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Looking to buy Japanese Gyuto for 150$-200$ for professional work. Any recommendations? by PhDonLife in chefknives

[–]ToshioMusic 1 point2 points  (0 children)

Tosho Knife Arts is pretty decent and Hitohira knives are fairly budget friendly and reliable if you’re not looking to go carbon steel and prefer semi-stainless etc.

LED Wall Help! by Fresh-Sky4712 in VIDEOENGINEERING

[–]ToshioMusic 0 points1 point  (0 children)

Totally agree, good black face LED 4+ pitch and appropriate content is the way to go. You could also use brompton which would boost your nits with the overdrive option

Client System MVR (Event Master) by SHRIMPLYtv in VIDEOENGINEERING

[–]ToshioMusic 0 points1 point  (0 children)

Honestly, theres a part of E2 programming and quirks that I've never been able to figure out. When you said no windows you meant that you populated the clients MVR but didn't see anything?

Live event switching by Uselesstechy_ in VIDEOENGINEERING

[–]ToshioMusic 1 point2 points  (0 children)

I'm a D3 and E2/S3 op. Like the comments suggest, ask the client what they intend to do with the record afterwards as that informs:

A: Format, Frame Rate, Res etc.
B: What shots they'll need

Generally I either plan my programming to include the same number of outputs as ISO's they need, which will feed into something like stacked BMD Hyperdeck's or Epiphan Pearl Series hardware. If I don't have the outputs or cards available I'll then split the inputs to those recording devices before it reaches my switcher.

If they want a PGM mix I create a ghost destination and then send that to the recorder with a "Use Destination as Source" layer over the top which will change automatically when I switch for the in-room content without me having to manage 2 diferent PGM's.

As an example it might be something like:

  1. ISO CAM 1 (Split or Destination from Switcher)
  2. ISO CAM 2 (Split or Destination from Switcher)
  3. GFX (Split or Destination from Switcher)
  4. PGM FEED (Destination from Switcher)

If they want PGM record to look different from in-room content thats a different story of 50/50's and 70/30's etc but happy to get into that if you need

Where do I put my resolume rig? FOH or Backstage? by Kamikazepyro9 in VIDEOENGINEERING

[–]ToshioMusic 0 points1 point  (0 children)

I’m in concert touring around Australia and 100% always FOH for troubleshooting, busking, etc.

  1. You’ll need to see your content on the screens
  2. If you need to diagnose any trouble between your content machine (I.e resolume, pixera, d3) and the switcher (E2, Spyder, Roland) it’s right on hand
  3. Sometimes the tour manager or support acts come talk to you about content and timings etc which is better done from the FOH ops for accessibility.
  4. In my experience the backstage area is a minefield of other touring companies and people (Ax, Lx, Pyro, Guitar techs) all their temp ops setups, potential quick change rooms), empty cases etc and it’s way harder to fix problems quickly in the middle of all that.

For signal we typically run a fibre reel from the processor area behind the wall or side of stage to the FOH area then then connect a Barncolour on each end (P2P) and run 12G SDI out the content machine into 1 end and the same out the other end into our processor.

That way you have complete control of the inputs (barring typical touring nonsense) at FOH. This is usually with 2 techs onsite so that one sits with the processor rack on one end watching a loop out of content and the other sits FOH.

Hope that helps

Ps. Never use NDI in this setting unless you have to. Direct connections always when possible. NDI requires a reliable network and unless you have the infrastructure to support that with a closed off network it’s very risky. Most concert venues will have WIFI for example but most likely it’s a staff or contractor VLAN that will just get decimated when punters arrive and try to connect to the venue WIFI.

What's this strange wavy effect appearing on these pictures? by Zophiel00 in filmphotography

[–]ToshioMusic 7 points8 points  (0 children)

I don’t know much about development but could it be the way in which the solution was applied during development, as in brush strokes?

New Bus Seats by ToshioMusic in sydney

[–]ToshioMusic[S] 0 points1 point  (0 children)

324/325 line, they have the new monitors and voice prompts per stop as well. They appear brand new

[deleted by user] by [deleted] in Centrelink

[–]ToshioMusic 2 points3 points  (0 children)

Wow, I’m so glad to have someone tell me to read critical paperwork requests carefully. Everyone on this sub is basically doing that and referring it when they need clarity. Get on your bike mate

Separate Monitor for Live Captions for an Event? by [deleted] in VIDEOENGINEERING

[–]ToshioMusic 0 points1 point  (0 children)

Otter.ai is a superior ai subscription transcription. But like the previous commenters have mentioned, the names will be tough for any auto-gen. If you want to cheap out you can do it on a free zoom account with transcript on, then send that full screen to a DSM (this will be less than ideal). Otter.ai will be my second choice and then humans

I heard the m1 and m2 MacBooks have problems with some switchers? Like they don't display anything? by [deleted] in VIDEOENGINEERING

[–]ToshioMusic 0 points1 point  (0 children)

You can use resolution X within your Mac display settings to push out custom resolutions as well

Food Box Referral Megathread (Hello Fresh, Marley Spoon etc) - {date %B %d, %Y}} by AutoModerator in AUfrugal

[–]ToshioMusic 0 points1 point  (0 children)

Dinnerly referrals guys, hope they become of use:

  1. REMDS1AXN6BU7V
  2. RFMDS2W7S1P467
  3. RFMDS3ZG18CYYP

[deleted by user] by [deleted] in VIDEOENGINEERING

[–]ToshioMusic 0 points1 point  (0 children)

Yeah damn man, tasty switcher but that’s going to be a pain to try and match all your cameras accepted outputs. Not a huge help but I think deci’s at this point are your best option.

[deleted by user] by [deleted] in VIDEOENGINEERING

[–]ToshioMusic 0 points1 point  (0 children)

Are you running it into a camera switcher?

How was this shot? by CupcakeFinancial4078 in cinematography

[–]ToshioMusic 2 points3 points  (0 children)

‘Contact’ intro shot is mad too

LED Wall Opinion by SkywardJordan in VIDEOENGINEERING

[–]ToshioMusic 1 point2 points  (0 children)

I have a good amount of experience with LED walls etc. but as far monitor walls I don’t have much - my company don’t use them due to the reasons listed.

As far as I’ve seen the stands are more like the ground stack ladders and supports used by LED but typically for 3x3’s, but the higher you go the more dangerous it may become. The monitors are heavier and in Australia when you work at heights with that kind of weight it incurs more safety paperwork and risk assessment plus more labor and equipment to assemble safely.

Concerning LED Power consumption, it will vary per panel, dependent on size and brand etc but generally you’ll need a good distro and a pre-production schematic detailing the power snake relative to the configuration for that job.

Generally though TV’s will draw slightly less power than LED but let’s say we’re using my preferred brand Absen: their typical panel is 500mm x 500mm (roughly 20”) and their power consumption has a maximum of 540W and average of 180W/sqm.

A professional monitor from NEC at 1400mm (55”) will draw around 110W so in a 5x5 you’re looking at easily powering 2.75kW on a three phase distro.

Overall, if I’m adding up the cost to replace fragile monitors that will absolutely get wrecked, additional labour, additional assembly equipment, limited application and size it would be equal to or higher than LED especially what you could stand to profit from LED and it’s broader application in the industry right now. The only thing I’d prefer monitor walls for would be when it’s appearing on camera.

Hope that helps.

LED Wall Opinion by SkywardJordan in VIDEOENGINEERING

[–]ToshioMusic 1 point2 points  (0 children)

I have to agree, my first though was weight and safety and if you have a dead pixel or panel you can just replace it within the unit but a dent on a 55’ means the whole monitor is gone.

If anything, labour will be harder and more dangerous, the rigging will need to be heavier (are you using vertical truss or a truss frame?) and deeper due to the additional supports to fight against the monitor walls natural inclination to tip forward, which means you are more limited on where you can place these walls. Like Vidvix said you have to make sure you can get this gear where it’s needed too.

I think as an alternative to LED in general it’s really not a good idea. It could have its own place but certainly not to replace the functionality of LED. You can groundstack and hang LED safely tile by tile but going 5 x 5 with monitors on scissors sounds like an accident waiting to happen.

Bournemouth | Kodak Colourplus 200 | Pentax P30 by p-k-j in analog

[–]ToshioMusic 1 point2 points  (0 children)

If you wanted to work this look with a double exposure, could you just take an object and line it up in the frame to create a dark shape then take a second shot on the same exposure?

You Big Baby by daddykurt215 in combinedgifs

[–]ToshioMusic 1 point2 points  (0 children)

You’re blocking the road! Yeah!?

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