Having been a viewer, and now knowing what goes into it...pretty darn
cool!

Thanks for the injection of youth, Jeff.

Curt

--
Curt Bailey
curt@...



On Nov 10, 2009, at 1:16 AM, jeffsengpiehl wrote:

> The crew over at Sesame Street turns 40 today. It takes a lot for
> that much quality for that long a period of time.
>
> Happy Birthday, Sesame Street May the next 40 be just as grand.
>
> http://pbskids.org/sesame/
>
> this message was brought to you today by the letter L, and the
> number 2.
>
>



[Non-text portions of this message have been removed]

I would add that in other forums, this was characterized as an advantage for FCP
owners. It's worth pointing out that this also sets up a nice model for MC Soft
owners. Several software-only MC seats for offline, feeding a Smoke finishing
station. I believe Autodesk has a way to bring in both MXF and QT files natively
without recapture.

- Oliver

I would add that in other forums, this was characterized as an advantage for FCP
owners. It's worth pointing out that this also sets up a nice model for MC Soft
owners. Several software-only MC seats for offline, feeding a Smoke finishing
station. I believe Autodesk has a way to bring in both MXF and QT files natively
without recapture.

- Oliver

> switthaus wrote:
> Will the new McSmoke be offered to everyone or just the
> folks who have current Smoke licenses?  I hear rumblings
> both ways on this

Scott,

So far the two precedents are Filmlight's Baselight and Autodesk's Flare.
Baselight has a Mac laptop software version, but you have to own a full system
to get it. Flare is available to Flame (not Smoke) owners at 1/5th the cost of a
Flame. Note that the plug-in makers are not yet cutting any breaks for Flare
seats.

- Oliver

Drive still affect overall performance speed when using ROCKETCINE-X. In my
tests for the same files on the same system, Apple ProRes transcodes 50% slower
than the equivalent Avid DNxHD. Or DNxHD transcodes 30% faster - One correction
for Job; It is REDCINE-X that creates a sinbgle file of multiple clips since it
creates a timeline for screening. ROCKETCINE-X creates individual files. It is
RED's plans to incorporate ROCKETCINE-X functionality into REDCINE-X although I
far prefer the UI of ROCKETCINE-X.

Michael

--- In Avid-L2@yahoogroups.com, IAN WILSON <ian@...> wrote:
>
> Thanks Job for the info, we have 2 RR cards, all they do at the
> moment  is render ProRez in less than RT, they run at about 30 frames.
>
> At the end of the day all we want is a solution that allows you to
> work natively with .R3D format, no rendering . I am beginning to
> think, it's not going to happen until RED allows the SDK to write RED
> files (unlikely). I think what you have to watch out for is the ARRI,
> Cannon and Adobe alliance around the new RAW standard that's an open
> standard and will most likely be ratified by SMPTE. TWT
>
> Ian Wilson
> Colortape Productions
> Ian@...
> 0418 327 082
> Via iPhone
>
> On 10/11/2009, at 8:04 AM, "Job ter Burg (L2B)" <Job_L2@...>
> wrote:
>
> >
> > Since it turned out to be pretty hard to get decent and
> > comprehensible info
> > on the current state of Red Rocket and Rocket Cine-X, I thought I'd
> > compile
> > what I could gather so far:
> >
> > Required Hardware
> > These are the minimum hardware requirements that the computer system
> > has to
> > meet if you want to use the RED RocketTM board.
> >
> > - PCI-e x16 physical slot providing at least 8 lanes (x8) - 2048 MB
> > RAM
> > Supported Operating Systems
> >
> > The RED RocketTM board can be used with the following operating
> > systems:
> > - Mac OS X 10.5 - Windows XP SP2 or later (Vista coming soon) -
> > Linux (Red
> > Hat)
> >
> > MXF files are now supported in RocketCine-X with DNxHD 36-220.  Burn
> > is will
> > add to the transcode times, but the increase in transcode time is
> > not that
> > significant.  Processor, Ram and Drive speed will increase help
> > increase
> > transcode times, however the RED  Rocket will be doing almost all
> > the work.
> >
> > Metadata (through ALE or AAF) is very complete when using RCX to
> > create
> > DNxHD MXF Avid media.
> >
> > Reduser forums suggest that Rocket Cine-X software will turn
> > multiple clips
> > into a single MXF file, which I don't get, but could probably live
> > with.
> >
> > The two ports on the back aren't DVI ports, they're DMS-59 plugs.
> > They go to
> > two breakout cables included with the Red Rocket that give you 4
> > dual-lnk
> > DVI outputs for realtime playback of Red R3D files to a 4K monitor or
> > projector. That makes me think that the card is not a replacement
> > for an
> > NVIDIA card. If that were the case, I'd be interested to know if MC-
> > Soft
> > would run on it.
> >
> > For (especially European) film folks, it is good to note that
> > currently,
> > there appears to be an issue with 24.000fps footage. You may not
> > create
> > DNxHD 24.000p media with Rocket Cine-X on the Mac, but this is
> > supposed to
> > work on PC. From what I hear, this all should be resolved very
> > shortly. See
> > http://www.reduser.net/forum/showthread.php?t=35172&page=2 for
> > details.
> >
> > Note that Michael Phillips mentioned in this thread that Avid will
> > shortly
> > be posting a step-by-step guide for Rocket Cine-X for Avid workflows.
> >
> > Have ordered a Red Rocket today, will try to update this info once
> > the item
> > arrives.
> >
> > Job.
> >
> >
> >
> >
> > ------------------------------------
> >
> > Search the offical complete Avid-L archives at:  
http://archives.bengrosser.com/avid/
> >
> > Everything you MUST know about Color Correction in one book:  
http://tinyurl.com/ColorCorectionforvideo
> >    Get your copy todayYahoo! Groups Links
> >
> >
> >
>

Will the new McSmoke be offered to everyone or just the folks who have current
Smoke licenses?  I hear rumblings both ways on this...but it will be $15k
software only...

--- In Avid-L2@yahoogroups.com, "Knut A. Helgeland" <knut@...> wrote:
>
> Forgetting DS for a moment, I'd do a little more research on the
> current trends concerning the going rates on Smoke. I'm just happy I'm
> not a current Smoke (or Flame) owner, since a cheaper software version
> will now crash that market pretty thoroughly. And once clients realize
> you're also running it on a Mac, they'll ask why it should be any more
> expensive than an FCP session.
>
> Not that a software version of Smoke on Mac (aka Smack™, as Stu
> Maschwitz has accurately branded it) is a bad thing, I'd love to have
> a copy and will probably consider it, but since my company depend very
> little on competing in that mid-end market of conform-based online
> work (and we already have a dreaded DS to take care of that), I'll
> probably wait until this thing is $995 and bundled with packs of sparks.
>
> K
>
> On 6. nov. 2009, at 17.48, Terence Curren wrote:
>
> > In your market maybe, in my market Smoke still commands a higher
> > rate than DS. And now at a fraction of the cost.
> >
> > --- In Avid-L2@yahoogroups.com, "Tony Quinsee-Jover" <tony@> wrote:
> >>
> >> Way too expensive for what it can do - half that price would still
> >> be OTT.
> >>
> >>
> >> HD Heaven Limited (company no: 04620550) is registered in England
> >> and Wales
> >> at Branston Court, Branston Street, Birmingham BL8 6BA
> >>
> >> -----Original Message-----
> >> From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On
> >> Behalf Of
> >> Terence Curren
> >> Sent: 06 November 2009 15:44
> >> To: Avid-L2@yahoogroups.com
> >> Subject: [Avid-L2] Re: Avid|DS Training Edition Installation Query
> >>
> >> You forgot to mention the price.... 15K!
> >>
> >> --- In Avid-L2@yahoogroups.com, "switthaus" <switthaus@> wrote:
> >>>
> >>> "In other news Avid is about to have its high-end business
> >>> attacked by
> >> Autodesk as they are imminently releasing a software only version
> >> of Smoke
> >> for the Mac with Kona3 for IO. "
> >>>
> >>> Picked this up from another Forum.  I have to agree with Knut.
> >>> You can do
> >> all this now on a Mac wit the software mentioned  Why should an
> >> autoscreet
> >> product (one with a very steep learning curve...worse than the DS
> >> curve that
> >> so many MC editors whined about) be any different?  That said, it
> >> will be
> >> interesting to see if Autoscreet and Apple continue to work more
> >> effectively
> >> on integration via XML...what I saw at NAB a couple years ago was
> >> not very
> >> good at all going from FCP to Smoke.
> >>>
> >>> --- In Avid-L2@yahoogroups.com, "Knut A. Helgeland" <knut@> wrote:
> >>>>
> >>>> Software Smoke is not going to have the tiniest impact on the DS
> >>>> community. It will not offer anything that you cannot already do
> >>>> with
> >>>> FCP+AE, Fusion, Nuke etc.
> >>>>
> >>>> K
> >>>>
> >>>>
> >>>> On 5. nov. 2009, at 17.20, Terence Curren wrote:
> >>>>
> >>>>> Ain't gonna sit well in the DS community....
> >>>>>
> >>>>> --- In Avid-L2@yahoogroups.com, "switthaus" <switthaus@> wrote:
> >>>>>>
> >>>>>> oh really Terry?  ;-)
> >>>>>>
> >>>>>> --- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@>
> >>>>>> wrote:
> >>>>>>>
> >>>>>>>
> >>>>>>>
> >>>>>>> --- In Avid-L2@yahoogroups.com, "Jesstator" <jesstator@> wrote:
> >>>>>>>
> >>>>>>>
> >>>>>>> << Has anyone out there had a chance to sucessfully install
> >>>>>>> ***AND
> >>>>>>> LAUNCH*** the current version of the Avid|DS v10.2 Training
> >>>>>>> Edition software on a MacBook Pro running Boot Camp v2.1 under
> >>>>>>> MacOS 10.6.1? >>
> >>>>>>>
> >>>>>>>
> >>>>>>>    Me thinks you may have another OSX option for advanced
> >>>>>>> compositing and finishing in a few weeks...
> >>>>>>>
> >>>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>> ------------------------------------
> >>>>>
> >>>>> Search the offical complete Avid-L archives at:
> >> http://archives.bengrosser.com/avid/
> >>>>>
> >>>>> Everything you MUST know about Color Correction in one book:
> >> http://tinyurl.com/ColorCorectionforvideo
> >>>>>   Get your copy todayYahoo! Groups Links
> >>>>>
> >>>>>
> >>>>>
> >>>>
> >>>
> >>
> >>
> >>
> >>
> >> ------------------------------------
> >>
> >> Search the offical complete Avid-L archives at:
> >> http://archives.bengrosser.com/avid/
> >>
> >> Everything you MUST know about Color Correction in one book:
> >> http://tinyurl.com/ColorCorectionforvideo   Get your copy
> >> todayYahoo! Groups
> >> Links
> >>
> >
> >
> >
> >
> > ------------------------------------
> >
> > Search the offical complete Avid-L archives at:  
http://archives.bengrosser.com/avid/
> >
> > Everything you MUST know about Color Correction in one book:  
http://tinyurl.com/ColorCorectionforvideo
> >    Get your copy todayYahoo! Groups Links
> >
> >
> >
>

>  Part of the interest of the Avid-L2 is it's range
> of topics. If you are posting an Off-topic thread, please preface the
> subject with OT: Use the colon after the letters.
> Email filters and rules can be used by subscribers to move Off Topic
> posts to where ever they would like in their email organization by
> using a rule/filter with Sender of: Avid-l2@yahoogroups.com
> <mailto:Avid-l2%40yahoogroups.com> and subject contains OT: .
[Avid-L2] File - FAQ AVID-L2.txt

D(flipping Jeff the Big Bird)D

jeffsengpiehl wrote:
>
>
> The crew over at Sesame Street turns 40 today. It takes a lot for that
> much quality for that long a period of time.
>
> Happy Birthday, Sesame Street May the next 40 be just as grand.
>
> http://pbskids.org/sesame/ <http://pbskids.org/sesame/>
>
> this message was brought to you today by the letter L, and the number 2.
>
>

--
David Dawkins
780-905-9121
dawk2@...



[Non-text portions of this message have been removed]

Lou -

If you take the FW drive out of the loop, are you still getting this error?

--- In Avid-L2@yahoogroups.com, Lou Wirth <loutv@...> wrote:
>
> "Segmentation fault" in thread "Main Thread", at address     0x0
>
> WHAT IS THIS?????????
>
> I am totally unable to use MC 4.02 at home because I can  not move a
> segment or, as of now, even place a segment in the timeline.  Please
> dont tell me to reinstall.  That never works.  Macbook Pro, firewire
> 800 drive, DV media.   What is going on with this?  I am going crazy.
> What does it want?  I will give it anythiing.  Just don't give me this
> cryptic meaningless message.  Avid, are you listening?  The error
> should say "your firewire drive sucks, please rep;lace"   or  "there
> is corrupt media now living on your drive".  Give me something.
>
> Lou
> Lou Wirth Productions
> 500Tamal Plaza, Suite 522
> Corte Madera, CA 94925
> www.louwirth.com
> 415-924-9411p
>

Your original complaint seemed to point to using storage devices on the
same PCI bus segment as the MOJO's Firewire.  You can easily resolve
that yourself.

However, the closest thing to your specific error string in the database
refers to possible conflicts between AVX plugins and 3rd party/corrupt
fonts.

You could try removing the plugins folder and running without them to check.

A more interesting suggestion from the KB says:
_________________________________

If you get this message after upgrading to Media Composer 3.0, it might
be caused by a conflict between the SubCap effect and third party fonts
installed on the system.  Try the following:

    1. Control click on the AvidMediaComposer application.
    2. Choose Show Package Contents.
    3. Open the Contents - SharedSupport - AVX2_Plug-Ins folder.
    4. Drag Caption.avx out of the package.
    5. Launch AvidMediaComposer.

Doing so causes you to lose the function of the SubCap effect. Restoring
the system to the fonts originally loaded with the OS will also solve
the issue.

One font package known to cause the issue is MacFonts by macXware.
_________________________________

Ringing any bells for you??

If not, we have a chicken standing by,..

RT


Lou Wirth wrote:

>Tried new user.  Nothing changed.  I am on 10.5.8 using MC 4.0.2.
>Should I be back on 10.5.7??
>
>
>On Nov 10, 2009, at 12:27 AM, Job ter Burg (L2B) wrote:
>
>
>
>>"Lou Wirth" (10-11-2009 07:20) :
>>
>>
>>
>>>Started new project, copied bins over, changes
>>>firewire cable, ran disk utility on system and firewire drive.
>>>
>>>
>>New user settings? Right version of the OS (no accidental auto
>>upgrade)?
>>
>>--
>>Job ter Burg
>>film editor - NL
>>
>>
>>
>>
>
>Lou Wirth Productions
>500Tamal Plaza, Suite 522
>Corte Madera, CA 94925
>www.louwirth.com
>415-924-9411p
>
>
>
>
>
>
>
>[Non-text portions of this message have been removed]
>
>
>
>------------------------------------
>
>Search the offical complete Avid-L archives at:  
http://archives.bengrosser.com/avid/
>
>Everything you MUST know about Color Correction in one book:  
http://tinyurl.com/ColorCorectionforvideo   Get your copy todayYahoo! Groups
Links
>
>
>
>
>
>


[Non-text portions of this message have been removed]

Got 4 Gigs ram in a 2.8 MacBook Pro so should be plenty.

thanks
On Nov 10, 2009, at 1:22 AM, Roger Shufflebottom wrote:

> Got enough RAM? Try restarting Mac before editing. The only time I've
> been troubled with this error recently is with the odd BCC effect. I
> have MBP, 2.33Ghz, 3GB RAM, OS 10.5.8, QT 7.6.2.
>
> On 10 Nov 2009, at 10:04, RT wrote:
>
> you are qualified with 10.5.8
>
> Lou Wirth wrote:
>
> > Tried new user. Nothing changed. I am on 10.5.8 using MC 4.0.2.
> > Should I be back on 10.5.7??
> >
> > //docs.yahoo.com/info/terms/
>
> +++
> With best wishes,
>
> Roger Shufflebottom
> Avid Certified Instructor
> http://www.bottom-line.tv
> Tel: +44 1992 535 031 (UK)
> Mobile: +44 7973 543 660
>
>
>

Lou Wirth Productions
500Tamal Plaza, Suite 522
Corte Madera, CA 94925
www.louwirth.com
415-924-9411p







[Non-text portions of this message have been removed]

Got enough RAM? Try restarting Mac before editing. The only time I've
been troubled with this error recently is with the odd BCC effect. I
have MBP, 2.33Ghz, 3GB RAM, OS 10.5.8, QT 7.6.2.

On 10 Nov 2009, at 10:04, RT wrote:

you are qualified with 10.5.8

Lou Wirth wrote:

> Tried new user.  Nothing changed.  I am on 10.5.8 using MC 4.0.2.
> Should I be back on 10.5.7??
>
> //docs.yahoo.com/info/terms/


+++
With best wishes,

Roger Shufflebottom
Avid Certified Instructor
http://www.bottom-line.tv
Tel: +44 1992 535 031 (UK)
Mobile: +44 7973 543 660

you are qualified with 10.5.8

Lou Wirth wrote:

>Tried new user.  Nothing changed.  I am on 10.5.8 using MC 4.0.2.
>Should I be back on 10.5.7??
>
>
>On Nov 10, 2009, at 12:27 AM, Job ter Burg (L2B) wrote:
>
>
>
>>"Lou Wirth" (10-11-2009 07:20) :
>>
>>
>>
>>>Started new project, copied bins over, changes
>>>firewire cable, ran disk utility on system and firewire drive.
>>>
>>>
>>New user settings? Right version of the OS (no accidental auto
>>upgrade)?
>>
>>--
>>Job ter Burg
>>film editor - NL
>>
>>
>>
>>
>
>Lou Wirth Productions
>500Tamal Plaza, Suite 522
>Corte Madera, CA 94925
>www.louwirth.com
>415-924-9411p
>
>
>
>
>
>
>
>[Non-text portions of this message have been removed]
>
>
>
>------------------------------------
>
>Search the offical complete Avid-L archives at:  
http://archives.bengrosser.com/avid/
>
>Everything you MUST know about Color Correction in one book:  
http://tinyurl.com/ColorCorectionforvideo   Get your copy todayYahoo! Groups
Links
>
>
>
>
>
>


[Non-text portions of this message have been removed]

Tried new user.  Nothing changed.  I am on 10.5.8 using MC 4.0.2.
Should I be back on 10.5.7??


On Nov 10, 2009, at 12:27 AM, Job ter Burg (L2B) wrote:

> "Lou Wirth" (10-11-2009 07:20) :
>
> > Started new project, copied bins over, changes
> > firewire cable, ran disk utility on system and firewire drive.
>
> New user settings? Right version of the OS (no accidental auto
> upgrade)?
>
> --
> Job ter Burg
> film editor - NL
>
>

Lou Wirth Productions
500Tamal Plaza, Suite 522
Corte Madera, CA 94925
www.louwirth.com
415-924-9411p







[Non-text portions of this message have been removed]

On 10/11/2009, at 7:12 PM, "Job ter Burg (L2B)" <Job_L2@...>
wrote:

> "IAN WILSON" (09-11-2009 23:02) :
>
>> I think what you have to watch out for is the ARRI,
>> Cannon and Adobe alliance around the new RAW standard that's an open
>> standard and will most likely be ratified by SMPTE.
>
> You mean there's a chance I get to toss the Rocket I just ordered in
> the
> trashcan somewhere in the next few months? ;-)

If RED continues to keep the format proprietary, I think there is a
chance, the big boys will go with ARRI and the Indy folk will go with
Cannon, I am not sure where that leaves RED, probably in a price war
with every other DSLR on the planet. I hope they have deep pockets.
The real question is what happens to PAV. Finally IMHO this .R3D thing
is far to complicated, it's just waiting for a simpler system (having
used it a bit), on the positive side you have a very fast render card
to what ever flavour codac you wish.

PS Why do APPLE appear to not be playing? One reason is probably it's
up to RED. If Apple do come in I am a bit more confident about RED
being a player. TWY
>
>
> --
> Job ter Burg
> film editor - NL
>
>
>
> ------------------------------------
Ian Wilson
Colortape Productions
Ian@...
0418 327 082
Via iPhone

[Non-text portions of this message have been removed]

"Lou Wirth" (10-11-2009 07:20) :

> Started new project, copied bins over, changes
> firewire cable, ran disk utility on system and firewire drive.

New user settings? Right version of the OS (no accidental auto upgrade)?

--
Job ter Burg
film editor - NL

The crew over at Sesame Street turns 40 today. It takes a lot for that much
quality for that long a period of time.

Happy Birthday, Sesame Street  May the next 40 be just as grand.

http://pbskids.org/sesame/


this message was brought to you today by the letter L, and the number 2.

"IAN WILSON" (09-11-2009 23:02) :

> I think what you have to watch out for is the ARRI,
> Cannon and Adobe alliance around the new RAW standard that's an open
> standard and will most likely be ratified by SMPTE.

You mean there's a chance I get to toss the Rocket I just ordered in the
trashcan somewhere in the next few months? ;-)



--
Job ter Burg
film editor - NL

Back home on the Macbook pro and have spent the last two hours trying
to put one clip on the timeline.  Segmentation error continues over
and over and over.  Started new project, copied bins over, changes
firewire cable, ran disk utility on system and firewire drive.  I
could do some audio work and drop in a still shot.  But for today, the
problem is the same slo mo, or a new slo mo, will not drop in the
timeline without the error.  Like clockwork.  Happens every  time.
Is this a hint to anyone.  QT is 7.6.2.

Lou
On Nov 7, 2009, at 1:32 PM, Wes Plate wrote:

> On 11/7/09 1:26 PM, "Lou Wirth" <loutv@...> wrote:
>
> > "Segmentation fault" in thread "Main Thread", at address 0x0
> >
> > WHAT IS THIS?????????
> >
> > I am totally unable to use MC 4.02 at home because I can not move a
> > segment or, as of now, even place a segment in the timeline. Please
> > dont tell me to reinstall.
>
> I see this error all the time in Media Composer, pretty much ever
> since I
> started using 3.5 with OS 10.5. However I have had 4.02 working much
> more
> stabley than ever after making sure that rebuilt my configuration to
> what
> the README says is supported. OS 10.5.7 and QuickTime 7.6.2, and it
> has
> been much better behaved, I think the QuickTime version was key,
> before I
> let it get updated to the latest.
>
> I know you don't want to do it but try installing 10.5.7 with 7.6.2
> on a
> FireWire drive or another partition and see if that gives you a stable
> environment. Don't forget to deactivate MC on its current partition
> or MC
> won't activate for you on the new one.
>
> --
> Wes Plate
> Automatic Duck, Inc.
> http://www.automaticduck.com
>
>

Lou Wirth Productions
500Tamal Plaza, Suite 522
Corte Madera, CA 94925
www.louwirth.com
415-924-9411p







[Non-text portions of this message have been removed]

Thanks Job for the info, we have 2 RR cards, all they do at the
moment  is render ProRez in less than RT, they run at about 30 frames.

At the end of the day all we want is a solution that allows you to
work natively with .R3D format, no rendering . I am beginning to
think, it's not going to happen until RED allows the SDK to write RED
files (unlikely). I think what you have to watch out for is the ARRI,
Cannon and Adobe alliance around the new RAW standard that's an open
standard and will most likely be ratified by SMPTE. TWT

Ian Wilson
Colortape Productions
Ian@...
0418 327 082
Via iPhone

On 10/11/2009, at 8:04 AM, "Job ter Burg (L2B)" <Job_L2@...>
wrote:

>
> Since it turned out to be pretty hard to get decent and
> comprehensible info
> on the current state of Red Rocket and Rocket Cine-X, I thought I'd
> compile
> what I could gather so far:
>
> Required Hardware
> These are the minimum hardware requirements that the computer system
> has to
> meet if you want to use the RED RocketTM board.
>
> - PCI-e x16 physical slot providing at least 8 lanes (x8) - 2048 MB
> RAM
> Supported Operating Systems
>
> The RED RocketTM board can be used with the following operating
> systems:
> - Mac OS X 10.5 - Windows XP SP2 or later (Vista coming soon) -
> Linux (Red
> Hat)
>
> MXF files are now supported in RocketCine-X with DNxHD 36-220.  Burn
> is will
> add to the transcode times, but the increase in transcode time is
> not that
> significant.  Processor, Ram and Drive speed will increase help
> increase
> transcode times, however the RED  Rocket will be doing almost all
> the work.
>
> Metadata (through ALE or AAF) is very complete when using RCX to
> create
> DNxHD MXF Avid media.
>
> Reduser forums suggest that Rocket Cine-X software will turn
> multiple clips
> into a single MXF file, which I don't get, but could probably live
> with.
>
> The two ports on the back aren't DVI ports, they're DMS-59 plugs.
> They go to
> two breakout cables included with the Red Rocket that give you 4
> dual-lnk
> DVI outputs for realtime playback of Red R3D files to a 4K monitor or
> projector. That makes me think that the card is not a replacement
> for an
> NVIDIA card. If that were the case, I'd be interested to know if MC-
> Soft
> would run on it.
>
> For (especially European) film folks, it is good to note that
> currently,
> there appears to be an issue with 24.000fps footage. You may not
> create
> DNxHD 24.000p media with Rocket Cine-X on the Mac, but this is
> supposed to
> work on PC. From what I hear, this all should be resolved very
> shortly. See
> http://www.reduser.net/forum/showthread.php?t=35172&page=2 for
> details.
>
> Note that Michael Phillips mentioned in this thread that Avid will
> shortly
> be posting a step-by-step guide for Rocket Cine-X for Avid workflows.
>
> Have ordered a Red Rocket today, will try to update this info once
> the item
> arrives.
>
> Job.
>
>
>
>
> ------------------------------------
>
> Search the offical complete Avid-L archives at:  
http://archives.bengrosser.com/avid/
>
> Everything you MUST know about Color Correction in one book:  
http://tinyurl.com/ColorCorectionforvideo
>    Get your copy todayYahoo! Groups Links
>
>
>

Nice work Job!!

Thank you

Dom Q. Silverio



On Mon, Nov 9, 2009 at 4:04 PM, Job ter Burg (L2B) <Job_L2@...> wrote:
>
> Since it turned out to be pretty hard to get decent and comprehensible info
> on the current state of Red Rocket and Rocket Cine-X, I thought I'd compile
> what I could gather so far:
>
> Required Hardware
> These are the minimum hardware requirements that the computer system has to
> meet if you want to use the RED RocketTM board.
>
> - PCI-e x16 physical slot providing at least 8 lanes (x8) - 2048 MB RAM
> Supported Operating Systems
>
> The RED RocketTM board can be used with the following operating systems:
> - Mac OS X 10.5 - Windows XP SP2 or later (Vista coming soon) - Linux (Red
> Hat)
>
> MXF files are now supported in RocketCine-X with DNxHD 36-220.  Burn is will
> add to the transcode times, but the increase in transcode time is not that
> significant.  Processor, Ram and Drive speed will increase help increase
> transcode times, however the RED  Rocket will be doing almost all the work.
>
> Metadata (through ALE or AAF) is very complete when using RCX to create
> DNxHD MXF Avid media.
>
> Reduser forums suggest that Rocket Cine-X software will turn multiple clips
> into a single MXF file, which I don't get, but could probably live with.
>
> The two ports on the back aren't DVI ports, they're DMS-59 plugs. They go to
> two breakout cables included with the Red Rocket that give you 4 dual-lnk
> DVI outputs for realtime playback of Red R3D files to a 4K monitor or
> projector. That makes me think that the card is not a replacement for an
> NVIDIA card. If that were the case, I'd be interested to know if MC-Soft
> would run on it.
>
> For (especially European) film folks, it is good to note that currently,
> there appears to be an issue with 24.000fps footage. You may not create
> DNxHD 24.000p media with Rocket Cine-X on the Mac, but this is supposed to
> work on PC. From what I hear, this all should be resolved very shortly. See
> http://www.reduser.net/forum/showthread.php?t=35172&page=2 for details.
>
> Note that Michael Phillips mentioned in this thread that Avid will shortly
> be posting a step-by-step guide for Rocket Cine-X for Avid workflows.
>
> Have ordered a Red Rocket today, will try to update this info once the item
> arrives.
>
> Job.
>
>
>
>
> ------------------------------------
>
> Search the offical complete Avid-L archives at:  
http://archives.bengrosser.com/avid/
>
> Everything you MUST know about Color Correction in one book:  
http://tinyurl.com/ColorCorectionforvideo   Get your copy todayYahoo! Groups
Links
>
>
>
>

Since it turned out to be pretty hard to get decent and comprehensible info
on the current state of Red Rocket and Rocket Cine-X, I thought I'd compile
what I could gather so far:

Required Hardware
These are the minimum hardware requirements that the computer system has to
meet if you want to use the RED RocketTM board.

- PCI-e x16 physical slot providing at least 8 lanes (x8) - 2048 MB RAM
Supported Operating Systems

The RED RocketTM board can be used with the following operating systems:
- Mac OS X 10.5 - Windows XP SP2 or later (Vista coming soon) - Linux (Red
Hat)

MXF files are now supported in RocketCine-X with DNxHD 36-220.  Burn is will
add to the transcode times, but the increase in transcode time is not that
significant.  Processor, Ram and Drive speed will increase help increase
transcode times, however the RED  Rocket will be doing almost all the work.

Metadata (through ALE or AAF) is very complete when using RCX to create
DNxHD MXF Avid media.

Reduser forums suggest that Rocket Cine-X software will turn multiple clips
into a single MXF file, which I don't get, but could probably live with.

The two ports on the back aren't DVI ports, they're DMS-59 plugs. They go to
two breakout cables included with the Red Rocket that give you 4 dual-lnk
DVI outputs for realtime playback of Red R3D files to a 4K monitor or
projector. That makes me think that the card is not a replacement for an
NVIDIA card. If that were the case, I'd be interested to know if MC-Soft
would run on it.

For (especially European) film folks, it is good to note that currently,
there appears to be an issue with 24.000fps footage. You may not create
DNxHD 24.000p media with Rocket Cine-X on the Mac, but this is supposed to
work on PC. From what I hear, this all should be resolved very shortly. See
http://www.reduser.net/forum/showthread.php?t=35172&page=2 for details.

Note that Michael Phillips mentioned in this thread that Avid will shortly
be posting a step-by-step guide for Rocket Cine-X for Avid workflows.

Have ordered a Red Rocket today, will try to update this info once the item
arrives.

Job.

Last time I looked (with XDCAM HD), the disk label was no use and the
system blindly linked via clip name (C00001 etc). Dodgy.

On 9 Nov 2009, at 19:22, johnrobmoore wrote:

Can I ask since it was the addition of the tape name that caused the
problem shouldn't one not add tape names period, as Terry suggested.
I haven't had an EX project yet but doesn't the disk label, I think
that's the metadata, take the place of the need for a Tape name when
going back to the original clips/files?



+++
With best wishes,

Roger Shufflebottom
Avid Certified Instructor
http://www.bottom-line.tv
Tel: +44 1992 535 031 (UK)
Mobile: +44 7973 543 660

I need to read up more on the work flow.  My basic question is if using AMA I
mount the cards and or a folder with the cards contents and consolidate for
offline without adding a tape name when it comes to online can't I using the AMA
relink go back to the original full rez clips and or folder without ever having
to add a tape name?  Perhaps I'm mixing work flows but I thought there was now a
"Disk Label" that was sort of like a tape name but for file based work flows.  I
think the disk label is used in XDCam work flows.  It's good to know that there
are audio time code issues without a tape name.

--- In Avid-L2@yahoogroups.com, "Job ter Burg (L2B)" <Job_L2@...> wrote:
>
> "johnrobmoore" (09-11-2009 19:22) :
>
> > shouldn't one not add tape names period
>
> Then you will not have Read Audio Timecode, for instance.
>
> If you add tapenames at the beginning, no one will feel the need to add them
> later, thereby breaking links.
>
> --
> Job ter Burg
> film editor - NL
>

"johnrobmoore" (09-11-2009 19:22) :

> shouldn't one not add tape names period

Then you will not have Read Audio Timecode, for instance.

If you add tapenames at the beginning, no one will feel the need to add them
later, thereby breaking links.

--
Job ter Burg
film editor - NL

Can I ask since it was the addition of the tape name that caused the problem
shouldn't one not add tape names period, as Terry suggested.  I haven't had an
EX project yet but doesn't the disk label, I think that's the metadata, take the
place of the need for a Tape name when going back to the original clips/files?

--- In Avid-L2@yahoogroups.com, Tim Mangini <tim_mangini@...> wrote:
>
> Thought I would share with you a problem we had with next week's show and the
solution we came up with.
>
> Shot w/EX1.  Clips transferred to drive and organized into recommended 1 card
= 1 folder structure.  AMA linked the first 85% of the footage and transcoded to
15-1 for offline.  Last 15% of footage arrived late and was just worked with as
AMA clips.
>
> 1 week before on-line a drive w/all original source clips and offline sequence
was sent to us for test.  Opened in Symphony and AMA linked perfectly to
original files.
>
> This weekend the final sequence arrived with the media drive, but this time
only 15% of the media shows up.  It appears that only the material that was not
transcoded is linking.  Many hours were spent trying various methods before we
sorted it out.  Eventual solution found was to assign tape names via clip
modification first to the transcoded clips and then to the corresponding AMA
source clips.  Voila, we have relink.   This has to be done on a bin by
bin/folder by folder basis, so it is quite time consuming.  Of course this
project has "only" 35 bins and is 11 minutes long.  You can imagine how
problematic it would be for a much larger project.  Would be a very good feature
to have the Avid be able to "assign tape name by folder name" automatically. 
Would save a lot  of keystrokes and mouse clicks.
>
> Drilling down a bit, it appears that, between our successful test one week ago
and our problems this week tape names were applied to all clips in the program
but not to the corresponding original clips.  This "broke the link" that we had
to re-establish.
>
> Lesson learned is that if one is going to transcode, tape names should be
assigned during original ingest to both the transcoded and original clips.
>
> tim
>
>
>
>
>
> [Non-text portions of this message have been removed]
>

Does anyone know if the Sony F800 'Slow & Quick Motion' recording works with
Media Composer v4?

Kane Peterson
Midwest Media Group

<< Drilling down a bit, it appears that, between our successful test one week
ago and our problems this week tape names were applied to all clips in the
program but not to the corresponding original clips.>>

Since Avid wants to relink based on tape name and TC, assigning a tape name
after the fact will cause issues.

PS: Don't do that. :-/

Tim



To be clear, you are saying that one ought to add the tape names to the
linked AMA before the transcoding begins?



When you relink are you doing the online with the linked AMA material or
are you transcoding to DNx to finish the file-based workflow?



Rupert Watson

+44 7787 554 801

www.root6.com



From: Avid-L2@yahoogroups.com [mailto:Avid-L2@yahoogroups.com] On Behalf
Of Tim Mangini
Sent: Monday, November 09, 2009 5:13 PM
To: Avid-L
Subject: [Avid-L2] AMA relink conundrum





Thought I would share with you a problem we had with next week's show
and the solution we came up with.

Shot w/EX1. Clips transferred to drive and organized into recommended 1
card = 1 folder structure. AMA linked the first 85% of the footage and
transcoded to 15-1 for offline. Last 15% of footage arrived late and was
just worked with as AMA clips.

1 week before on-line a drive w/all original source clips and offline
sequence was sent to us for test. Opened in Symphony and AMA linked
perfectly to original files.

This weekend the final sequence arrived with the media drive, but this
time only 15% of the media shows up. It appears that only the material
that was not transcoded is linking. Many hours were spent trying various
methods before we sorted it out. Eventual solution found was to assign
tape names via clip modification first to the transcoded clips and then
to the corresponding AMA source clips. Voila, we have relink. This has
to be done on a bin by bin/folder by folder basis, so it is quite time
consuming. Of course this project has "only" 35 bins and is 11 minutes
long. You can imagine how problematic it would be for a much larger
project. Would be a very good feature to have the Avid be able to
"assign tape name by folder name" automatically. Would save a lot of
keystrokes and mouse clicks.

Drilling down a bit, it appears that, between our successful test one
week ago and our problems this week tape names were applied to all clips
in the program but not to the corresponding original clips. This "broke
the link" that we had to re-establish.

Lesson learned is that if one is going to transcode, tape names should
be assigned during original ingest to both the transcoded and original
clips.

tim

[Non-text portions of this message have been removed]




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[Non-text portions of this message have been removed]

Thought I would share with you a problem we had with next week's show and the
solution we came up with.

Shot w/EX1.  Clips transferred to drive and organized into recommended 1 card =
1 folder structure.  AMA linked the first 85% of the footage and transcoded to
15-1 for offline.  Last 15% of footage arrived late and was just worked with as
AMA clips.

1 week before on-line a drive w/all original source clips and offline sequence
was sent to us for test.  Opened in Symphony and AMA linked perfectly to
original files.

This weekend the final sequence arrived with the media drive, but this time only
15% of the media shows up.  It appears that only the material that was not
transcoded is linking.  Many hours were spent trying various methods before we
sorted it out.  Eventual solution found was to assign tape names via clip
modification first to the transcoded clips and then to the corresponding AMA
source clips.  Voila, we have relink.   This has to be done on a bin by
bin/folder by folder basis, so it is quite time consuming.  Of course this
project has "only" 35 bins and is 11 minutes long.  You can imagine how
problematic it would be for a much larger project.  Would be a very good feature
to have the Avid be able to "assign tape name by folder name" automatically. 
Would save a lot  of keystrokes and mouse clicks.

Drilling down a bit, it appears that, between our successful test one week ago
and our problems this week tape names were applied to all clips in the program
but not to the corresponding original clips.  This "broke the link" that we had
to re-establish.

Lesson learned is that if one is going to transcode, tape names should be
assigned during original ingest to both the transcoded and original clips.

tim





[Non-text portions of this message have been removed]

If I remember rightly it was to do with the timebase, you switched between
chop and alt depending on how fast the trace was. I think chop was for
slower rates and then you went to alt when you could see gaps in the trace.
I suppose it had to do with the persistence of the image. And I'll stop now
before we get into some diversion about projector shutters and persistence
of vision and show myself up as a bit of an old fart.

Russell Evans

DMS, the University of Melbourne

2009/10/28 John Moore <bigfish@...>

>
>
> Can someone remind me about the chop mode on Tek scopes.  I remember it was
> to view multiple channels and the signals were sequentially switched based
> on the time base selected or something like that.  I know I've chopped in
> the past but can't remember why.  Nothing like being an old analogue/digital
> fart.
>
> John Moore
>
> Barking Trout Productions
>
> Studio City, CA
>
> bigfish@... <bigfish%40pacbell.net>
>
> [Non-text portions of this message have been removed]
>
>
>


[Non-text portions of this message have been removed]