Archive for category RED

Network Rendering with MetaFuze

Avid MetaFuze is a tool from Avid Technology that converts various video formats (most notably DPX and RED RAW) into native DNxHD media that can be used with Avid’s editing products. The product ships with two interfaces – a GUI for direct transcoding, and a command-line version more suitable for scripting.

A small number of modestly powered computers can be put to work transcoding media from a large pool in a shorter time. However this isn’t something that MetaFuze will handle natively and must be managed.

Networking
The most important part of distributing the transcoding over a number of network computers is making sure all the client computers have access to the source files.

To achieve this, the easiest thing is to create a network share on the ‘Master’ computer which contains all the source files for transcoding. Once the share is created, you can then map this to the same drive letter on all computers, which will ensure that file paths are consistent on all client computers.

In this case, we’ll assume that your local desktop PC (called ‘WORKER’) contains all the source files in E:\Video\REDMedia – create a network share for the E:\Video folder, which will then be accessible as \\WORKER\Video on the local network. On all computers (including your own desktop) you can then map that network location to the drive letter Z:

Job Setup
MetaFuze doesn’t natively provide any method for distributing job instructions to multiple machines. All transcode jobs are stored in a single file. To address this I’ve created a tool called BatchFuze Extactor which will take the XML project file from MetaFuze and split it into single files for each source file.

To create these job files simply follow the standard procedure for creating a transcode batch in MetaFuze, save the project, then open that project XML in BatchFuze Extractor and choose where to save the output files.

For the purposes of networking it is important that all file paths be accessible to all client computers, so even if the source files reside on a local drive on the computer that is running MetaFuze it is important that the source files be accessed with a network path. Following the basic sharing method above this would mean it’s important to location the files through the Z: drive.

If the files are to be rendered back to a network drive, it’s equally imporant that the target location for transcoded files also be available on all client computers. If you’re planning to render to the local client machines then the path must be valid on all client computers (create E:\Video\Transcoded on all rendering computers, for example).

Whatever file locations are shown in MetaFuze when you create the Transcode batch are the ones that will be referred to by the client computer when transcoding.

Distributing The Work
Once you have a collection of individual XML batch files you could simply roughly divide them on to the client computers, and get MetaFuze to process each batch in turn. This will require a simple batch file.

Alternatively I am currently developing an application to manage this process across a network. One computer operates a server, distributing the batch jobs, and the remaining computers run a client which communicates with the server, receives jobs and passes those jobs on to MetaFuze for processing.

This application is currently at a Beta stage, if you’re interested in testing it, please get in touch with me by email: batchfuze -AT- dylanreeve.com

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RED Expectations

The following is the text of a post I made on a forum as a general response after someone was asking about how best to set up budget/low-end 2K monitoring and finishing for the FCP system..

I reckon Jim Jannard and RED have a lot to answer for when it comes to messing up expectations.

I love the RED One camera, I have now worked on set and in post on a number of RED shoots (all destined for no greater than 1080 in the end). It’s a camera for $18,000 (we’ll ignore lenses and accessories) that can shoot 4K!

Every indie filmmaker in the country is now convinced they can cut their opus in 4K in FCP and have it projected at the local Multiplex for less than it costs to sponsor a kid in Africa.

They are very mistaken. Yes, they can shoot RED, in 2K, 3K or even 4K. Yes they can cut it in FCP (or Avid, or Premiere, or whatever if they are game to play around). But the 2K or 4K finish, there’s the rub. FCP can, in theory, work with 2K resolutions. But it’s far from simple at that point, it’s not like video. You can’t just spit it out. There are huge issues to consider about LUTs, delivery, compression, audio mastering.

My advice to anyone thinking they ought to get into 2K on the cheap is, don’t. Wait. Stop. Think about it. FCP and Color and all the rest are good tools, but this isn’t really their strongest area, and chances are it’s not yours either. There are product and people who really know what they are doing and do it well. Those people and products are what you need. Shoot 4K, edit the proxies in FCP or Avid or whatever, but when it comes to the finishing, if you want any bigger than 1080 then it’s time to find a friendly expert. Hire/beg some time on a Scratch or Pablo or Smoke with someone who really knows their stuff. The future nightmares will be reduced and the quality of the end product will be increased.

2K will come to your desktop in time, but wait a while.

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