nickl

It would also be nice to know about his storage situation see whether that is part of his problem.

I was recently playing around with learning about Win32 and C++. MSDN has a code sample that simply opens a blank window, using CreateWindowEx, etc. I was learning about how the window is closed, and this is my understanding of the process. When the X button is clicked or Alt+F4 is pressed, a WM_CLOSE message is put on the message queue to the window. By default the WM_CLOSE message is evaluated by DefWindowProc function and posts a WM_DESTROY message onto the message queue, after the removal of the window. The WM_DESTROY should have a special case in your switch inside of your WindowProc function, which is supposed to call the PostQuitMessage(0) function, which would then put a WM_QUIT message on to the message queue. This WM_QUIT message is then evaluated by the GetMessage function in the condition of the while loop that runs the TranslateMessage and DispatchMessage that would normally call your WindowProc function, but when WM_QUIT is taken off of the message queue the GetMessage function evaluates to 0, stopping the loop. I am now curious what happens when I comment out the PostQuitMessage inside of the WM_DESTROY case of my switch inside WindowProc. When I do so, it opens the window as usual, and when I click the X button, it closes the window as I would expect. The task also seems to end in task manager. However, in Visual Studio, it seems to think that the program is still running until I click the stop debugging button. What is happening in this case? What I think is happening is that WM_CLOSE is being put on the message queue, being evaluated (by default) to WM_DESTROY, after the window is destroyed and not bring drawn. However, due to me commenting out the PostQuitMessage function, the Translate-/Dispatch-Message function loop isn't stopping, and not terminating the program since the wWinMain function never reaches the return 0; statement after the while loop. Does this explain the fact that VS thinks that debugging isn't over? And if this is the case, why does task manager not seem to recognize this? However, when I stop the debugging, Visual Studio claims that the program ended with exit code 0.

Another option for recording audio outside of your camera would be some kind of Zoom recorder with a shotgun or omnidirectional mic. Depending on what kind of work you are doing, you could also use lavalier microphones. Rode makes a lav that plugs into a smartphone so you can record that way.

I believe that he uses Cineform because it leverages the GPU horsepower of the Titan X's in the editing workstations that they use.

I have used DaVinci Resolve and I liked it. While I did have to work around some audio and video codec limitations (I used ffmpeg) it did work well. I still prefer Premiere and use it when I can, but Resolve works fine too. I like the color correction features of Resolve more than those in Premiere, but that would make sense as it is a program that is dedicated to color correction. I heard about HitFilm and was thinking about using it, but I settled on DaVinci and didn't try HitFilm.

Thank you both for your responses. I'll look into these solutions.

Hi All, I'm pretty sure this is the right place to put this: Take a situation in which I want to distribute image files to a number of people, and I have rules by which they may use the files. However, I find that someone (whose identity I don't know) has broken my rules, and I would like to identify them. How would I go about determining their identity. I would assume that this would require the addition of some unique identifier at the time that I give them the data. Optimally, the embedding of this data would be fast to perform and would not damage the image, and would remain intact if the image was cropped. I assume that if someone manipulated the image further, such as by changing hue or saturation or whatever, the data would be lost. Of course, it would need to be robust enough to ensure you can't do something simple to get rid of it. I don't want code specifically, mainly just stuff to read up about. Would it be some kind of stegonography such as LSB or jsteg? -Nick

For Maya, you would want to use Backburner, as @Electronics Wizardy has said. You can find information about it here, as well as searching for Maya networking rendering on Google. Although I have not done it and it does not seem as simple to me, there are "instructions" that you can find here discuss a similar idea for Blender. In general, Google the term network render or render farm with the software that you are using. For most software like this, there are ways to do this. Blender doesn't use Backburner, AFAIK. It is only for 3DS Max and Maya, Autodesk products. Blender uses different tools, such as the Network Render plugin that you can read more about here. A video tutorial can be seen here.

L, M and S are different resolutions, while the curves to the left are the amount of compression.

I wanna see Linus use his connections with supermicro, kingston, nvidia, and intel to make a build in one of these babies: http://www.supermicro.com/products/system/7U/7088/SYS-7088B-TR4FT.cfm I want to see a 192 core build with 6tb of ram and up to 8 x16 and 7x8 PCI cards...

I have used the Newtek Tricaster (410 with the advanced software or whatever), and it works pretty well. It has built in support for live streaming to multiple video streaming sites, if you want to do that sort of thing. The problem with it is its really high cost, which (including a control surface) can get in the >$10K range. For cameras, some PTZ's would work fine, and I believe that some of the TriCasters have some sort of built in PTZ camera control system, but you would have to look into that to see if that would work for the cameras you want to use. I assume you will be using the existing camera that you have as the manned camera.The TriCaster 410 has only SDI in, which has been an issue for us as we have to convert our cheaper HDMI cameras to SDI for them to feed into our switcher. This is yet another thing to make sure your cameras will work with. For your idea of connecting the projectors and screens to the switcher, I'm not sure how well that would work, as unless you are really rich, I doubt there is a single switcher capable of driving 6 screens with different content on each... You may need to get creative to route the various signals around... I would appreciate a few clarifications: Why would you want a dedicated encoder card? Is there a reason that you need to have a USB connection to the mixer, or could you do it with XLR or TRS cables? The layout and desired content on the various screens. I would appreciate a diagram if possible. What is the desired audience for the production? (Just curious the quality that you want)

I'm pretty sure there is software from GoPro themselves that is supposed to de-fisheye the footage.

Yeah, I tried doing it otherwise, but it didn't seem to work. As far as I can tell it takes a bit of fiddling to work. OP might be able to use the copy stream option under the Video-Codec drop down.

As ALwin said, DSLR's often have record limits up to 30 mins. It should say that there is a time limit in the camera's specs. I have also had the problem with many small files, I was dealing with max file sizes of 4GB and it was really annoying. If you are planning on recording long events, I would suggest getting a camera that either supports large card capacities, or that offers relay recording between 2 cards. I think that a DSLR might be a good choice, I would just keep in mind what ALwin says, as well as the fact that a DSLR may produce better images, just with more fussing and more expense for external equipment.

I ended up using these settings and it worked just fine with Resolve 12.

I have run into this problem and I used "Satria's SmartFFmpeg" software to transcode the audio and then import it into Resolve. It should work well after that.

Very good thoughts, thank you. We were planning on getting every camera kit a 7506. I already posted in the audio thread about that decision. I was thinking of getting 1-2 (or maybe even more) H6's. Would something else like an F8 be better suited to the full bag setup? I completely understand that it is very nice to have a big bag as it enables you record your audio as well as operate a boom. ATM, I think I have bigger problems... with 3 weeks from school starting, we have finally talked to the teacher who's going to be actually teaching this thing, and he is planning on buying 12 HDSLR kits. I know, its nuts... I can't imagine having to teach 36 students how to connect up, use and troubleshoot HDSLR rigs. (as well has how to use them with tripods, shoulder mount kits, and steadicam's, etc.) I don't even like doing it myself, and I don't know how he imagines he can teach it either. He is also supported by the theater teacher who has a connection in the film education world who have gotten HDSLR kits, as well as full RED kits both of which have been used by students that actually care and are dedicated to the art, so that works out... He also has the idea for the students to use iPads to film and use iMovie on them to introduce the students to storytelling (for a week, so it isn't that bad)... Its gonna be a tough nut to crack before we pull the trigger on $50K+ of equipment, which the Director of Tech wants to do soon to get the class off of the ground. Help. P.S.: I've been working on a giant list and spreadsheet of everything that we might need to get for the class, and you (ALwin) probably have seen my tons of threads here about how to do this whole thing. I completely understand that I can't run this thing nor can I dictate purchasing decisions, as I won't be teaching it, but I think I should sit down and talk with the teacher about these decisions.

We will get one of those. I have used the H6, and its amazingly useful.

I was going to get blocks for each one, but on second thought, we wouldn't really need blocks for the ones that don't have the ENG mic...

Just as a sidenote, I completely forgot that Focusrtite released a second generation of their 18i20, and was staying away since their firmware was not listed as OS 10.11 or Win 10 compatible... I think we will go with that instead then.

For the camera kits, we will be getting NTG-2's and RodeLink wireless kits (they are cheaper than the Sennheiser equivalent, but we could get either), and for 3 of the 6 kits, we will be getting either Rode Reporters (dynamic omni ENG mics) or Sennheiser MD46's (dynamic cardoid ENG mics) We will get SM58's.

We will be getting some SM 58's, but they aren't great for every situation, so we would like to get some more variety.

Hi All, I was wondering what microphones you all would recommend for the high school class that I'm helping set up. You can read more about it here and here. We will be setting up a small recording space and we need microphones for it. We will mainly use it to record voice overs, maybe some foley, but others will probably want to use it for music and vocal recording once they realize that we have something like this. My main question is what models/kinds of microphones would be best for this use. We will be getting the Tascam US 20x20, or a similar audio interface. The US 20x20 has 8 microphone inputs, with switchable phantom power in groups of 4. What microphones would you recommend getting? I would like to get a variety of kinds and maybe brands to expose the students to a wide range of mics. /summon @ALwin (I know you've already addressed this question somewhat, any more input that you may have would be appreciated )

I have in passing talked about building our own with the administrators at our school, and although I totally agree that we could get better deals, and we probably would get a lower price/performance ratio, we would not get any support and if anything broke, it would be completely our responsibility. In an enterprise situation like this we need warranties and we need reliability. We were looking at getting about at 50% discount on 24 1440p, UltraSharp, PremierColor, 27" Dell Monitors, and having 10-12 Dell Workstations in the mix could only sweeten the deal. Edit 1: We also want continutiy between the machines. We don't want 1 ancient Dell along with a few unreliable gaming rigs with some crappy HP ProDesk's thrown in the mix. In the last incarnation of this class we had the teacher doing their own thing with the computers, and the Mac Pro towers that he had were all over the map in age and performance. Its no fun. We will buy and refresh them all simultaneously.

I don't think that our cameras will be outputting ProRes, so I don't think it should be a big problem. Not that our cameras shoot in it, but is DNxHD/DNxHR have similar quality to ProRes? The course I think is going to be some "live" switched "shows" like news or maybe simple interviews, but we also really want the students to get into film-making... I suppose we will let people bring in their own cameras if they have them, but we will also be buying 6 Sony PXW-X70 cameras (they record in XAVC).