22 Oct
2015
22 Oct
'15
10:38 p.m.
Am 22.10.2015 um 16:35 schrieb Jonathan K. F. Jensen via DCPomatic:
1. Upload the material for conversion
(still/video/separate audio).
2. Create project and Input metadata (dcp name, kind, bitrate, etc)
3. Be able to choose Audio Analyse and get either just the peak or maybe even a graphical
representation (like in DOM).
4. Choose to put the DCP in queue (that doesn't start until you tell it to) or encode
it right away. (transfer DCP to FTP/SFTP)
Encoding would happen on local machines on the LAN or on just one machine. It would
basically be a web frontend for DOM
But they can do all this already now by running their local copy of DCP-o-matic? Yes, you
would say that with a web-frontend, no local installation would be necessary. But who
would think of a work scenario where multiple people would routinely do DCP
creation/conversion, but would not be allowed a local installation of a DCP conversion
software (and one that is more or less free of side-effects like DOM is)?
Dynamic render node allocation would be an interesting task, but I think we are getting
into a VERY professional scenario here. I can hardly imagine why so many people would
routinely do so many DCPs?
Carl, usually we talk about one DOM Master GUI talking to many render nodes. What if two
DOM Master GUIs try to talk to the same render node?
Regarding Jims approach of unattended batch conversion - sorry, but we DO already have the
issue of so many festival films being in weird formats suffering from unprofessional
mastering. How could an automated approach for a DCP conversion improve that situation?
No, if one is converting all festival films into DCP for ease of presentation, it should
naturally go with a quality check before the conversion that makes sure every major aspect
of the film and its conversion is controlled by a trained person. Yes, 300 is a lot, but
that is just what festivals are about. A festival should pay respect to the artwork it is
aiming to present, and should not deal with it like canned beans for reasons of
efficiency.
Settting these projects up for conversion is not such a big deal and HAS to be done
manually, the J2k coding is still the major time consuming part of this job.
Preparing 300 films for presentation simply needs time. Shooting them took it's time
as well. That's just the way it goes - after all, an all-DCP presentation scheme does
save a lot of time and hassle already, that can be invested in proper preparation.
Create a festival database, feed it, setup DOM for every film, check format, color
conversion, audio channels, levels, etc. send it to a batch conversion queue.
- Carsten