Archive
07-03-2003, 03:05 AM
On February 16 th , about fifty people gathered for the Avid user group meeting at the North’s Rugby Club in St. Leonard’s. This was formerly the 729 club and the place is still redolent of the atmosphere from the dealmakers that brought us ’Number 96’ and the like. There were pre-session drinks (maybe not a good idea), and than we were straight into a demonstration of transferring OMF audio media to the Fairlight MFX3.
Amber Technology, Avid and Fairlight had all provided gear and experts for the show. Emilijo Mihartov of Fairlight R&D, led the demonstration. Utilising a Mac-linked video projector and a MFX3 playout we were taken through the process step-by step.
Open Media Framework Interchange (OMFI), or as Avid would have it, Open Media Framework (OMF®) is the industry-standard file format for transferring projects digitally between video, audio editing, and effects stations. By using OMF, you can stay in a 100% digital media domain. By working like this you can eliminate tape-based media transfers. Use multiple applications on multiple workstations, working collaboratively among all the editors and artists instead of in series. Retain the highest picture and sound quality. Preserve formatting information when moving projects between applications and different workstations.
OMFI is a digital media standard that supports video, audio, graphics, animation and effects. OMFI represents how media is organized, letting users transfer source elements, effects and comprehensive edit decision information from one application to another, in sync. OMFI makes it easier to get your source material, edit decisions and processed effects from system to system. Just carry your fixed or removable digital storage media to another workstation or transfer your information over a high-speed network, ISDN line, or telephone line to another location. Eliminate redundancy, preserve formatting information - timing, sync positioning, layering, and effects -when moving projects between applications and different workstations. Eliminate the need to rebuild sequences and visual elements from scratch when changing applications.
OMFI is better than an edit decision list. It lets you speed up the process, easily preview elements, and transfer comprehensive edit decision information and processed effects. In an audio only application, you transfer an OMFI file with source audio, edit list information and processed effects from the video editing system into independent PC and Macintosh digital audio workstations. There, sound editors add sound effects, music and re-record dialogue. After all of the audio tracks have been cut and sweetened, the final audio sequence is transferred to a digital mixing workstation with all of the sound edits in place for the final mix. The ability to transfer source clips and project information between applications means you do your work once, minimizing tape transfers and re-conforms. OMFI provides open digital media interchange among applications and across different platforms.
The demonstration was straightforward and easy to follow. Emilijo was supported by Andrew Bell, Fairlight International Product Manager, and both were quiet candid about issues and problems that had still to be resolved. Instead of re-inventing the wheel I will, with the kind permission of Rod Sommerich of Amber Technology, provide the Export Recipe that was handed out at the demonstration. (DUE TO SPACE RESTRICTIONS, THIS WILL APPEAR IN NEXT MONTH’S ISSUE.)
The main problem to be aware of, according to Emilijo, is that, while auto-synced clips will read alright in an OMF transfer to Fairlight, there is a known problem with Group clips. .OMF files are not as yet capable of offering a source trace back for these type of Avid generated clips. The other problem that was candidly acknowledged was that the Fairlight MFX3 defaults to a 24 FPS project, and this must be changed if this is not the correct frame rate. Within a matter of a few minutes the audio tracks were downloaded to a Jaz drive, uploaded to the MFX3 and played back. Perfect.
While the demonstration was refreshing for its candor and absence of unmitigated sales hype I would quiet voluntarily, like to mention another Fairlight product that sounds pretty amazing. DaD, the Fairlight Digital Audio Dubber made its world premiere at the 1997 NAB Show in Las Vegas. The disk-based playback-only machine works with files created by Fairlight’s MFX3 Series workstations and is designed for use as a playback device in sound mixing sessions, replacing commonly used machines such as magnetic sprocketed dubbers and multitrack tape machines, or wherever large numbers of tracks must be replayed cost effectively. DaD is now compatible with Avid’s Level 2 release of OMF (Open Media Framework) import file exchange format, thereby providing file playback capability with other workstations via OMF.
The next part of the evening considered of a panel type talk which, because of work pressures on Andrew Plain, had to take place with Andrew talking first, followed by Julius Chan. Andrew took us through a procedural checklist with particular reference to providing good quality OMF files. Andrew’s first suggestion was to mix down all the tracks to provide a guide track for the sound editor. He spent a lot of time emphasising that the tracks must be in synch! Editors should provide an EDL as a check reference. The original transfers must be of the highest quality. Assistants, your burden is mighty. Sample rates must concur within the project. You must consult with the sound editor at the earliest possible stage of your project. All project material must be sourced; no spinning in wild CD’s, This means you. Andrew insists on nothing shorter than six-second handles. Skimp at your peril.
At this point (8.30 p.m.) Andrew had to rush back to work and it was the turn of Julius Chan. Julius, of course concurred with everything that Andrew had said, and than added mightily to his list. Dats must be loaded through AES/EBU lines, that is, digital I/O. Don’t synchronise your rushes in telecine. Use a dedicated assistant station and sync. up on your system. Do not trust Aaton code or any auto-syncing system. Strip out wild lines, sync. fx and all and any audio which may be useful for track building. Catalogue and source this audio thoroughly. Always provide an EDL as backup to the .OMF files. While the EDL would only be used in a worst-case scenario (e.g.. the .OMF files are crap) it is essential to have a plan B . When preparing audio files for .OMF transfer remove plug-in effects and auto-fades. Track assigns and a thoughtful layout are nice additions to good, clean sound files but essentially it is unnecessary and will almost certainly change.
Compared to a .OMF load, a load from an EDL can take 1 1/2 days , assuming a TV hour. Apart from all of the above, Julius mentioned several times that it was essential to have a back-up plan. In an interesting aside, Julius mentioned the rushes projection system for Babe 2. He didn’t go into detail but it appeared that they used the bi-phase current from the film projector as a synch. Pulse which they than fed into the Digidesign Universal Slave Driver. This than allowed the USD to drive an Iomega Jaz drive which contained the rushes in an .OMF dump from the Avid. Ingenious. A beautiful use of old and new technologies.
It was a night full of invaluable information and my thanks must go, not only to Andrew and Julius for being so generous, but to David Spargo, Fairlight Regonal Sales Manger. Emilijo Mihartov, Fairlight R&D. Andrew Bell, Fairlight International Product Manager ,(Formerley Head of R&D). Gary Mills, Amber Product Specialist (Fairlight). Athol Greenhalgh, Amber Technical Director Peter Amos, Amber MD. Avid is working to get a local web site up which will be at: not up at time of writing. There is an existing email forum at: < www.propix.com.au> . Fairlight can be found at: <www.fairlightesp.com.au>.
The next Avid user group meeting is in May. Check it out.
by Paul Healy
Amber Technology, Avid and Fairlight had all provided gear and experts for the show. Emilijo Mihartov of Fairlight R&D, led the demonstration. Utilising a Mac-linked video projector and a MFX3 playout we were taken through the process step-by step.
Open Media Framework Interchange (OMFI), or as Avid would have it, Open Media Framework (OMF®) is the industry-standard file format for transferring projects digitally between video, audio editing, and effects stations. By using OMF, you can stay in a 100% digital media domain. By working like this you can eliminate tape-based media transfers. Use multiple applications on multiple workstations, working collaboratively among all the editors and artists instead of in series. Retain the highest picture and sound quality. Preserve formatting information when moving projects between applications and different workstations.
OMFI is a digital media standard that supports video, audio, graphics, animation and effects. OMFI represents how media is organized, letting users transfer source elements, effects and comprehensive edit decision information from one application to another, in sync. OMFI makes it easier to get your source material, edit decisions and processed effects from system to system. Just carry your fixed or removable digital storage media to another workstation or transfer your information over a high-speed network, ISDN line, or telephone line to another location. Eliminate redundancy, preserve formatting information - timing, sync positioning, layering, and effects -when moving projects between applications and different workstations. Eliminate the need to rebuild sequences and visual elements from scratch when changing applications.
OMFI is better than an edit decision list. It lets you speed up the process, easily preview elements, and transfer comprehensive edit decision information and processed effects. In an audio only application, you transfer an OMFI file with source audio, edit list information and processed effects from the video editing system into independent PC and Macintosh digital audio workstations. There, sound editors add sound effects, music and re-record dialogue. After all of the audio tracks have been cut and sweetened, the final audio sequence is transferred to a digital mixing workstation with all of the sound edits in place for the final mix. The ability to transfer source clips and project information between applications means you do your work once, minimizing tape transfers and re-conforms. OMFI provides open digital media interchange among applications and across different platforms.
The demonstration was straightforward and easy to follow. Emilijo was supported by Andrew Bell, Fairlight International Product Manager, and both were quiet candid about issues and problems that had still to be resolved. Instead of re-inventing the wheel I will, with the kind permission of Rod Sommerich of Amber Technology, provide the Export Recipe that was handed out at the demonstration. (DUE TO SPACE RESTRICTIONS, THIS WILL APPEAR IN NEXT MONTH’S ISSUE.)
The main problem to be aware of, according to Emilijo, is that, while auto-synced clips will read alright in an OMF transfer to Fairlight, there is a known problem with Group clips. .OMF files are not as yet capable of offering a source trace back for these type of Avid generated clips. The other problem that was candidly acknowledged was that the Fairlight MFX3 defaults to a 24 FPS project, and this must be changed if this is not the correct frame rate. Within a matter of a few minutes the audio tracks were downloaded to a Jaz drive, uploaded to the MFX3 and played back. Perfect.
While the demonstration was refreshing for its candor and absence of unmitigated sales hype I would quiet voluntarily, like to mention another Fairlight product that sounds pretty amazing. DaD, the Fairlight Digital Audio Dubber made its world premiere at the 1997 NAB Show in Las Vegas. The disk-based playback-only machine works with files created by Fairlight’s MFX3 Series workstations and is designed for use as a playback device in sound mixing sessions, replacing commonly used machines such as magnetic sprocketed dubbers and multitrack tape machines, or wherever large numbers of tracks must be replayed cost effectively. DaD is now compatible with Avid’s Level 2 release of OMF (Open Media Framework) import file exchange format, thereby providing file playback capability with other workstations via OMF.
The next part of the evening considered of a panel type talk which, because of work pressures on Andrew Plain, had to take place with Andrew talking first, followed by Julius Chan. Andrew took us through a procedural checklist with particular reference to providing good quality OMF files. Andrew’s first suggestion was to mix down all the tracks to provide a guide track for the sound editor. He spent a lot of time emphasising that the tracks must be in synch! Editors should provide an EDL as a check reference. The original transfers must be of the highest quality. Assistants, your burden is mighty. Sample rates must concur within the project. You must consult with the sound editor at the earliest possible stage of your project. All project material must be sourced; no spinning in wild CD’s, This means you. Andrew insists on nothing shorter than six-second handles. Skimp at your peril.
At this point (8.30 p.m.) Andrew had to rush back to work and it was the turn of Julius Chan. Julius, of course concurred with everything that Andrew had said, and than added mightily to his list. Dats must be loaded through AES/EBU lines, that is, digital I/O. Don’t synchronise your rushes in telecine. Use a dedicated assistant station and sync. up on your system. Do not trust Aaton code or any auto-syncing system. Strip out wild lines, sync. fx and all and any audio which may be useful for track building. Catalogue and source this audio thoroughly. Always provide an EDL as backup to the .OMF files. While the EDL would only be used in a worst-case scenario (e.g.. the .OMF files are crap) it is essential to have a plan B . When preparing audio files for .OMF transfer remove plug-in effects and auto-fades. Track assigns and a thoughtful layout are nice additions to good, clean sound files but essentially it is unnecessary and will almost certainly change.
Compared to a .OMF load, a load from an EDL can take 1 1/2 days , assuming a TV hour. Apart from all of the above, Julius mentioned several times that it was essential to have a back-up plan. In an interesting aside, Julius mentioned the rushes projection system for Babe 2. He didn’t go into detail but it appeared that they used the bi-phase current from the film projector as a synch. Pulse which they than fed into the Digidesign Universal Slave Driver. This than allowed the USD to drive an Iomega Jaz drive which contained the rushes in an .OMF dump from the Avid. Ingenious. A beautiful use of old and new technologies.
It was a night full of invaluable information and my thanks must go, not only to Andrew and Julius for being so generous, but to David Spargo, Fairlight Regonal Sales Manger. Emilijo Mihartov, Fairlight R&D. Andrew Bell, Fairlight International Product Manager ,(Formerley Head of R&D). Gary Mills, Amber Product Specialist (Fairlight). Athol Greenhalgh, Amber Technical Director Peter Amos, Amber MD. Avid is working to get a local web site up which will be at: not up at time of writing. There is an existing email forum at: < www.propix.com.au> . Fairlight can be found at: <www.fairlightesp.com.au>.
The next Avid user group meeting is in May. Check it out.
by Paul Healy