Craig Alan
Forum Replies Created
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try this: Kristopher.Bose@Promise.com
I could not understand the rep from India. Kristopher is helpful with both tech issues and return issues.
That said: here’s my experience. I’m at a school and we ordered 18 or the 8TB R4s. They were in storage for almost 2 years due to the lab taking forever to be finished. So although in storage too long, they were brand new a few months ago when I began to use them. Two of them out of the box had serious enough issues to warrant an exchange. They sent me refurbished enclosures which really annoys me. If I had tested them when they were newer, I would really insist I get brand new enclosures. So I’m a little annoyed with myself as well. Still enclosures still in their sealed boxes don’t really go bad. Drives might, but they were not the issues. Promise deliberately left off certain features from the utility program because they were afraid that end users would loose data if they tried certain steps in an incorrect way or order.
My latest issue was a drive was seen as dead by promise utility and by a red top light on drive three. Kris talked me through using the terminal to remount the third drive and all was well. He said that this feature is not done through the utility because in a raid 5 config it could amount to total data loss if not done correctly. They will offer tech support for issues like this even out of warranty.
I had chosen raid 0 for these media drives but am second guessing this decision. My logic was these drives have no wear on them and are unlikely to fail for a couple of years. I would back up important projects. But all that happened here was a drive got unmounted (most likely a student popped one out) and then the entire raid was unseen by the mac. Raid 5 would have prevented any problem but at the expense of 2 TB per drive and slightly slower speeds. Thunderbolt raid to thunderbolt raid back-ups work pretty fast. So my plan now is to swap out the raid 0s for one config. as raid 5.
I really like the drives turning on and off with the computers. Cool feature when you need to turn off multiple editing stations.
Tapeless work flows have a many advantages over tape, but ease of archiving original media is not one of them. One of these days storing media will be fast, cheap, and good. Not just faster, cheaper, and better; but virtually effortless.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Thanks Brian. I had been told that some of the outputs might be dead. Further the entire rear panel was assembled for rack mounting but put flat into a console so I had to crawl under the table face up with a flash light to see what was what. In any case I used the MONO XLR o/p with a 50 foot xlr cord to one 302 mixer. I set the 302 xlr outputs to -40. I then set the sensitivity of the G2 transmitter to -10 and the G2 receiver AF out to -24. Camcorder was set to mic level. Cam was calibrated to -20 with 0 tone from mixer.
All this worked well.
Now for the second part of your original post: I get picking up house sound using a mic on a stand into the other channel of the mixer. I’d have to set up a second G2 cordless kit for the other channel to keep the camera untethered. When I’ve used a mike on a stand to capture live performances, we’ve pointed them toward the house PA. With some adjustments to the angle we captured pretty much what the audience heard. Far from good audio but served to document the event. I assume for this combination your intent is to simply pick up house noise, audience response and the like. This would be mixed in post at a lower level than the house mixer channel. What mike would you recommend for this? We usually use a Hypercardioid on our stands, but for this use would an omni dynamic be better? What exactly is a FX mike? Also we discovered watching the first of three performances of the talent show that some of the acts used their own speakers and didn’t go through the house mixer. So I’m thinking the mike on stand should be near these acts.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Thank you so much Brian and Ty. The advice is spot on and in the near further we will get a chance to experiment with the set-up. For now, We will shoot one cam aimed at the house speaker and I will set up a camera just to experiment and assume I’m wasting my time except for the experience it gives me.
The P2 cams do not like line level and seem to prefer mike level so I’ll keep that in mind.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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All the ports in the stereo returns are open.
The xlr right and left outputs are taken.
The aux 6 ¼ inch is taken.
Aux 1 xlr is taken.
There are preamps next to the mixer and they are feeding 5 monitors.
Small auditorium; our 100 foot xlr easily covers it. The cams will be about 75 feet from the mixer. We could also put a third one 25 feet from the mixer and kept on fairly wide center toward the stage.
It’s a student talent show with a laptop feeding the mixer recorded music and the acts include dancing, singing, bands and talking hosts.
We’re using a 302 mixer into our cams which can take line or mike level but I also have Shure A15AS – In-Line Pads with 15, 20 or 25 db of Selectable Mic Attenuation – XLR Barrel.
No tech rehearsal or anyone who knows the mixer well. No time to experiment so I can either aim a Hypercardioid on a mike stand mike at one of the powered speakers or get a line out. If I can use a cordless kit out the mixer to our mixer that would be better to avoid dealing with the 100 ft xlr through a crowed auditorium. But either way is ok. We’ll do a 2 cam shoot with a still cam as well.
Though the mixer and speakers can easily do a decent stereo mix it sounds to me like dual mono – if that’s the right word for a live mix sent to four speakers – all sounding identical. I could also connect our KiPro to the rca L R out record ports.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Yeah their stuff is not exactly turn key but once its good it’s really good. Call Kristopher Bose. If you can’t find the support number let me know and I’ll dig it up.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Open the promise utility and check out the different tabs. You will learn if the raid is experiencing any problems. I would also try deleting FCP X preferences. But if things stay bad try calling promise and ask for Kristopher Bose. He’s patient and will talk you through any problems.
According to the user manual this behavior happens automatically so no need for Caffeine.
https://www.promise.com/media_bank/Download%20Bank/Manual/Pegasus2_Product%20Manual.pdf
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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I[Renny McCauley] “I haven’t created any proxy or prores media yet.”
Then I’m not sure how you are judging the speed of FCP X. I would try ProRes 422 first and if that is too slow then try proxy. Your new drive will be a huge factor as well.
If the library only contains links to the media files, I think you’d be fine with one library.Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Are the 4TB stored in the library (managed) or linked to an external location? If your importing all that media into the library, I would suggest storing it elsewhere- a fast external thunderbolt raid holding at least 20% more than the 4TB. The 3 drive thunderbolt raid should do it assuming its at least 6TB. You might try trashing FCP preferences as well.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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Unless i missed it: How many gigs of media are we talking about?
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.
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https://forums.creativecow.net/thread/47/860738
read through thread, Dennis addresses this.
Mac Pro, macbook pro, Imacs (i7); Canon 5D Mark III/70D, Panasonic AG-HPX170/AG-HPX250P, Canon HV40, Sony Z7U/VX2000/PD170; FCP 6 certified; FCP X write professionally for a variety of media; teach video production in L.A.