Pinnacle Systems Interplay - 3.1 User Manual

Interplay®| Production

Best Practices Guide

Version 3.1

Legal Notices

Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc.

This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement.

Avid products or portions thereof are protected by one or more of the following United States Patents: 5,309,528; 5,440,348; 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; 5,724,605; 5,726,717; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,828,678; 5,842,014; 5,852,435; 5,959,610, 5,986,584; 5,999,406; 6,038,573; 6,057,829, 6,069,668; 6,141,007; 6,211,869; 6,336,093, 6,532,043; 6,546,190; 6,596,031;6,728,682, 6,747,705; 6,763,523; 6,766,357; 6,847,373; 7,081,900; 7,403,561; 7,433,519; 7,441,193, 7,671,871; 7,684,096; 7,836,389 and 7,916,363; 7,930,624; 8,023,568; 8,082,226; 8,154,776; D352,278; D372,478; D373,778; D392,267; D392,268; D392,269; D395,291; D396,853; D398,912. Other patents are pending.

Avid products or portions thereof are protected by one or more of the following European Patents: 0506870; 0635188; 0674414; 0752174; 0811290; 0811292; 0811293; 1050048; 1111910; 1629675, and 0972256. Other patents are pending.

This document is protected under copyright law. An authorized licensee of Interplay Assist 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 Interplay Assist. 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.

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:

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 PARTICULAR PURPOSE.

IN NO EVENT SHALL SAM LEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER RESULTING FROM LOSS OF USE, DATA OR PROFITS, WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE.

The following disclaimer is required by the Independent JPEG Group:

This software is based in part on the work of the Independent JPEG Group.

This Software may contain components licensed under the following conditions:

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.

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.

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.

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 Nexidia Inc.:

© 2010 Nexidia Inc. All rights reserved, worldwide. Nexidia and the Nexidia logo are trademarks of Nexidia Inc. All other trademarks are the property of their respective owners. All Nexidia materials regardless of form, including without limitation, software applications, documentation and any other information relating to Nexidia Inc., and its products and services are the exclusive property of Nexidia Inc. or its licensors. The Nexidia products and services described in these materials may be covered by Nexidia's United States patents: 7,231,351; 7,263,484; 7,313,521; 7,324,939; 7,406,415, 7,475,065; 7,487,086 and/or other patents pending and may be manufactured under license from the Georgia Tech Research Corporation USA.

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.:

“Videomedia, 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.”

“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:

The following disclaimer is required by Ultimatte Corporation:

Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection.

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.

This product includes software developed by the Apache Software Foundation (http://www.apache.org/).

velopMentor

This product may include the JCifs library, for which the following notice applies:

Avid Interplay contains components licensed from LavanTech. These components may only be used as part of and in connection with Avid Interplay.

Interplay Production Streaming Server includes Live555, which is covered by the GNU Lesser General Public License. “Live555 is Copyright (c) 1996-2011, Live Networks, Inc. and is licensed under the terms of the GNU Lesser General Public License, which is included with this product.”

This product includes software developed by Indiana University Extreme! Lab (http//:www.extreme.indiana.edu/)/

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

003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, Archive II, Assistant Station, AudioPages, AudioStation, AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine, Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remote Response, Avid Unity, Avid Unity ISIS, Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, Beat Detective, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24, CaptureManager, ChromaCurve, ChromaWheel, Cineractive Engine, Cineractive Player, Cineractive Viewer, Color Conductor, Command|24, Command|8, Control|24, Cosmonaut Voice, CountDown, d2, d3, DAE, D-Command, D-Control, Deko, DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase, Digidesign, Digidesign Audio Engine, Digidesign Development Partners, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake, DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest, DigiTranslator, DigiWear, DINR, DNxchange, Do More, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON, EveryPhase, Expander, ExpertRender, Fader Pack, Fairchild, FastBreak, Fast Track, Film Cutter, FilmScribe, Flexevent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Process, HDpack, Home-to-Hollywood, HYBRID, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Image Independence, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, InGame, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23, iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl, Magic Mask, Make Anything Hollywood, make manage move | media, Marquee, MassivePack, Massive Pack Pro, Maxim, Mbox, Media Composer, MediaFlow, MediaLog, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Painterly Effects, Palladium, Personal Q, PET, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, ScriptSync, SecureProductionEnvironment, Serv|GT, Serv|LT, Shape-to-Shape, ShuttleCase, Sibelius, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, SubCap, Sundance, Sundance Digital, SurroundScope, Symphony, SYNC

HD, SYNC I/O, Synchronic, SynchroScope, Syntax, TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner, Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, tools for storytellers, Transit, TransJammer, Trillium Lane Labs, TruTouch, UnityRAID, Vari-Fi, Video the Web Way, VideoRAID, VideoSPACE, VTEM, Work-N-Play, Xdeck, X-Form, Xmon and XPAND! are either registered trademarks or trademarks of Avid Technology, Inc. in the United States and/or other countries.

Footage

Arri — Courtesy of Arri/Fauer — John Fauer, Inc. Bell South “Anticipation” — Courtesy of Two Headed Monster — Tucker/Wayne Atlanta/GMS. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Eco Challenge British Columbia — Courtesy of Eco Challenge Lifestyles, Inc., All Rights Reserved. Eco Challenge Morocco — Courtesy of Discovery Communications, Inc. It’s Shuttletime — Courtesy of BCP & Canadian Airlines. Nestlé Coffee Crisp — Courtesy of MacLaren McCann Canada. Saturn “Calvin Egg” — Courtesy of Cossette Communications. “Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer.

The Big Swell" — Courtesy of Swell Pictures, Inc.

" Windhorse — Courtesy of Paul Wagner Productions.

Arizona Images — KNTV Production — Courtesy of Granite Broadcasting, Inc., Editor/Producer Bryan Foote. Canyonlands — Courtesy of the National Park Service/Department of the Interior. Ice Island — Courtesy of Kurtis Productions, Ltd. 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.

News material provided by WFTV Television Inc.

Interplay | Production Best Practices • 0130-07639-04 Rev K • Created 6/19/14 • This document is distributed by Avid in online (electronic) form only, and is not available for purchase in printed form.

Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Interplay Documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Chapter 1 Interplay | Production Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Interplay | Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Interplay | Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Interplay | Administrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Interplay Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Interplay | Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Avid Instinct. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Interplay | Production Services Providers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Interplay | Assist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

iNews and Avid Instinct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Archive and Restore Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

MediaManager to Interplay Migration Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Interplay | Media Indexer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Service Framework Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Interplay | Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Access Control and Media Deletion Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Interplay Application Icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Chapter 2 Setting Up a Folder Structure and a User Database . . . . . . . . . . . . . . . . . . 29

Permissions and Folder Structures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Setting Up a Folder Structure in Interplay | Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Basic Setup: Assigning Access to User Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Assigning Database Access on a Project Basis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Defining the Editor Database Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Managing the Instinct/Assist User Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Creating Folders for Capturing Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Chapter 3 Developing an Interplay Delete Strategy. . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Introduction to Interplay Deletion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Interplay Database Folder Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Creating Avid Editing Projects in an Interplay Environment . . . . . . . . . . . . . . . . . . . . . . 49

Project Workflow Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Example: Deletion for Day-of-the-Week Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Example: Orphan Clips Deletion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Deletion Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Determining How Much Space a Delete Operation Will Free Up . . . . . . . . . . . . . . . . . . 75

Searching for Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Chapter 4 Refining Your Search in Interplay | Production. . . . . . . . . . . . . . . . . . . . . . 85

Using the Search Root and Attributes to Speed Up Interplay | Production Search . . . . 86

Basic Interplay | Production Search Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Searching in Interplay | Assist, Avid Instinct, and the Interplay Window. . . . . . . . . . . . . 88

Searching in Interplay | Access. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Example: Finding Assets By Using a Unique Identifier . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Chapter 5 Using AMA Material in Interplay | Production . . . . . . . . . . . . . . . . . . . . . . . 99

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

AMA on Interplay | Production Workflow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Viewing AMA Clips in Interplay | Access. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

How Interplay | Media Indexer Works with AMA Material . . . . . . . . . . . . . . . . . . . . . . . 110

Configuring the Interplay | Media Indexer to Index AMA. . . . . . . . . . . . . . . . . . . . . . . . 113

Deleting AMA Clips Using Interplay | Acess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Using Third-Party Storage Licenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Chapter 6 Sony XDCAM HD and XDCAM EX End-to-End Workflow . . . . . . . . . . . . . 125

MPEG-2 Long GOP Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Supported File Formats for XDCAM HD and XDCAM EX Media . . . . . . . . . . . . . . . . . 127

Long GOP Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Chapter 7 720p MultiRez Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Overview of the 720p MultiRez Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Editor MultiRez Workflow for 720p . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

720p MultiRez Workflow Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Setting Up the Media Services Profiles for a 720p MultiRez Workflow. . . . . . . . . . . . . 156

Chapter 8 Determining Interplay Database Scalability . . . . . . . . . . . . . . . . . . . . . . . . 161

Definition of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Total Used Database Pages and Estimated Database Page Limit. . . . . . . . . . . . . . . . 163

Comparing Database Page Count and Cache Size . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Tips for Improving Database Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Establish a Stable Ratio Between Database Objects and Database Pages. . . . . . . . . 169

Chapter 9 H.264 End-to-End MultiRez Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

H.264 Resolutions Supported by Interplay | Production . . . . . . . . . . . . . . . . . . . . . . . . 173

Installation and Configuration for an H.264 Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Acquiring Media for an H.264 Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Editing with H.264 and High-Res . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Archiving, Restoring, and Deleting H.264 and High-Res Media . . . . . . . . . . . . . . . . . . 193

Chapter 10 HD 23.976p and HD 24p Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Interplay Production Support for Native HD 23.976p and HD 24p Formats . . . . . . . . . 194

Interplay Production Support for HD 23.976p and HD 24p Proxy Resolutions . . . . . . . 198

Chapter 11 Apple ProRes Resolutions Supported in Interplay | Production . . . . . . . 199

Chapter 12 JPEG 2000 Resolutions Supported in Interplay | Production . . . . . . . . . . 202

Chapter 13 Support for Stereoscopic 3D Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Overview of Stereoscopic Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Stereoscopic Media and Stereoscopic Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Stereoscopic 3D Support in Interplay | Access . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Stereoscopic 3D Support in Interplay | Transcode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Stereoscopic 3D Support in the Interplay Window, Interplay | Assist, and Avid Instinct 210

Properties for Stereoscopic Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Chapter 14 DNxHD 100 Resolutions Supported in Interplay | Production . . . . . . . . . 213

Chapter 15 XAVC-Intra Resolutions Supported in Interplay | Production. . . . . . . . . . 214

Chapter 16 Using Frame Chase Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Frame Chase Editing and Frame Chase Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Understanding Frame Chase Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Workflow for Frame Chase Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Limitations When Working With In-Progress Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Chapter 17 Additional Interplay | Production Topics . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Changing Source Information for a Clip in Interplay | Production . . . . . . . . . . . . . . . . . 222

Ingest and Playout of Ancillary Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Support for AFD Ancillary Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Dynamic Relink: Working with a Single Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Disconnecting an Avid Editing Application from the Interplay Environment . . . . . . . . . 228

Chapter 18 Working with Interplay | Media Indexers . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

New Features Added for Interplay | Media Indexer. . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Interplay | Media Indexer Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Web-Based User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Managing Interplay | Media Indexers in an Interplay Environment . . . . . . . . . . . . . . . . 249

Troubleshooting Interplay | Media Indexer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Interplay | Media Indexer Health Monitor Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Appendix A Interplay | Production Maintenance Recommendations . . . . . . . . . . . . . . 279

Interplay Daily Maintenance Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Interplay Weekly Maintenance Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280

Interplay Monthly Maintenance Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Avid ISIS Recommended Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Complete Server Room Shutdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Appendix B Archive Migration (Workgroup 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Searching for Migrated Workgroup 4 Archive Items . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Restoring Migrated Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Restoring Different Versions of a MediaManager Archive Clip . . . . . . . . . . . . . . . . . . . 287

Working with OMF Media Files After an Archive Migration. . . . . . . . . . . . . . . . . . . . . . 292

Retained Workgroup 4 Clip Attributes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Using This Guide

Congratulations on your purchase of Interplay® Production, a powerful system for managing media in a shared storage environment. 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

Interplay Documentation

The following documents describe how to use Avid Interplay:

• Avid Interplay Best Practices — provides an overview of the major Interplay components, shows sample configuration diagrams, and describes several of the key features, such as setting up a user database and using the Avid Interplay Archive Engine.

• Avid Interplay Software Installation and Configuration Guide — describes how to use the Avid Interplay installation programs to install and configure software on the various systems that make up a Interplay environment.

• Avid Interplay Engine Failover Guide — describes how to set up a cluster configuration for the Avid Interplay Engine and the Avid Interplay Archive engine. There are two versions of this guide: one for SR2500 systems and one for AS3000 systems.

• Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide — describes how to administer your Avid Interplay Engine or Avid Interplay Archive Engine and Avid Interplay database.

• Avid Interplay Access User’s Guide — describes how to use Interplay Access to browse, search, and work with assets in the Avid Interplay database.

• Avid Interplay Assist User’s Guide — describes how to use Interplay Assist for logging, archiving, and sending to Playback material in an Interplay environment.

• Avid Instinct User’s Guide — describes how to use the Avid Instinct application to write iNEWS stories and put together simple audio and video sequences.

• Avid Interplay Media Services Setup and User’s Guide — Avid Interplay Media Services lets you control and automate Transcode, Archive, and other Interplay Media Services.

Interplay Documentation

• Avid Interplay Transfer Setup and User’s Guide — describes how to use Interplay Transfer to transfer media to and from another workgroup, send finished sequences to a configured playback device, ingest media from a configured ingest device, and perform standalone transfers between workstations.

• Avid Service Framework User’s Guide — describes how to use the logging, monitoring, and management features of the Avid Service Framework applications.

• Avid Interplay Capture User’s Guide — describes how to use Interplay Capture, a newsroom ingest tool that enables automated recordings.

• Avid Interplay Capture Administrator’s Guide — describes administrative concepts, tasks, and reference material for Avid Interplay Capture.

All documents are available in PDF form on the Avid Knowledge Base at

www.avid.com/onlinesupport.

1 Interplay | Production Components

This chapter provides a brief overview of the main components that make up an Interplay Production environment.

• Using MultiRez and Dynamic Relink

• Interplay | Engine

• Interplay | Access

• Interplay | Administrator

• Interplay Window

• Interplay | Transfer

• Avid Instinct

• Interplay | Production Services Providers

• Interplay | Assist

• iNews and Avid Instinct

• Archive and Restore Services

• MediaManager to Interplay Migration Tool

• Interplay | Media Indexer

• Service Framework Services

• Interplay | Capture

• Access Control and Media Deletion Model

• Interplay Application Icons

Using MultiRez and Dynamic Relink

MultiRez (a term derived from “multiple resolutions”) allows you to associate a single 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 Interplay Production 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 “Using MultiRez and Dynamic Relink” in the Avid Media Composer Editing Guide.

This information is also included in the Help for these products or the Interplay Production Help.For additional information, see “Dynamic Relink: Working with a Single Resolution” on

page 226.

Interplay | Engine

The Interplay Engine forms the backbone of the Interplay environment. The Interplay Engine is a server that combines an asset database with workflow management software, both of which are integrated with Avid shared storage and Avid archive solutions. This topic provides basic information about the functions and components of the Interplay Engine.

The Interplay Engine provides the following features:

Interplay | Engine

• 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 ISIS

™

• 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 Interplay Access

• Use the Interplay Window to check in and check out to the database from the Avid editing application

• Support for MXF media files and AAF metadata. Interplay v3.0 adds support for AMA media.

• Failover capability (using Windows

2003 Enterprise Server), including Auto-Failover to

hot spare (Interplay Engine and 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. You use Reservations to protect the media files related to Avid assets.

- 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 Interplay Access software to place personal reservations on folders

For information on the Interplay Engine, see Interplay Engine and Interplay Archive Engine Administration Guide and the Interplay Access User’s Guide.

Interplay | Access

The 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 Interplay Engine.

The 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.

Interplay | Access

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 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 Interplay Access.

Interplay | Access

You can play Avid video and audio clips in the Interplay Access Monitor if the clips are associated with MPEG-4/H.263 or H.264 video media, MPEG1 Layer 2 audio media, or both.

For more information about Interplay Access, see the Interplay Access User’s Guide.

Interplay | Administrator

The Interplay Administrator is a cross-platform application used for basic administration of the Interplay Engine and the Interplay Archive Engine. Supported capabilities include the following:

• Database activation, creation, and security

• Scheduling backups

• Server licensing configuration

• Central configuration server setup of users

The following illustration shows the User Management window of the Interplay Administrator application.

Interplay | Administrator

For information on using the Interplay Administrator, see the Interplay Engine and Interplay Archive Engine Administration Guide. For information on setting up a user database, see

“Setting Up a Folder Structure in Interplay | Access” on page 30.

Interplay Window

The Interplay window allow you to share Avid assets with other users in the Interplay Production environment. The Interplay window provide the following capabilities:

• Avid editing applications such as Avid Media Composer the Interplay window. The Interplay window displays the same folder structure you see in the Interplay Access interface. You can capture material to an Interplay window and edit those clips into a sequence in a bin. You can also check sequences into the Interplay window for asset management and for sharing with other editors.

• Avid Instinct and Interplay Assist allow you to access remote assets directly. The interface is similar to the Interplay window. For example, an 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 the Interplay Window

• Save current state and restore on relaunch

• Drag from editing application bins to the Interplay window and vice versa

Interplay Window

can work with Avid assets through

• Edit remote clips directly into a sequence

• Search the Interplay Production database

• Create shortcuts

Avid editors must edit sequences, render, and consolidate in bins.

Interplay | Transfer

The following illustration shows the Interplay Window within an Avid editing application.

For more information, see “Working with Interplay Production from an Avid Editing System” in the Interplay Production Help, the Help for your Avid editing application or the Avid Media Composer Editing Guide.

Interplay | Transfer

Interplay Transfer lets you transfer Avid assets to and from another workgroup, send finished sequences to a configured playback device, and capture media from a configured ingest device. You can also use Interplay Transfer in a standalone environment (an environment other than Avid shared storage) to move Avid assets between workstations.

Interplay | Transfer

The 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-Interplay Production transfers from a MediaManager browser to a an Interplay Transfer Status window or to a bin in an Avid editing application within your Interplay Production environment.

• 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 Interplay Administrator.

For information on Interplay Transfer, see the Interplay Transfer Setup and User’s Guide.

Interplay-to-OMF transfers are not supported.

Avid Instinct

Avid Instinct™ is a story creation tool that introduces a story line designed to support the way that journalists create a story. Avid 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.

Instinct supports a subset of the Avid editing features, including the following:

• Recording voice-over to the story line

• Simple searches

• Edit while capture

• Send to Playback

Instinct also incorporates the following new features that support the Interplay Production environment:

• Support for MultiRez workflow

• Access to iNEWS stories and 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.

Avid Instinct

For more information, see the Avid Instinct User’s Guide.

Interplay | Production Services Providers

The Interplay Production Services application supports the following types of transcode services:

• 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. You can perform transcode operations from within the Avid editing application or from within Interplay Access.

• The Copy service allows you to copy media and metadata between different Interplay Workgroups.

• The Move service allows you to move media and metadata between different workspaces on the same Avid ISIS system.

• The STP Encode service allows you off load time-consuming processing involved in exporting and transferring of Long GOP OP1a media, during a send-to-playback request from the Avid editing application or Avid Interplay Assist. See “Workflow for Background

Processing of Long GOP Splicing and Transferring of Long GOP OP1a Media” on page 134.

or more information, see the Interplay Production Services Setup and User’s Guide. For

F hardware configuration information, see the Interplay Software Installation and Configuration Guide.

Interplay | Assist

Interplay Assist allows you to perform the following tasks:

• Search the Interplay Engine database

• Play media

• Add locators and locator information

Interplay|Assist

• Select, view, and create shotlists

• Send to playback

•Archive

The following illustration shows Interplay Assist.

Interplay|Assist

You can also use Interplay Assist to quickly preview clips. All resolutions supported by the Avid editing applications are supported.

Interplay Assist also provides the following additional features:

• 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 Interplay Assist User’s Guide.

iNews and Avid Instinct

The Avid iNEWS newsroom computer system (NRCS) is a powerful tool for developing news, rundowns, and stories. Avid Instinct allows producers, writers, and journalists to write Avid iNEWS stories and combine them with simple audio and video sequences that are available through the Interplay Engine.

For additional information, see the Avid Instinct User’s Guide.

Archive and Restore Services

iNews and Avid Instinct

An Interplay Production environment supports a separate asset manager known as the 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.

Archive and Restore Services

Safe image identifies the archive database

Avid Interplay online database

Avid Interplay Archive database

Tree view

The following illustration shows an archive database displayed in Interplay Access.

The Interplay Production 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 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)

• Ability to append metadata and logging information to archived material

For additional information, see the Interplay Media Services Setup and User’s Guide.

MediaManager Archive Solutions

Starting at Interplay v1.1.4, you can migrate MediaManager v4.5.x (also known as Workgroup 4) archived assets to an Interplay Archive environment. See your Avid representative for details on performing the migration. See “Archive Migration (Workgroup 4)” on page 285.

MediaManager to Interplay Migration Tool

You can migrate much of your MediaManager environment metadata to an Interplay Production workgroup with the Migration tool. You can migrate clips, sequences, and effects from projects, catalogs, workspaces, and users. You can also migrate MediaManager Archive metadata to an Interplay Archive system. For more information, see your Avid representative.

Interplay | Media Indexer

The Interplay Media Indexer is a background service that keeps track of the media files in storage locations that you identify. In an Interplay Production environment, each Avid editing application has its own local Interplay Media Indexer that manages the local storage areas on that system. Each Interplay Production environment also has at least one Interplay 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 Interplay Media Indexer, which then communicates with the shared storage Interplay Media Indexer. For more information, see

“Working with Interplay | Media Indexers” on page 229.

Service Framework Services

Avid Service Framework is a common service distribution framework, which enables the configuration and monitoring of Avid services and applications in an Interplay environment.

Avid Service Framework consists of applications and services that provide dynamic discovery and lookup mechanisms, a scalable notification system, a centralized configuration tool, diagnostic logging for workgroup-enabled applications and services, system health monitoring, and so on. Some of the services are known collectively as Support services. The Support services are viewed, monitored, and configured using the Service Framework applications.

The Avid Service Framework provides the following tools for Interplay Production:

• Scalable notification mechanism

• Configuration tool for centralizing configuration tasks

• Diagnostic Logging application for consistent logging across all Interplay applications

• Health and Monitoring application

Interplay | Capture

Interplay Capture is intended for customers who require a management system for video capture. This application is a key part of the MultiRez workflow. Interplay Capture stores its schedule and other metadata in the Interplay database, which allows for easy access to the captured material within the Interplay work environment.

For information on Interplay Capture, see the Interplay Capture Administration Guide, the Interplay Capture User’s Guide, and the Interplay Capture Install 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.

Interplay | Capture

• Administrators and file owners can override folder reservations.

For more information, see the Interplay Access User’s Guide and “Developing an Interplay

ete Strategy” on page 42.

Del

Interplay Application Icons

This section describes the Interplay Production icons.

Interplay | Access, Administrator, Instinct, and Assist

The Interplay Access icon has a purple background to signify that it is the main entry point that most people will use to work with the Interplay Production database. The Interplay Administrator has a similar look but with a key to denote the administrator. The Assist icon represents adding metadata to a locator track in Assist. The Avid Instinct icon is based on the iNEWS icon that has the same script “i” with a circle around the character.

Interplay Application Icons

Interplay Access

Avid Instinct

Interplay Administrator

Interplay Assist

Avid Health Monitor

Avid Diagnostics

Service Configuration

Workgroup Properties

Avid Service Framework

The Avid Service Framework icons use a tools-based hex nut design in all four icons.

Interplay | Production Services

The Interplay Production Services Engine icon represents a controller or Broker controlling the Media Services jobs. The image of the curved line and connecting dots is repeated in several of the icons. In the Stream Publish icon the image represents the fact that the service continually watches for files to publish. Delivery represents the files being delivered across the world to different Interplay environments. The Copy and Move icons also use the curved line to represent the fact that Copy works on one ISIS system (between workspaces) while Move works between two ISIS systems.

Interplay Application Icons

Interplay Delivery

Interplay Move

Interplay Restore

Interplay Production Services Engine

Interplay Transcode

Interplay Copy

Interplay STP Encode

Interplay Archive

Interplay FTP Clip List

Interplay FTP Media Browse

Interplay Production Services and Transfer Status

Interplay Transfer Configuration

Interplay Transfer

The Interplay Transcode and STP Encode icons use broken lines and arrows to indicate that the application processes the media. Interplay Archive and Restore use the metaphor of moving media to and from an archive.

Interplay | Transfer

The Interplay Transfer icons share a double arrow that represents transfers. In the case of FTP Clips List and FTP Media Browse, the arrows show that the application only transfers in one direction.

2 Setting Up a Folder Structure and a User

Database

This chapter describes the process of setting up a user database for your Interplay Production environment. This chapter includes the following topics:

• Permissions and Folder Structures

• Setting Up a Folder Struct

• Basic Setup: Assigning Access to User Gr

• Assigning Database Access on

• Defining the Editor Database Settings

• Managing the Instinct/Assist User Settings

• Creating Folders for Capturing Media

ure in Interplay | Access

oups

a Project Basis

Permissions and Folder Structures

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 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/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.

This chapter describes how to set up both scenarios.

Setting Up a Folder Structure in Interplay | Access

Catalogs folder used for common elements

Projects created within the Projects folder

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. You can set up a folder structure that complements your workflow and allows people in your Interplay workgroup to easily navigate to their working folders. 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. For additional information, see “Creating Avid Editing Projects in an Interplay

vironment” on page 49.

Basic Setup: Assigning Access to User Groups

Assistants group has Read/Write permission on the entire database

Basic Setup: Assigning Access to User Groups

If you work at a relatively small site where all of the editors have access to all of 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.

For more information, see the Interplay Engine and Interplay Archive Engine Administration

Guide.

Basic Setup: Assigning Access to User Groups

Manage Database Roles

Assigning Access Rights to User Groups on a Folder Basis

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 you 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.

Basic Setup: Assigning Access to User Groups

Database panel User/Group panel

Roles panel

Set Roles button

The Manage Database Roles window opens.

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.

Assigning Database Access on a Project Basis

Assistants group has Read/Write/Delete access to the Catalogs folder

The permissions for that user group appear in the bottom panel as shown in the following illustration.

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.

Assigning Database Access on a Project Basis

User groups start with No Access to database

Copy users into the Project groups

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.

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.

Managing Database Roles

Editor Database Settings

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.

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 inherits these permissions when he or she is working in the 01 Ice Island folder.

Assigning Database Access on a Project Basis

For details on assigning permissions, see “Assigning Access Rights to User Groups on a Folder

Basis” on page 32.

Defining the Editor Database Settings

Editor database settings

Defining the Editor Database Settings

After you set up your folder and user structure, you 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 Interplay Assist such as target resolution and audio settings.

For additional information on the Editor Database Settings, see the Interplay Engine and Interplay Archive Engine Administration Guide.

To set the Editor Database settings:

1. Double-click Editor Database Settings in the Interplay Administrator window.

The Editor Database Settings window opens.

2. Click the root node for the database and define the default settings for the entire database.

Auto reservations and Automatic Checkin settings apply to all Avid editing applications

Settings for the entire database

Defining the Editor Database Settings

3. Click the Apply button in the lower right of the window. The settings apply to all folders in the hierarchy.

4. (Option) Select a folder and define the settings for the folder.

Managing the Instinct/Assist User Settings

If you have Avid Instinct or Interplay Assist users in your Interplay environment, an administrator must select options 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 “Defining the Editor Database Settings” on page 38.

Set the workgroup name in the Server Hostname Settings window. The Avid Instinct and

• Interplay Assist clients use this setting to locate the Interplay Media Indexer that monitors shared storage.

The workgroup name you enter in the Server Hostname Settings window must match the Workgroup name used by the Service Framework. The name must match exactly and it is case sensitive. You can locate and set the name in the Interplay Workgroup Properties window. The following illustration shows the Interplay Workgroup Properties window.

For more information, see the Int Guide.

erplay Engine and Interplay Archive Engine Administration

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. For additional information, see “Interplay Database Folder Structure” on page 43.

Creating Folders for Capturing Media

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.

3 Developing an Interplay Delete Strategy

This document describes how to develop a workflow for deleting material from your Interplay system and covers the following topics:

• Introduction to Interplay Deletion

• Interplay Database Fo

• Creating Avid Editing Projects in an Inte

• Project Workflow Samples

• Example: Deletion for Day-of-the-Week Workflow

• Example: Orphan Clips Deletion

• Deletion Guidelines

• Determining How Much Space a Del

• Searching for Media

The strategies proposed in thi workflows. Each site needs to develop its own deletion strategy, according to its own workflows, media throughput, storage capacity, archiving, and media protection policies.

lder Structure

rplay Environment

ete Operation Will Free Up

s document are guidelines and may not be suitable for all

Introduction to Interplay Deletion

Developing a successful strategy for deletion involves the following:

• Become familiar with the default folder structure of the Interplay database.

• Develop a consistent folder structure that complements your site’s workflow.

• Develop a consistent way to create (and subsequently delete) projects among the Avid editing applications and among the users that capture, transcode, or otherwise create media on the Interplay database.

• Determine a regular schedule for deleting material from the following locations:

- Interplay database folders. You can use Interplay Access to delete assets from the

database as well as associated media files from shared storage.

- Delete old projects from the editing application systems

Interplay Database Folder Structure

- Delete out-of-date files from AirSpeed and Interplay Capture systems

• Become familiar with the Interplay Access Extended Search feature to let you easily locate material that should be deleted.

The deletion process changed in Interplay v2.4 so that Interplay administrators can schedule the

most load-demanding part of deletion operations during times of low activity. For more information, see “Setting Options for Deletion” in the Interplay Engine and Interplay Archive

Engine Administration Guide.

Use Interplay Access when deleting assets from associated files from shared storage. Avid strongly recommends that you do not delete files directly from the file system because the relationships between the clip metadata and the specific files that make up the clip are not obvious from the file system. Those relationships are managed by the Avid editing applications and the Interplay Engine. Interplay Access is the best tool for managing the files in the Interplay database.

For information on deleting the material associated with AMA media, see “Deleting AMA Clips

Using Interplay | Acess” on page 118.

the Interplay database and deleting the

Interplay Database Folder Structure

Once you become familiar with how Interplay uses the various Interplay folders, you can organize and maintain your media more efficiently and start developing your own delete strategy. The following table lists the default folders.

Folder Function

Catalogs The following information can be stored in this folder:

• You can create folders here that complement your overall workflow. For example, you can create folders with site-specific names such as Highlight Reels, and create folders for Auto-archive or Auto-transcode operations.

• When ingesting media via AirSpeed, you have the option to specify that all created clips created be placed in a Catalogs folder. See “Folders Used by AirSpeed” on

page

45. AirSpeed Multi Stream does this by default.

•

When you perform a Resync, the system automatically places a Resync folder in the Catalogs folder. Any assets checked in while the system is performing a Resync are placed in this folder. You can move them to an appropriate location after the Resync is completed. For more information, see “Resyncing Media Files with Avid Shared Storage Workspaces” in the Interplay Access User’s Guide or Help.

Interplay Database Folder Structure

Folder Function

Incoming Media This is the destination for incoming clips from AirSpeed, AirSpeed Multi Stream or

Interplay Transfer. The folder structure is organized by workspace name. See “Folders

Used by AirSpeed” on page 45 and “Folders Used by Interplay | Transfer Checkins” on p

age 48.

Orphan

Clips Contains master clip and rendered effects that have been deleted from the Interplay

folders but still point to media files on shared storage.

The Orphan Clips folder provides a mechanism for protecting media files when you delete an Interplay asset and do not delete the associated media. For example, if you check the same master clip into two different Interplay folders, there are two copies of the asset in the Interplay database. If you delete both clips but do not delete the associated media, the system automatically moves the last clip to the Orphan Clips folder.

One of the benefits of the Orphan Clips folder is that it allows you to retrieve deleted master clips if they are still associated with a sequence. For example, even though the last master clip associated with a media file is deleted from the Interplay folders, the associated media might still be included in a sequence. If you find that the media is in a sequence that you want to keep, you can retrieve the master clip from the Orphan Clips folder. You can use the “In Use” and “Not in Use” search criteria to determine whether assets in the Orphan Clips folder are used by any sequences. See “Example:

Orphan Clips

By default, only administrators can view this folder. An Administrator can assign read/write/delete Database Roles view in the Interplay Administration tool.

Deletion” on page 67.

In order to delete all instances of a master clip, including those referenced by a sequence, you must enable viewing of Referenced Assets in Interplay Access. See “Determining How Much Space a Delete Operation Will Free Up” on

page 75.

permissions for this folder to users or groups using the Managing

Beginning with Interplay Access v2.4, the Orphan Clips folder also contains links for assets deleted from Interplay folders whose media files were deleted. This change enables an Interplay administrator to schedule the most load-demanding part of deletion operations during times of low activity. For more information, see “Setting Options for Deletion” in the Interplay Engine and Interplay Archive Engine Administration Guide.

Folder Function

Project The following information is stored in this folder:

• This is the default folder for Avid editing application projects. See “Project and

Bin F

olders Created by the Avid Editing Applications” on page 49.

•

Capture Manager creates folders here. See “Folders Used by AirSpeed” on

page

45.

AirSpeeds create folders here and/or under the Catalogs folder. See “Folders Used

•

by A

irSpeed” on page 45.

•

Instinct creates folders here named after the iNEWS directory path and server name. See “Avid Instinct Assets (Daily)” on page 63.

Interplay Database Folder Structure

Sent to P

Un-Check Assets

layback This folder contains the sequences created when you perform a Send to Playback

operation. See “Folders Used by Send to Playback Operations” on page 48.

ed-In Avid

leted Items Serves as a recycle bin for non-Avid assets such as graphics files and Microsoft Word

This folder serves as a temporary folder for assets associated with newly created media. Avid editing applications automatically check newly created media into this folder. When you check in the bin or drag the assets to the Interplay Window, the Interplay Engine moves the assets to the corresponding folders. For additional information, see “Un-Checked In Avid Assets (Weekly)” on page 64.

files. You can restore deleted items from this folder. The folder is created the first time you delete non-Avid assets from the Interplay database. Users only see what they deleted. An administrator sees all items deleted by all users. When an administrator deletes material from this folder, the files are permanently deleted.

The following section describes how the various Interplay applications use the folder structure.

Folders Used by AirSpeed

This section describes the assets that are created when you use AirSpeed to capture material to your Interplay Production system.

For an example of using AirSpeed MultiStream with Interplay Capture, see “Folders and

Shared-Storage Workspaces for an H.264 Workflow” on page 178.

Assets Created During an AirSpeed Capture

Workspace name

Folder created by Airspeed

Interplay Database Folder Structure

Each AirSpeed capture automatically crea

• One asset is checked into the Incoming Media folder. The system places the asset in a folder named after the workspace that AirSpeed uses for the capture. You specify the workspace in the Airspeed Destination template as shown in the following illustration.

The following illustration shows the corresponding folder (named Ingest) in the Incoming Media folder. AirSpeed creates the folder if it does not already exist.

tes either two or three Interplay assets as follows:

The associated media files are captured to the workspace specified by the workspace name in the

AirSpeed Destination window.

• One asset is checked into either th you configure the Destination template in the AirSpeed application interface.

e Projects folder or the Catalogs folder, depending on how

Interplay Database Folder Structure

Catalog name

Project name

Bin name

Folder created by Airspeed

In this example the Projects folder is specified and names for the folder and sub folder are entered. The following illustration shows the corresponding folders that AirSpeed creates under the Projects folder when it checks in the asset.

Summary for AirSpeed Checkins

If you use the Catalog option, the system creates a folder with the name you specify and places it at the top level of the Catalogs folder. If you use the Project option, you can specify two folder levels: a project folder and a bin name.

Depending on the type of capture, you can have multiple assets checked in for one capture op

eration:

• For an AirSpeed capture without Interplay Capture, the system checks in two assets for each captured media file. Assets are checked into the following folders:

- Incoming Media

- Catalogs or Projects folder (defined by AirSpeed)

• For an AirSpeed capture scheduled by Interplay Capture, the system checks in three assets

Default Sent to Playback folders

for each captured media file. Assets are checked into the following folders

- Incoming Media

- Catalogs or Projects folder (defined by AirSpeed)

- Projects folder (defined by Interplay Capture)

• For a dual-ingest capture using Interplay Capture, AirSpeed, and Avid Low Res Encode, the system may create additional assets in the folder created by Interplay Capture depending on whether the Scene change option is enabled. In this case there is an asset for each additional low res subclip.

Folders Used by Interplay | Transfer Checkins

Assets checked in by a Workgroup to Workgroup Transfer or other Interplay Transfer operations are placed in the Incoming Media folder. Assets are organized by the name of the workspace that the media is transferred to. For additional information on files checked into the Incoming Media folder, see “Assets Created During an AirSp

eed Capture” on page 46.

Folders Used by Send to Playback Operations

Interplay Database Folder Structure

When you use Interplay Transfer to send a sequence to playback, the system automatically checks the sequence into the Sent to Playback folder. The default organization is by “week of the year” and “day of the week” as shown in the following illustration.

You can also instruct the system to create an additional folder in the Catalogs folder. The following illustration shows a Sent to MSS002 folder created in the Catalogs folder. In this case an asset is also checked in to the Sent to Playback folder.

Creating Avid Editing Projects in an Interplay Environment

Custom Sent to folder

For more information on creating an additional folder, see “Configuring an Ingest Device Catalog” in the Interplay Transfer Setup and User’s Guide.

Project and Bin Folders Created by the Avid Editing Applications

Creating Avid Editing Projects in an Interplay Environment

Editors, after login, select a project that they will work in. This project and its associated bins are checked in to the Interplay database when the editor uses the Check in Bin to Interplay command. You can also instruct the system to automatically check in bins when the editor closes the Avid editing application.

For additional information, see “Defining the Interplay Folder Setting” on page 53 .

One of the biggest decisions you will make regarding your workflow is the location of the projects and bins created by the editing applications. A predictable folder structure allows for the following:

• Creates an easily maintained folder structure in the Interplay database

• Makes it easy for editors and other users in the organization to locate assets that are used by different projects

• Makes it easier for the Administrator to delete older projects on the Avid editing systems

This section covers the basics of creating a project structure that is easy to maintain in an Interplay environment.

Creating Projects

In a large Interplay environment it is important to locate Avid editing projects in areas that are easily accessible by the Administrator that has to delete the projects. This section describes the options for choosing a location for newly created projects.

When you start the editing application, the system displays the project log in window. From this window, you can create a project that is either Private, Shared, or External.

The best choices for a shared structure are either Shared or External. These types of projects are created in a common location, making it easier for the Administrator to locate and delete old projects.

Any user can create or delete a project via the editor. Keep your project structure consistent to

make the Interplay database easy to maintain.

Creating Avid Editing Projects in an Interplay Environment

If you are working with projects created on local

• A local project resides on the C: drive of the Avid editing system.

• If the connection between the Avid editing system and shared storage is lost, the project and its contents are unlikely to become corrupt as a by-product.

• You cannot login to the project from another workstation. You (or other users) must go to the Interplay Projects folder to locate the contents created in this project.

• From an administration standpoint, you must clean these projects up or archive them from each editing system. At a large site this can become time consuming and needs to become part of the Administrator’s workflow.

Private

A Private Project is stored locally. It can be accessed only by the user currently logged on to the editing machine. On a Windows system, a Private Project is always stored under the user’s Documents directory. An administrator may be able to access this project if they have read/write permission to the user’s directory.

drives, then note the following:

Creating Avid Editing Projects in an Interplay Environment

Private Project - under the My Documents/Avid Projects folder

Shared Project - under the Shared Avid Projects folder

Shared

A Shared Project is stored locally. It can be accessed by any user that can log on the editing machine. On a Windows system, a Shared Project is always stored in the machine’s Shared Documents directory.

Creating Avid Editing Projects in an Interplay Environment

External Project - the editor can specify the location

External

An External Project can be saved to any directory, either local or remote. Depending on the file-system permissions set on the selected folder, other users or an administrator may or may not be able to access the project. The external option is particularly useful when you want to save the project on shared network drive to make project maintenance easier.

Avid does not support sharing bins in an Interplay environment. If you create projects on shared

storage, do not allow editors to work in the same bin at the same time. This can result in data loss or media corruption. Instead of sharing bins, editors should use the Interplay Window to collaborate and share material.

Interplay | Production Settings in the Editing Application

The Interplay Folder setting defines where the Avid editing application checks files into the Interplay database. After you open a project you can specify several Interplay Production settings, including the Interplay Folder. To access the settings, open the Settings scroll list in the in the Project window. The following table lists the Interplay-related settings.

Option Description

Interplay Server (Site Setting) Specify the name of the Interplay Engine for the environment. If the site

has an Interplay Engine Cluster, this is a virtual name that will log in to the active node.

Creating Avid Editing Projects in an Interplay Environment

Option Description

Interplay User (User Setting) Specify the name of the default Interplay user (if applicable) and check the

Automatic Login at Project Selection checkbox. This does not auto-login to Interplay, but prompts the user to do so after logging in to their project.

Interplay Folder (Project Setting) Interplay Production organizes assets and media by folders. The default

checkin folder must be set on each Avid editing application.

By default, the folder path is empty. The Interplay database Projects folder is a good location to use. This will check the assets into a folder with the name of the bin inside the folder for the project. Click the Set button to navigate to the directory you want to use. After you select the Projects folder, the Interplay Folder Settings dialog box will display the following:

Projects/<project>

Dynamic Relink This setting is utilized in MultiRez environments, to specify the working

and target resolutions for the Avid editing applications. The term MultiRez refers to having a single master clip associated with multiple resolutions. For additional information, see the Help for your Avid editing application or the Interplay Production Help.

Media Services This setting specifies the Media Services Engine information. This allows

the editor to submit Transcode, Pro Encode, or Archive jobs to the Media Service broker to hand off to the provider. When logged in to Media Services the client can submit the jobs using the File menu options or by right-clicking assets in a bin. You need to specify that Media Services are available, the Host name of your Media Services Engine, and a valid Interplay Production login account.

Defining the Interplay Folder Setting

The Interplay Folder setting defines where assets will be checked into the Interplay Production database. You need to define the location for each project. The examples in this chapter assume that you are using the Projects folder in the Interplay Production database. The following illustration shows the setting defined for the Projects folder. Use the Set button to define the location.

Creating Avid Editing Projects in an Interplay Environment

Projects folder selected

Click the Append project checkbox.

Folders created by checking in the bin

Checked in assets

The following illustration shows a folder for a project named “The Big Swell” created in the Projects folder. The folder was created automatically when the editor checked the first bin into Interplay Production using the Check in Bin to Interplay command. The system automatically created both folders and checked in the assets into the folder.

For a Day-of-the-Week workflow, use the Projects\<project> setting in the Interplay Folder Setting window. Then, when multiple editors work in the 01Monday project, there will be one 01Monday folder populated by the bins from each system. This keeps the organization easier to maintain.

To instruct the system to automatically check in bins when the editor closes the application, select the Bins option in the Editor Database Settings window in the Interplay Administration tool. The default is to ask the editor before checking in the bin.

Defining the Media Creation Settings

Use the Media Creation dialog box to define where you want the Avid editing application to store newly created media.This is usually a workspace on shared storage that is monitored by the Interplay Media Indexer High Availability Group.

To define the Media Creation settings:

1. Click the Settings tab in the Project window of the Avid editing application.

2. Double-click Media Creation.

3. (Option) On the Drive Filtering and Indexing tab, click Auto-index local drives as they come online.

4. Click the Capture tab.

5. Select the video resolution and shared storage workspace for capturing new material.

Project Workflow Samples

6. Select the options for the other tabs (Import, Render, etc.).

Project Workflow Samples

This section describes sample folder structures for Broadcast and Post environments.

Whatever the structure, the more simplified the Project and the Interplay Folder structure, the easier it is to maintain the Interplay environment.

Local Projects

This document assumes that you are using Local projects (projects created on local drives of the Avid editing applications). For more information, see “Project and Bin Folders Created by the

vid Editing Applications” on page 49.

Local projects guarantee that only one user will be in a project at any given time. Other editors must access the material through the Interplay folder structure.

Broadcast Project Examples

Many broadcast sites use a Day-of-the-Week structure for organization and ease of administration. Broadcast projects are time-sensitive and items are often removed from the system within days. This convention makes it easy for users to locate material, and it makes it easy for administrators to maintain the system.

For example, if a site decides to use a 1Monday through 7Sunday project structure, this allows them to regularly delete the daily projects. This reduces the likelihood of the project becoming corrupted over never-ending use and also cleans out old tape names.

The following table shows some sample project names.

Weekly Structure Monthly Structure (September)

1Monday 0903 Monday

2Tuesday 0904 Tuesday

Project Workflow Samples

3Wednesday 0905 Wednesday

4Thursday 0906 Thursday

5Friday 0907 Friday

6Saturday 0908 Saturday

7Sunday 0909 Sunday

Hold Hold

Permanent Permanent

In these examples the day of the week is the project and the story is the bin. The Hold folder is for continuing stories and the Permanent folder is used for items such as frequently used graphics, music, bumps, and show openers.

The day of the month monthly structure provides the ability to work further than a week ahead but requires more work creating projects. When using this model you have to create 28-31 days of the month projects manually. To simplify the operation you can copy from a template and rename the project and the .avs and .avp files within the project.

Post Environment Project Example

Post project

The Day-of-the-Week structure is usually not appropriate for Post environments because a Post site may work on projects for several weeks or months at a time. You should develop your own structure based on your particular workflow. Keep in mind that when projects and bins are clearly named (for example by program name) it is much easier to maintain the folder structure.

The following illustration shows a sample Post structure for a project named Ice Island. Most of the subfolders were created when bins were checked in by the editors. The HOLD folder is created by the Media Manager in Interplay Access and is used for master clips, frequently used graphics, and other elements that should not be deleted. In this example when editors want to make sure certain assets are not deleted, they either copy the assets to the HOLD folder themselves or request that the assets be copied to the folder.

Project Workflow Samples

In this example the HOLD folder is on a per-project level because there may be some elements that you do not want to share between different shows.

Using this model, the Administrator could delete the entire project folder after production has finished. Before deleting the folder, check whether editors want to archive finished sequences or some of the dailies. The following are some archiving methods:

• Move the assets to a reserved HOLD folder elsewhere in the Interplay folder structure

• Perform a digital cut to tape

• Perform a Send to Archive operation

Example: Deletion for Day-of-the-Week Workflow

Using Project Templates

Typically, a site creates a folder called Project Templates (either locally or on a shared storage workspace). This example uses the Day-of-the-Week structure. In the example the Administrator deletes the current “1Monday” project from the editor’s local machine and copies and pastes the template to provide a new starting point.

To copy a project template to a local system:

1. Navigate to the location of the Project Templates.

2. Right-click on the 1Monday folder and select Copy.

3. Navigate to the current 1Monday folder on the local machine and delete the folder.

4. Paste the template 1Monday folder into the same location.

Example: Deletion for Day-of-the-Week Workflow

You should use Interplay Access to perform the majority of the administration of the Interplay Production assets on the Avid shared storage system. You should always use Interplay Access to delete media files from shared storage. Keep in mind that media and metadata also has to be deleted from other places in the system (in particular, from Avid editing applications and from AirSpeed and Interplay Capture systems).

The deletion process changed in Interplay v2.4 so that Interplay administrators can schedule the

most load-demanding part of deletion operations during times of low activity. For more information, see “Setting Options for Deletion” in the Interplay Engine and Interplay Archive Engine Administration Guide.

Sample Delete Workflow

The following table lists deletion activities based on the Day-of-the-Week Project workflow and points to the sections that explain the operations.

Example: Deletion for Day-of-the-Week Workflow

Interplay Production Component Activity

Interplay Access Delete daily project and those other projects ready for deletion. See

“Project Folders – Editor Projects (Daily)” on page 59.

elete material from the AirSpeed project or catalog. Sift the results by creation date and delete.“Projects Folder – Ingest or AirSpeed Folders

(Da

ily)” on page 61.

elete material created by Interplay Capture under the Projects folder. See

“Incoming Media (Daily)” on page 62.

elete story folders and sequences created by Avid Instinct. Search or navigate to each Instinct project under the Projects folder (iNEWS Server Name-Show-5PM-Rundown for example) and delete story folders and sequences. See “Avid Instinct Assets (Daily)” on page 63.

elete Sent to Playback for the day of the week that you deleted above-located under the week number. See “Folders Used by Send to

Pla

yback Operations” on page 48.

elete items in the Orphan Clips folder. See “Orphan Clips (Weekly)” on

ge 64.

elete material from the Un-Checked in Avid Assets folder. See

“Un-Checked In Avid Assets (Weekly)” on page 64.

elete from the Deleted Items folder. See “Deleted Items (Weekly)” on

ge 65.

vid editing applications Delete daily project and those other projects ready for deletion. This must

be done from all editors. “Avid Editing Application Maintenance” on

ge 65.

elete the project or projects deleted in the step above out of the Attic. You must do this on each editing system.

Project Folders – Editor Projects (Daily)

The fastest way to clean up space on the system is to delete entire folders from the Interplay database. You can delete an entire folder and all the media that is referenced by the assets in that folder. For information on how the Avid editing applications create folders in Interplay Production, see “Project and Bin Folders Created by the Avid Editing Applications” on page 49.

er using the system for a few weeks, determine how long it takes to reach the maximum

Aft storage capacity of your shared storage workspaces. Then you can determine how often you will need to delete material.

Example: Deletion for Day-of-the-Week Workflow

The amount of disk space that will be freed by the deletion

On Avid ISIS, attempt to keep the used space under 80% of the capacity of the Storage Group for each Storage Group on the ISIS. Use the ISIS Administration Tool/Storage Groups tab to view this information.

For the Day-of-the-Week model, after you determine how long it takes to reach your maximum capacity, set up a schedule to delete the day of the week project a specific number of days after the project day. For example, always delete the 1Monday project on Friday. Note that you will also have to delete the corresponding local projects on the Avid editing systems as well.

To delete Project Folders and associated media:

1. Open the Projects folder in Interplay Access.

2. Locate the project to delete.

3. Right-click the folder and select Delete. The Delete window opens and displays the clips in the folder.

4. Click Select All to select all the assets, files, and resolutions. The center portion of the dialog box shows how much free space you will gain from the Delete operation.

Example: Deletion for Day-of-the-Week Workflow

The number of media files and the amount of data that will be deleted are only affected by the

option “Delete only media created with the selected clip or clips.” This information is not affected by your selections in the Media Resolutions or Media Workspace sections of the dialog box.

5. Click OK.

The system reserved. The system does not delete any media files associated with reserved items and does not delete the folder containing the reserved assets. You may wish to move reserved items to a Hold folder and then delete the folder that contained the reserved assets.

6. After the folder is emptied, the system deletes the folder. If there are any non-Avid assets in the folder (for example, graphics files or text files) the system asks if you want to delete the files and the folder from the Interplay database.

Using Reservations to Protect Media

All users (for example, editors, producers, and jour to protect assets if they want to keep media on the system any longer than this number of days. If an editor wants to keep material on this system, the assets must be in a folder with a reservation on it. The media files will be protected as long as there is a reservation on the folder containing the asset. Reservations are either permanent or on a timed basis. For additional information, see

“Using Reservations” on page 72.

sides using Reservations, the editors can also request that the assets be moved or copied to a

Be Hold or Permanent folder. Its is useful to develop a method of easily communicating this kind of information. For example, editors could use the Messenger feature in Interplay Access to identify assets or folders that they need protected.

displays the Delete in Progress window and indicates whether any files were

nalists) must know how to use Reservations

Projects Folder – Ingest or AirSpeed Folders (Daily)

The Projects folder contains assets that point to media created by AirSpeeds. See “Folders Used

by AirSpeed” on page 45.

this case, do not delete an entire folder (for example, Week1) because it contains material

from all seven days of the week. This section describes how to delete selected assets.

To delete assets from the Ingest or Airspeed folders:

1. In Interplay Access, click on the Projects Folder (or Catalog folder depending on where Airspeed created the folders).

2. Open up the folder called Ingest or AirSpeed.

3. Select Creation Date from the Sort By list. This will show the oldest material.

4. Ctrl-click on all the clips from the day that was deleted in the previous section.

Sort By list

5. Right-click on one of the clips and select Delete.

6. Select the metadata and media that you want to delete.

7. Click OK.

Incoming Media (Daily)

Media that is transferred from an Interplay Transfer server or captured by an AirSpeed creates an asset under the Incoming Media Files. The folder is sub-divided by the name of the workspace that the media was transferred to or captured to. See “Folders Used by AirSpeed” on page 45 and

“Folders Used by Interplay | Transfer Checkins” on page 48.

Example: Deletion for Day-of-the-Week Workflow

rea should be maintained and entries should be cleaned out. Filter each workspace and

This a delete the material for the day that was deleted in the previous procedures.

Sent to Playback (Daily)

The Sent to Playback folder is the area where sequences get created when you push to playback devices (AirSpeeds). It is structured by weeks and then by the days within the week. See

“Folders Used by Send to Playba

Delete the day corresponding to the 1Monday project deleted in the previous examples.

You can also use a Search to identify the files for deletion. The following procedure searches the Send to Playback folder for assets whose media status is offline and that were created before a particular date. In this case the files are offline because we deleted the media when we deleted the assets in the Projects folder.

To delete using search results:

1. Open a search and select the Send to Playback folder.

2. Perform an extended search for Media Status is offline and Creation date is before a specified date.

ck Operations” on page 48.

3. Delete the search results.

Sent to Playback folder

The following illustration shows the Interplay Access search dialog.

Avid Instinct Assets (Daily)

Search or navigate to each Instinct project under the Projects folder and delete story folders and sequences.

When you save a story in Instinct, the story sequence gets checked in to Interplay Production in a path that mimics the location of the story in iNEWS.

Example: Deletion for Day-of-the-Week Workflow

Avid Instinct cannot adhere to a Day-of-the-Week structure.

The following illustration shows a typical Instinct

Elements in the graphic are explained as follows:

• Server Name - Named after the iNEWS servers (in this Example-Batman)

• Show - iNEWS Show folder

• Rundown - NEWS queue - story name

• The story name contains the sequence which is also named after the story

structure under the Projects folder.

Orphan Clips (Weekly)

If you delete a master clip from all of the Interplay Production folders and do not delete the associated media, the system automatically moves the last copy of the asset to the Orphan Clips folder. To delete these objects and their associated media and free up the disk space, you must delete them from the Orphan Clips folder.

Beginning with Interplay Access v2.4, the Orphan Clips folder also contains links for assets

deleted from Interplay folders whose media files were deleted. This change enables an Interplay administrator to schedule the most load-demanding part of deletion operations during times of low activity. For more information, see the Interplay Engine and Interplay Archive Engine

Administration Guide.

Even though all of the master clips associated with a media file are deleted from the Interplay fol

ders, the Interplay folders can still contain sequences that use the media. You can use the “In Use” or “Not in Use” search criteria to determine whether the clips in the Orphan Clips folder are used by any sequences. Then you can decide whether you want to delete the master clips and media or move the associated clips out of the Orphan Clips folder to the folders that contain the sequences. See “Example: Orphan Clips Deletion” on page 67.

Example: Deletion for Day-of-the-Week Workflow

Some w deleting the media from the Orphan Clips folder. In order to delete all instances of a master clip, including those referenced by sequences, you must turn on the view of Referenced Assets in Interplay Access. See “Example: Orphan Clips Deletion” on page 67.

Starting with Interplay v2.3, you cannot delete a referenced asset unless you also delete the asset

that references it. For more information, see the “Deleting Assets” chapter of the Interplay Access User’s Guide.

orkflows may involve deleting master clips when they are no longer needed and later

Un-Checked In Avid Assets (Weekly)

This folder serves as a temporary folder for assets associated with newly created media. Applications such as the editing applications or Interplay Capture automatically check newly created media into this folder. For example, when you capture video, consolidate, transcode, or render effects in your bin, the Avid editing application automatically checks the asset into the Un-Checked In Avid Assets folder. When you check in the bin or drag the assets to the Interplay Window, the Interplay Engine moves the assets to the corresponding folders.

Administrators see a folder for each user; users see only their own folder. If editors always check in bins when they close them, this folder should be easy to maintain. Be careful of deleting assets and associated media from this folder because if an editor forgot to check in a bin, you might delete media such as rendered effects that the editor recently created.

To delete using search results:

1. Open a search and select the Unchecked in Avid Assets folder.

2. Perform an extended search for “Creation date is” before a specified date.

3. Delete the search results.

For additional information on extended searches, see “Searching for Media” on page 77.

Deleted Items (Weekly)

The Deleted Items folder serves as a recycle bin for non-Avid assets such as graphics files and Microsoft word documents. You can restore deleted items from this folder. When an administrator deletes files from this folder, the files are permanently deleted. The folder is created the first time you delete non-Avid assets from the Interplay Production database.

The Deleted Items folder for a non-Administrator shows only the items deleted by the user who is logged in, while the Administrator sees all items deleted by all users. The following illustration shows the Deleted items folder.

Example: Deletion for Day-of-the-Week Workflow

Avid Editing Application Maintenance

After you clean up the Interplay Production folder structure, you should also delete the corresponding projects and bins used by the Avid editing applications. These projects and bins reside locally on the Avid editing systems and you have to clean them up on each editor. The files exist independently of the Interplay Production database.

This procedure ensures the following:

• Prevents the editor from opening projects and bins that contain clips and sequences that have

been deleted from Interplay Production. If they are re-opened, and the metadata gets checked in again, you will have to repeat the deletion procedures through Interplay Production.

• Prevents projects from becoming corrupted by regularly replacing the project folders with

fresh folders.

• Clears out the old tape names that build up in the project every time a tape is put in to a deck

on the editing system.

Depending on your workflow you may find it more convenient to delete the projects on the editor

systems before you delete the corresponding assets and media from Interplay Access. This avoids the possibility of editors re-opening the projects and checking in material after it has been deleted from Interplay Production.

Deleting the Project Files

This section describes how to replace a project file folder with a clean template. If you aren’t

sing templates, you can just delete the project file and create a new project in the Avid editing

u application.

Example: Deletion for Day-of-the-Week Workflow

To delete projects when using the 01Monday – 07Sunday workflow:

1. Open My Computer on the Avid editing system.

2. In the Network Drives section, locate the workspace that contains the Project Templates folder and open the folder.

3. Locate the day of the week you are going to delete and replace, right-click the folder and select Copy.

4. Navigate to the Project folder that you want to replace.

5. Select the folder that you want to delete and press the Delete key

6. Perform a right click-Paste and paste in the new project template.

Cleaning Up the Attic

This section describes how to delete files from the Avid Attic on the local Avid editing system.

To clean up the Attic:

1. Navigate to the following location on the Avid editing application system:

C:\Program Files\Avid\<application name>\Avid Attic

2. Sort by creation date.

3. Delete projects no longer needed.

Example: Orphan Clips Deletion

This deletion strategy involves deleting only metadata from the various Interplay Access folders (such as Projects, Incoming Media, and Catalog folders) and then regularly deleting metadata and media from the Orphan Clips folder. It is most useful at sites where users regularly copy assets between Interplay folders. It avoids the problems of deleting the media associated with a clip that someone else might be using. Using reservations can also avoid this problem but depending on your site’s workflow, you might find that this provides an additional security step before media is fully deleted.

You can have several copies of an asset that all reference the same media file. If you delete the last reference to the asset and do not also delete the associated media files, the system moves the last reference to the Orphan Clips folder.

The following examples show the deletion of two clips. The underwater clip is used in a sequence and the burning sky 2 clip is not used in any sequence.

Starting with Interplay v2.3, you cannot delete a referenced asset unless you also delete the asset

the references it. For more information, see the “Deleting Assets” chapter of the Interplay Access User’s Guide.

Example: Orphan Clips Deletion

Beginning with Interplay Access v2.4, the Orphan Clips folder contains links for assets deleted

from Interplay folders whose media files were also deleted. This change enables an Interplay administrator to schedule the most load-demanding part of deletion operations during times of low activity. For more information, see the Interplay Engine and Interplay Archive Engine Administration Guide.

To delete metadata only:

1. Make sure that Referenced Assets are displayed in Interplay Access. This is necessary so that you can see all of the master clips that are referenced by sequences in your Interplay folders. If you don’t have Referenced Assets displayed you will only see master clips that you explicitly check in or copy to Interplay folders. Do the following to turn on Referenced Assets:

a. Select Preferences > Options. The Options dialog box opens.

b. Click the Filter Settings tab.

c. Make sure that the Referenced Assets check box is selected. Then click OK.

2. When you delete assets from the various Interplay database folders, delete the metadata but do not delete media.

Example: Orphan Clips Deletion

The following illustration shows two assets in the Dailies folder. Both of these assets are the last assets associated with the media. One asset (underwater) is used in several sequences. The other is not used in any sequence.

3. Right-click the assets and select Delete.

4. In the Delete dialog box, select the metadata but do not select the media.

The following illustration shows the Delete dialog box for this operation.

5. Perform additional metadata deletions as your workflow requires. For example, delete from the folders as described in “Example: Deletion for Day-of-the-Week Workflow” on page 58.

Example: Orphan Clips Deletion

To delete metadata and media from the Orphan Clips folder:

1. When you are ready to delete the media files, open the Orphan Clips folder.

By default, only administrators can view this folder. An Administrator can assign read/write/delete permissions for this folder to users or groups using the Managing Database Roles view in the Interplay Administration tool.

The two assets deleted earlier are now in the Orphan Clips folder. Since the two assets were the last copies associated with their media files, they were both moved to the Orphan Clips folder.

2. (Option) Place reservations on any folders that you know you do not want media to be deleted from. For example, place a reservation on the Unchecked-in Avid Assets to protect any media files that editors have created but have not yet checked in.

The system protects the media associated with sequences and subclips that are in reserved

folders. The protection remains in effect even if you move the master clips to an unreserved folder. See “Using Reservations” on page 72.

3. To make sure that you display all referenced asse following:

a. Select Preferences > Options. The Options dialog box opens.

b. Click the Filter Settings tab.

c. Make sure that the Referenced Assets check box is selected. Then click OK.

4. Select all the clips in the Orphan Clips folder, right click one of the clips and select Update Status from Media Indexer.

The following illustration shows the Update Status from Interplay Media Indexer command.

ts in the Orphan Clips folder, do the

Example: Orphan Clips Deletion

Updating the status is a critical step for Interplay v1.2.3 and earlier releases. This guarantees that Interplay Access has the latest information on the files before you perform the deletion.

5. Create an Extended search that searches the Orphan Cl use.” The following illustration shows the Search and the results.

ips folder for files that are “not in

The burning sky 2 asset appears in the search results but the underwater clip is not in the list. The underwater clip is part of a sequence and so it is “in use.”

6. Select all of the assets in the search results window and delete them. Delete the metadata and the media as shown in the following illustration.

Example: Orphan Clips Deletion

To check for relatives of clips in the Orphan Clips folder:

1. Open the Orphan Clips folder.

2. Select the clip and click the Relatives tab in the Object Inspector.

The following illustration shows that the underwater clip is referenced by several sequences. That is why it did not appear in the search results for the “not in use” search.

Deletion Guidelines

In general, avoid the following:

• Deleting material from the Avid MediaFiles folders on the workspace itself.

• Using the Media Tool on Avid shared storage workspaces for searching or deleting.

• Deleting workspaces without first deleting Interplay Production assets and media files from the workspace. Avid ISIS will not let you delete a workspace with any files on it (whether the files are media or any other type of file, even hidden files). Use the following procedure to delete a workspace:

- Perform an extended search in Interplay Access, using the workspace name as a search

criteria. For search examples, see “Examples: Using Search with Delete” on page 78.

Use Interplay Access to delete the files on the workspace.

- Use the ISIS Administration tool to delete the workspace.

In order to perform an extended search on a workspace, your Interplay Access login must also

have a corresponding login in Avid ISIS. To delete from the workspace, the login must also have delete rights on Avid shared storage.

Deletion Guidelines

The following sections provide a

• Using Reservations

• Do Not Perform Large Deletion

• Do Not Delete More Than 2,000 Assets at a Time

• Folder Limitations

• Deleting By Workspace

• Perform Deletions from One Interplay | Access Client

• Guideline for Number of

• Priorities with Deletion

• Delete Sequences When Possible

• Amount of Space Freed Up by Deletion

Using Reservations

Reservations are an excellent method for protecting media and metadata from deletion. Reservations work on folders, not on individual assets. So, to protect an asset from deletion it must be in a reserved folder.

dditional information:

s During Prime Time

Deletions Per Hour

Deletion Guidelines

A special case is that sequences and subclips in reserved folders protect the media files of referenced master clips, even if the master clips are in a non-reserved folder. For example, Sequence A uses Clip 1, and both are in a reserved folder. If you move Clip 1 to a non-reserved folder, and try to delete the master clip and media associated with Clip 1, you can delete the master clip, but the media remains protected. If the master clip is the last link to the media, the link is moved to the Orphan Clips folder and the master clip and media remain protected.

Use the following guidelines when using reservations:

• Do not reserve the top level folders with an expiration date of “never.” This protects all of the assets in the top level folder and all subfolders. This effectively prevents you from deleting any assets in those folders.

• Reserve special items such as templates, frequently used graphics, and station logos that are used on a daily basis with “never.”

• Reserve only folders that need to be reserved, especially when auto-reservation is on. By default, auto-reservation extends the reservation for an additional 24 hours from the time that a new or modified Avid asset is checked in from an Avid editing application.

For details on deleting files as well as information on using reservations to protect media from deletion, see the Interplay Access User’s Guide.

Do Not Perform Large Deletions During Prime Time

Perform deletions during times when the system is not heavily used. A large delete operation can slow down the response time on the Interplay Engine. This also slows down the response times on Avid editing applications that are working with the Interplay Window.

Deletion consists of three parts: deletion of links, deletion of media, and deletion of database assets.

• In Interplay v2.3 and earlier, deletion was synchronous: links, media, and database assets were all deleted at approximately the same time. Disadvantages to synchronous deletion were the impact on the engine (particularly the database assets) and the length of time required for the deletion to take place. Starting with Interplay Engine v2.4, deletion is asynchronous: the deletion of database assets is disassociated from deletion of links and media and can be scheduled for off hours. This reduces the performance impact of the initial deletion. For more information, see “Setting Options for Deletion” in the Interplay Engine and Interplay Archive Engine Administration Guide.

• Deletion of media impacts Interplay Media Indexer performance. For each file that the Interplay Engine deletes on the share storage system, a notification is sent to Interplay Media Indexer. These notifications cause Interplay Media Indexer to update its internal tables.

Deletion Guidelines

You can set an option to prevent Interplay Media Indexer from sending these notifications, but this option (“ignore delete notifications”) should only be used temporarily. Using this option causes a delay in updating of the media status of assets, which can cause workflow problem, particularly for archive and restore. For more information, see “Configuring Interplay Media Indexers” in the Interplay Production Best Practices Guide.

Do Not Delete More Than 2,000 Assets at a Time

Earlier versions of Interplay Production documentation recommended deleting up to 2,000 assets at a time. With the introduction of scheduled deletion, this recommendation is less critical unless you are deleting media. If you delete media (with or without its corresponding assets), wait at least 5 minutes in between deletions to give the Interplay Media Indexer time to update its structure.

Folder Limitations

It is important that you do not store more than 20,000 assets in Interplay database folders. In general, you can keep up to 5,000 assets in a folder without affecting system performance. One of the problems with storing many assets in a folder is the amount of time it takes to list the items in the folder when you open the folder for browsing.

Periodically check that folders do not contain more than 5,000 assets. Delete or move assets to other folders. If a folder must contain a large number of assets it is more efficient to add multiple subfolders for storing the assets.

This limitation also applies to capture folders. If you know that you will have recurring captures, you could set up folders for those captures. For example, you could name folders for the days of the week or for specific types of capture.

Deleting By Workspace

Starting at Interplay v1.5, the Delete dialog box includes an option to select which workspace you want to delete media from. If you select media files and resolutions for deletion, all workspaces that contain the selected media are listed and are selected by default.

Perform Deletions from One Interplay | Access Client

Media management and large deletions should only be executed from one Interplay Access client. If you start several clients on different machines and perform large deletions on each, it is actually much slower compared with doing all the deletions on one client in a serialized order.

Guideline for Number of Deletions Per Hour

A scheduled deletion on the Interplay Engine can delete at least 25,000 objects per hour and possibly more. This guideline can be useful when determining the length of a scheduled deletion window.

Determining How Much Space a Delete Operation Will Free Up

Priorities with Deletion

• By default, a scheduled deletion stops when an Interplay Production backup begins, and resumes when the backup ends or at the next scheduled deletion. You can select an option in the Delete Behavior dialog box to allow both processes to operate at the same time.

• Ingest operations are not impacted by scheduled deletions because scheduled deletion has a lower priority.

Delete Sequences When Possible

If possible workflows should include deletion of sequences and their referenced assets. By default you cannot delete referenced assets unless you delete the asset that references them. However, you can overwrite this behavior. See “Activating the Option to Delete Referenced Assets” in the Interplay Engine and Interplay Archive Engine Administration Guide.

Amount of Space Freed Up by Deletion

The Delete dialog in Interplay Access provides the most reliable measurement of the space that will be freed up by a Delete operation. Performing a search in Interplay Access is not a reliable measurement. For more information, see the next topic.For more information, see “Determining

w Much Space a Delete Operation Will Free Up” on page 75.

Determining How Much Space a Delete Operation Will Free Up

The Delete dialog in Interplay Access provides the most reliable measurement of the space that will be freed up by a Delete operation.

To determine how much space will be freed up by a deletion:

a. Select Preferences > Options. The Options dialog box opens.

b. Click the Filter Settings tab.

c. Make sure that the Referenced Assets check box is selected. Then click OK.

2. Right-click the folder you want to delete and select Delete.

The Delete dialog box opens and shows how many assets and media files will be deleted.

Determining How Much Space a Delete Operation Will Free Up

The amount of disk space that will be freed by the deletion

3. The value in the center of the dialog box shows the disk space that will be freed up if you perform the deletion.

The number of media files and the amount of disk space that will be freed up are only affected by the option “Delete only media created with the selected clip or clips.” This information is not affected by your selections in the Media Resolutions or Media Workspace sections of the dialog box.

4. Click Select All to select all the assets, files, and resolutions. The center portion of the dialog box shows how much free space you will gain from the Delete operation.

5. Click OK or Cancel, depending on whether you want to perform the deletion or whether you were just checking on the disk space.

Searching for Media

Interplay Access can search across all projects and bins in the Interplay environment. This makes it much faster to search in Interplay Access than to open multiple Projects and Bins in the editing application. There are two types of searches:

• A simple text-based search allows you to filter media by name, project, bin, time, and media type

• An extended attribute-based search allows you to search by more detailed attributes and provides operator based searching using “and” and “or” type searches

Saved Searches

Searches can be saved and made public (available to all users) or private by clicking on the Save button.

Depending on the site, the entire deletion strategy can be based on searching. Below are some common examples of saved searches used in such environments.

• An Offline Material search returns anything that has been deleted from ISIS, but not Interplay Production

Searching for Media

• An Orphaned Precomputes search returns any effects that are not part of a sequence

• An Unused AirSpeed Clips search returns any master clips from the Incoming Media folder that are not cut into sequences or subclips

• A DRM Clips search returns all master clips/subclips/sequences that contain restrictions.

For examples of searches that could be saved, see “Examples: Using Search with Delete” on

78.

page

Improving Search Response Time

Interplay Production includes powerful, customizable search capabilities. If you are working in a facility with a large database, you can speed up the search process by specifying a particular folder as the search root and by using attributes. For example, by using the Time attribute, you can limit your search to clips modified within the last 24 hours, the last 7 days, and other time periods.

Even if you only change the search root, or search by a single attribute, you can dramatically improve the response time. For additional information, see “Using the Search Root

Attributes to Speed Up Interplay | Production Search” on page 86.

and

Examples: Using Search with Delete

You can use an Extended search to create a list of assets that match your criteria for deleting. This topic provides several examples.

Example 1

This first example uses the following criteria:

• Find clips without an active reservation. The Search syntax is:

Reserved : by anyone : is expired

• Find clips that are not shared (only one instance, no links in other folders). The Search syntax is:

Find clips : unshared

• Find clips that have no relatives. The Search syntax is:

In use : Is not in use

The following illustration shows these criteria in the Extended search tab.

Searching for Media

After you run this search, you can delete the results from the Search Results list.

Searching for Media

Example 2

You can associate the criteria used in Example 1 with specific folders to include or exclude specific locations in the search. This example adds the following criteria:

• Find clips that are located in a folder whose name contains the word “archived.” The Search syntax is:

Path : contains : archived

• Or find clips that are located in the folder named “To be deleted.” The Search syntax is:

Path : is : To be deleted

You need to create two different groups in the Extended tab: one that combines the criteria in Example 1 with the first path and one that combines the criteria in Example 1 with the second path. These groups are separated by OR, as in the following illustration.

The results of this search are clips that are stored either in one of the Archived folders or in the “To be deleted” folder. You see the contents of both folders in the Search Results list.

Searching for Media

Example 3

This example is similar to Example 2. However, instead of searching for clips stored either in one of the Archived folder or in the “To be deleted” folder, these criteria search for clips stored both in an Archived folder and in the “To be deleted” folder. The following illustration shows these criteria in the Extended tab.

Example 4

Another search might include the following criteria:

Creation date : Not within : Last week

•

Path : contains : archived

•

Path : is : To be deleted

•

In use: Is not in use

•

Creation Date: Not within : last 72 hours

•

Path : is : Aired stories

•

Path : is : Incoming feed from Washington

The first group of criteria searches for all clips older than a week located in the Archived and “To be deleted” folders that have no relatives. The second group searches for clips older than 72 hours located in the “Aired stories” folder and in the “Incoming feed from Washington” folder. The results are a combination of these searches.

Example: Searching for Unused Rendered Effects

Search tab

Search root button

Search Conditions arrow

When you design a deletion strategy, usually the precomputes (rendered effects) are deleted along with the usual deletion searches because they are based on creation date and project. Anything inside a project that is older than a certain number of days is deleted, and that usually takes care of the rendered effects as well.

The Unchecked in Avid Assets folders may contain a large number of precomputes, particularly for sequences that have been rendered several times. These rendered effects might not be found by simply searching by project and date. Note that editors can see their own Interplay assets but only administrators can view all of assets inside the Unchecked in Avid Assets folders.

This section describes a search that is not based on projects. The example deletes unrendered effects in a particular folder that are not in use by any sequence. For more information, see

Starting with Interplay version 2.3, links for rendered effects are no longer included in the

Interplay database. These links are still displayed in Interplay Access and other client applications, and to the end user they appear like other referenced assets. For more information, see “Emulated Rendered Effects” in the Interplay Access User’s Guide.

Searching for Media

This example searches for rendered effects created within the l named “Unrendered effects test bin.” The following illustration shows the Search window in Interplay Access.

ast 24 hours in a particular folder

Searching for Media

Only use the “in use” flag example for Interplay v1.2.3 and later. Older Interplay versions did

not set the in use flag correctly.

To search for unrendered effects in a particular folder:

1. In the Assets pane, click a Search tab.

2. Select Simple from the Search Type list. If necessary, click the Search Conditions arrow to show the search criteria.

3. Click the Search Root button and navigate to the folder.

The Search root button displays the folder you selected to search. Selecting a particular folder will make the search faster.

4. In the Type field, click the down arrow and select “rendered effect.”

5. In the Modified field, click the down arrow and select the time period.

6. In the “In use” field, click the down arrow and select “Is not in use.”

7. Do one of the following:

t Press Enter.

t Click the Search button.

The Search button changes to a Stop button, which you can click if you want to stop the search. The Interplay search engine limits the database to rendered effects that have been modified in the time period you selected, and then searches within that subset for rendered effects that are not in use. The results are displayed in the Search Results pane. They are visible until you close Interplay Access or until you perform a new search.

Searching for Media

To delete the unused rendered effects:

1. Click in the Results pane and use CTRL-A to select all of the rendered effects.

2. Press the Delete key.

The system displays the Delete dialog box and allows you to delete the metadata, the media, or both. The following illustration shows the Delete dialog box for this example.

Searching for Media

3. Select the rendered effects (metadata) and the Media Resolutions (media files).

4. Click OK.

4 Refining Your Search in

Interplay | Production

Interplay Production includes a powerful, customizable search. If you are working in a facility with a large database, you can speed up the search process by specifying a particular folder as the search root and by using attributes. For example, by using the Time attribute, you can limit your search to clips modified within the last 24 hours, the last 7 days, and other time periods.

You can search the Interplay Production database from the following applications:

• Interplay Assist

• Avid Instinct

• Interplay Window (in Avid editing systems)

• Interplay Access

All applications use the same search engine, which runs on the Interplay Engine server, and all applications share a core set of attributes. Interplay Assist, Instinct, and the Interplay Window share the same user interface (the Media Search tab) and the same set of attributes. Interplay Access includes these core attributes, but also offers additional options for an extended search. All applications search for Avid assets (clips, subclips, and other media), but only Interplay Access searches for file assets (such as Adobe Photoshop files).

The following topics provide information about Interplay Production search in general as well as specific information for Interplay applications:

• Using the Search Root and At

• Basic Interplay | Production Search Attrib

• Searching in Interplay | Assist, Avid I

• Searching in Interplay | Access

• Example: Finding Assets By Using a Unique Identifier

Specifying attributes for a search is also one approach to a deletion strategy. For more

information and examples, see “Examples: Using Search with Delete” in the Interplay Access User’s Guide.

tributes to Speed Up Interplay | Production Search

utes

nstinct, and the Interplay Window

Using the Search Root and Attributes to Speed Up Interplay | Production Search

To speed up your search, make your search as specific as possible. The more specific you can make your search, the faster you can get the results you want. Two ways to make your search more specific are:

• Specifying a search root

• Using attributes

Keep in mind that even if you only change the search root, or search by a single attribute, you can dramatically improve the response time.

Specifying a Search Root

By specifying a particular folder as the search root, you are instructing the search engine to limit the set of assets that it searches to that particular folder and any folders included in that folder’s subtree. By default, the search root is the entire database. If you know the folder subtree in which the asset you are searching for is stored, you can select that folder to speed your search. For example, in Interplay Access, you can select the Project folder, or a particular project within that folder.

Using Attributes

By specifying one or more attributes, you are also instructing the search engine to limit the set of assets that it searches. Simply searching for text, without restricting the search root, is the most time-consuming search, because the search engine searches the entire database. However, if you specify a particular attribute (such as the Time attribute), the search engine can quickly limit the database to a small subset and search for text within that subset.

For example, if you wanted to find a clip about the Nobel Peace Prize acceptance speech, you could search for the text “Nobel Peace Prize.” In this case, the search engine will search through the entire database of clips, which could take twenty-five seconds for a large database. However, if you know that the speech took place within the past week, you can select the Time attribute and then the option “Last week.” The search engine creates a subset of clips that were modified in the past seven days, and searches for the text within that set. Setting this attribute can reduce the time for a search from twenty-five seconds to one second.

Basic Interplay | Production Search Attributes

The following table lists the basic Interplay search attributes. These are available in the Media Search tab in Interplay Assist, Avid Instinct, and the Interplay Window. They are available in a slightly different format in the Simple Search tab of Interplay Access.

Attribute Options Description

Tex t User-supplied text Allows you to search all text-based attributes:

•Name

•Tape

•VideoID

• Comments

• Locator and restriction annotations

• User-created fields

If you specify more than one word in the Text attribute, the search engine searches for an exact match. For example, if you specify “President speech” the search engine looks for assets with that exact phrase. To search for clips that contain “President” and “speech” anywhere in the text, use the Extended Search in Interplay Access.

Text Fields • Any system

property or custom metadata containing a text field

• Select All

• Clear All

Search In Allows you to search in any folder managed by the asset

Types Master Clip

Subclip Sequence

Allows you to search in any text field you select; Name is selected by default.

manager

Allows you to specify the type of media object for your search (you must select at least one type for each search)

Searching in Interplay | Assist, Avid Instinct, and the Interplay Window

Attribute Options Description

Category Site-specific list

of categories

Time Whenever

Last 10 minutes Last hour Last 24 hours Last week Last month Last year

Interplay Access includes additional attributes and options that you can use to search for Avid assets or file assets.

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)

Searching in Interplay | Assist, Avid Instinct, and the Interplay Window

Interplay Assist, Avid Instinct, and the Interplay Window share the same set of attributes and the same user interface: the Media Search tab. They also provide a way to define a folder as a search root. This topic describes how to perform a search in any of these applications.

Interplay Assist includes a Find function that you use to search within clips and shotlists for text

in locators and annotations. It is different from the Media Search function, which searches the media database (see Interplay Assist Search Options).

Avid Instinct includes an iNEWS Search function that you use to search for information in the

iNEWS database. It is different from the Media Search function that you use to search the media database.

The following example shows how to search for clips that took place last night.

To search for clips in Interplay Assist, Instinct, or the Interplay Window:

1. Open a Media Search tab.

t In the Interplay Window, a Media Search tab is always displayed.

t In Interplay Assist or Instinct, right-click an Interplay folder and select Search.

A Media Search tab opens in the Research panel.

that have been logged to reference a fire

Searching in Interplay | Assist, Avid Instinct, and the Interplay Window

2. In the Text field, type a search term. In this case, type the word “fire.”

You can specify words or characters for your search. Search terms are not case-sensitive and apply to all text attributes of the media objects in your search. If you specify more than one word, the search engine searches for the exact phrase.

3. Click the Text Fields menu, and select the kinds of text fields to search in.

4. (Option) If you know which folder subtree might contain the clips, expand the “Search in” field and navigate to the folder. You can also expand the Types or Category field and select the appropriate option for the search.

5. Click the Time menu, and select a time parameter for your search. In this case you know that the fire took place last night, so you can select “Last 24 hours.”

6. Click Search.

The Interplay search engine limits the database to clips that have been modified (captured or edited) in the last 24 hours, and then searches within that subset for text that contains the word “fire.” Any clips that meet these criteria are displayed in the Research panel.

7. (Option) To start a new search, click Reset and then repeat steps 1 through 5.

For complete information on searching media, see the documentation for your application (Interplay Assist, Instinct, or Avid editing application).

Searching in Interplay | Access

Interplay Access provides more options for refining your search than other Interplay applications. There are two ways to search for assets in Interplay Access:

• Running a text-based search on the database (through the text box on the Interplay Access menu bar)

• Running an attributes-based search on the database or a selected folder subtree (through a Search tab)

Running a text-based search is more convenient, but depending on the size of your database, could take more time than you want. An attributes-based search provides you with more options for refining your search criteria and results in a faster search.

The following examples shows how to search for clips that have been logged to reference a fire that took place last night.

• The first example illustrates how to search for a clip if you know that the word “fire” appears in any text attribute, such as clip name, comment, and frame locators. This example also uses the Modified attribute to limit the search to clips modified in the last 24 hours.

• The second example illustrates how to make the same search more efficient if you know that the word “fire” is used in the clip’s name, because the scope of the search is limited to clip names only. This example also uses the Modified Date attribute to limit the search to clips created after a certain time.

Searching in Interplay | Access

For complete information on searching in Interplay Access, see the Interplay Access User’s Guide or the Interplay Access Help.

To search for clips in Interplay Access (Simple search):

1. Do one of the following:

t Click the Search tab. Simple search is selected by default.

t Select Edit > Search to open a new search tab. You can also press F3 or Ctrl+F

(Windows) or Command+F (Macintosh).

t Select Simple from the Search Type list.

2. If necessary, click the Search Conditions arrow to show the search criteria.

Searching in Interplay | Access

Search Root button

Search Conditions arrow

Search Type list

3. (Option) If you know which folder might contain the clips, click the Search Root button and navigate to the folder.

The Search root button displays the database or folder you selected to search. Selecting a particular database or folder will make the search faster.

You can also select a folder to search before you open a Search tab.

4. Type the text for the search. In this case, type the word “fire.”

5. In the Modified field, click the down arrow and select the time period. In this case you know that the fire took place last night, so you can select “Last 24 hours.”

6. (Option) Select a value for the other search attributes by clicking the down arrow and selecting an option.

7. Do one of the following:

t Press Enter.

t Click the Search button.

The Search button changes to a Stop button, which you can click if you want to stop the search. The Interplay search engine limits the database to clips that have been modified (captured or edited) in the last 24 hours, and then searches within that subset for text that contains the word “fire.” The results are displayed in the Search Results pane. They are visible until you close Interplay Access or until you perform a new search.

8. (Option) To start a new search, click Clear and repeat steps 1 through 7.

To search for clips in Interplay Access (Extended search):

1. Do one of the following:

t Select Extended from the Search Type list.

Searching in Interplay | Access

Search Root button

Search Conditions arrow

Search Type list

t Select Edit > Search to open a new Search tab. You can also press F3 or Ctrl+F

(Windows) or Command+F (Macintosh). Then select Extended from the Search Type list.

2. If necessary, click the Search Conditions arrow to show the search criteria.

The Extended search uses a set of statements to construct a search. In this example, you can limit the search to the Name field. Even if you are not sure about using other attributes for the search, you can speed your search considerably by limiting the search to just the name of the clip.

3. (Option) If you know which folder might contain the clips, click the Search Root button and navigate to the folder.

The Search root button displays the database or folder you selected to search. Selecting a particular database or folder will make the search faster.

You can also select a folder to search before you open a Search tab.

4. Specify an attribute, in this case, “Name.”

5. Specify an operator, in this case, “contains.”

6. Type the words you want to search for, in this case, “fire.”

7. Add another search statement by clicking the + button and specifying the following:

- Select “Modified Date” as the attribute. The attribute selections include any attribute

defined and enabled in the Property Layout view of the Interplay Administrator.

- Select “after” as the operator.

- Specify a date and time. You can edit the default date and time in the field. You can also

use the calendar button to select a date.

Example: Finding Assets By Using a Unique Identifier

8. Do one of the following:

t Press Enter.

t Click the Search button.

The Search button changes to a Stop button, which you can click if you want to stop the search. The Interplay search engine searches only the names of clips for those that contain the word “fire” that were created after April 22, 2010. The results are displayed in the Search Results pane.

9. (Option) To start a new search, click Clear and repeat steps 2 through 8.

Example: Finding Assets By Using a Unique Identifier

This topic illustrates a workflow in which you assign a unique identifier (numbers, letters, or a combination) to an asset and use that identifier to find and display the asset. For example, you could choose to associate a unique number with each sequence in an Interplay database so that you can quickly find a particular sequence later using that number, even if someone has changed the name of the sequence. This workflow uses a custom property and a custom search for the most efficient and reliable way of finding the asset.

There are alternative methods for associating a unique identifier to the one described in this topic. However, they do not make optimal use of the Interplay search engine. For example, one workflow might be to append an identifier to the end of an asset name so that it can be tracked with the asset. A disadvantage to this approach is that you need to use the full-text search mechanism to find the asset. Another disadvantage is that renaming the asset will remove the identifier unless you add it to the new name.

Example: Finding Assets By Using a Unique Identifier

A more efficient approach is to create a custom property (or metadata field) that is used exclusively to hold the identifier. You can then search for the asset by using an exact match rather than a full-text search, and you can rename the asset without needing to add the identifier. You use the Interplay Administrator to create a custom property, and then use Interplay Access to set and search for the identifier.

Adding an identifier to the name of an asset and using full-text search to locate the asset by name

causes unnecessary extra load on the Interplay Server, because it searches through much more data than it would if searching on a single custom property. You should always define a custom property if your workflow uses a unique identifier.

The following procedures describe

How to add and display a custom property

•

• How to add the identifier

• How to search for the identifier

Prerequisite: A user must have write permission on an asset to add an identifier to an asset.

To add a custom property:

1. In the Site Settings section of the Interplay Administrator window, click the Property Layout icon.

2. In the Property Layout view, select the database for which you want to set properties.

3. Click the Custom Meta Data tab.

4. In the Add Custom Meta Data Field text box, type a name for the custom property. In this case, type the name “Identifier.”

5. Click the green plus sign (+).

The custom property appears in the list.

6. Select the Available option, which makes the custom property available for users to add into Interplay Access displays and to use in an Extended search.

Example: Finding Assets By Using a Unique Identifier

7. Select the options to include the property in the Content tab and the Object Inspector’s Properties tab. Users can then add or edit a value for Identifier in Interplay Access.

8. Click Apply to save the added custom property and new layout.

The next time a user logs in to Interplay Access, the Identifier property will be displayed.

Deselect the property in the Available column to turn off custom properties that you do not want

displayed in the Interplay Access properties lists. You cannot delete custom properties for this release but you can turn off their display. For more information about working with custom properties, see “Creating Custom Properties” in the Interplay Engine and Interplay Archive Engine Administration Guide.

To set an identifier for an asset:

1. In Interplay Access, select the asset for which you want to set the identifier. In this case, select a sequence.

2. The first time you want to set an identifier, do the following:

a. Click the Properties tab, scroll down and click the Configure button.

The “Configure visible user properties” dialog box opens.

b. In the User Properties section, select “Identifier” to display the property in the Object

Inspector, and click OK.

3. In the Object Inspector, scroll down until you see the new custom property Identifier.

4. Click the text box and type the identifier.

You need write permissions on the asset to add the identifier. An orange box highlights the controls for adding a property value.

Example: Finding Assets By Using a Unique Identifier

5. Click Apply.

The identifier is displayed in the Identifier column in the Contents tab.

Example: Finding Assets By Using a Unique Identifier

To search for an asset using the unique identifier:

1. In Interplay Access, click the Search tab, then select Extended from the Search type list.

2. Click the Attribute Name field, scroll down the list, and select Identifier.

3. In the Operator field, select “is.”

4. In the Value field, type the identifier, and click Search.

The asset is displayed in the Search results list.

Example: Finding Assets By Using a Unique Identifier

If you know only part of an identifier, select “contains” from Operator field and type part of the identifier. This is less efficient than an exact match, but is much more efficient than a full-text search on the name.

5 Using AMA Material in

Interplay | Production

This chapter contains the following topics:

• Overview

• AMA on Interplay | Production Workflow

• Viewing AMA Clips in Interplay | Access

• How Interplay | Media Indexer Works with AMA Material

• Configuring the Interplay | Media Indexer to Index AMA

• Deleting AMA Clips Using Interplay | Acess

• Using Third-Party Storage Licenses

Overview

Interplay v3.0 and later supports checkin and dynamic relink of AMA (Avid Media Access) material. The following are two goals for the release:

• Improve the Interplay workgroup aspects of the Avid file-based workflow

• Provide better support for workflows that make use of a large ratio of raw footage compared to the size of the final show

For example, some post-production shoot scenarios, such as reality TV, use multiple, heterogeneous cameras, with shoot ratios (unused/used) can that range from 30/1 to 100/1 or more. This means that every hour of programming can involve perhaps 100 hours of raw media to process. Processing includes copying the media from camera storage (Optical disk or SSD) to something more usable by the production system, such as ISIS shared storage.

One way to handle this in the past was to consolidate the recorded AMA media to native MXF files on the ISIS system associated with the Interplay Production environment (such as an ISIS 5000 or ISIS 7000). However, the potentially high shoot ratios mean that a lot of capacity was used to hold media that might be discarded later in the process. To solve this, the AMA workflow introduced in Interplay v3.0 uses a second, low bandwidth ISIS 2000 as a parking storage area for the AMA media. Later, when the material that should be saved is identified, it can be consolidated from the AMA source to the ISIS production system at full resolution.

AMA on Interplay | Production Workflow

Media Composer

Copy

Check in to Interplay | Production

Hi-Res Consolidate

Transcode

QuickTime

Interplay Engine

Avid ISIS 5000/7000

Access to AMA

Media Composer

MediaCentral | UX

Link to AMA

MCS Server

Playback Transcoded Material

ISIS 2000 Parking Storage

AMA on Interplay | Production Workflow

The following illustration shows a basic AMA workflow for Interplay Production.

Interplay v3.1 supports Media | Director v1.0.1 which can automate much of this process. For

details, see the Media | Director v1.0.1 User’s Guide on the Avid Knowledge Base.

The following sections describes these numbered po Production. You can perform the operations individually or you can use the Dynamic Media Folder (DMF) feature in the Avid editing applications to automate the process. See What’s New for Media Composer v7.0 for information on DMF.

Before You Begin

Before you can perform the third step in the workflow (Check in to Interplay), you must configure the Interplay Media Indexer and the Interplay Administrator tool to recognize the new material. See “Configuring the Interplay | Media Indexer to Index AMA” on page 113.

1. Copy the AMA Material to Shared Storage

This step involves copying files from the camera media card or disk to shared storage and does not have to be performed on an editing workstation.

rtions of the AMA workflow for Interplay

In order to be able to perform a dynamic relink to AMA material, the AMA material must reside

on shared storage at the time of checkin.

100

Pinnacle Systems Interplay - 3.1 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Legal Notices

Contents

1 Interplay | Production Components

Using MultiRez and Dynamic Relink

Interplay | Engine

Interplay | Access

Interplay | Administrator

Interplay Window

Interplay | Transfer

Avid Instinct

Interplay | Production Services Providers

Interplay | Assist

iNews and Avid Instinct

Archive and Restore Services

MediaManager Archive Solutions

MediaManager to Interplay Migration Tool

Interplay | Media Indexer

Service Framework Services

Interplay | Capture

Access Control and Media Deletion Model

Interplay Application Icons

Permissions and Folder Structures

Setting Up a Folder Structure in Interplay | Access

Basic Setup: Assigning Access to User Groups

Assigning Access Rights to User Groups on a Folder Basis

Assigning Database Access on a Project Basis

Managing Database Roles

Defining the Editor Database Settings

Managing the Instinct/Assist User Settings

Creating Folders for Capturing Media

3 Developing an Interplay Delete Strategy

Introduction to Interplay Deletion

Interplay Database Folder Structure

Folders Used by AirSpeed

Folders Used by Interplay | Transfer Checkins

Folders Used by Send to Playback Operations

Creating Avid Editing Projects in an Interplay Environment

Project and Bin Folders Created by the Avid Editing Applications

Creating Projects

Interplay | Production Settings in the Editing Application

Defining the Interplay Folder Setting

Defining the Media Creation Settings

Project Workflow Samples

Broadcast Project Examples

Post Environment Project Example

Example: Deletion for Day-of-the-Week Workflow

Using Project Templates

Sample Delete Workflow

Project Folders – Editor Projects (Daily)

Projects Folder – Ingest or AirSpeed Folders (Daily)

Incoming Media (Daily)

Sent to Playback (Daily)

Avid Instinct Assets (Daily)

Orphan Clips (Weekly)

Un-Checked In Avid Assets (Weekly)

Deleted Items (Weekly)

Avid Editing Application Maintenance

Example: Orphan Clips Deletion

Deletion Guidelines

Determining How Much Space a Delete Operation Will Free Up

Searching for Media

Saved Searches

Improving Search Response Time

Examples: Using Search with Delete

Example: Searching for Unused Rendered Effects

Using the Search Root and Attributes to Speed Up Interplay | Production Search

Basic Interplay | Production Search Attributes

Searching in Interplay | Assist, Avid Instinct, and the Interplay Window

Searching in Interplay | Access

Example: Finding Assets By Using a Unique Identifier

Overview

AMA on Interplay | Production Workflow