file>link to AMA volume, then consolidate that data into your Avid Media Library. Consolidating will safeguard against you moving the media and making it go offline (à la final cut) and allow you to place your footage in bins of your choice rather than the default bin linked to the "Virtual" or physical P2 Card.

BTW never mess with a "Virtual" card's file structure, just dump the whole contents into a folder with an appropriate name like: Shoot Name, P2 Card 1, the next being Shoot Name P2 Card 2, etc.

This is the same when working with XDCAM or GFCAM.

(I hope this isn't all too obvious or patronising)

Stefan

 

[Independent Edit]

The question will be how the P2 footage has been shot. If it is 720p/59.94 you will have issues editing that footage with 1080p/23.976 RED footage UNLESS you are using v4. If the P2 is also 23.976, then you can have them in the same project and timeline in any flavor of MC v3+.

Note that while v4 allows for mixing frame rates, the one thing the marketing materials don't talk about is how to import this footage. In v4, you would create a 1080p/23.976 project and import the RED, then create a 720p/59.94 project to import the P2. You could then open the footage from one project into the other and drop it in a mixed timeline.

HTH