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Steve Farris

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About Steve Farris

  • Birthday 08/12/1961

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    http://www.soundimages-usa.com/

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    Male
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    Portland, Oregon

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  1. I went through this same debate recently for a large project. I always used to use the Disguise plug in for Media Encoder, but since it hasn't been updated I was unable to make it work. I tried After Codecs and Jokyo for a plug in option, and Shutter Encoder as a stand alone GUI option. I didn't detect much difference in the final outputs, and found all options simple to use once I learned the interface. So basically it is fielder's choice. YMMV! Steve
  2. Hello Tom When we got rid of all our old PAX stuff, we sent the batch down to Barry Fluster at Media Fabricators. I have no idea if he still has any left, but for a while he had quite the stash. Good Luck, Steve
  3. I had the license key in a USB 3.0 port, once I moved it to an older 2.0 port all was good.
  4. This may or may not be relevant, but I recently had a similar situation. After looking at the logs on the display, it turns out the license key was disappearing at random intervals. So something caused the license to disappear from Watchpoint, which crashed Watchpoint and then Watchdog restarted it. After rebooting the display, I had no more problems. My guess is something about the order that the key driver loaded caused an issue. BTW, I also have TightVNC on the display. Again, may or may not be relevant.
  5. I have also been a faithful cheerleader of WO (since version 1). And I have to say, disguise has really been hitting my inbox during the pandemic with free seminars and tutorials. I still feel like I can do most anything asked of me with Watchout, just interested in where we go from here. Steve
  6. Live update can be useful, but I have seen this same issue. As a result, I save live update for when I really need it.
  7. As I recall, Barry Fluster at Media Fabricators used to have a pretty good stash of all things Trax. When we sold our building and cleaned off the shelves, we sent all of our Trax gear down to him. That was about 3 years ago, I haven't heard from him since then. http://www.mediafab.com Steve
  8. I'm diving in to a project with several odd shaped LED walls, and virtual displays make an elegant solution. In the manual, it warns to be careful about creating too many virtual displays ("Using a large number of virtual displays may degrade the performance of your system.") I'm just trying to figure out how many displays will start degrading performance. I realize this is dependent on my system, I'm trying to understand how virtual displays impact overall performance.
  9. I would second the preference for HAP. It is very high quality and playback is much better than any other format I have tried. I will sometimes use ProRes, but that is generally in a "get it on the screen" mode when that is the format delivered. If you can do a minimal amount of planning, there are plug ins for Adobe to allow rendering directly to HAP. Once I started using HAP, I've never looked back.
  10. So sad to hear. Thomas was always a great contributor on this forum and an asset to the community.
  11. Adobe has responded to the request thread asking to bring HAP back, and they say it is now in the latest release. https://adobe-video.uservoice.com/forums/911311-after-effects/suggestions/33853372-support-the-hap-codec?tracking_code=f30b83b57ef5a3a3eec8c04c7bad6399. There is also a plug in developed by Disguise that will add HAP encoding to the CC products https://github.com/disguise-one/hap-encoder-adobe-cc/releases.
  12. In the windows display control panel, you can say "identify all" and windows will put a number on each screen. Those are the numbers Watchout will use.
  13. I don't know that i can answer about "real advantage", although I know our editors want to work in 23.98 (since that is what they shoot the original footage at). My experience is that using native 23.98 in WO can result in stutters during playback as WO needs to do a real time conversion to 30fps. The best results I have achieved are to do a render of the final file to 30fps before bringing it in to WO. Since I need to do a render for the HAP file anyway, it doesn't add an extra step to the process.
  14. Hi Walter I had a sense that virtual displays could solve the problem, but as I said I haven't tried to do that. I'm wondering about adding "self created" blend masks - if the virtual displays are configured with blends, wouldn't Watchout add the blend masks? I haven't experimented much with this kind of situation. I sounds like this would be a way to create 16 HD displays from one computer, although the machine would have to be pretty beefy to keep up with that much throughput!
  15. I have used this concept for input by setting up a 4k output from Keynote and importing through a Datapath card to create a 4 screen input. I have also sent a 4k output through a Datapath Fx4 to create 4 displays. I don't see any reason you couldn't scale to more outputs. One issue you could run in to is that Watchout will see the displays as single 4k displays and won't do any blending between them if you are trying to do a blend. You would have to manage the blend outside of Watchout, and your stage layout will not be able to represent the layout of the displays. On the input side, I can create 4 separate instances of the 4k input with different cropping in order to differentiate between the individual screens. You might be able to accomplish the same thing with virtual displays on the output side. However, I haven't tried to do that.
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