BobRusso:

The Media Composer doesn't read the timecode on a QuickTime File. Import the QuickTime files into MetaCheater and save an ALE file. Import that ALE file into a bin and Batch Import the QuickTime files, they will now have the metadata. http://www.staticpictures.com/

Bob -

What about "offlining" in MC and then "online" in DS using P2 or XD footage.  After import into MC using the above method, can this metadata be used to conform on a DS?  Right now, my opitons seem to be finish in MC or dump to tape for a traditional offline/online workflow.  Thanks in advance.

Once the media is in the Media Composer, the media and sequence can be moved to a DS. This is what Original Productions is doing with P2: http://www.studiodaily.com/studiomonthly/searchlist/9862.html

I don't believe DS has L-GOP codecs, so the XDCAM will have to be transcoded to DNxHD but the DVCProHD codec is available.

so then the DS will link back to the original files for conform, color correct, effects, etc., correct?

Yes, exactly. Export an AFE out of the Media Composer and the DS can use the Avid MediaFiles as storage. The only codecs that don't work in the DS are Long-GOP, but DVCProHD along with DNxHD is supported.

BobRusso:

The Media Composer doesn't read the timecode on a QuickTime File. Import the QuickTime files into MetaCheater and save an ALE file. Import that ALE file into a bin and Batch Import the QuickTime files, they will now have the metadata. http://www.staticpictures.com/

I saw a post on CreativeCow by Michael Phillips saying that next release of the software was going to be able to read timecode in Quicktime files, which is really great news.  Do you know if this is expected soon?

Sorry, we can't comment on when a release will be out. Soon is true but that can be relative. As the release approaches, we will make announcements here so stay tuned.

Here is a good tutorial for an "Offline" on MC to "Online" on DS using P2 and XD Cam footage. Apologies if this has already been posted.

http://community.avid.com/forums/p/65237/365537.aspx#365537

I am finishing an AVC-Intra 100 1080/25p project. All is great until I come to a digitalcut. I am looking to rent an HDCAM SR recorder to take advantage of the 10bit colour depth for a colour grade. The question is; can I do a digital cut in HDSDI without converting to DNX? I have tried transcoding to DNX already but the results were very unsatisfastory: contrast went horrible, colour shifts etc. I want to keep the pure mxf . Is there is a solution? I can't see any mention of this in the Nitris manual, the P2 manual says transcode & I don't have a Nitris to hand.

christopher@fearlesstv.com:

I am finishing an AVC-Intra 100 1080/25p project. All is great until I come to a digitalcut. I am looking to rent an HDCAM SR recorder to take advantage of the 10bit colour depth for a colour grade. The question is; can I do a digital cut in HDSDI without converting to DNX? I have tried transcoding to DNX already but the results were very unsatisfastory: contrast went horrible, colour shifts etc. I want to keep the pure mxf . Is there is a solution? I can't see any mention of this in the Nitris manual, the P2 manual says transcode & I don't have a Nitris to hand.

Its impossible to answer your question without knowing what hardware you have.

AVC-I does not need to be transcoded with the DX hardware.

I have just an MCv3 on a mac, but you have answered my question. So to confirm, I can use a Nitris DX with an HDCAM SR with a sequence in AVC-Intra 100?

Bob, are you saying that the new hardware (Nitris DX) will play DVCProHD out of the HS-SDI ports without a transcode?

If so, that's huge and a big step up from Adrenaline.

Yes, depending on the computer and effect, you should see 5 streams of DVCProHD in full quality without a render.

thank you sir.. that's a great step forward.

Now... I want to move this into this thread so we can start in on it... 3.5.1...

I posted it in another thread and got no bites:

<<<<<<<------------>>>>>>>

Can someone confirm this?

We bring in DVCProHD from a P2 card. When we try to add Aux TC we get an error that says "source media not found".

Or.. when we right clink and "modify" and set Aux TC, we get a similar error that says that there is no source media.

If we assign a tape name, we don't get this error, (we've added a source) however when you have to relink, you are working off of tape name and start timecode to find the clip. If we are setting the tape name (and NOT creating new media by transcoding) am I wrong to assume that it's not going to have that tape name anywhere in the media to relink to? I'm worried about media coming offline during the show and not having a way to relink the clips.

We have tried and when we move a piece of media, we lose the link and even moving the piece back into the correct file structure doesn't allow it to relink. How would a shop relink AMA media in the middle of a production. (do not say that things don't ever come unlinked. lol)

Can someone confirm this behavior and or propose a workaround?

We have a show going live for a Viacom channel with 600 hours of P2 footage. We'd LOVE to use the new 3.5 to edit the show all at high res and not offline at all. I'd also love to avoid transcoding since the point of AMA is to read the clips in place. (new workflow for the reality TV industry). At the end, we'd color correct, add the audio mix and output to tape.

If we can do this, we can do the show on the Panasonic gear on Avid, if not, they may go FCP or back to shooting tape.

Can I get some assistance and New Thinking from the MA crew or anyone who's done a large edit on tapeless gear?

We're testing now and I'll report as we do.

UPDATE:

we are working with consolidating the media which moves it from the card structure to the AvidMediaFiles folder. this is faster than a transcode and I'm hoping this will give us the usual relinking, but I'd still like to try to leave the media in the original structure for easier media management.

ok, so I spoke to some of the West Coast Avid guys, (thank you for the assistance) and wanted to lay out some stuff that you may all know, but to me, from the marketing info, wasn't obvious.

AMA, according to the tech I spoke to, (please chime in Avid folks) was set up as a way for Camera manufacturers to allow Avid to quickly use their media structures to view, import and make a few edits on tapeless media. It was not intended as a way to edit a full production. I'm assuming News and other quick turn-around, short format productions could use it but there's not a good way to use it in a long format production.

Another thing was that not much is really known about problems with a large amount of non-avid media in regards to renders, final playout etc. I have a show attempting to do a 100 hour (total) show in xdcam ex native. (Sony guys have told them that this is "perfect" and "will be fine") I, like Avid support transcoding to DNX. Has anyone else done a full show (1 hour or more) this way?

I think that some folks involved wih these cameras may be overselling the media compatibility of these formats.

Are any of you doing end to end Xdcam or P2 (without a transcode) on anything more than a news package?

great info.  Thanks!