Stories of OLD FLAME

@andymilkis happy to take part in that stream if a non-artist perspective is of interest?

Geeky Flint(RT) stuff: the Indigo2 Impact (the magenta one) still only had 2 x Fast/Narrow SCSI busses (one of which was internal, so we had that ugly cable/bracket to bring it out to the back of the machine), which limited you to around 15MB/sec of disk I/O (using a small 4 drive array). Y’CbCr 4:2:2 8 bit D1 video is 20MB/sec, RGB 4:4:4 is 30 MB/sec, so not enough disk I/O for real time capture/playback. Also the MIPS R4400 systems were limited to 384MB of RAM (the later R10K model could take more, but for some reason I don’t remember I don’t think we ended up supporting the R10K models).

We implemented “burst mode” video capture: we would capture to memory in Y’CbCR 4:2:2 while trying to drain to disk as fast as possible, but at some point the memory would fill up and we’d have to stop and wait for it to drain to disk, don’t remember the how long a burst you would get but around 15-20 seconds maybe? And once your clip was fully captured, we would go back and post-process to convert to RGB 4:4:4 in non-realtime. Similarly for output we would first pre-process from RGB 4:4:4 to Y’CbCr 4:2:2, pre load as much in memory as possible, and then output in chunks, emptying the memory buffer faster than it could be filled by limited disk bandwidth.

Full res playback could only happen from memory, or in proxy res from disk.

FlintRT was an attempt to offload real-time capture, output and playback to a dedicated DDR called Pebbles. Unfortunately a decision was made to use a type of IBM disks which used a novel serial interface called SSA (Serial Storage Architecture, long before SATA or SAS was a thing), and those drives had terrible reliability and performance problems, which hobbled Pebbles.

By the time these hardware problems got resolved, the Octane was on the horizon. Most importantly, Octane had more than enough I/O to do D1 RGB 4:4:4 I/O without standing on your head: it had an external Ultra/Wide/Single Ended SCSI port which could do 35MB/sec by itself, and could take the 4 port XIO Ultra/Wide/Diff SCSI card or the 2 port XIO 1gbit/sec copper FC card, which eventually proved even fast enough for HD I/O on the Octane 2.

It was a blessing and a curse to be so closely tied to the SGI platforms: it let the software do things that other systems typically could not at the time, but it also drove some product decisions that didn’t always make clients happy. From the perspective of a developer, we always tried to do the best we could with the platform.

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Hey JFP! I was totally going to reach out to you for that show! Thanks man. Ahhh…the RAM only playback :grinning::fire: That’s great stuff, man. Thank you for sharing!

I vaguely remember being able to capture 6 seconds of PAL at one burst. Then Flint would go into that well-known rhythm of ticki-ticki-ticki-ticki while writing to disk.

And you could almost tell apart the read, render and write times by the movement ticks of the disks. So for a four layer comp it would go: ticki-ticki-ticki-ticki-…-tick

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I mean, I think your attendance is mandatory. I humbly request at least one weird Richard story.

Oh the Flint on Impact! If I recall our stone had like 7000 frames capacity. The burst capture and playout was a pain, especially in a busy post house where deck time was at a premium.

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Naaa @DavidC… Transfer your output to the accom WSD over scsi and put it out from there. That’s the jam.

Or ftp them on via that lightning fast 10baseT network in a pinch.

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Loved that accom. I used to write shell scripts that would “disassemble” a clip at the field level, and reassemble it with whatever pulldown was neccessary to create a frame rate change, based on the same math that the telecine used. In between the frame rate conversion I could change the size from NTSC to pal and make perfect conversions.

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you have that tattooed on your back, don’t ya @ytf… “King of Perfect Conversions”

Well, that was the plan, but in accordance with the style at the time, I had it done in “Asian” characters and one day at the beach some lady asked me why I liked Kung Pao Chicken so much.

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Luckily I didn’t have to do playout/capture too often as the flint was just support for the flame guys but when I had to it, absolute pain.

We did have a few Accoms too, usually in the 3d or Mac prep rooms. Mac/3d guys would render stills or sequences to it and then the video output was patched to the Quantel Editbox suite. We would manually hit play or step through frames while the online editor in Editbox would capture on the fly. Madness now that I think of it.

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You were not the only one engaged in such madness.

image

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“Start/stop on pen”

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This picture reminds me of a clipping I cut from American Mathematics in the '90s. I found it in a box of old things the other day.

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Oops field out there do it again…

Oh, fuck.

I absolutely love that you have this. Why oh why don’t I have screen caps from every damn piece of software that I used over the years…

Who wouldn’t want to see a Denim cap from 95, or Cineon, Chailce, Rays, Illusion, Cyborg… the fucking Dom. Oh man…

Sigh.

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Well obviously I would love to see those.

I honestly don’t know why I have this though. I mean, at the time I remember thinking it was both extremely cool (Henry Infinity AND an Inferno, working together!) and somehow unacceptably janky (2 million dollars worth of gear and THIS is how we’re trading shots?), so I know why I grabbed it. What I don’t know is how (sgi screenshotting was not something I ever really got the hang of), or how I got it onto my laptop once I’d captured it, given RoF’s rather draconian network policies.

One of the nice things about working nights at that place was that I’m sure I had HOURS to figure all of that out.

Ahh, Accom disk recorders… Reminds me, before DigiBetas there were analog tapes and “generation” issues with video. Every transfer from one tape to another added a “generation” thus “degradation” to the quality. It would become useless after 3 generations.

For the padawans: It’s like screen-capturing an image from one social media on your phone to paste to another social media, and doing this several times over. Each one gets worse because of consecutive jpeg encoding…

i had a BBC job interview for a news editor position, when faced with some arcane question from a dour faced engineer who asked about a weird phenomenon regarding audio problems that related to high frequency noise in the picture on beta sp tapes.
I looked blank and said i had never heard of that, to which he smugly replied if you went down 10 generations then it was a definite problem.
i replied only an idiot would drop 10 generations editing a news item, and in my 5 years cutting news had not ever come close to that many generation drops, so it would not happen on my edits.
I didn’t get the job!

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For one epic conform job, this was with Quantel’s Henry, the client brought a great bit cardboard box with some 20 odd 3/4" tapes and an EDL. Lo and behold, they hadn’t labeled the tape names at all and there was no way to know which tape was which. Fun times finding the correct tape to match the source/TCR. It was a long night.

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