Mark Raudonis
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COW Coins
Forum Replies Created
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This is a great “all in one place” chart. I’m printing it out now and putting in up on the wall. Thanks for pulling it together and publishing it for us.
A suggestion for an “update” to this info. What about some of the common compression schemes that AVID and FCP use… for example what’s Off-line RT weigh in at per hour, DnXhd?, 15:1? Etc.
For anyone working in the classic “off-line to on-line” workflow, this information is important. I recognize that the trend is AWAY from that style of work, towards full res in and out, but there still are many people that need to work with much more compression in the off-line stage.
Thanks again for posting this.
Mark Raudonis
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Bob,
I don’t think that’s what Apple had in mind when they installed dual ethernet ports on the new machines. On our X-SAN system we have dual ports on all of our G-5’s. The two ports are used to access two separate ethernet networks. One is a a “private” network dedicated to meta data and only goes to the SAN controller. The second network is the “public” network and is connected to the outside world (internet). So for us, the dual ports enable us to be “two places at once”, but this is not a “bandwidth” play since the heavy lifting is done via fibre. We also DO have clients connected to the san via gig-e only, but that is a single connection only.
My guess is that what you’re thinking of won’t work. On a network, a computer must have a unique ID number (192.168.10.27 for example). If you’re reaching out to two separate networks using two different switches, this number can be the same. But if you’re trying to hit the same drive set via two different paths employing the same ID number, I think you’re guaranteed to cause confusion.
Perhaps someone with a greater understanding of network connectivity can chime in here, but I don’t think this will work.
Mark
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[jdubrino] “Photoshop and Avid don’t behave the same. You can go from v. to v.”
NOT TRUE!
Over the years there have been many releases of Avid that do NOT allow backwards compatability.
Usually these are hardware related, like when they changed from Nuvista to ABVB or from Meridian to Adrenaline.While insignificant “dot’ releases may allow back and forth compatability, the greater the jump, the less likely you are to be able to go backwards.
Mark
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My suggestion on incrementing project names and saving is only going to help you moving forward. I have no idea what’s wrong with your current project and wouldn’t know where to start on that.
The logic behind multiple versions is if your project got corrupted today, chances are, yesterday’s is OK.As for the multiple “capture now” folders, we do exactly what Steve suggests. We have a “digitize only” project, then MOVE the digitized files to clearly labeled folders BEFORE any editing starts. This is a great help in keeping things organized. In my experience a few minutes spent organizing your media saves you HOURS of headaches down the line.
mark
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Many people “increment” their project saves daily by using the “save as” command. Example: “Episode #1800-11-10”, “Episode #1800-11-11, Episode #1800-11-12, etc.. By doing this, you’ll always have a project available that’s one day older and may NOT be corrupt. I realize that suggesting this is like closing the barn door after the horse has escaped, but perhaps others will learn from your pain.
Increment and back up your project files to two different places; one local and one removeable like a DVD. Learning how to protect your work is as crucial as learning how to edit. After all, what good is your work if nobody can see it ’cause you lost it?
Mark
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This deck has almost 900 individual menu items. There’s probably a dozen or so if incorrectly set can ruin your day.
If you rented this deck, go back to your vendor, and have them demonstrate that it will work on THEIR computer. If it does, with no further menu items changed, then you’ve got the problem.
Good luck.
Mark
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The short answer is NO.
Do the math: HDCAM bit rate =144Mbit/sec. per stream. Your disk array can put out 330 Mbit/sec. Theoretically, that will support two streams of HDCAM simultaneously. You want to run 7 at once? Not gonna work.
I’m not certain of these exact numbers, but it sounds like your drive set can’t support what you’re trying to do.
Mark
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Best example of “it’s a look, baby!”… Remember the TV show, “Twin peaks”? They shot a crucial scene in a morgue where the HMI lights somehow got out of sync with the camera, creating exactly that kind of “on off” strobe like look. Upon seeing the dailies, everyone was impressed with such a bold, creative, “look” that the DP came up with. 🙂 It made the scene creepy beyond anyone’s wildest imagination.
So, yeah, “it’s a look” baby!
Either that or use the “reshoot” filter.
Mark
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[walter biscardi] “I don’t think it’s a proper workflow for professional editors. I’m saying as my own professional opinion, you should never capture entire tapes as part of your workflow, you should have all clips logged and captured individually or in groups.”
ooooh. I can’t let this go unanswered.
I work in reality TV. We generate thousands of hours of footage per season. We digitize it ALL. Every tape. Top to tails. Because we use “Time of Day” timecode, a one hour tape creates anywhere from 5 to 15 clips. I’ve got almost 42 terrabytes of media on-line at any one time. We simply don’t have the time to “selectively” log and capture everything. We take an “all in the bucket” approach, and leverage the functions of X-SAN and FCP to make this much media accessible and manageable. And, yes, I’m a professional!
Mark Raudonis