I assume given you recorded a switch feed that there was a switcher involved in the production. Did you feed the Cinedecks through the switchers aux busses? Was this done in a full tilt production truck environment and did you have to have them rent the cinedeck units for your shoot? Did anyone record bars and tone? ;-)
---In Avid-L2@yahoogroups.com, <wilsonchao@...> wrote :
Rupert,
I used Cinedeck MX recorders (for the first time) shooting a live multi-camera event last November, for a 3 hour prime-time ballroom dancing show for PBS, airing in April. I loved the Cinedecks, which performed flawlessly, and which were the starting point for the most streamlined post workflow I've ever seen.
I had zero problems with the Cinedecks, so I'm curious to hear why you express reservations - have they let you down on a job, or have you avoided them because they lack some feature you need?
Here are a few of the reasons for my praise of the Cinedecks:
* They easily record multiple simultaneous streams onto cheap industry-standard hard drive arrays - no need for expensive proprietary drives with limited capacity.
* They run all evening - I recorded 5 iso'd cameras plus a switched line feed, on multiple nights of performances, for 5 hours straight without a pause. And it sure does simplify media management when your camera originals are 300 minutes long!
* They record DNxHD MXF OP-Atom files. Avid can directly see and edit the camera original files without importing, transcoding, consolidating or AMA'ing. It's "real" Avid media.
What's not to like?
Wilson Chao
Boston, MA USA
On Sat, Feb 7, 2015 at 11:23 AM, Rupert Watson rupert@... [Avid-L2] <Avid-L2@yahoogroups.com> wrote:Nothing specific; I don't have a lot of seat time with them and if you are based in LA I suspect the experience is different than if you are a UK based customer.
On 6 Feb 2015, at 16:08, Avid-L2@yahoogroups.com wrote:Is there something I should be grilling them about?
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