Midgardsormr wrote: ↑Thu Jun 14, 2018 1:34 pmWe each have a local SSD for caching, and sometimes an artist will pull a heavy sequence to their local storage for performance. Usually that's followed by "Hey, why is my job failing on the farm?" an hour later.
Since everyone is demanding UHD or better these days, our network infrastructure is really groaning. And at least one client is in 12-bit, which makes it just that much worse. 37MB per frame for 12-bit UHD DPX!
Nuke does this pretty well with localization. It keeps the localization up to date with sync from the server, but the hashing is locally tied. So if you render the script on the farm it picks up the network references and not the local ones. Saves so much bandwith and speed.
Also, its usually never the network itself that gets sticky, more often than not its the disks not able to keep up with the throughput. I'm surprised at how much can be pushed around with just 1GigE. Let alone 10.
RBemendo wrote: ↑Thu Jun 14, 2018 8:00 pmTheotheo, I'm currently on Windows Server 2012. I've tried using windows file shortcuts in the past to try and keep everything in "one" structure. It does work OK, but moving to ZFS file system has been on my mind lately for dependability and less likely data rot.
I run one of our test servers on ZFS, its been super stable and fast, very impressed with how easy it is to set up pools and resources. Well worth checking out. Also, setting up a pipeline with linux is super rewarding and fun.
RBemendo wrote: ↑Thu Jun 14, 2018 8:00 pmI think a big shift for me is to have one file structure for editorial, and have a separate structure for VFX/MoGraph within that folder structure(shot based approach). This certainly would require massive changes in the server structure, but I'd been thinking of a shot based approach for some time now. This discussion just helps me re-confirm my ideas about the shot based approach. Now it's time to flesh out the particulars for implementing such a structure.
Shot based workflows are the norm for shot based production, but thats why you also run a /dev/ and /asset/ folder so non sequence specific work can happen outside the context of individual shots, but be pulled from when needed. Assetize, reuse and avoid dupes as much as possible
In VFX companies its the prod crew that does shot creation and first assignments with supes. On film production side its often the vfx editor/supe/assist that does the shot setup for VFX.
But for naming convention, you really want to innoculate yourself against outside variables like conforming to different naming conventions, structures, colorspace handling etc. You can have your own setup the way you want for all shows as long as you can reverse back to whatever expected format/name is required at the delivery stage. Do this to avoid having to change your pipe to account for stupid client surpises.