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Re: Hippi into Inferno
>We are at present setting up the data output from our Spirit into the
>Inferno on an Onyx. We do not have the transfer engine and are using
>the capture mode of Inferno to record the data. If anyone out there has
>tried the same with the same configuration, please let me know.
We have tried/compared both configurations, and decided only to use the
For us, this is by far the fastest way to work.
We have a rack of stone disks dedicated to spirit tranfers. (10 min at max
The onyx2 is fitted with 4 processors and 1.5Gb ram, which makes it fast
enough to allow spirit transfer at 5 fps (max res) and simultaneous work on
the inferno. (processing time increase by less than 5 percent)
Great, because we don't have to delay any production during the transfers.
We are waiting for the new TE & Spirit software that will increase speed up
to 6 fps max res and 50 fps TV res.
The direct spirit-inferno is not as fast (3 fps) and not very stable at
that speed (2 fps prefered).
Import time after capture is faster in "inferno-direct" than manual import
(dpx files). But each shot has to be processed AFTER input.
That means extra delays and an inferno operator in the other room...
hanging on the phone during transfer.
On the other hand, after TE transfer, you can import of all shots during
the night, for the next day...
(of course that means you MUST have a set of disks only for spirit frames)
There is no spirit remote control option to setup in/out points. (the
colorist must do it himself)
It is also very boring for the colorist who can't see anything during/after
the transfer, but who has to set in/out ! :-(((
(TE provides a small 'realtime' preview window on the client machine and
behave like a VTR for record/playback)
Maybe discreet will enhance their software, but for the moment it is VERY
hard to play with it...
(hope they'll read this and do someting ! ;-) )
We recently transfered 60 seconds of film - 30 shots on 6 rolls - in 90
With the inferno-direct I think we would have spent more than 5 hours...
(ACE editing - Belgium)
Thanks to Steven Harman, Bruce Hancock for support in 1998.
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