AVID: INTERPLAY EXPLAINED
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time rummaging around for clips – you can find what you need and start working with it right away. Furthermore multiple people can work on those same clips. The big concept of Interplay Production is that everyone has access to the same source media” The key thing about Interplay is it preserves the source material unchanged all the way through a production: “Say you have four or five system editors and a producer or two who all want that media,” says Bogoch. “They can use this system to work off the same media and be seeing exactly the same material in real-time.” Facilities using Interplay Production describe it as a huge step up in terms of organisation, collaboration, the ability to hang on to assets, archive them and retrieve them as needed. “With Interplay, as soon as a clip is digitised, it can be checked into the library where a producer can view it, start making notes, watch time codes, and even put locators on the media itself,” says Rob Kirwan, senior vice president, production and post at US-based Powderhouse. This media can then go to editors who rough-cut the material, create a shot list, identify their favourite bits and B-roll, do a story cut, record their own narration through a USB microphone onto their laptop, and send it off to the assistant. Now, they can lay out a sequence, check it into the Interplay, and when the editor walks in, there is a story cut ready and waiting.” Folders in Interplay Production take the place of the traditional bin structure in shared storage, and when using Avid non-linear editing systems, checking in and checking out of media for editing becomes almost completely transparent. “One advantage we have is, because the editor is using our software, we don’t have to have some kind of external location that you use to check in or check out media,” says Bogoch. “Basically there’s a small software switch you flick in our editor application that tells it you’re on an Interplay system. Essentially, every time you hit save in Media Composer, News Cutter, or Symphony, instead of saving it locally you are saving it out to ISIS on Interplay. So it’s almost completely transparent to the editor.” “Then when they edit it and save, it branches off – they don’t save it as new media, they just save the edit. They are effectively saving the metadata back to the shared system. It’s only when you send to playback or when you want to
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NICK GRIFFITHS Senior editor EVOLUTIONS
make an output master that the system takes all the source material, chains them together and renders it out.” Interplay Production’s Transcode media services component includes a new mixdown service for this purpose, which ‘flattens’ entire audio/video sequences to create a new master clip, while transcoding to a specified output format for distribution.
“Another timesaver is you don’t have to use an editing suite,” says Bogoch. “You can do all your editing using proxy media and wait until the last step to flatten it out to a high-res master.” With its dual mixdown capability, Interplay’s Transcode triggers a high-res mixdown and proxy at the same time and tracks them together for multi- res workflows. “So the saving is you’re not rendering on the workstations,
The secret of seamless, file-based workflows is keeping it simple – particular on a huge series such as BBC1’s The Apprentice.
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THE BENEFITS OF AVID INTERPLAY PRODUCTION
• As soon as a clip is digitised, a producer can view it, start making notes, watch time codes and even put locators on the media itself
• Every time you hit save in Media Composer, News Cutter, or Symphony, instead of saving it locally you are saving it out to ISIS on Interplay
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you’re not transcoding on the workstations – you’re doing all that on a server farm,” says Bogoch. “And the jobs are being dispatched to those servers on a round-robin basis.” Interplay is typically installed as a package, which starts at £30-35k – this base level includes the Interplay server and training days. “They may already own an ISIS or Medianet Unity, and Interplay works on both,” says Bogoch. “New customers are likely to be buying an ISIS 5000, as it’s our next generation storage box. That said, we have thousands of customers with Unity who want to use it for a few more years at least, but can use Interplay to manage their work better and be more productive. In those cases, an Interplay installation can be as little as a few days. If we’re doing an installation on a site from the ground up – with storage, Interplay, network infrastructure, and editors – then it’s generally a week or more. Usually there’s a couple of days of training involved, just to get the workflows humming and show people how to set up their folder structure.” For tying into legacy systems, Avid offers a Web Services API, which in principle enables almost any application to be connected to Interplay Production. “We have upwards of a hundred projects using the web services where people have integrated different products into Interplay Production,” explains Bogoch. “Typically these will be ingest solutions such as those provided by MOG, NL Technology or OpenCube [now part of EVS]. We’ve also had people integrate enterprise systems with it, for media asset management at the enterprise level.”
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FEATURES create
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