R3D files. Any suggestions or advice would be greatly appreciated.
Decklink 4K card is probably your best choice. I wouldn't do it unless you have the Thunderbolt 2 upgrade to the XMac and a Thunderbolt 2 connection on your Mac Mini, though. Even then, you're asking that little computer to do a lot and as great as Thunderbolt 2 is, the bandwidth is still severely limited. You would actually do better to get the new UltraStudio 4K that connects via Thunderbolt and connect it to the secondary Thunderbolt 2 port, assuming you have one of the new Mac Minis that has dual TB2 ports.
And going that route, the AJA io4K is a far better solution for all of this, but it doesn't work with Resolve, if that is a concern for you. Rocket-X accelerates the decoding, debayer and scaling of R3D frames. So it aids in all aspects of that, including editing. With the Mac Mini, it might because the computer itself isn't very powerful.
Which leads to the next round of questioning and further thought If you don't already have the hardware, then I would steer you in a different direction entirely. I would probably not bother with anything else in that second slot in the Xmac unit if you don't need it. Let the Rocket-X have and use all the available bandwidth all the time.
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Someday in the near future, we should hopefully have video output on the Rocket-X card that will display from Redcine-X. That's probably it, though. If you can live with p monitoring -- which I would recommend off the Mac Mini anyway, you would probably do better to buy a USB3 solution and connect that way. But we don't even know which Mac Mini you have Blair S.
Visions of 4K dancing in my head - Sorry Jeff for not giving enough info. I have not purchased anything at all yet which apparently sounds like good news. I'm really pushing for both x and x outputs and I don't really want to compromise there unless I absolutely have to. Would you suggest going with a Mac Pro instead? I want to stay in the apple world but I don't really want an iMac right now because I need the portability and I don't really like being tied to one screen, but I guess a laptop wouldn't be a terrible compromise if it was powerful enough.
Category: Final Cut Server
What do you think would better suit my needs? Last edited by Marcus Friedlander; at PM. Or should I go for a fully speced out Mac Pro trash can and forget the rocket card? Last edited by Marcus Friedlander; at AM. The 12G also gives HDMi 2.
It's looking like I may be better off with two machines than one. I need something right now that can handle. R3D workflow better then my four year old laptop, but with broadwell right around the corner this seems like a bad time to invest in a fully spec'ed out rig. To me, it looks like the best solution is to buy a the xMac Mini Server and Rocket-X card for my mobile needs ingest, transcode and projection Then, I can limp through the more processor intensive parts of post production until broadwell comes out.
My company doesn't really focus too much on post production but we want too! When broadwell does come out, i'll have the money to reinvest in a significantly more powerful rig that will hopefully take care of the duties of everything between transcode and projection.
I guess I'm trying to figure out what makes a Mac Mini along with an XMac rack mount unit "portable"? With the Macbook Pro, you actually get a portable computer with a nice, high-DPI screen to go along with it. It's a bit dated now and not terribly powerful, but still offers some acceleration benefits. This last option allows administrators to remove episodes from the Podcast Producer library based on the UUID of the episode. I hope to publish an article on this at some point in the future, but the idea is a workflow where you drop an image and a video into a folder or use an upload dialog and it watermarks the video with a compressed-down version of the image… Also, avconvert offers a perfect compliment to podcast workflows.
trigotontibar.cf Forum :: Topic: Mac Mini for 10gBe server (1/2)
With launchdaemons watching directories this provides some of what Final Cut Server was able to provide, only without the database of assets, easy way to tag them, etc, etc, etc, etc. Overall, a very nice incremental update to Podcast Producer and en masse video management in Lion.
Nothing jaw dropping or massive, but some nice new features, better documentation and in my testing so far, more overall stability. But today, Amazon announced that S3 now supports files of up to 5 terabytes using multipart upload previously the maximum file size was 5 gigabytes. However, this does not mean that traditional disk-to-disk backup solutions can be leveraged to provide a good target for backups and archives as backups need to be performed using the multipart upload.
The ability to now use S3 for large files allows us to finally use Amazon S3 in a way that is much simpler that it was to do so previously, although it is still not as transparent as using a file system or URI path. Overall, this represents a great step for Amazon and I hope to see even more of this in the future!
The Xserve has officially been discontinued by Apple and will no longer be sold after January, Apple has produced a transition guide, available here. Before the Xserve, we used to buy Marathon rack mount kits for G3 and G4 systems. I would anticipate that a new business will spring up that takes the place of the Xserve, putting Apple logic boards and CPUs into a smaller U configuration, although if that were profitable perhaps Apple would still be doing it… Either way, we had a good run with Xserve sniffs and queues up a sad song.
Remember, remember the 5th of December, the day the Xserve was killed! Final Cut Server has an option to archive and restore assets. When archiving an asset, the asset will be moved to a file system path that is represented by the device ID.
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The archival and restore can be done using the steps shown in this video: The process of archival and restore can be kicked off from the command line, which will initiate the movement of the asset. This will require you to provide the asset ID number along with the device that you will be archiving the asset to.
Because a production can have a number of attributes, a great way to do this is to create a template production and then make copies of it or clones when you want to create subsequent projects. The -name option will allow you to set the name of the production which would then be followed by the unique ID of the production template that you manually create using the Final Cut Server application.
We could also use Transmogrifier to easily return the assetID once it has been created in Final Cut Server, allowing that to be returned to the application that might be calling up this script. This allows you to integrate the asset and production creation part of Final Cut Server with other solutions, such as a PHP web upload application, FileMaker or even another Digital Asset Management solutions.