Michael Cinquin
Forum Replies Created
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[Tim Jones] “it is truly luck that is driving your efforts and not technology.”
Well, you call it luck, I call it expected behaviour of a brand I appreciate.
I might have mis-read your first post, it really seemed like every SAS card was malfunctioning except the RR4522.
Now it appears you have no feedback from using current HighPoint cards nor current Areca non-raid SAS card.
(Of course you know this but for others reading: Areca SAS card come in Raid and non-Raid versions, and the Raid versions are known not to work with tape drives).I have not yet resolved the speed issues with ltfs-7 reading, but the HBA card doesn’t seem to be the culprit… as Bru writes and reads from the LTO-7 deck at blazing speeds.
20170323 14:33:39|2603|charbon|[L163] START (r 18.1.1.28), CMD = '/usr/local/bin/bru -c -m -vvvvvvvvv -j -O -A -QB -f ntape1 -QX -L 2017-03-23 A073 Backup -'
20170323 14:33:39|2603|charbon|[L167] device = ntape1, buffer = 2048K bytes, media size =
Congratulations on Bru by the way, if we didn't have our own LTFS and cataloguing workflow, would certainly be an option, the software looks very well written.Bru would also be an option if it was fast and good at ltfs, but for the moment I can't get Bru to format a tape as LTFS, it fails to find the open-source mkltfs binary. (I wrote your support about this)
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Tim,
are your advices up to date?
I just checked the checksums of my first 5.54TB of data stored on an IBM LTFS LTO7 drive, through an Areca SAS HBA, and not a single bit was corrupted.
Write speed was 230 MB/s (room for improvement, but not horrible for ltfs), read speed was slower than ltfs on LTO6, with only 100MB/s.
So I’ll be looking next at changing the SAS card. The RR4522 you recommend is EOL though; do you know something about the RocketRaid 3740A that you could share?
thanks!Michael Cinquin
Charbon Studio, film finishing and DCP mastering
Post-production tools -
Indeed, DV has problems in daVinci. So convert your footage to something else prior to import, for instance with Final Cut Pro 7 media manager, or Compressor.
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in contrast to FCP, DaVinci completely ignores ColorSync icc profile chosen in System Preferences -> Monitor.
That is a good thing.
Those icc profiles are really for print, not for us working with native sRGB/rec709 monitors.
DaVinci viewer shows you an undistorted image, so it’s up to your monitor to display it correctly. This means that if you output an image to a calibrated monitor via SDI, and look at the same image in the Viewer on a properly calibrated monitor, it should look the same. I measured this by feeding the DVI output of my monitor to a hardware scope in the past (I don’t know if this works for all computers / software versions, I lost interest in this matter).
Then you can export quicktime Prores from daVinci. No gamma/primaries shift.
Then you can render this Prores to H264 with FFmpeg (for one). No gamma/primaries shift.
But then when you view the H264 in a web browser. ColorSync will strike in again (if you’re on Mac and don’t use a neutral profile), and you’re going to see a gamma/primaries shift that is absent from the video.I used to sell Color Profiles that prevented a gamma/primaries shift in Color (and allowed to see the same thing on Color UI and via the SDI output). These profiles are of course obsolete now that Color is obsolete, but the methods described on the page that allow you to judge ColorSync oddities are still perfectly valid
Using the icc profile “HD 709-A” on my macbook pro, I get perfectly consistent behaviour when looking at the video on daVinci SDI output, daVinci viewer, my web player and youtube
Michael Cinquin
Charbon Studio, film finishing and DCP mastering
Post-production tools -
No luck on Mountain Lion 10.8.5 ? I thought this version supported the GTX 780, GTX Titan, and Gtx Ti, so I assumed it would support also the Gtx Titan Black ?
Michael Cinquin
Charbon Studio, film finishing and DCP mastering
Post-production tools -
No luck on Mountain Lion 10.8.5 ? I thought this version supported the GTX 780, GTX Titan, and Gtx Ti, so I assumed it would support also the Gtx Titan Black ?
Michael Cinquin
Charbon Studio, film finishing and DCP mastering
Post-production tools -
didn’t encounter this problem today on a 1H30 film 23.98 on Resolve 10 using wav files as chase audio.
Michael Cinquin
Charbon Studio, film finishing and DCP mastering
Post-production tools -
a solution : script it. In the terminal (OS X) : type this
x= [then drag the still image from the Finder, then Press return,
after that you can copy/paste the rest]dir=`dirname "$x"`; filename=$(basename "$x") ; extension="${filename##*.}"
y=1000 ; while [[ "$y" -lt "2000" ]]; do
ln "$x" "$dir/$y.$extension" ; let y+=1
done
and you should have in a matter of seconds a loop of 1000 images that don’t use more space on the disk than the original image (did not test the script but should work, I use these sort of scripts all the time).Michael Cinquin
Charbon Studio, film finishing and DCP mastering
Post-production tools -
best way to have Kodachrome look is to shoot Kodachrome.
Just kidding, the last film ever shot on Kodachrome was finished here 2 years ago (they were the last Kodachrome batch of Dwayne’s photo Parsons Kansas, the last lab that developped it until the 20th of december 2010).
Well anyway I’ll stop the shameless plug here : https://www.charbon-studio.com/home?galerie=kodachrome and there https://www.lesrenards.org/index.php?/ongoing/kodachrome, and would offer as a simple advice to have deep blue blacks, and warm highlights
good luck
Michael Cinquin
Charbon Studio, film finishing and DCP mastering
Post-production tools -
thanks for the info… makes me wonder if I should not cancel this order of a 3D Terranex that I’ve been waiting for 6 months now.
As for the uprez, it’s hardly a secret, just a small technique : I play the SD from computer A (usually with FCP, as it will warn if frames were droppped), and capture the video on computer B, that is equipped with an Aja Kona and that does beautiful upscaling (they call it “upconvert”).
Hope this helpsMichael Cinquin
Final Cut Pro – Avid Media Composer editor
DaVinci colorist
Color profiles for Color
http://www.michaelcinquin.com/tools : tools for FCP | Color | RED | subtitles | Cinema Tools | Timecode – Keycode calculator | DCP versioning and subtitling