[Avid-L2] DNxIO Box won't output dual SDI in UHD?

[Edited Message Follows]

I'm playing around with Resolve to do a simultaneous HDR and SDR output using a plug in from Colour Lab that converts one channel of stereo 3D project to HDR.  I've got it working to feed the HDR eye to my Aja Hi 5 4K Plus that feeds HDR flag and video over HDMI to my calibrated LG OLED and the SDR eye feeds my normal SD scope and PVM-2541.  This all basically works.

 

In order to have the two feeds I have to set the Resolve configuration to dual SDI output.  This works in HD, and I assume 2K, but when I set Resolve timeline settings to UHD or DCI the output goes blank.  I'm guessing that in dual SDI output mode the DNxIO just doesn't have the processing power to generate two UHD stereo eye feeds.  Does this make sense?

 

I recall from a tunneling demo I saw from IIRC Cortex software/hardware they were limited to HD or 2K for tunneling.  I think since that demo some heftier AJA cards have come that might handle UHD tunneling or maybe even DCI but I'm not sure if that's right. 

 

Can anyone confirm the my stereo dual SDI output stopping in UHD or above is a processing limitation of the box.  I'm wondering how the DNxIQ compares in this regard.

 

I can certainly work in HD but I'm trying to wrap my brain around all this new workflow stuff.  How can they make 700 mV so confusing for this old dinosaur?

 

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

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[Avid-L2] DNxIO Box won't output dual SDI in UHD?

[Edited Message Follows]

I'm playing around with Resolve to do a simultaneous HDR and SDR output using a plug in from Colour Lab that converts one channel of stereo 3D project to HDR.  I've got it working to feed the HDR eye to my Aja Hi 5 4K Plus that feeds HDR flag and video over HDMI to my calibrated LG OLED and the SDR eye feeds my normal SD scope and PVM-2541.  This all basically works.

 

In order to have the two feeds I have to set the Resolve configuration to dual SDI output.  This works in HD, and I assume 2K, but when I set Resolve timeline settings to UHD or DCI the output goes blank.  I'm guessing that in dual SDI output mode the DNxIO just doesn't have the processing power to generate two UHD stereo eye feeds.  Does this make sense?

 

I recall from a tunneling demo I saw from IIRC Cortex software/hardware they were limited to HD or 2K for tunneling.  I think since that demo some heftier AJA cards have come that might handle UHD tunneling or maybe even DCI but I'm not sure if that's right. 

 

Can anyone confirm the my stereo dual SDI output stopping in UHD or above is a processing limitation of the box.  I'm wondering how the DNxIQ compares in this regard.

 

I can certainly work in HD but I'm trying to wrap my brain around all this new workflow stuff.  How can they make 700 mV so confusing for this old dinosaure?

 

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

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[Avid-L2] DNxIO Box won't output dual SDI in UHD?

I'm playing around with Resolve to do a simultaneous HDR and SDR output using a plug in from Colour Lab that converts one channel of stereo 3D project to HDR.  I've got it working to feed the HDR eye to my Aja Hi 5 4K Plus that feeds HDR flag and video over HDMI to my calibrated LG OLED and the SDR eye feeds my normal SD scope and PVM-2541.  This all basically works.

In order to have the two feeds I have to set the Resolve configuration to dual SDI output.  This works in HD, and I assume 2K, but when I set Resolve timeline settings to UHD or DCI the output goes blank.  I'm guessing that in dual SDI output mode the DNxIO just doesn't have the processing power to generate two UHD stereo eye feeds.  Does this make sense.

I recall from a tunneling demo I saw from IIRC Cortex software/hardware they were limited to HD or 2K for tunneling.  I think since that demo some heftier AJA cards have come that might handle UHD tunneling or maybe even DCI but I'm not sure if that's right. 

Can anyone confirm the my stereo dual SDI output stopping in UHD or above is a processing limitation of the box.  I'm wondering how the DNxIQ compares in this regard.

I can certainly work in HD but I'm trying to wrap my brain around all this new workflow stuff.  How can they make 700 mV so confusing for this old dinosaure?

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

[Avid-L2] Understanding Odyssey recorder log file etc...?

[Edited Message Follows]

On a 4k DCI 4096_2160 multicamera project where 5 cams are Panny Varicam 35 AVC-Intra 4096_2160 the 6th cam I believe is a sony something recorded on an Odyssey recorder.  I haven't been able to ascertain how this Sony media, which is UHD, was media managed.  I don't know if they used the Convergent Design ProRes/DNxHD Transfer Tool or if they just took in all the ProResHQ .mov files without stitching them together first.

 

Here is the log for one of the short clips,  others have several hundred clips to make up the hour plus long take.  This one is just a short cam test before rolling on the actual show:

 

odyssey_apollo_system_log

LOG DUMP DATE/TIME: 2020/02/23  03:53:02
2 no source
2177712 port 3 no source
2177988 vid source: port=2 vidFmt720p60 vidRawNone  NTSC    
2177990 port 3 no source
2180576 port 2 no source
2180576 port 3 no source

 

 

I don't know much about the Odyssey recorder but I assume this is telling me that of the multiple ports there was a video feed from the camera that was 720P60, or 59_94.  I don't understand why one line says source is port = 2 then it lists port 2 no source on other lines.  The resulting .mov snippet clips are ProResHQ .mov UHD 23.976Fps.  I'm assuming the SDI or perhaps HDMI feed into the recorder was the full 720P60 with pulldown but the recorder knows to remove pulldown to get to the true 23.976 frames.  Anybody know what metadata in the signal flags the recorder to do proper pulldown removal while recording?  I forget how all those P-2 frame converter programs determine 2:3 vs Adv Pulldown 2:3:3:2.  IIRC it wasn't just based on timecode.

 

I'm assuming that an HDMI signal of 720P has the same spec as 720P SDI in that it's all 60 frame, 59.94, but is that true for HDMI?

 

I'm stiching the files together and playing around.  Now I'm wondering if there is some magic metadata elements that would allow Avid and Resolve to magically link properly to the stitched files if offline used the discreet snippet files.  Is there something akin to a traditional reel numbert/tape name hidden in the odyssey snippet files metadata that would track through to the stitched file from the Convergent Design Transfer Tool?

 

I'm trying to test an HDR workflow into Resolve but first I want to see if I can figure out how the under the hood linking is happening, or not happening.  I'm just starting to play.  Any experience welcome.

 

 

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

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[Avid-L2] Understanding Odyssey recorder log file etc...?

[Edited Message Follows]

On a 4k DCI 4096_2160 multicamera project where 5 cams are Panny Varicam 35 AVC-Intra 4096_2160 the 6th cam I believe is a sony something recorded on an Odyssey recorder.  I haven't been able to ascertain how this Sony media, which is UHD, was media managed.  I don't know if they used the Convergent Design ProRes/DNxHD Transfer Tool or if they just took in all the ProResHQ .mov files without stitching them together first.

 

Here is the log for one of the short clips,  others have several hundred clips to make up the hour plus long take.  This one is just a short cam test before rolling on the actual show:

 

odyssey_apollo_system_log

LOG DUMP DATE/TIME: 2020/02/23  03:53:02
2 no source
2177712 port 3 no source
2177988 vid source: port=2 vidFmt720p60 vidRawNone  NTSC    
2177990 port 3 no source
2180576 port 2 no source
2180576 port 3 no source

 

 

I don't know much about the Odyssey recorder but I assume this is telling me that of the multiple ports there was a video feed from the camera that was 720P60, or 59_94.  I don't understand why one line says source is port = 2 then it lists port 2 no source on other lines.  The resulting .mov snippet clips are ProResHQ .mov UHD 23.976Fps.  I'm assuming the SDI or perhaps HDMI feed into the recorder was the full 720P60 with pulldown but the recorder knows to remove pulldown to get to the true 23.976 frames.  Anybody know what metadata in the signal flags the recorder to do proper pulldown removal while recording?  I forget how all those P-2 frame converter programs determine 2:3 vs Adv Pulldown 2:3:3:2.  IIRC it wasn't just based on timecode.

 

I'm assume that an HDMI signal of 720P has the same spec as 720P SDI in that it's all 60 fram, 59.94, but is that true for HDMI?

 

I'm stiching the files together and playing around.  Now I'm wondering if there is some magic metadata elements that would allow Avid and Resolve to magically link properly to the stitched files if offline used the discreet snippet files.  Is there something akin to a traditional reel numbert/tape name hidden in the odyssey snippet files metadata that would track through to the stitched file from the Convergent Design Transfer Tool?

 

I'm trying to test an HDR workflow into Resolve but first I want to see if I can figure out how the under the hood linking is happening, or not happening.  I'm just starting to play.  Any experience welcome.

 

 

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

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[Avid-L2] Understanding Odyssey recorder log file etc...?

On a 4k DCI 4096_2160 multicamera project where 5 cams are Panny Varicam 35 AVVI-Intra 4096_2160 the 6th cam I believe is a sony something recorded on an Odyssey recorder.  I haven't been able to ascertain how this Sony media, which is UHD, was media managed.  I don't know if they used the Convergent Design ProRes/DNxHD Transfer Tool or if they just took in all the ProResHQ .mov files without stitching them together first.

Here is the log for one of the short clips,  others have several hundred clips to make up the hour plus long take.  This one is just a short cam test before rolling on the actual show:

odyssey_apollo_system_log

LOG DUMP DATE/TIME: 2020/02/23  03:53:02
2 no source
2177712 port 3 no source
2177988 vid source: port=2 vidFmt720p60 vidRawNone  NTSC    
2177990 port 3 no source
2180576 port 2 no source
2180576 port 3 no source

I don't know much about the Odyssey recorder but I assume this is telling me that of the multiple ports there was a video feed from the camera that was 720P60, or 59_94.  I don't understand why one line says source is port = 2 then it lists port 2 no source on other lines.  The resulting .mov snippet clips are ProResHQ .mov UHD 23.976Fps.  I'm assuming the SDI or perhaps HDMI feed into the recorder was the full 720P60 with pulldown but the recorder knows to remove pulldown to get to the true 23.976 frames.  Anybody know what metadata in the signal flags the recorder to do proper pulldown removal while recording?  I forget how all those P-2 frame converter programs determine 2:3 vs Adv Pulldown 2:3:3:2.  IIRC it wasn't just based on timecode.

I'm assume that an HDMI signal of 720P has the same spec as 720P SDI in that it's all 60 fram, 59.94, but is that true for HDMI?

I'm stiching the files together and playing around.  Now I'm wondering if there is some magic metadata elements that would allow Avid and Resolve to magically link properly to the stitched files if offline used the discreet snippet files.  Is there something akin to a traditional reel numbert/tape name hidden in the odyssey snippet files metadata that would track through to the stitched file from the Convergent Design Transfer Tool?

I'm trying to test an HDR workflow into Resolve but first I want to see if I can figure out how the under the hood linking is happening, or not happening.  I'm just starting to play.  Any experience welcome.

John Moore Barking Trout Productions Studio City, CA bigfish@pacbell.net

Re: [Avid-L2] Where is Avid-L2?

Thank you for your responses! At least now I know I'm still on Avid-L2!!! I've been on the Avid List since the mid 90s and I've never seen it this quiet before! 

Anyway, please stay safe and healthy everyone! Arthur Springer

On Fri, Jun 19, 2020 at 10:41 AM Dave Spraker <avid@spraker.tv> wrote:

…crickets…

 

Not much conversation here these days.  Most of the action is on FB I think.

 

- Dave

 

dave@spraker.tv

(971) 267-7661

 

From: Avid-L2@groups.io <Avid-L2@groups.io> On Behalf Of Light Visions
Sent: Friday, June 19, 2020 10:24 AM
To: Avid-L2@groups.io
Subject: [Avid-L2] Where is Avid-L2?

 

I have not received emails for several weeks! Did I somehow get knocked off the list? Do I need to re-subscribe?

 

Thanks, Arthur Springer

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Re: [Avid-L2] Where is Avid-L2?

…crickets…

 

Not much conversation here these days.  Most of the action is on FB I think.

 

- Dave

 

dave@spraker.tv

(971) 267-7661

 

From: Avid-L2@groups.io <Avid-L2@groups.io> On Behalf Of Light Visions
Sent: Friday, June 19, 2020 10:24 AM
To: Avid-L2@groups.io
Subject: [Avid-L2] Where is Avid-L2?

 

I have not received emails for several weeks! Did I somehow get knocked off the list? Do I need to re-subscribe?

 

Thanks, Arthur Springer

Re: [Avid-L2] Where is Avid-L2?

More traffic on the Avid Editors of Facebook, perhaps?

With Best Wishes, Roger Shufflebottom +44 7973 543 660

On Friday, 19 June 2020, 18:24:22 BST, Light Visions <lightvisions2020@gmail.com> wrote:

I have not received emails for several weeks! Did I somehow get knocked off the list? Do I need to re-subscribe?

Thanks, Arthur Springer

[Avid-L2] Where is Avid-L2?

I have not received emails for several weeks! Did I somehow get knocked off the list? Do I need to re-subscribe?

Thanks, Arthur Springer

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