Saturday, September 2, 2017

Re: [Avid-L2] Spec'ing a new Z840 - typical ?'s

 

You are correct Job.


My hesitation on the PCIe drive was that the HP Z840 configuration site only allows RAID 0 as an internal RAID option with PCIe selected as a boot drive.  I would like to have an internal RAID 5 for jobs where I take the tower on the road. 


BTW, the HP Z8xx series chassis fits perfectly in a BVW series Thermodyne shipping case.

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Re: [Avid-L2] Spec'ing a new Z840 - typical ?'s

 


I think the original question was whether to go for a SATA-connected SSD, or a PCIe-connected HP Z-Turbo drive.
The latter has the better specs. I went for it.

On 31 aug. 2017, at 17:04, hoplist@hillmanncarr.com [Avid-L2] <Avid-L2@yahoogroups.com> wrote:

OS drive - SSD or PCIe SSD?   Does a PCIe drive really offer value as an OS drive on an MC system vs an SSD?



SSD all the way. Not even a close call. Cost is the only advantage of HDD.

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Posted by: "Job ter Burg (L2B)" <Job_L2@terburg.com>
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[Avid-L2] Re: Dinosaur EDL Refresher?

 

Huh, what's to discuss on Labor day now?
How about the merits of Calaway's Keen and Klean vs Turbotrace?
;)

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Friday, September 1, 2017

Re: [Avid-L2] Dinosaur EDL Refresher?

 

Thanks for the refresher. I did have it right in my head. After a week of upgrades and driver compatability and trying to make resolve understand FCP X xml and an Avid aaf I'm questioning my own sanity. Good to know I haven't pushed out all the old knowledge for this flood of jibberish as I try to get up to speed on Resolve.



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

From the Media Composer Editing Guide

Sort Mode

Select the sort mode for the EDL.

  • A (Record In) Sorts by the Record In timecode. This results in Sequential editing from one IN point to the next. Use this when you have a short show, want to generate a simple, flexible EDL, or need to make many last-minute decisions.

  • B (Source, Record In) Sorts by the individual source reel, then by the Record IN timecode. This results in checkerboard editing on the record reel, one source reel to the next. Use this when the length of source material is roughly equivalent to the length of the finished show.

  • C (Source, Source In) Sorts by individual source reel, then by the Source IN timecode. This results in checkerboard editing on the record reel, with sequential playback of material from each source. Use this when the length of source material is much greater than the length of the finished show.

  • D (Source, Record In, Effects at End) Sorts by individual source reel, then by the Record In timecode. Sorts effects at the end. Use this when the length of source material is roughly equivalent to the length of the finished show, and there are many special effects.

  • E (Source, Source In, Effects at End) Sorts by individual source reel, then by the Source IN timecode. Sorts effects at the end. Use when the length of source material is much greater than the length of the finished show, and there are many special effects.

  • S (Source Start) Sorts by Source IN timecode only. This results in Direct sequential transfer of source material, in matching order on the record reel.

  • C (Source Start, Source In) Sorts by Source IN timecode, then by individual source reel. This results in Direct sequential transfer of source material by record reel. Use when the length of source material is much greater than the length of the finished show. 


Jay

On Sep 1, 2017, at 4:12 PM, John Moore bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



Back in the linear days we primarily had A mode, B mode and C mode edl sorting.  A mode was start at the top and do each edit in chronological order.  C mode was reel by reel optimizing for source shuttle so each reel's edits would be in an order from start of tape to end of tape on the source side.  The gotcha with Preread C mode was often the preread edits would be listed before the A side edit so there was nothing to preread from and you had to manually bounce around the edl to avoid issues.  B mode was similar to C mode but IIRC is optimized Record shuttle.

Most of my onlines were C mode but I'm not remembering the "spirit" of B mode assembly as clear.  Can anyone refresh this Dino brain?

There were also D mode and E mode which dealt with clustering effects at some point in the edl.  I never used those so I'm sketchy on the specifics.

I do remember prereader was a great piece of software for getting a very efficient edl.

I figure with labor day coming up some of us need some good topics to discuss around the BBQ and what better the EDL and Assembly modes?
 
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] Dinosaur EDL Refresher?

 

From the Media Composer Editing Guide


Sort Mode

Select the sort mode for the EDL.

  • A (Record In) Sorts by the Record In timecode. This results in Sequential editing from one IN point to the next. Use this when you have a short show, want to generate a simple, flexible EDL, or need to make many last-minute decisions.

  • B (Source, Record In) Sorts by the individual source reel, then by the Record IN timecode. This results in checkerboard editing on the record reel, one source reel to the next. Use this when the length of source material is roughly equivalent to the length of the finished show.

  • C (Source, Source In) Sorts by individual source reel, then by the Source IN timecode. This results in checkerboard editing on the record reel, with sequential playback of material from each source. Use this when the length of source material is much greater than the length of the finished show.

  • D (Source, Record In, Effects at End) Sorts by individual source reel, then by the Record In timecode. Sorts effects at the end. Use this when the length of source material is roughly equivalent to the length of the finished show, and there are many special effects.

  • E (Source, Source In, Effects at End) Sorts by individual source reel, then by the Source IN timecode. Sorts effects at the end. Use when the length of source material is much greater than the length of the finished show, and there are many special effects.

  • S (Source Start) Sorts by Source IN timecode only. This results in Direct sequential transfer of source material, in matching order on the record reel.

  • C (Source Start, Source In) Sorts by Source IN timecode, then by individual source reel. This results in Direct sequential transfer of source material by record reel. Use when the length of source material is much greater than the length of the finished show. 


Jay

On Sep 1, 2017, at 4:12 PM, John Moore bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



Back in the linear days we primarily had A mode, B mode and C mode edl sorting.  A mode was start at the top and do each edit in chronological order.  C mode was reel by reel optimizing for source shuttle so each reel's edits would be in an order from start of tape to end of tape on the source side.  The gotcha with Preread C mode was often the preread edits would be listed before the A side edit so there was nothing to preread from and you had to manually bounce around the edl to avoid issues.  B mode was similar to C mode but IIRC is optimized Record shuttle.

Most of my onlines were C mode but I'm not remembering the "spirit" of B mode assembly as clear.  Can anyone refresh this Dino brain?

There were also D mode and E mode which dealt with clustering effects at some point in the edl.  I never used those so I'm sketchy on the specifics.

I do remember prereader was a great piece of software for getting a very efficient edl.

I figure with labor day coming up some of us need some good topics to discuss around the BBQ and what better the EDL and Assembly modes?
 
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net



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Posted by: Jay Mahavier <jay_mahavier@earthlink.net>
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this is the Avid-L2

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[Avid-L2] Dinosaur EDL Refresher?

 

Back in the linear days we primarily had A mode, B mode and C mode edl sorting.  A mode was start at the top and do each edit in chronological order.  C mode was reel by reel optimizing for source shuttle so each reel's edits would be in an order from start of tape to end of tape on the source side.  The gotcha with Preread C mode was often the preread edits would be listed before the A side edit so there was nothing to preread from and you had to manually bounce around the edl to avoid issues.  B mode was similar to C mode but IIRC is optimized Record shuttle.

Most of my onlines were C mode but I'm not remembering the "spirit" of B mode assembly as clear.  Can anyone refresh this Dino brain?

There were also D mode and E mode which dealt with clustering effects at some point in the edl.  I never used those so I'm sketchy on the specifics.

I do remember prereader was a great piece of software for getting a very efficient edl.

I figure with labor day coming up some of us need some good topics to discuss around the BBQ and what better the EDL and Assembly modes?
 
John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

__._,_.___

Posted by: John Moore <bigfish@pacbell.net>
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this is the Avid-L2

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Thursday, August 31, 2017

Re: [Avid-L2] DNxIO capture Dual Link SDI

 

When I called BM I was using a Ultrastudio 4K to establish that dual link isn't working.  And the software was using was Resolve and Media Express.  So there couldn't be a "oh, that's Avid's problem" bullshit.  It was all BM product.


Jay


On Aug 31, 2017, at 6:57 PM, bigfish@pacbell.net [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



My experience with BM support has been sketchy especially when it comes to DNxIO.  I only found out about the downconvert on spigot 3 and 4 when in dual or single link mode in 4K through the Avid L2.  Then when I found that the downconvert outputs created specular issues that triggered scope alarms for video that was fine when switching the Avid project to HD and using the normal output BM was of no help and pointed to Avid.  Avid responded but to my knowledge has done nothing to fix that issue.

Some days I feel all alone a drift and a sea of software incompatibility.

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

So all those setting are under the OUTPUT potion of the Desktop Video Setup software.  I've tried all the different settings and none of them make a difference.  The only setting under the INPUT section is SDI / HDMI / COMPONENT / COMPOSITE.  No way to configure the SDI inputs.  

As a side note I just got off the phone with Blackmagic support and the basic response was, "hmmm, yeah, everything is set right.  It should just work.  Have you tried converting that dual link to a single signal?"  Wow.  So much for supporting dual link.

Jay


On Aug 31, 2017, at 4:37 PM, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



There is also the level A and level B SDI but that appears to only apply to 3G according to the video desktop interface text so I wouldn't think that applies to dual link.  For what it's worth my video desktop was just installed yesterday and it defaulted to SDI level A in 3G while level B is listed as normal in the interface.  I would think the default would be normal setting B but what do I know?


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

You mentioned the BM Express worked but does that support dual link?  Maybe if it does you could go there.  I would think the DNxIO would play with Adobe Premiere but I've never captured tape in premiere.  

I feel your pain.  The Nitris DX would do this.  I still have one I can switch over to.  I recall there were certain limitations to connecting a DNxIO over thunderbolt on a trash can but I don't recall the specifics.  Perhaps dual link is one of the obstacles that are limited.  My DNxIO is connected PCIe on a mac pro mid 2012. 


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

Yes, I'm using a SR deck.  

Yes, the tape is 1080psf 23.976 444 RGB.  

I'm on a MacPro trashcan.  

DNxIO is connected Tbolt.  

I started with MC v8.8.4 and BM 10.9.1.  I've since upgraded to MC 8.9.1 and BM 10.9.6.  All from the Avid download site.  I'm running OS X 10.11.6.  I have not tried a version of 10.12.  

The DNxIO appears to only be seeing signal on the SDI A input.  

The Avid project is 1080p/23.976.  

I've tried with the Color Space setting at both YCbCr and RGB.  When in YCbCr I can get signal link 422 video fine.  But when I switch over to RGB color space in the project it gets just black.  

Avid tech support, all via email because that's the only way they work anymore apparently, asked if I had tried all the different ports on the DNxIO and tried different input configurations.  But they never explained how to do any of that and I can't find any way of configuring the 4 SDI inputs on the DNxIO.  Not in Media Composer and not in Desktop Video Setup.  And there is no documentation that I can find on how to set it up for dual link capture.

I've tested the decks to a monitor that supports dual link input and it's fine.

I've tired two different SR decks.  

I've done deck to deck tape duplication with the SR decks and the dupe tape is fine.

I've tried two different DNxIO boxes and a Ultrastudio 4K

I've tried to get dual link to work on this Mac with Media Composer and Media Express.  Neither work for Dual Link.

I've tried another MacPro with a matching software config and tried to get dual link to work with Media Express and Resolve.  Neither work for Dual Link.

I've tried emailing support at Blackmagic and have not gotten a reply.

I'm about to try and set up an older MacPro with a Kona 3 and FCP7 and see if I can get that setup working again.  Problem there is the speed of the drives to capture uncompressed 1080 444 RGB.

Jay


On Aug 31, 2017, at 2:52 PM, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:



I assume your source is an SR Deck?  Not that the source matters given you can see it in BM media express.  I just updated my system to Avid's version of Desktop Software 10.9.6.  My Avid is 8.5.3 right now and I plan to go to 8.6.4 for compatibility with my main client.

What version of of Avid and Video Desktop are you on?  What OS Mac or PC.  I've been mac centric for too long to be up on PC quirks in this regard.

When you day you went back to single link are you trying a standard HD source?  

When reinstalling software it should be Avid first then video desktop.  I've also found that the capture tool doesn't automatically select the DNxIO on the video side.  Mine came up with DNxIO for audio but none on the video.  I had to use the pull down menu to select DNxIO.


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

I even uninstalled and reinstalled media composer and the DNxIO software and nada.  So now I'm doing a Time Machine recover of the entire system to a point yesterday before I even thought of trying to capture dual link.  Grrrr.  

Jay


On Aug 31, 2017, at 12:42 PM, Jay Mahavier jay_mahavier@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


So I tried all of that, except for the Avid project set to 444RGB.  I intended to try that this morning after you mentioned it.  But guess what,…  I get in and now Media Composer won't even see single link through the DNxIO.  Blackmagic Media Express still does, but not Media Composer.  

UGH!!!!


Jay

On Aug 31, 2017, at 12:21 AM, bigfish@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:


In the desktop video setup control panel click the light grey circle with a document looking logo in it.  It's right under Artist DNxIO type.  Video Output Tab scroll down to SDI Output section in the list last is SDI connector:  choose Dual Link.  There are other settings for  RGB 4:4:4 etc... in that section.

I don't see the same choices in the Video Input tab so I assume it follows the config from video output but I'm only guessing.  When you click on video input in avid settings it will open the video desktop control panel then navigate as mentioned above.  I have never captured 444 so there is probably the need to choose a project format that is RGB as in 444 not full range video.  Perhaps others have done this.

Let us know what you find out.


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

Trying to get our DNxIO box to capture Dual Link HD SDI 444 RGB and I can't figure out where the settings are in Media Composer or Blackmagic Desktop Video Setup to make that happen. Neither fine manuals are being of much help on this one. Any clues from out there?

Thanks,
Jay















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Posted by: Jay Mahavier <jay_mahavier@earthlink.net>
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Have you tried the highest rated email app?
With 4.5 stars in iTunes, the Yahoo Mail app is the highest rated email app on the market. What are you waiting for? Now you can access all your inboxes (Gmail, Outlook, AOL and more) in one place. Never delete an email again with 1000GB of free cloud storage.

this is the Avid-L2

.

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