John Heagy
Forum Replies Created
-
This is similar to my question about determining whether a file is online.
I would like to see a command that can check if a file is online on a file by file or catalog by catalog basis. I would never what a storage wide scan. Most processes can be narrowed down to a file or a catalog so I thing checking for online status at that level would work for most.
John
-
No TCP tuning on the client.
The ZIL is very small only 8GB the Cache is much larger and Flash.
Turns out I was wrong about needing either. While we are using the read cache it’s showing no real benefit unless you’re using the same files over and over. We ended up disabling sync which means the ZIL is not being used either.
The vast majority of our testing was 1Gig and we threw enough traffic to max out the single 10Gig link from the NAS head. We got sustained 1,222MB/sec from 48 streams and various file copies.
We deploy a 10Gig client and saw brief processes pull 650MB from the single client. Sustained file processing managed 350MB/sec read/write.
Clients are a mixture of Xserves (ingest) running 10.9.0 and playback also Xserves running 10.8.5.
This is the mount cmd used:
mkdir /Volumes/ingest
mount -o resvport,locallocks,intr,soft,proto=tcp -t nfs 10.205.88.21:/zpool01/ingest /Volumes/ingestTried NFSv4 but was crap.
You mentioned zfs + Xsan… separate volumes I assume?
John
-
[Andre van Berlo] “Isn’t that the same then for all sizes? whether it’s 540p, 720p, 1080p , or 4K? “
Yes
[Andre van Berlo] “By that logic shooting at 720p with a 50mm lens with the same aperture, shutterspeed and fps would yield a result that is sharper than shooting the very same way only now with 4K.”
If by 720 you mean 720p60, and by 4K you mean 4K @ 30 or 24, and by shutter speed you mean shutter angle then yes that would present a sharper image to the sensor assuming the lens can resolve it.
John
-
We haven’t ruled out FCPX but we are close. Also, the server head is a Sun box so NFS seemed the natural choice. We plan on testing Isilon and that’s NFS also. Turns out 10.9 has NFSv4 ID mapping issues so Apple needs to fix that.
We we’re able to join the Sun box to our OD server though.
John
-
[Andre van Berlo] “why exactly would you need 60 or 120 frames/sec to get sharp 4K? “
Try shooting a sharp image at 1/48 with a still camera.
[Andre van Berlo] “Wouldn’t faster shutter speeds help?”
Yes, if you want everything to look like the Normandy scene of “Saving Private Ryan”
The only thing that makes 24p watchable is a heavy dose of motion blur.
[Andre van Berlo] “is 4K at 24fps looking better at 1080p vs something shot originally at 1080p at 24fps?”
Most 4K cameras are 4K sensors. That’s not ideal in a single bayered sensor. Better to do what Arrir does which is basically a 3K sensor down sampled to 1080. This also applies to HD derived from 4K.
John
-
[Jeremy Garchow] “4k delivery, in my opinion, will mostly be an IP based delivery at first. It will be a splintered delivery on top of a fairly fractured market. Amazon will release a 4k IP box, Apple may release a 4K ready IP box, Roku, etc,”
Yes, agreed, all movies or scripted series and all shot in 24… pointless 4K.
The only way to capture images that measure up to 4K rez is to shoot high frame rates. The “cult of 24” prevents this in the above productions unless it’s “The Hobbit”.
Sounds like sports might be the best use, but live 4K… ROFLOL… let me catch my breath. That means minimum 60fps 4K that’s 12Gb. To really see sharp 4K it would take 120fps which means 24Gb. 24Gb routers, switchers… my head spins. Understand that 100Mb it the top data rate supported by EVS in collaborative truck workflows and ESPN broadcasts 720×960 DVCProHD.
John
-
[Shawn Miller] “Even more pointless than 3D? :-)”
another good point… at least one can see 3D.
4K 3D actually has some merit if one shoots each eye in 1080 and merges to 4K stereo for delivery.
John
-
[Gary Huff] “4K demo material is at 30p and not 24, so the motion cadence difference between the two gives a slight clarity edge”
Good point!
The only thing more pointless than 4K in the home, is 4K at 24fps. Of course given that downloads will be the first 4K available, I’d assume they will be shot mostly at 24fps despite not needing to adhere to any broadcast standards.
That’s the real hypocrisy of those demanding the quality of 4K. Ask them what frame rate they’ll shoot…
24 of course!!!
Heaven forbid their new 4K camera look too sharp with motion that looks too smooth. Oh no… 4K “video”!!
The “cult of 24” is strong. 4K will overwhelmingly be shot at 24fps… eye roll!!!
Go Peter Jackson go!!
John
-
[David Mathis] “I assume that most motion pictures are now shot in 4K resolution…”
Nope… most are shot in 2K which is just a bit over 1080×1920. Arri understands there’s more important things than resolution when it come to making a good image.
7 of 9 best picture nominees shot with the 2K Alexa.
Best Picture
CAPTAIN PHILLIPS – ARRICAM, ARRIFLEX, ALEXA and Aaton cameras
DALLAS BUYERS CLUB – ALEXA
GRAVITY – ALEXA
HER – ALEXA
NEBRASKA – ALEXA
PHILOMENA – ALEXA
THE WOLF OF WALL STREET – ARRICAM and ALEXA -
Give me the enhanced 2020 color space and 10 bit color depth that is included in the UHTV-1 spec but at 1080p60/120. That would be a meaningful and broadcast-able change. 4K TVs are simply Japanese sponsored product obsolescence.
Hang out at a 1080 vs 4k demo at NAB and see what people do. They ask “Is that 4K?” and then they walk up to it to see the difference. It’s not even close to SD vs HD… that was impossible to miss.
4K at 60fps is 12Gb!! The 6Gb Blackmagic stuff is limited to 30fps. Don’t even get me started on 8K!!
The first DLP digital cinema projectors in theaters were/are 720p, and this on a 40ft screen! Now 1080 is not good enough on a 80 in screen!… spare me!
Give me 2020 10bit color at 1080p60/120 on a 60in OLED.
John