David Coiffier
Forum Replies Created
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How big is your tex folder ? How fast is your connection from server to client, how many clients have to be delivered, and how long did you wait before giving up ?
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Hey Dave, it’s all about ports & routing.
The key is that you have to get clients connect to the server but ALSO server to clients.
So make sure that server can connect to your client.
If at home, you’re behind a NAT, then you need a port forward rule that says “incoming TCP on 1080 goes to this particular local IP” (1080 is default port)Next refinement is to connect several clients from one IP (I know you have more that one at home!) :
All you have to do is get a different port for each client behind the router, by specifying in the client prefs dialog other ones :1081, 1082, etc…
Of course, you also need port forwarding rules for each machine… -
Thanx for your feedback Randy!
My server doesn’t quit, and in fact my clients don’t quit as well. From the server point of view, clients are disconnected, but clients don’t display the ‘connection to server lost’ msg…
That makes me think server is faulty, and rejects some clients for unknown reason, when for clients nothing looks wrong, except they aren’t charged with work…
Anyway, I’ve dropped a note to Maxon, and I’m waiting for their expertise…
Thanx again,
D.
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Thanx for the info Jack!
I will test asap this v210 codec!
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All gamma shifts, colorspace errors that you heard about are quite real, as I suffer from these on a daily basis. BUT : don’t consider these HD formats cause troubles, because they don’t.
I have no XDCAM experience, but I worked with DVCProHD, to shoot & edit a 55′ 1080p program, 18 monthes ago. At that time, everything was running quite smooth, and no broken workflow was to report.
Things came bad because of Apple & Adobe. They’ve been working together for 30 years, and still can’t talk to each other…So many new features added by Apple to QT (needed to handle new HD formats, gamma values, colorspaces…) were misinterpreted or ignored by Adobe. Then Apple ran into numerous QT updates, introducing from time to time new bugs, breaking some codecs…So HD codecs are not responsible for the way some software vendors pretend to support them…
The fact is DVCProHD and XDCAM are probably WAY BETTER than Apple & Adobe.
Also, P2 doesn’t mean DVCProHD, and vice-versa. Digital storage has nothing to do with data format.
And workflows are broken not because of P2, or even DVCProHD, but really because of Apple & Adobe.Note that DVCProHD inside FCP6 is just fine. No gamma shift, no wrong colorspace, nothing.
Troubles only occur when relying onto Quicktime to handle media transfer from Apple to Adobe, and Adobe to Apple back…Get your P2 cam, Panasonic is way better than Sony.
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k, in this case, there nothing else than Change to color, that is built in AE, and only with eyedropper.
It works for only one color at a time, but with tolerance settings, you can get control of what’s happening and where. For cast removal, it is just perfect…
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So you made some white balance in highlights, and it’s not enough ?
Try now same process on lowest light, to get a correct black, and most important, make it also on some part closest possible to a neutral 50% grey, to get rid of midtones color cast.
If you use levels, then white balance is done with white input param for each channel, black balance with input black, and neutral balance with input gamma parameter.
Result could still be imperfect, as correction curves may request more shaping than just adjusting middle & ends points…
No particular advice for any heavier color correction plug, except the less plugs, the better, as it means each time filtering & roundingIf you really need pro color correct environment, then Shake is the perfect tool…
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You only need to render field in AE if those conditions are met together :
1. you rendered your 3D sequence as interlaced
2. you make some geometric transforms.In your case, you can’t meet those 2 conditions, because even with interlaced 3D render, you’re just doing horizontal rescaling. Horizontal scaling only moves pixels from a line onto same line, without changing what would belong to one field to the other.
But with interlaced 3D render, as soon as move/scale Y axis, or rotate (any axis), you have to render field, so what’s from one field still belongs to the same resulting field… -
You probably will need 2 layers to do this, but as they can be very close to each other, there’s nothing difficult in it.
Also, as layers are perfectly flat, there should be a moment in your camera travelling, where you switch from front to back view of the layer. That should happens between 2 frames, so you can also split the layer at this time and replace footage on the last one.
Only heavy motion blur could make such split hard to do… -
Apparently Furnace is not available for AE neither Combustion…
But it is for Shake, Nuke, Autodesk, or Fusion.If you don’t own any of these packages, you still can buy Shake, as it’s a marvellous tool, specially for 3D integration, and it’s really inexpensive (500$ I think). In fact Foundry package for Shake is way more expensive than Shake itsel, and to be honest really expensive, even or such great tools…
A cheaper way would be using Reelsmart motion blur. I didn’t test it personnaly, but I’ve heard many people happy with it…