Michael Kammes
Forum Replies Created
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Hey Scott:
10:1 (SD, obviously) at 29.97 takes up approx:
7.4 GB/Hr.
120 MB/M
2 MB/s~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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Bill, it appears you’re in Germany.
I’d say contact NMAV.de – ask for Johanis Bouer (sp?) They are the German Cache-A reseller. They may even have demo units that they would be willing to sell at a discounted price. If you were here in L.A., I’d have plenty of units for you to check out…
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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To tell you the truth, I didn’t find the chart easily followable.
Pro Res 422 Proxy 1080p/30, runs at 5.63 MB/s, which equals 45.03Mb/s. That means someone hit the shift key while hitting “B”, and they meant to say MegaBITs, not MegaBYTES.
Look at Page 1. RAID is spelled wrong too, so perhaps proofing the doc wasn’t doe so well, eh?
Each concurrent visible video track with media is a stream. Thus, a video track with 3 PIPs (when all are visible), are 4 streams.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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The NIC onboard the Mac (1 or 2) are 100% supported by Avid. Chalk it up to better parts, or chalk it up to no surprises with 1 CPU manufacturer…regardless, they are supported.
Avid’s Media Composer and FCP write data differently. ISIS is an Avid product, thus, ISIS is designed with Media Composer in mind…i.e. optimized to use it. Avid opened up to allow (and support) FCP, but cannot alter their product to suit a 3rd party product, I would imagine.
Your throughput may vary. This is ballpark, and not to be taken as a definite number. In fact, Avid even states a higher number:
“Final Cut Pro editing systems require 30% to 50% more bandwidth than Avid Media Composer at similar resolutions.”
See the doc here, scroll to page 18:
https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=348209&Hilite=Avid+Unity+ISIS+v1.5+Performance+GuideCut and paste of the intro:
—————
The following list characterizes the setup guidelines for your Final Cut Pro client with Avid Unity ISIS:• You need to stay in line with the general client parameters specified for all Avid Unity ISIS Macintosh clients. The following are the specific hardware details used in the Avid testing:
-Platforms — Mac Pro (early 2008) “Harpertown” Dual Quad-Core 3.0 or 3.2 GHz.
-Operating system — Mac OS 10.6.2 and later.
-Avid Unity ISIS — Ethernet connection using the built-in network ports on the Macintosh system.
• Final Cut Pro editing software was characterized with the AJA KONA hardware. The complete Apple Studio 2 bundle was installed.
• Verification tests on Apple Color and Sound Track Pro were run to verify Push – Pull capabilities.
• Final Cut Pro media should be in its own mirrored Storage Group (RAID Storage Groups not qualified). Including:
-Scratch disks
-Project filesDo not mix Final Cut Pro clients and Avid editor clients within the same Storage Group.
When Final Cut Pro clients are sharing the same Storage Group as Avid editing clients,
the Final Cut Pro clients have poor performance.• Final Cut Pro clients are supported in ISIS Zones 1 and Zone 2 (not Zone 3).
• The Avid Unity ISIS Client Manager preference settings follow the same guidelines as for Avid editors. The default setting is set to Medium Resolution (limited to resolutions that draw 16 MB/s or less). Use the High Resolution setting when working with High Definition media (resolutions that draw higher than 16 MB/s). For data rate specifications, see the data in the following tables.
• Final Cut Pro editing systems require 30% to 50% more bandwidth than Avid Media Composer at similar resolutions. • The number of Final Cut Pro clients supported in a Storage Group are about 1/2 the number of Avid Media Composer clients at similar resolutions.
• Digidesign Pro Tools software was not tested with Final Cut Pro clients.
Scaling the Avid Unity ISIS environment is based on the amount of bandwidth an ISIS engine (or several engines) is able to provide. A single ISIS engine is comprised of 16 storage blades and can produce upwards of 200 MB/s aggregate throughput by serving multiple Final Cut Pro clients simultaneously.
Scaling an Avid Unity ISIS beyond a single engine effectively scales in a linear fashion based on a single engines performance. To calculate the rating for your ISIS system, use the following table to define an engine’s capabilities based on the chunk size selected when creating a Storage Group and the resolutions in use.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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A few things you may want to look into:
Cache-A. Network based backup appliance…it’s an LTO5 drive which sits on the network, and has a webserver built in where can mount the device in a myriad of ways. This is a hugely popular soultion onset AND inpost since it is portable and dead easy to use.
Uber tech demo I did a year or so ago (when the unit was still LTO4) : https://www.youtube.com/watch?v=HbZzH2cnR7c&hd=1
DNA Evolution: A product by Storage DNA. Uses the new IBM LTFS – that is, having an OS use an LTO5 tape like a removable hard drive. This automated system backs up to tape, while retaining a catalog of all of the media, and offers WAN and LAN acceleration for backups and retrievals, plus delta synchronization. Mac only, currently. https://storagedna.com/
What both of these options do is keep the data native. No TAR files, no proprietary wrappers.
In the interest of full disclosure, the company I work for sells a large amount of both of these products. However, I would not endorse it if I didn’t think they worked well.
LTO5 is the current incarnation of LTO, and can hold almost double (uncompressed) than an LTO4 tape. LTO5 tapes are about $90 bucks now, and prices have been dropping. I’d go with LTO5, since it’s backwards compatible.
I am a fan of the Atto SAS Card, and the HP or IBM drives. I base my choice on what the software supports – both drives work pretty well. I also prefer External for ease of use and transportability, and the price point isn’t so great that it makes the extra cost a deal killer.
Hope this helps.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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If it’s ging to be layed off to an HDCAM, then the FCP system should have an I/O card, like an AJA Kona3. This card can do the 23.98 to 59.94 cross conversion in real time. This is pretty common. Are you being told you cannot do this?
If you cannot – and you need to do your own 23.98–> 59.94 cross conversion, you can test by exporting a short clip as a QT reference, and trying the presets in Compression, then “season to taste”. Hardware cross converts are usually better, so I’d try and do that if possible, over Compressor. Another option is look into a 3rd party software transcoder, like Episode by Telestream.
In the browser, select the nested sequence and load it in the viewer. Click on effects, and drag the filter onto the viewer. This will place the filter on the nested sequence, not the individual clip. Now make your adjustments and it will effect the entire nested sequence.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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When it’s rejected, what does the rejection say? Is this an emailed rejection, or are you uploading it to a website and getting rejected?
The settings they give you are pretty basic and easy to follow. I would request a reason for the rejection, as you could spend many many hours tweaking settings blindly.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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Shared storage with ISIS 5000 is good – it works. It is not volume level locking, it is file level locking. Provided you have write privileges, users can R/W all day long to the same workspace.
With a single 1GB pipe toa client station, we are getting speeds exceeding 100MB/s. Once you start adding on users, or not using supported configs, this drops. The correct NIC on a PC is paramount (onboard doesn’t cut it). You can also do a bonded 1GB, and we have seen speeds around 180MB/s. On each chassis, you can expect “around” 300MB/s total.
FCP has no inherent ability for project sharing (read: simultaneous, like Avid). Thus, ISIS500 does not add that. The Editshare SAN solution has the ability to work around this.
Expect a 15-30% performance (throughput) hit with FCP on Unity, and about the same (if not less) on an ISIS.
Also expect a several hundred thousand dollar difference between ISIS 5000 and ISIS 7000. 7000 is enterprise.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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Hey Steve:
We here at Key Code Media might…we can talk specifics on hardware and software versions. 818-303-3900.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .
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Not to confuse things more, but how are you importing an MXF?
I presume this an Avid MXF? Or, is itan XDCAM/P2 file?
If an Avid MXF, you can’t import an this. You need to place the MXF file within the Avid MediaFiles folder (and subsquently the numeric subfolders) and then use the media tool, so Avid recognizes it.
Avid usually tells you this when you attempt to import an MXF…so, if you can give us some more background on the MXF, that may help us help you.
~Michael
.: michael kammes mpse
.: senior applications editor . post workflow consultant
.: audio specialist . act fcp . acsr
.: michaelkammes.comHear me pontificate: Speaking Schedule .