Fred Jodry
Forum Replies Created
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That is a modifier trying to hook you to the internet for checking permission against the advent of replicating known copyright material. Since checking this material is by no means absolute, copying gets continually harder with new releases of standard OS`s and suites.
With any internet or big network connection removed, go into your DVD copier and adjust options, especially internet options. Some usability will show up afterward. Still, replicating material remains the domain of machines that are always off the internet, and have proven software, and oh by the way, sometimes good cables or tape storage. -
Your two new RAID 0? drives will backup and restore with no mentionable incompatibilities with the (plug in single drives?) predecessor. The question you will want to ask yourself in the future, sometimes, is whether you should improve the speed of the backup, restore archives operation. For instance, some setups now use a backup, restore array that actually has more speed than the work computer on hand, and can be switched off, complete witth maybe a booster Xeon processor in it integrally switching on and off with it (or faster or slower) at the same time. The reason for the faster backup and restore is mostly so that backup and restore don`t have to be forced into off- peak times, (or do you want your technician to be on the job at 3 o`clock in the morning when hardware or the job is having a hard time)? Another reason for powerful, adjustable power backup and restore is that it saves electricity compared to having a work computer pushing backup the brute force way. A stack of Xeons render farm can run up an electric bill that pushes a production joint out of business. I also noticed that you`re talking about hard drives to hard drives as archiving. You may want to use tape or other archives in the future.
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John, although USB hard drives are not the stuff that leaps video production out of the compressed world into RAVE and RAW, they still have their use for their regular speeds. For one thing, you said “2.5- inch” drives. They have universally lower power consumption for both regular nearly standby running (Think, motors spinning) and more so for dynamic use (Think, smaller arms swinging). They are good for swapping and slow backup, for internet, and so on. Remember there`s USB RAID cards if you can find one of the few kinds made. Like seemingly nearly all types of plug- in “device”or “boot device” cards there are way too few made, though. You can use my e- mail in the personnals if they`re for sale. They`re partial substitutes for SSD hard drives until SSD hard drives become practical and available, if ever. Fred Jodry
(Chad, send me an e- mail if you get time to do it, like after Christmas). -
Also look to the DTE direct to edit subject, and ask the software vendors and actual users for better advice than mine.
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External devices recorders, computer in them or not, will take a while to get rolling. For instance if it`s the turn on and first take at a shoot, the camera itself will take a flat minute or so to turn on and ready itself. Simultaneously?- the recorder is doing similar. After that, I wouldn`t be surprised if SXS memory cards if in an external device fire up in half a second, hard drives if already spinning, even faster, but recording tape if able to record in real-time, could take 20 seconds give or take a million years to stabilize and bring in data. Remember that the camera is intended, subject to present developments, to output 2 out of 3 output hookups at a time without glitching each other. It would be practical of you to make properly, consistently? prerolled recordings as always to go to the editor while a live pickoff can get corrected and transferred live both as possible for live broadcasting, and as source help for offline editing and “proofs, rushes, and dailies”.
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Carlton, avoid VLC Player with a passion. Although made and sold with the format of Open- Source, the comittee making the software asked for the help of Microsoft. It is apparently stemming from this that VLC Player reduces the amount approved file- types on “Folder Options, View Files” from 155 file- types (for Windows 2,000 Pro) to only 35 types. Rebuilding the original file- names is not a work- practical answer. VLC Player was designed the most to allow the Maedia to be web broadcasted easily, then the creation to be lost by both the maker and the beholder. Pick an editing suite right out of the Cow Forums.
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“Since ARRI sold the Alexa as a camera that markets to sooner than film negatives, or live output of production, they have some catching up to do!” -Fred
Since when has it be incumbent on the camera Mfg’s to handle anything in post? -Gary
A: Since when? ARRI originally promised the Alexa to be intended dually to be a film camera replacement as well as to be a new item in Broadcasting. The day that I see 5 Alexas plug in those live set- up “LUT” boxes for them that were only covered once in the cow right after NAB this spring, then conspire their outputs into a mixing board for live coverage of an event the nature of the Daytona 500, while pickoff outputs simultaneously pour into recorders for later edited shows, then the pickoffs also are bumped down into advertising on maybe TV Guide, Glenn Hauser`s World Of Radio (which also covers TV), networked stations promos, and of course the usual DVDs and VHS`s, then these babies have cranked. Until then they`re just shooting flowers and apples on a table. Also until then, don`t blame Robert Monaghan, an awful lot of others who`ve put in their sweat and money, nor me. I`m wishing Mike Bravin and all the gang all the luck as Broadcasters do indeed have themselves plenty of blame for the stupid idea that for the last few decades, anything ARRI- film has, had nothing to do with them next to the Sony, etc., etc., junk. -Fred`s new answer
The Alexa Content is designed to be handled like film does, where as every ISO needs to have slightly different curves applied. While there are default LUT tables for Arri, the reality is that anytime a new camera system comes out it is necessary to retune the post setup for specific cameras and lighting combos, -Gary
Those live LUT boxes that were covered after NAB would do it, now do it LIVE. It`s also ridiculous tha some Alexa producers have ProRes firmware only and the others have ARRIRAW only firmware, and obviously can`t trade easily. another new Fred`s answer
Completely different subject, from Alexa`s forum not here:
More than 2 channels of audio?
If post, not live, how about either midi or timecode used on the Alexa, then post produced in a sound house? -A. N. F`. A. -
Gary, some of us own cameras and lenses where the lenses have sales prices higher instead of lower than the cameras. It`s what you get out that counts.
Shawn, talk with your film print maker. What he sends to what projectors is the answer. Picture quality going into the print does indeed matter because it is straddled with film grain. If the movie watchers see objectionable amounts of print grain because a clear image isn`t pushing it out of the way then this is a problem. My best suggestion here is that you think of your productions as a serial professional output in that you make beginning features that can push through the film print “sand and lightningstorms” without distraction. Later when the printer has pushed his stale film print stock out the door you can make features with much better excursions into low light or low contrast scenes. Personally I use film color separations for every stage of the operation from camera to print that`s available, especially “inter-negatives”. Film separations make very nice proofs too and are far easier to make on location. One trouble is that the Log C format on the ARRI is made to mate into the uneven setup of regular one- piece negative or inter-negatives outputs, a disadvantage. Since ARRI sold the Alexa as a camera that markets to sooner than film negatives, or live output of production, they have some catching up to do! -
Shawn, I`d supose that your dislike of the anamorphic lens`s quality is the fact that anything out of focus (as too near or far for the focus) comes out as an oval due to a circular iris. Why don`t you ask the lenses manufacturers and sellers if they make anamorphic lenses with irises that aperture in an opposite oval to compensate, or that simply don`t have the problem. You`re surrounded with other inquiring minds that want to know.
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