Adam Garner
Forum Replies Created
-
End of story? Really?
I’m not sure that H.264 footage is a very good format to work in for broadcast. Also, pretty sure that any DSLR is limited to about 12 minutes of continuous footage. Hardly awesome for shooting a live show. Additionally without any CCU capability it’s not a viable solution for anything professionally shot using a director, control room, etc etc.
I love the look of full frame 24p, but the equipment just isn’t where it should be for a production like this.
Adam Garner
film+motion+video
https://www.trigger-studios.com -
Point taken, though I respectfully disagree that frame-rate isn’t as important as coloring. I think the right selection of all of these assets is crucial to achieving a look. Shooting 60i has zero cinematic attributes. 30p, moreso. 24, yes. Coloring, absolutely, but a live music series?…
Adam Garner
film+motion+video
https://www.trigger-studios.com -
Nice. Thanks Bob. That actually helps. I’ll skip the bath and dinner. I think I can manage.
I’ll think of ingest and playback as discrete pieces of the overall puzzle.
My hair is too pretty to cut.
Adam Garner
film+motion+video
https://www.trigger-studios.com -
Most other forums I participate in there is a sense of camaraderie. Not sure I’m getting that feeling here. I do realize that this is my first few posts in these forums, but one shouldn’t assume that means this is my first day on the job.
Understand that I *get* the complexity of what I’m building here. That’s why I didn’t post in the “condo security cam” forum, but rather in the “SAN forum.”
I’m a degreed computer engineer who has more years of experience working with SAN architectures and implementations than I care to remember. I am also a professional filmmaker and film editor. I have a unique background I know, and that’s why I’m involved in this project. Yes there is a healthy budget.
So, I’m doing my due diligence by making sure I understand what some of the solutions look like, and that’s why I’m here. Bob, you seem like a knowledgable guy who is perhaps a bit frustrated with the iMovie “wet behind the ears” generation that can do everything from their bedroom, and I can appreciate that. I’m just looking for some guidance from the subject matter experts here. So, any further input that could be valuable? Anyone else want to chime in?
EVS sounds attractive as a full scale solution.
FCP network + XSan sound like something to dig deeper into as well.
These telestream boxes seem sort of good for some tasks but are only part of the solution.
I’m really just looking for some high level “Hey, here’s a particular setup that so-and-so uses for 8 camera shoots” or whatever. I’ll do the detailed research myself and ask questions later.
Adam Garner
film+motion+video
https://www.trigger-studios.com -
Alright, I’m just wrapping my brain around this stuff Bob. Much thanks for the input here. Evs, telestream, these are all things that I haven’t been exposed to just yet. I come from the film world where delivery is far from immediate.
So a few questions:
1: Ki Pro – I think this is far from the solution. My understanding of the workflow is that you directly attach one camera and capture the component out. Then, you’d have to sync TC after importing to your FCP workstation.
2: Telestream – Seems to capture two raw streams and from there writes the compressed data to a RAID. You can put, say, 6 of them together and capture 12 cameras raw, convert them real time and write to some type of ultra fast disk farm… probably fiber channel. Seems like part of the solution where the EVS is the whole solution…
3: EVS : Looks like a much higher complexity system with XSan on the back end. Handles roughly 6 cameras?… maybe more if you have the right setup? This seems like maybe the direction I’d want to take with a 6-12 camera setup, permanent install. This will capture all the streams live (converted to ProRes422), and store them to the SAN, allow me to do live viewing of captured media…
Am I on the right track?
Adam Garner
film+motion+video
https://www.trigger-studios.com -
Telestream. Interesting! I’ve done a little reading on it after your suggestion. Looks like what I had imagined a solution might look like. I guess it does 2 channels of HD ProRes encoding and writes it out to an array somewhere via fibre? There isn’t too much technical data available on the website.
John: This is a permanent installation, long term. I would like access to the data while it’s recording, either to do a preliminary edit, or to monitor the feed. I do need them time code synced. Good suggestion on the Ki. I actually looked at that early on as well. However, I would rather have the video captured remotely to a disk farm where I can watch the ingest. But it’s another good solution depending on budget and infrastructure. As I understand it, you just connect the component out of the cameras into the Ki and it does the realtime encode to whatever format you choose. Then you have to ingest to your raid or whatever after the fact, yes?
I’d like to keep the steps to a minimum, so if we can skip an offload that’d be great. But, perhaps for fewer cameras this would be ok.
Bob: The thread here: https://forums.creativecow.net/thread/180/857094#857094 seems to address exactly what I’m thinking. FC Xsan may be what I want to do based on your Disney project. Did you have the Telestream running on that project for the encode?
Good point about timecode. I’m not sure
Adam Garner
film+motion+video
https://www.trigger-studios.com