I got a tons of footage from Canon 7D which is shoot in 1080p in h264 codec.

It took so long to import to Avid.

Any idea or any tool to convert those tons of files to avid MXF?

The general workflow is to use the Link to AMA function within Avid and have instant access to all of your files.  Then, because h264 files can easily bog down a system, you would transcode (not import) at a lower resolution and use those clips to edit.  When your edit is completed, you would relink your final sequence back to the AMA media, re-transcode to a higher resolution (just the scenes you are using plus handles) and output your project.

Thank you Kevin for your reply.

I got 5hrs of footage, It's take 8hrs to transcode on Max Pro 12 core 2.4 Xeon. that's still too long to prepare avid project. [:'(]

I cannot just let computer transcode over night. because all footage need to sync sound.

I still need to convert .mov h264 to mxf

I have 3 workstations with gigabit lan share in office.

If I could divide the footage to import but just copy .MXF

I'm pretty sure there will be faster if footage is on .MXF DNxHD.

Any tools or any idea?

The method Kevin described is the fastest.  You may have to look at bringing in a second Avid or farming out this part of your process.

Take care if you use an offline/online workflow as Kevin describes. For many tapeless formats it works very well and is robust and proven but early 5D cameras and some others like GoPro etc have no timecode and no UMIDs so the conform at the online stage is limited to file name and location.

And with a 5D shoot you can end up with lots of clips with the same file name. So care is needed and some sensible workflow procedures.

paichanut:

I cannot just let computer transcode over night. because all footage need to sync sound.

Let the transcode happen overnight, then sync to the transcoded clips.  That should work just fine.

Yes, the system will be much faster if you transcode to Avid media, but it takes a bit to do so.  Note that transcode is faster than importing, and some formats with AMA are faster than others. Certainly you can divide the footage and transcode on multiple machines at once, then copy the MXF media to a single station.  (Or work in a shared storage environment.)

You'll just have to develop a workflow that meets your editorial needs.

Thank you for all reply with helpful comment.

I have a bit more question.

My ordinary workflow is

18.00 finish shooting

19.00 Files arrive at editing room.

19.30 copy to internal hdd for back up.

20.00 importing or transcode to avid

Finish transcode or importing on 3.00 next day

3.00 start sound sync process.

8.00 Finish avid project preparation.

9.00-22.00 > work like a zombie.

To improve my workflow.

Is that possible, If I go ahead to do group sync with AMA .mov as soon as I got rushes.

Then transcode later after finish sync process over night

Thank you.

Pai

We've also discovered that if h.264 is imported there is a shift in the gamma that does not happen if it's AMA'd and then transcoded.  

AMA convert, then sync.  Synching before converting can cause some headaches.  The main one being trying to check sync on clips that won't playback without skippoing.

How about using Sorenson Squeeze? I don't use it much myself, but I know people do use it to create DNxHD .MOV and MXF files.

paichanut:

My ordinary workflow is

18.00 finish shooting

19.00 Files arrive at editing room.

19.30 copy to internal hdd for back up.

20.00 importing or transcode to avid

Finish transcode or importing on 3.00 next day

3.00 start sound sync process.

Can you have an assistant run a first batch of files back to the studio for  transcoding and syncing before shooting is finished?

It's been noted here several times that AMA lnkng and transcodng is the fastest and most accurate way to handle this technically.  Now you have to design a better workflow/methodology to meet your schedule. (Also mentioned earlier.)

If you really want to throw more computers at the problem then this MIGHT help:

http://www.videotoolshed.com/product/69/avidmxfcreator

I have not tried it myself, just read about it.

Good luck,

Jef

Thank you for your suggestion.

But I'm an assistant myself.

No body can deliver any hdd during shooting.

Most of project in my Editing house is TVC. they are fast in and fast out. not every single job to do sound sync.

Usually they come after finish convert to .mov prores if shooting in RED or Alexar but some time on 7D or 5D that took time to import more than usual.

P.

Seriously, why can't you set up some kind of batch transcode in Sorenson Squeeze that can be running in the background or on another computer?

Also, on a 12 core machine, your ama transcode is going to be real time or faster.

Here's the thing about shoots that have fast turn around times, you have to figure out how to do things in the field to make post move quicker.  Why not make a safety copy in the field, that will save you 30 minutes at the office and when the project is done you can do the official archive.  You have 7 hours for importing listed.  Is that based on a true "import"?  If so, AMA linking and transcode will be much faster, so that will save you possibly a third of that time.

One thing you may not have control over is how much is shot.  At the end of the day, if production has shot five hours of footage on a dslr and they want it transcoded, synched and edited by 10pm the next day, then they need to rethink how they shoot (not that they ever respond well to that suggestion).

One suggestion.  It will cost some money, but in the end save your sanity, get a second license of MC.  Running the AMA transcode on two computers (one fromt the master drive and one from the backup, would save you half the time.  If you have a copy of FCP7 lying around, use it to get the discount.