[Eric Hansen]

hey Peter

i think i’m getting to the party a bit late here. but another storage option i would like you guys to test is Ethernet-based SAN. i have multiple clients with Small-Tree based ethernet SAN systems and a few of them are interested in adding a Resolve system.

for the first system that i would be adding Resolve to, we would be looking to read the source media off the ethernet SAN, while then writing the new renders to an internal 2 drive RAID-0 in the Mac Pro. that’s how we have our current Color system set up and it works great.

thanks. let me know if you need any more details on our SAN setup.

really REALLY looking forward to this release.

e

Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

thanks bob, but i’m asking because i don’t have a new one to test. i’m about 5 or 6 hours away from the nearest Apple Store.

e

Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

i just checked Apple.com for the tech specs on the Mac Mini, iMac and MacBook Pro and noticed this:

for both the iMac and MacBook Pro it says this in the “Communications” column:

10/100/1000BASE-T Gigabit Ethernet (RJ-45 connector)

but for the Mac Mini, it says this:

10/100/1000BASE-T Ethernet (RJ-45) interface with support for jumbo frames

interesting…

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Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

they all have to have audio – thats how Pluraleyes works. they don’t all have to be the same recording (ie, the output of a mixer), but they all have to be getting audio of the same thing (ie, someone talking and being picked up by all the on-camera mics)

and they all have to be running the same frame rate, since they all have to be in the same sequence in FCP.

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Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

you can use Pluraleyes, which uses the audio tracks to sync up the clips.

e

Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

Jeremy writes: “While comprssor can remove pulldown, it can’t add it. ”

using the process outlined by Matthew, Compressor does indeed add pulldown. maybe you mean Cinema Tools? i don’t know the app that well, i’ve only used it to change the time base of footage to slow it down (ie. 60p to 24p slow mo).

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Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

thanks bob

yikes, 4000 hours of previous on-the-job training just to be able to take the exam??

i found a few forums that said the owner of the electrical company will have these licenses, but the individual workers usually don’t. kinda like when i was a bartender – i didn’t have to take the state-run alcohol certification class until i was a manager.

the job i’m looking at is in Denver. so i imagine the regs are more stringent than in WY.

anyone know a good networking company in Denver?

thanks

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Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

Doug wrote: “the HDlink has a pair of RCA outs for monitoring”

these outputs won’t take into account whatever latency the LCD monitor itself has.

i don’t know if a lot of post houses run into these issues, but i work with a lot of editors that cut on the beat of the underlying music. so if the sync is off by even a few frames, it’s very noticeable.

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Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

i think i’ll switch to the FSI’s audio output so i can stop using my digital delay (it likes being on my guitar’s pedal board more than in an edit suite). i just wish that the FSI monitors had something better than a 1/8″ socket for the audio output.

but what do you think i should do about the edit suites that have LCD monitors like Apple Cinema displays attached to HDLinks and the like, instead of broadcast monitors? for me, these are the majority of the edit suites i work in. only my color correction suite has the FSI.

thanks

e

Eric Hansen – http://www.erichansen.tv

[Eric Hansen]

Jeremy wrote: I monitor the output of the LCD for sync.

just to clarify, you’re monitoring your audio on the output of the LCD itself?

e

Eric Hansen – http://www.erichansen.tv