Rich Rubasch
11
COW Coins
3
Premiere Pro Coins
Forum Replies Created
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Actually our experience with a mix of 2009-2012 Mac Pro Towers and two new iMacPro’s CC 2015 was the most solid performer around here. Not all the bells and whistles of the newer versions but it was solid, from Lumetri on down.
As soon as we upgraded to CC 2017, mostly out of necessity of exchanging files with other companies we started to have odd issues pop up that we never had on CC 2015.
Most of our systems have CC 2015 and CC 2017 and CC 2018 installed, again out of necessity of having the different versions around for sharing with other editors….this is real world use….if you won’t let me open a CC 2018 version in CC 2015 and a client starts a project in 2018 we HAVE to have that version installed…..I know we can mess with an XML workflow but having it installed is the easiest path.
Does this create issues with the software having all three installed at the same time? Perhaps but we have to have it on all our systems for the best workflow. I hope Adobe is testing systems with more than one install because I assume many of us are configured this way.
One annoying thing we see is odd window drawing issues. On our iMacPros we have a superwide second monitor, the 32 inch Dell, and if I have my Premier timeline over there the pulldown menus don’t work! Also many issues in general depending on how the windows and palettes are laid out. And AE is plagued with a different set of issues we never saw in our CC 2015 installs…..oh, the good old days!
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
But the easiest test is to open the same clip in any CC 2015 version and see how Lumetri performs there. If it works then you can copy the Lumetri plug in to the CC 2017 or 2018 build and use it there without issue.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Hey all….this is not a factor of his footage….we’ve seen this bug in lumetri since CC2017 came out. We actually have copied the CC2015 version of Lumetri into our CC 2017 install to solve this bug.
I noticed it one day on a headrest in a car interior….had never seen it before. Once you see it you’ll know what it is, and it’s Lumetri. We finally solved it by purchasing Colorista and installing that in all our systems.
Four editors here all confirmed this bug that found its way into Lumetri in CC 2017.
If you can, try this same effect on the same clip in CC 2015 Premier and you will see smooth blacks and no increase of saturation in the blacks.
What’s worse, if we color correct on one system and then open the same project in another system and make any adjustments to any setting in Lumetri, the entire clip changes it’s overall look completely. As if Lumetri could not replicate what it had done on the other system….all our systems are the same….and we tried it with software only turning off any video card processing.
It’s Lumetri in CC 2017 and CC 2018. CC 2015 was rock solid across all our systems.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Thanks Bob…..actually we are a pretty small shop so around 12TB online is plenty for what we are doing (shorter form videos all 1080 etc. I actually use a 10TB IronWolf to automatically backup the entire NAS every night. I knew that if I had 32 TB of storage in the NAS we would not be as diligent in our backups….so now we run backups on projects and media more often to keep the NAS clear, right now around 8TB online in the NAS, project files and media.
But down the road I do see loading up eight 4TB Iron Wolf drives once our project sizes scale into 4K. And the 2TB Constellation’s will go into the backup drive pile.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
The images I saw didn’t look that great….it records to a 4K codec which is why it can punch in but like a lot of those entry level 360 cameras the image did not look great. Not bad but not great.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
We looked at these too, Todd. The problem with this new tech is that anyone can get into it. Learning curve is pretty simple but how robust in demanding corporate environments? Maybe great for non profits and students, but would you build a serious live event streaming business around a $500 streaming camera device? But the second generation of the camera does look improved.
One other issue is everything is wireless which is ok, but we still prefer wired connections for streaming.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Thanks Bob…the issue we have with the two networks, even though we prioritize the 10gig e to be the primary connection to the NAS is that the iMacs always default to the gigabit and we only get 80MB/sec transfers. No matter how we configure the NAS, Macs or the network. As long as the NAS is connected to our Gigabit switch and our iMacs are connected to the Gigabit switch the path to the NAS is gigabit. If we disconnect the gigabit to the iMacs we are fine with file transfers via 10gig, but then we don’t have internet.
So our workflow is this….after boot up in the morning we make the gigabit port inactive, then connect to the NAS which connects with the 10gig port. Then we activate the gigabit port and we are good to go.
We have the QNAP connected to the LAN for our other three Mac Pro towers to be able to access it….we happen to have all the MacPro towers on an aggregated switch and I aggregated two of the the QNAP gigabit ports as well so we have great performance over gigabit to the NAS from any of our towers. I’m pretty good at noodling this network stuff.
The issue is the iMacs and that they won’t let us prioritize the pathway to the NAS and if I have a gigabit cable connected it defaults to that instead of the 10 gig.
What I was curious about is if I connect the two iMac Pros and the QNAP to a 10gig switch and then send a cable from the 10gig switch to the LAN, would I have internet access on the iMacs thru that 10gig switch, eliminating the need for the extra gigabit line to the LAN. I’m pretty sure that will do it and that’s why I was asking.
Believe me Bob, I have lots of cables going way back since I’ve been managing my own Mac infrastructure since 2001!
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
I have one….we have two iMac Pros with the 1283T QNAP. We run the 10gig e cables from the iMacPros directly to the Qnap. All good. We use thunderbolt to gigabit ethernet to connect to our LAN and internet on the iMac Pros.
Bob, if we went with an unmanaged switch, would this one do the trick to connect the iMacPros and the QNAP together as well as provide internet access to our LAN and WAN via the switch?
That way I would not necessarily need a gigabit cable running from the QNAP to our LAN to access the internet and out LAN.
https://www.bhphotovideo.com/c/product/1365969-REG/netgear_xs505m_100nas_prosafe_5_port_10gb.html
Thank you!
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Delete all the slides you DON’t need from the presentation and export the animating ones as one long animation and then edit in your editor.
Bam!
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com -
Oh, and audio engine are powered with multiple input types and sound great alone without a subwoofer for near field monitoring.
Rich Rubasch
Tilt Media Inc.
Video Production, Post, Studio Sound Stage
Founder/President/Editor/Designer/Animator
https://www.tiltmedia.com