Gary Hazen
Forum Replies Created
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[Mike Jeffs] “all of the Avids connected to a central storage device”
Is this storage Avid Unity or a network share (NAS) ?
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Turn off AMA.
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[Fernando Mol] “if you smell something like that don’t waste your time”
+1
Walk away and let some other production company waste their time putting together a complex bid that will never be considered. In the distant past we had an agency that would come to us year after year asking for a bid on the same annual big project. There was enough money on the table that we dutifully put together a bid each year. Each year they shared the bad news that we didn’t get the job. Slow learners – we eventually realized that they were simply filling the requirement for 3 bids. The next year they came back again and we politely declined. They couldn’t believe that we declined to bid on the job. I think they were ticked off because they would have to find someone else to dance for them. Good riddance.
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Well there’s this unit from JVC:
https://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL101893ml
JVC is supposed to release a new unit this year that has an HD SDI input.
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[Scott Davis] “Most recently trying to encode a QT reference (XDCAM 100Mb/1080i)”
XDCAM @ 100Mb/s ? I thought XDCAM topped out at 50Mb/s.
Regarless of the data rate, I’ve never had luck getting XDCAM out of Composer using QT ref. I’ve always converted to DNxHD and then sent a QT ref to Squeeze. I manage to get some use out of Squeeze – with a few hiccups along the way. I would rather have Episode installed in the suites.
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Have a systems integrator run triax or fiber to junction boxes at key locations in the theater. It makes for a fast set up and most of the wires are out of sight.
Trying to to run multiple cameras in HD wireless introduces numerous issues; expense, latency, RF interference and others. In short, you will create more problems than you solve.
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You may be thinking of Curious Maps. They were acquired by VizRT years ago, the app was integrated into their high end broadcast graphics system Viz World.
https://www.vizrt.com/products/viz_world/
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[Ben Edwards] “My gut feeling is that FCPx is not the correct solution but it does have a lot going for it, maybe not now but maybe in 6 months or a year.”
Looking at it from the perpective of where you expect FCPX to be a year from now is the tail wagging the dog. The question is, where do expect the broadcast operation to be 5 years from now? Will it be 6 edit suites instead of 2 ? What other types of hardware (servers, CG’s, etc.) will be in utilized at the facility? How will signal distribution be handled (Router or File based IP network)? How will the NLE’s used for post exchange content with the other hardware?
I’m sure that Bob can offer up a slew of other items to be considered. My point is that there are a ton of things to consider when choosing the appropriate hardware for a broadcast facility. It’s far more complex that setting up a small post facility.
Ask a post shop owner about the importance of having a dual power supply. Ask Bob Zelin or any other broadcast professional the same question. You’ll likely get two different answers.
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[mat cav] “The vectorscope also has an SG-2 Black burst generator connected to the Ext. Ref IN.”
I would run the black burst signal through a DA and feed it to every source; switcher, deck, waveform scope, vector scope and monitor. The issue you’re have is with the subcarrier frequency. You can adjust the SC freq on the betacam deck, but you’ll need black burst distributed to all the sources/destinations. Before you do all this keep reading.
[mat cav] “The reason we need the JVC KM-1200 is just to fade to black at the end of the encode”
A fade to black module would be the simple solution.
https://www.burstelectronics.com/f2b.htm