“Unless you were involved with color grading or detailed finishing that requires the full rez media, you really would not need to access that kind or file size,” Colantuoni said. “It would sacrifice access to multiple layer compositions and probably have a trade-off in performance. That is why we have multi-rez workflows in Media Composer and in Interplay | Production, and just this year have introduced software-defined storage in our Avid NEXIS system.”
Although it would be conceivable to archive the high rez original files off site, most editorial workflows like to keep them easily available so the proxies cut on the timeline can readily be linked to them for finishing.
“This is where the scalable capacity of a storage system like NEXIS becomes so crucial, because these days the proxies that are being edited are actually in HD resolution,” Colantuoni said. “The mezzanine format that Media Composer employs, DNxHR, is designed to handle multiple resolutions in the data rates they require....[continue reading]