[Bruce Jacobs]

Just realized I should make this less cryptic.

The question is, if we have a user with a VOIP phone, can we successfully use the GigE pass-through jack on the phone for an attached editing workstation, or do we need to run a separate GigE line to the edit station.

[Bruce Jacobs]

Thanks for your lucid and detailed response, Kevin.

I will look more closely – from what I understand, the re-wrapping does not eliminate any meta-data. When we look in the “other” tab, we see a lot of it!

Bruce

[Bruce Jacobs]

Thanks, Bryson.

To answer your question – we are game for whatever is the easiest approach.

When we come in from the field, we immediately load the media (either XDCam disks or EX3 flash cards) onto the Mac desktop and rename the volume with the reel number. (The reel number is incrementing number within the “project”).

Then, we open the batch of clips into the Sony tool, and add the project number into the “creator” field and a description. The project number is duplicated for all the clips, and usually the description too, since we don’t have time or see value in describing each clip uniquely. We want to add this metadata here (rather than in CatdV), so it gets embedded into the clip.

Then, we make a copy for backup purposes, and move the media into the worker node drop folder.

It’s at this stage where ideally the worker node would detect the project number, and make a folder on the server for that project if it doesn’t already exist, make a folder for the reel within the project folder, and put all the clips from that reel into it. Same goes for the proxies. With this structure, we can easily delete the whole project from central storage, after we have archived anything we want to save. And we’ll never have a naming conflict when two projects use the same reel number in their naming scheme.

I’m not sure I follow your suggestion – perhaps you are saying there is a way to do this?

Anyhow, I hope the explanation above makes it more clear what we are trying to do, and look forward to your further comments.

Bruce

[Bruce Jacobs]

Thanks, Kevin and Martin.

Here is the twist: (Sorry I don’t know all this stuff first hand.)

We use the Worker Node to automatically ingest content into CatDV when it is dropped into a “media” folder on our server. Worker Node pulls those few fields of meta-data available from the XDCam transfer tool, dumps the data into the CatDV Server database, and automatically generates the proxy. All this is very cool.

Thing is, Worker Node is set to deposit new content into a specific catalog. We don’t see a way to use Worker Node for the ease of ingest and proxy generation, while ending up with each “story” in a unique catalog.

Ideas?

[Bruce Jacobs]

Yes, we are using the server, with the worker node.

Your response is VERY helpful!

Time to rethink what we are doing…..

[Bruce Jacobs]

Read the notes about the ability to output to tape with insertion of an SCC file. For us, thus is huge: finally, we can avoid the hassle of a separate real time tape to tape captioning session.

[Bruce Jacobs]

Well put, J-R.

I’ve written a couple of other things which I hope help to further complement the Dolby company line.

https://en.wikipedia.org/wiki/Dialnorm

https://etvcookbook.org/audio/dialnorm.html

[Bruce Jacobs]

As one of it’s authors, I’m pretty well convinced that TOS2005 is the current version. (not 2000).

TOS2005 was a radical re-write. The TOS is now MUCH shorter and all the analog language is gone. Key changes included allowing 480 line vertical blanking, digibeta and HDCam are the only submission formats (without an extra fee), dialog levels must be measured with an LEQ(A) meter and be set to -27 dBFS (this may get changed to -24), peaks above -10 are now allowed for dramatic moments.

This thread is incorrect – Track 3 must have Descriptive Video or a mono mix and track 4 must have seconday language or mono mix.

I’ve asked if the TOS can be posted on the public site, along with the Red Book.

We are in the midst of another rewrite, and welcome your suggestions by reply to this message. Likely changes will include fixing Dolby E timing confusion, limiting audio peaks to -3 dBFS, introducing language for future submission as an MXF(IMX) file, and guidance regarding HDV.

[Bruce Jacobs]

In February, I talked to Sony’s pro monitor product manager. It used to be there were huge factories in Japan making CRTs for all different uses. Getting high-performance tubes out of these plants was affordable, it was “just another run” and the seconds went out as consumer products. With the enormous rise of digital display popularity, those Japanese plants have closed and “all the CRT production has moved to China”, in plants not setup for high-end performance. He said high-end tubes cost increase had eliminated profit, and it was only a matter of time….