Production of the Canadian Olympics Hall of Fame Gala
| AJA Ki Pro Review at Creative COW |
At that point, two spare KiPros and 6 drives were not enough to reassure the director. We quickly lowered the trailer AC by a couple of degrees, plugged in some fans and turned the KiPros on their side, leaving an inch in-between them. We tried another drive in the KiPro; it worked well! Then we prepared an extra one to be safe. Right on time to launch another 3-hour test that went also well.
Thirty minutes before the show, everybody was back and drives were reformatted and set up. We were confident that we could record the 3 hours of ProRes 422 we needed, even though the earlier events kept us on guard all the way through the show. Our eyes never stopped scanning the 12 KiPros LCD screens for potential problems. The EVS operator who was operating at our desk was pretty impressed with the setup.
Once the show was over, we transferred end credits and alphas from the EVS to the KiPros and Dominic headed with the 12 KiPro drives to the director's house, where he had built a temporary SAN for this production. I wrapped up the 12 devices in no time and loaded them in my Patriot. (Ever tried loading 12 SRW-5500 in a Jeep?) An hour later, the Dome mobile was folded and ready to go fot the next gig.
At the director's house, three workstations running Final Cut Studio 2009 on MacPros were installed in different rooms. They were equipped with Kona 3 and LHi cards that enabled them to have their output displayed on a reference monitor or a plasma screen. They were all on a Fiber and GigE network managed by two other MacPros acting as metadata controllers running metaSAN. Two 16TB G-Speed XL FC plugged in an ATTO 8Gbs switch were mounted as a single drive on the desktops, and were ready to feed the 12 stream multiclips to the workstations for a night of heavy editing.
The Edit Suite.
At one of the workstations.
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AJA Ki Pro
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