Jeremy Newmark
Forum Replies Created
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$390!!! for a tri-level sync, from AJA no doubt. Bob has definitely got to be happy with this.
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It sounds like retail price is $3495, available in July.
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Thanks for the response Lee. Maybe will see it added to what hopes to be a very big upgrade later on today.
jeremy
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JeremyG wrote “I was looking into a DLT system, but it was pricey, seemed like a slow process, and I couldn’t find anyone to sell one to me.”
Have you looked into SDLT. It is currently the only tape format that is being tailored specifically to the pro video market. It has a file system on the cartridge and is quite fast. Gigabit ethernet and built-in FTP. They will have 800gig cartridges out by NAB and they have a 30 year archival life. You can buy directly from Quantum as well.
https://www.quantum.com/Products/TapeDrives/DLT/SDLT600A/Index.aspx
best regards,
jeremy
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This thread has been great. I do have to side with JeremyG on this issue however. A little more then a year ago, we built our first FCP system to start the transition from Avid. I moved our Huge (Ciprico) U320RX array, which we’ve had for over 2 years now, from our Adrenaline HD system to the FCP system. We had no problems with the Huge array on the the Avid and none on the FCP system. Performance has been great and it handles uncompressed 10-bit 4:2:2 HD without a problem. Well about 3 months ago I started an overnight render on a long form project. When I came in the next morning, there was the loud annoying beep, which Jeremy described, coming from the huge array. A drive had gone down during the night, but final cut was still rendering away as though nothing had happened. I stopped the render, saved everything and made sure everything was there. It was and everything played back fine, just as it should. I called Ciprico tech support and they said swap out the drive. We had originally bought an extra drive to keep on hand in case of situations like this. I followed the easy instructions, swapped out the drive and started the rebuild and Ciprico dropped another replacement drive in the mail. In the mean time I was able to continue working while all this was going on in the background. As far as the Mac knew, there was nothing wrong, everything worked just as it always had. Now had I had this array setup in a Raid 0, I would have been screwed.
In the end, it really comes down to your work-flown and what you work with. We do a lot of long-form, uncompressed HD work. We constantly have long overnight renders. If our drives go down and they are not protected, we can loose days, if not weeks of rendering for a single project. So to have the Raid 3 protection is absolutely worth it for us.
Now if you are like Walter, you might not need it. Because he is working primarily in DVCProHD. So he has a system where he can easily back-up to firewire drives and feel confident that if his Raid 0 array goes down, he wont loose much time and can continue working.
What we are lacking from a Mac point of view is SATA controller cards that offer protection other then Raid 1. For our PC based Adrenaline, since I took the Huge system from it, I was able to build a cheap 2.5TB array with protection, using a 5-bay Burley box from MacGurus and a AMCC 3Ware sata card that let me set it up in Raid 5. This has given us a nice size, protected array with enough performance to easily handle the DNxHD workflows on the Avid. Which is all I need since it doesn’t have uncompressed HD capability, which Avid originally promised, but don’t get me started. So in the end it is just a matter of what works for you and what you feel comfortable with.
Personally, for all our uncompressed HD work, I would not feel comfortable working with unprotected storage. We are looking into building another FCP suite at the moment and as of now, I’m pushing for another Ciprico system, yes they cost more, but you buy a rock-solid product, with fantastic support as well as piece of mind knowing that your chances of loosing time and work are very slim. It’ll be interesting to see what types of new storage solutions we see for the Mac come NAB. As always things change quickly in this industry. Just my 2 cents.
Best Regards,
Jeremy
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ProMax is a local VAR that builds solid systems and has great support. http://www.promax.com
best regards,
jeremy
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Wayne makes a very important point about archiving with hard drives. They will die and are not built to sit on a shelf. Shelved drives are not a good solution for archiving. You may want to look into LTO tape or SDLT tape, which have a shelf life of 30 years. Especially if you are talking about long term archiving of P2 media specifically, Quantum is doing some very cool things with SDLT at the moment. They have built in a file system and made it MXF aware, which means that you can access the meta data on the MXF files. You can even access clips and only pull sub-clips by timecode from these tapes. SDLT tapes currently have a capacity of 300GB, but will have 800GB tapes by NAB. No I do not work for or represent Quantum, SDLT or LTO technologies, I’ve just been looking into various viable archiving solutions for video.
best regards,
jeremy
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“As far as my budget for storage solutions; between 5K-10K.”
If you have the budget for it, go with a Ciprico Huge system. They are rock solid and if you ever have any problems, support is wonderful. Depending which product you go with you have the option of running it in either a RAID 3 or RAID 6 configuration. Having your storage protected like that is something the CalDigit does not offer at the moment, I belive it just runs in a RAID 0 (someone please correct me if I’m wrong on this point). At some point or another, you will have a drive go down and it never happens at a good time, so protected storage can be very key, especially if you are working on a project over a period of time that is longer then a week. Just my 2 cents.
best regards,
jeremy
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Marcus,
If you are using PROMAX drives, then you should give them a call. They should be able to get you configured properly.
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Liz,
If your footage was shot at 24p(23.976) then it is much easier to stay in that frame-rate throughout your prost process. If you edit in 30(29.97) then you automatically cut out other options that 24p give you. For example once you have a finished 24p project, you can simply add the 3:2 pull-down on output for 29.97 NTSC playback, or you could speed it up for 25 PAL playback. If you are going to DVD, you simply encode a 24p(23.976) mpeg for DVD. It is written into the DVD specs that all dvd de-coders and players willl add the 3:2 pull-down for NTSC playback or speed up for PAL playback of a 24p dvd (depending on how the mpeg is flagged). While you may never need some of these options, such as PAL playback, there is no reason to cut these options out early in your post path. If you stay in your native origination frame-rate through the end, then you have more options with your final master. You may think now that you would never need those options, but you never know what the future will bring. Just my 2 cents.
best regards,
jeremy