Gary Adcock
Forum Replies Created
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Yes Ian,
That is the driver I am using.
the issue- it was listed in the first post, did you just gloss over that?
“It does not corrupt the media or contents of the SxS media- it just will not allow you to copy media from any formatted SxS media ( FAT32 or UDF)”
the console logs
/System/Library/Filesystems/sxsudf.fs/Contents/Resources/../../sxsudf.util[497]: sxsudf.util: isSupportMedia pagesize 2048 PG 64 EB 4096 info_line: 742
9/20/12 12:06:28.000 PM kernel[0]: [ PCI configuration begin ]
9/20/12 12:06:28.000 PM kernel[0]: PCI configuration changed (bridge=92 device=12 cardbus=0)
9/20/12 12:06:28.000 PM kernel[0]: [ PCI configuration end, bridges 14 devices 17 ]
9/20/12 12:06:28.781 PM /System/Library/Filesystems/sxsudf.fs/Contents/Resources/../../sxsudf.util[497]: sxsudf.util[check_medium_condition;1424]: implimentation ID is mismatch+(*ARRI SSFR) error.
9/20/12 12:06:28.782 PM /System/Library/Filesystems/sxsudf.fs/Contents/Resources/../../sxsudf.util[497]: sxsudf.util[fs_probe;422]: Unmountable media. devpath(/dev/rdisk2) volume name(�:)
9/20/12 12:06:28.782 PM /System/Library/Filesystems/sxsudf.fs/Contents/Resources/../../sxsudf.util[497]: sxsudf.util[fs_probe;454]: SxS file system unrecognized. a mount is not possible.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[John Davidson] “Mountain Lion is more of a cosmetic change to Lion. Pretty much nothing will change in relation to how FCPX runs with either OS”
I cannot disagree any more strongly.
There is far more than cosmetics, the 64bit only processing under 10.8 ML is considerably faster when working with larger files, higher bit depths and the higher screen RES needs of the Retina MBP.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Rafael Amador] “I’ve been making too some tests with Photoshop (importing as 8b and 16b) and then bringing the files to AE (difference), and there is no doubt that the .dmg’s are more than 8b depth.”
herein lies one of the issues in modern imaging.
Existing 16bit workflows are designed around VFX workflows,
however I am using CAMERA GENERATED 16bit files, not creating something in Photoshop or Maya and yes I am seeing different responses with the media.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Jeremy Garchow] “Why stop there? BMDCC XYZ is an image sequence with RAW. Let’s do it all!”
ah….
most of the higher end use some level of sequential frames
that list also includes Arriraw, DPX, the BMCC’s CinemaDNG format but do not forget OPEN EXR for the VFX guys.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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[Oliver Peters] “Also tried 16-bit TIFFs with the QT refs. That doesn’t work. They don’t like 16-bit TIFFs. “
Yes.
I have to admit that I have had some serious issues trying to work in 16bit using the everyone of the available tools and very specially when using full range 16bit DPX frames from the Sony F65.The only current tool I was happy with the conversion result was from the Adobe CS6 Media Encoder, which I used to make 4K60p ProRes 422 versions from those DPX frames so that I could do a rough edit from, then ran into the “nothing really handles much 4K Resolution” very well on the desktop.
This project was shot for a new product launch at IBC.
The 4096×2160 at 59.94 fps in PR422 requires about 200 MBps for playback.
I cut the entire project in REALTIME on my Retina MBP in FCPX over Thunderbolt using a Promise R6 array, generating about 18T of content in 4 days (I was using 2 laptops to create media due to a mountain lion issue, so I had one running 10.7 to handle specifics (like the Sony F65 view app does not run under 10.8), but all the editing was done on my Retina.
The final edited project weighs in at approx. 1.4T for 3:30 TRT when relinked back to the 16bit DPX sequences.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[Walter Soyka] “Interestingly, FCPX’s 16b TIFF export and the original 16b TIFF sources differ slightly on brightness values; I would have expected them to be identical.
I am also seeing noticeable shifts from the originals in AE with 10b Uncompressed 422, ProRes 422, and ProRes 4444. (10b Unc 422 and ProRes 422 look to be identical; perhaps a faulty RGB/YUV transform somewhere? Perhaps I’m doing something wrong?)
ProRes 4444 shows dithering in addition to the shift (but again no truncation). The dithering here strikes me as extremely odd.”
The 16bit stuff is still really dicey in the mac os when going thru different apps.
The color difference being seen between import and export is the difference between “FullRGB” and “SMPTE” output ranges.
NO you are not wrong about faulty transforms with the conversion.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[Walter Soyka] ”
I did a quick test, and Gary’s right: FCPX is truncating reference movies referring to 16-bit TIFFs.However, Oliver is right, too — FCPX is apparently not using QuickTime in its processing path. More on that in a moment.
While FCPX does not seem to be using QuickTime to read the reference movies (as Oliver suggested), it is still limited to an 8-bit processing path somewhere (as Gary suggested).
“Thanks Walter for the confirmation, since I do all of this in hardware, I am seeing the differences on scopes not on files. I was traveling to IBC and not able to reply in a timely manner.
A have been told that this is a legacy hook left as part of the process used when creating a QT Ref movies.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[Rafael Amador] “ight, but QT Player is not processing the stills in this workflow at any moment. Its only build a reference file that is processed by FCPX (32b FP). The original codec/bit depth is preserved.”
It is my understanding that may have been true prior to the release of QTX, but under Mountain Lion, the QT REF movie is handling the file as a 8 bit video file, so unless you re-create stills on output, you will be limited to 8bits in your workflow.
[Rafael Amador] “QT supports 16b RGB (TIFF/PNG still sequences and Microcosm QT Movies) even if QT Player can’t process or display more than 8b.”
Supporting and correctly handling a bit depth are 2 completely different things here
How is it possible to output more than 8bits if that is all the players engine supports?
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[Oliver Peters] “Launch QT Player 7 Pro and “open image sequence”. Find the first frame of the shot you want (the new exported frame) and import. At this point QT will ask for the frame rate. Once opened, save this as a QT reference movie. Repeat for each shot.”
I wanted people to note that handling the files in this manner will truncate the working color space down to the QT players native 8bit.
Using the frame to video workflow is currently handled better by using the Adobe Media Encoder CS6 –
WHile allowing for the full bit depth during the still to motion conversions, it will also allow you to select the first frame of the image sequence, then select the make QT Movie and it will create the image seq for you, and can create ProRes for FCPX faster than the current Compressor workflows.gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
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@garyadcock -
[Daniel Frome] “Funny update for you all: They replaced the logic board, but they messed it up. One of my ports is totally non-functioning now. After talking with them again they admitted that “oh, we weren’t supposed to try and fix that model, it basically needs to be replaced.” So here we go again — at least this time it’s just a simple swap.”
Daniel,
you are explaining why the need for the old Apple VAR (Value Added Reseller) program was so valuable. It was much easier to deal with someone that understood the issues related to being business and handling the level of content required.Just last week I went into an Apple store to pick up a 6T Thunderbolt drive I ordered online, I got a ear full from a very nice, 20 something guy telling me that I should be using USB3 enclosures with SSD drives, however when it got down to how fast the data transfers were over USB3 he could not answer directly but did not believe my data notes til he pulled up a blog post here on the Cow on TB.
It was really quite humorous a few minutes later when he realized, as he was checking me out, that I was the one that had written the blog post he kept referring to.
gary adcock
Studio37Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, ILhttps://blogs.creativecow.net/24640
follow me on Twitter
@garyadcock