lflux

Longer than that - in 2005 I was at a network hardware startup and we had vendor-locked (ahem, _qualified_) SFPs back then. Probably started back in 2001 when they were introduced.

As i understand it, the sound for audience in the venue and monitors for artists was run locally by separate mixer. The audio backhauled to HQ was for the live broadcast.

Things have probably changed since I last talked to my friends at a large state radio/tv broadcaster, but for long haul they used either MADI over fibre, or AES50 into boxes from NetInsight along with SDI for the video feeds. This works so well that you can put the input/output converters in a venue hosting a live music and do the program audio mix in a control room at broadcast HQ 100s of kilometers away.

It's happening to us on the reg with m6i SKUs in us-west-1 the last couple months.

I agree that it's 100% justified in both cases and that Cruise definitely needs to fix their shit.

Correct, the supply hoses don't like bending much.

Firefighters practically salivate at the possibility of smashing the windows of a car parked in front of a hydrant they need to access for supply. This isn't much different.

Just on amd64 right now, we want to move to add support for arm64.

Sadly we adopted CircleCI early on and make heavy use of their support for multiple containers - if you specify a list of containers in a Docker job, it will execute the tests in the first container and connect the other containers as "data" containers (think redis, mysql et c) for use in tests.

I can and it would require porting my entire CI workflow to machine. We use a lot of docker-executor specific stuff, and if I'm going to spend the time to port several thousand lines of CI config, I can just port it to a different CI platform instead.

Still no support for arm64 docker executors after years of asking for it.

Was that ever released for film use? I don't recall seeing any prints referring to ProLogic or ProLogic II during my time as a student film projectionist. If so, it was highly backwards compatible since our decoder was only SR (analog 4.0 matrix).

The prints would generally come with SR (analog 4.0) and SR-D (Bitmaps between the sprockets). Most of the time you'd also get DTS CDs and about 40-50% of the prints we got (in Stockholm) had SDDS, though I think there were maybe like 5 SDDS theatres in Sweden.

Depending on your projector and the amount of space you can fit one or two digital heads in there. We modded our 1950's era Bauer U2's to add DTS readers upstream of the analog sound readers, but at the expense of the 70mm magnetic sound heads. Took about an afternoon.

Dolby SR, the 2-channel analog format on the film, isn't 5.1. It's 4.0 with Left, Center, Right front channels and Mono surround.

Have they gotten faster at applying updates? it would take something like 45 minutes to an hour to make any changes back in 2014, when Fastly was doing sub-minute updates for any CDN changes.