Saturday, December 20, 2014

RE: [Avid-L2] Floating License Server question

 

Thanks for the help…the documentation is definitely lacking.

 

We ran into a strange networking issue where the server software could not properly connect with the Avid clients.  We could mount drives across the network but not ping.

 

We're going to try to put the server software on a local machine and the same VLan…after the department's IT person gets back from South Beach.

 

Dave Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com]
Sent: Friday, December 19, 2014 2:37 PM
To: Avid-L2
Subject: Re: [Avid-L2] Floating License Server question

 

 

I don't have a floating license server, but usually when documentation says to enter the URL you can use the IP address, or the name of the server if you have a DNS server set up and it's registered.  The benefit of the using the name of the server with DNS is that if the IP address changes on the system your clients should still be able to find it.  But for what it sounds like you're doing you should be fine with using the IP address.

 

Jay

 

On Dec 19, 2014, at 3:52 PM, Agustin Goya agustingoya@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

 



If I'm not wrong, the URL should be the IP address of the License Server, I've also seen some configurations where the clients point to a hostname instead of IP. 

Have you tried pointing to the license server ip address?

 


 <Wancamp.jpg>

Agustín Goya

Editor (EDA)

 

WANCAMP | POST

tel. +54 11 4857 9083   

 

cel. +54 9 11 15 6545 2427  

Skype. agustingoya

 

On Fri, Dec 19, 2014 at 6:23 PM, 'Dave Spraker' avid@spraker.tv [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

 

 

Thanks, I have read that…but it just skips from server installation to client authorization.

 

Dave Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] 
Sent: Friday, December 19, 2014 12:58 PM
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] Floating License Server question

 

  


 <image001.jpg>

Agustín Goya

Editor (EDA)

 

WANCAMP | POST

tel. +54 11 4857 9083   

 

cel. +54 9 11 15 6545 2427  

Skype. agustingoya

 

On Fri, Dec 19, 2014 at 5:26 PM, 'Dave Spraker' avid@spraker.tv [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

  

Lers – 

 

Anyone familiar with the Floating License Server?  Close to having it installed but nothing in the Avid documentation about how to determine the URL of the server for the clients to connect.  Is it the IP address or something else.

 

This may be a dumb question, but the Avid support dude could not answer the question for me.

 

Thanx, 

 

Dave "I would rather be an editor than an IT weenie" Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

 

 

 



 

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Posted by: "Dave Spraker" <avid@spraker.tv>
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Friday, December 19, 2014

Re: [Avid-L2] OTish: Have Bars and Tone become an option? Did I miss the memo?

 

"1) Our cameras were impeccably shaded by an expert video guy.


2) Our video feeds were properly recorded. 

3) We have a unity-level digital path from recorder, through offline to online, to final file delivery to PBS.

4) We have good eyes plus tools to measure and adjust video if & when needed.  (And yes, I have an arrowhead display constantly showing during online.) 

As long as I have these, I have zero need for color bars."

Yes if you have all of those things, but how do you know when you don't have all of those things in order and you have no color bars to double check.  Of course it's not the end of the world I just found it surprising that a full tilt crew didn't even bother to record bars and tone.  You had bars to check on your project if you so desired, I was not given that option.  When I get transcoded material that is way hotter than I would expect how do I know the AE who transcoded didn't have Perian or some other wonky thing that is what threw off the levels.  With bars I would at least be able to see if they came through at the correct level to check out the workflow getting to me.

With digital switchers there is much less of a chance for level discrepancy between the line and iso feeds but what about various mis interpretations along the way of RGB vs. 709 levels that can happen in file based workflows?  And if you have a perfect video shader then the bars are even more important so I can set, or at least check that I'm replicating the levels he intended.

Sorry Wilson but to not even record the bars and tone is sloppy any way I look at it.



---In avid-l2@yahoogroups.com, <wilsonchao@...> wrote :

Ok John, I'll bite.  Yes, bars & tone are now an option for me.

4 weeks ago I shot a performance event on location for a 3-hour prime-time PBS special.  We had a full-blown truck plus a B-unit truck & recorded 5 iso'd cameras plus a switched line feed (6 streams) over two nights for a total of 72 hours of orignal video.  We're now cutting offline (though at full HD resolution in DNxHD 145) on our desktops with MC7.  We'll finish our video at a commercial facility where we'll also do our audio mixes and our captioning.  

We're not using color bars in our offline.  (There are color bars on our files but we don't use them.)  We won't send color bars to the finishing facility with our consolidated media.  When we deliver our broadcast masters to PBS they will have "house" bars but those have no relation to camera original bars.

What counts is that:

1) Our cameras were impeccably shaded by an expert video guy.

2) Our video feeds were properly recorded. 

3) We have a unity-level digital path from recorder, through offline to online, to final file delivery to PBS.

4) We have good eyes plus tools to measure and adjust video if & when needed.  (And yes, I have an arrowhead display constantly showing during online.) 

As long as I have these, I have zero need for color bars.



On Fri, Dec 19, 2014 at 11:05 AM, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

The time code can match?  But they are different cameras shooting at the same time, how could they all possibly have the same time code?  What is this voodoo magic you speak of?  ;-)  Come to think of it that could be a time saver, Hmmmmm matching time code or color bars tough choice. 



---In Avid-L2@yahoogroups.com, <mikeparsons.tv@...> wrote :

Next you'll want matching timecode.


On 19 Dec 2014, at 2:37 am, John Moore bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

 

Working on a network show with major talent.  Line cut and iso's recorded to XDCam.  Everything looks good albeit a tad hot for a stage show with a full production crew.  My media was ama transcoded to Dnx 220 so just to be safe I ama link back to the XDCam material and sure enough it's hot from the source.  Nothing I wouldn't expect from a typical field camera type shoot but this is a full production crew with line feed and isos.  I go to the top of the clips and I can't find any bars and tone?  Now I do realize that our digital world is more stable with levels but with all the transcoding etc... when did putting bars and tone at the head of program and iso feeds become an option that can be skipped with a full network production crew.  I'm just a little saddened by a lack of technical discipline of the most basic nature.  Am I just being cranky to think bars and tone are part of the price of admission with a full tilt production crew?  I do realize quite often the tape ops etc... on production trucks will record router bars which may not be perfect but at least they make the effort to give the rest of the food chain a starting point.  Oh well back to the waveform, or should I just through on the legalizer and call it a day? ;-(
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@...

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Posted by: bigfish@pacbell.net
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RE: [Avid-L2] Floating License Server question

 

I haven't gotten to that point yet as we are still trying to get the f'ing server licensed.

 

I'm ready to go all North Korea on the designer of Avid's licensing process…

 

Dave Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com]
Sent: Friday, December 19, 2014 1:52 PM
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] Floating License Server question

 

 

If I'm not wrong, the URL should be the IP address of the License Server, I've also seen some configurations where the clients point to a hostname instead of IP. 

Have you tried pointing to the license server ip address?

 


 

Agustín Goya

Editor (EDA)

 

WANCAMP | POST

tel. +54 11 4857 9083   

 

cel. +54 9 11 15 6545 2427  

Skype. agustingoya

 

On Fri, Dec 19, 2014 at 6:23 PM, 'Dave Spraker' avid@spraker.tv [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

 

Thanks, I have read that…but it just skips from server installation to client authorization.

 

Dave Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com]
Sent: Friday, December 19, 2014 12:58 PM
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] Floating License Server question

 

 


 

Agustín Goya

Editor (EDA)

 

WANCAMP | POST

tel. +54 11 4857 9083   

 

cel. +54 9 11 15 6545 2427  

Skype. agustingoya

 

On Fri, Dec 19, 2014 at 5:26 PM, 'Dave Spraker' avid@spraker.tv [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

 

Lers –

 

Anyone familiar with the Floating License Server?  Close to having it installed but nothing in the Avid documentation about how to determine the URL of the server for the clients to connect.  Is it the IP address or something else.

 

This may be a dumb question, but the Avid support dude could not answer the question for me.

 

Thanx,

 

Dave "I would rather be an editor than an IT weenie" Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

 

 

__._,_.___

Posted by: "Dave Spraker" <avid@spraker.tv>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (6)

.

__,_._,___

Re: [Avid-L2] Floating License Server question

 

I don't have a floating license server, but usually when documentation says to enter the URL you can use the IP address, or the name of the server if you have a DNS server set up and it's registered.  The benefit of the using the name of the server with DNS is that if the IP address changes on the system your clients should still be able to find it.  But for what it sounds like you're doing you should be fine with using the IP address.


Jay

On Dec 19, 2014, at 3:52 PM, Agustin Goya agustingoya@gmail.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



If I'm not wrong, the URL should be the IP address of the License Server, I've also seen some configurations where the clients point to a hostname instead of IP. 
Have you tried pointing to the license server ip address?


 <Wancamp.jpg>
Agustín Goya
Editor (EDA)

WANCAMP | POST
tel. +54 11 4857 9083   

cel. +54 9 11 15 6545 2427  
Skype. agustingoya

On Fri, Dec 19, 2014 at 6:23 PM, 'Dave Spraker' avid@spraker.tv [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

Thanks, I have read that…but it just skips from server installation to client authorization.

 

Dave Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] 
Sent: Friday, December 19, 2014 12:58 PM
To: Avid-L2@yahoogroups.com
Subject: Re: [Avid-L2] Floating License Server question

 

  


 <image001.jpg>

Agustín Goya

Editor (EDA)

 

WANCAMP | POST

tel. +54 11 4857 9083   

 

cel. +54 9 11 15 6545 2427  

Skype. agustingoya

 

On Fri, Dec 19, 2014 at 5:26 PM, 'Dave Spraker' avid@spraker.tv [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

  

Lers – 

 

Anyone familiar with the Floating License Server?  Close to having it installed but nothing in the Avid documentation about how to determine the URL of the server for the clients to connect.  Is it the IP address or something else.

 

This may be a dumb question, but the Avid support dude could not answer the question for me.

 

Thanx, 

 

Dave "I would rather be an editor than an IT weenie" Spraker

 

Principal, spraker.tv

Shared Storage Solutions  |  Consulting  |  Sports Audio

www.spraker.tv

 

Northwest Territory Manager, Western Rep Associates

Broadcast and AV Manufacturer's Representative

www.westernrep.com

 

dave@spraker.tv
(503) 897-0250

 

 






__._,_.___

Posted by: Jay Mahavier <jay_mahavier@earthlink.net>
Reply via web post Reply to sender Reply to group Start a New Topic Messages in this topic (5)

.

__,_._,___

Re: [Avid-L2] OTish: Have Bars and Tone become an option? Did I miss the memo?

 

Ok John, I'll bite.  Yes, bars & tone are now an option for me.

4 weeks ago I shot a performance event on location for a 3-hour prime-time PBS special.  We had a full-blown truck plus a B-unit truck & recorded 5 iso'd cameras plus a switched line feed (6 streams) over two nights for a total of 72 hours of orignal video.  We're now cutting offline (though at full HD resolution in DNxHD 145) on our desktops with MC7.  We'll finish our video at a commercial facility where we'll also do our audio mixes and our captioning.  

We're not using color bars in our offline.  (There are color bars on our files but we don't use them.)  We won't send color bars to the finishing facility with our consolidated media.  When we deliver our broadcast masters to PBS they will have "house" bars but those have no relation to camera original bars.

What counts is that:

1) Our cameras were impeccably shaded by an expert video guy.

2) Our video feeds were properly recorded. 

3) We have a unity-level digital path from recorder, through offline to online, to final file delivery to PBS.

4) We have good eyes plus tools to measure and adjust video if & when needed.  (And yes, I have an arrowhead display constantly showing during online.) 

As long as I have these, I have zero need for color bars.



On Fri, Dec 19, 2014 at 11:05 AM, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:
 

The time code can match?  But they are different cameras shooting at the same time, how could they all possibly have the same time code?  What is this voodoo magic you speak of?  ;-)  Come to think of it that could be a time saver, Hmmmmm matching time code or color bars tough choice. 



---In Avid-L2@yahoogroups.com, <mikeparsons.tv@...> wrote :

Next you'll want matching timecode.


On 19 Dec 2014, at 2:37 am, John Moore bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

 

Working on a network show with major talent.  Line cut and iso's recorded to XDCam.  Everything looks good albeit a tad hot for a stage show with a full production crew.  My media was ama transcoded to Dnx 220 so just to be safe I ama link back to the XDCam material and sure enough it's hot from the source.  Nothing I wouldn't expect from a typical field camera type shoot but this is a full production crew with line feed and isos.  I go to the top of the clips and I can't find any bars and tone?  Now I do realize that our digital world is more stable with levels but with all the transcoding etc... when did putting bars and tone at the head of program and iso feeds become an option that can be skipped with a full network production crew.  I'm just a little saddened by a lack of technical discipline of the most basic nature.  Am I just being cranky to think bars and tone are part of the price of admission with a full tilt production crew?  I do realize quite often the tape ops etc... on production trucks will record router bars which may not be perfect but at least they make the effort to give the rest of the food chain a starting point.  Oh well back to the waveform, or should I just through on the legalizer and call it a day? ;-(
 
John Moore
Barking Trout Productions
Studio City, CA
bigfish@...

__._,_.___

Posted by: Wilson Chao <wilsonchao@gmail.com>
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