[Gary Hazen]

Is this a one off project or do you anticipate sending a high volume of files to the Omneon ?

We have a K2 server and Telestream FlipFactory. The FlipFactory is is tied in with our Unity. From the Avid edit suites we drop a QT ref file in a watch folder. The file is transcoded to the K2’s native codec and finally the file is automatically pushed to the K2. It works well.

You could put together something similar on a smaller scale with Telestream Episode. For testing purposes you could downloaded the trail version of Episode to see verify that it will generate a Omneon compliant file.

[Gary Hazen]

Ben has never used Media Composer. Take his comments with a grain of salt.

[Gary Hazen]

[David Cherniack] “may its users be able to objectively see it for whatever it is.”

Apple users seeing things just as they are? Surely you jest.

[Gary Hazen]

I agree with Chuck, you should look at a DDR as the possible solution.

Some rental companies are using the Grass Valley T2 DDR to replace aging Betacam decks.

Europe rental:
https://www.satis-fy.com/en/inventory/satisfy_invests_in_new_grass_valley_t2_iddr_recorder

U.S.
https://www.verrents.com/products/t2-iddr.htm

[Peter Derren] “they often have a maximum amount of time that they will continue running for – in our case the events can be a couple of hours.”

I’ve made continuous recordings up to 15 hours on a DDR without any issues. Recording time is dependent on the drive space available and the resolution settings of the recording.

[Gary Hazen]

Apparently you missed this:

[Dominique Lee] “I was paid.”

[Gary Hazen]

[Craig Seeman] “Once THEY involve lawyers it is NOT wise to defend oneself without one.”
Clearly you’re not a poker player Craig. “THEY” have yet to prove they have actual legal representation. “THEY” are bluffing. Obviously it’s unwise to not defend your self properly when dealing with a lawyer. That said, it’s foolish to go out and waste money paying a lawyer when it’s unnecessary.

You should try playing Texas Hold em’ once in awhile.

[Craig Seeman] “I suspect as part of his defense he’s including lawyer fees to be paid by the aggressor as well.”
There’s no guarantee that a judge will award legal fees if if Dominique wins in court. It’s a calculated risk.

Sometimes it’s best to cut your losses and walk away.

[Gary Hazen]

For studio applications Telestream’s Pipeline might fit the bill.

https://www.telestream.net/pipeline/overview.htm

[Gary Hazen]

[Dominique Lee] “My attorney is involved now”
Why?

Once the lawyers get involved everybody loses except for the lawyers. I cannot imagine something on the source footage being so valuable as to warrant throwing huge piles of money at men in suits.

How much are you willing to spend in an effort to protect your art?
How much are they willing to spend in an effort to get a hold of some footage that may hold little value?

[Gary Hazen]

[bart stevens] “The goal is to use the multiple displays as one massive canvas.
I have a massive comp – 22000 wide by 6000 tall – that contains all of my HD displays in scale.”

When I take on a multiscreen project I start at the end and work backwards. What does the client want in terms of display size? Once there’s a rough assessment of what the client wants, the number of screens and the playback method is determined. If the client hasn’t already been scared off by the price then I’ll start planning the content creation.

How did you arrive at 22,000 x 6000 pixels for a comp size ?

Using a 42″ 1920 x 1080 display as a baseline building block, your wall would be wider than the massive wall at McCarron airport in Las Vegas. The largest video wall in the U.S.

Again, stepping back from content creation for a moment – what is the size of the finished video wall?

What are your plans for playing back and syncing the content?

[Gary Hazen]

At NAB I saw this: https://www.blackmagic-design.com/products/h264prorecorder/

$500. Real time h.264 encoding. Cool stuff.