Chassis numbering FEX

Similar Questions

• Chassis numbers

  I probably look like a noob, but do not appear above my calendar chassis numbers. How can I ride again?
  
  Sorry if this is a stupid question

  If you have a few themes installed they can effeect the colors of the text and therefore the numbers of images may not appear.

  Try to return your theme back to the default values.

  Unless your Mac, then I'm not sure.

• Upper limit on chassis numbers

  Hi all
  
  Now, don't ask not even why I found this or why I have a file structured like that, (I inherrited from a previous design studio who must remain anonymous!), but I discovered that it seems to be a limit of a FLA Executive until she begins to fall.
  
  The FLA, I'm working on only has 32 MB (it's a lot of noise), but the chassis numbers had begun to creep upward in the 16,000 s! Flash started doing stupid things like leave me does not duplicate clips that were on the timeline and not export the swf file properly. I couldn't find any other documentation of the present so I thought I'd post a note.
  
  Needless to say I took the file and break down into pieces relevant and easier to manage, but if anyone out there had this happen before or knows why this might be happening, (in principle it shouldn't!), let me know
  
  See you soon
  Adam
  
  
  

  16 000 images is the limit for Flash. If you do a search for 'framework '.
  limit' in this forum or on the Google Archives groups of this forum, you
  get tons of links.

  What does not happen often; Sorry for the file that you have inherited!

• Chassis numbering after power fail? Persistence?

  I had a workplace, where all the blades have been associated and power off (customer did tests of power environment). All OS are installed on local disks (ESXi, Windows, Linux).

  Then a power fail that happened. Power returns and the discovery of the chassis was completely screwed upward, the numbering has changed.

  This meant that turn the blades has resulted in a total chaos; Failure, because there wasn't any blade this slot chassis; or bad what BONES were found.

  Fortunately, the strategy of default scrub was disc = no

  We had to turn off all chassis, then towards them in the old order...

  Why are there no persistence of the chassis, he remembers his number and returned to the top with the original id?

  Walter,

  Who would do the trick. Please answer before I tried to reproduce this morning :). Yes, I noticed on the other posts on the failure of upgrade occurring, I wasn't sure if this was linked to another environment.

  I hope that everything is retrieved and you are online. If you need assistance let me know.

  Kind regards

  Qiese Sa'di

• Newbie - change button references chassis numbers

  I didn't leave enough room in my schedule and must move almost everything. Buttons frame refs (example: on (press) {gotoandplay (60)}) still remain the same and are so wrong. Is there an easy way to get the numbers to change automatically when I'm not moving everything? Thank you!

  HA! It's really a coincidence. I had a bunch of people to respond to and does not mean that write you. Thanks for the help!

  FYI, we were married on the beach of the town of Princeville on Kauai. What a charming and magical world area!

• FEX-Uplink Failover, loadbalancing

  I would like to understand more of the technology within a vblock
  I have a few questions gradually

  So I'm out. pls be patient and thank you in advance...

  VBlock 720 with the following generic configuration

  Switch 2 x Cisco 5000 Series
  2 x FI 6248
  6 x chassis 5108
  FEX 2204
  VIC 1240 (no Mezzanine Card)
  8 x M3 blade, 2 CPU

  uplinks of 4 x 10 G of each FEX to FI (port channel)
  uplink of 8 x 10 G of each FI for Ciso 5000 series swith (vpc)

  Assumptions:

  All chassis are completely fill

  Each blade has consistient thoroughput of bandwidth, but 6 GB

  1. When the blades connect to FEX A and B FEX, are active active connections?
  2. For exampleIs blades 1 and 5 has made the fallen on the same ports on the same FEX FEX?
  3. What is the method that load balances blade ping?
  4. Assume 1 Uplink fails between FEX and FI, is the uplink 1 on FEX B overexploited.
  5. How the virtual machine decides which ANC port to send traffic?

  She now...

  See online

  When the blades connect to FEX A and B FEX, are active active connections?

  I assume you mean of FEX = IOM in the chassis;

  Yes the two fabrics are active; all VIC are double hosted the fabric a and b

  For exampleIs blades 1 and 5 has made the fallen on the same ports on the same FEX FEX?

  You have the choice between static pinning (made by UCS Manager) blade slot to an Uplink of IOM, or set a port between IOM and fabric channel interconnection; port channel is the preferred mode.

  Static pinning depends on model of IOM, 2204 / 2208 and the number of uplinks, for example

  2204-4 uplinks

  slot 1 and 5--> uplink 1 chassis

  2 and 6-> uplink 2 chassis slot

  ......

  2208-8 uplinks

  Chassis slot 1-> uplink 1

  Chassis slot 2-> uplink 2

  ......

  Pinning static if a rising fails, the fabric slots correspondent has or b, are declining. There is no repinning for remaining uplinks; grouping and multipathing will take the appropriate action.

  If you have a port-channel, and you lose a link, no problem, as long as there is at least a link to the top; your bandwidth will decrease, but th vnic/vhba are still in place

  What is the method that load balances blade ping?

  Don't understand; To be more specific

  Assume 1 Uplink fails between FEX and FI, is the uplink 1 on FEX B overexploited.

  Yes, in principle. but you will have to design oversubscription from end to end in any case!

  How the virtual machine decides which ANC port to send traffic?

  It depends on the hypervisor; Take, for example, VMware ESXi and vswitch: load balancing can be configured by switch and / or port-group; important caveat: do not hash IP as interconnection of fabric does not support the Protocol LACP; by default, the original virtual¨port code.

• Calculation of frame rates of acquisition image using the 7 Format

  So I finally got my Basler firewire (IEE1394b) camera to capture images at his rate max (120 fps).

  But to do this, I need to use the '7' Format.... which is a bit confusing to me.  When I use the '7' Format, I can't specify the frame (frames per second) rate.  Apparently, you only specify the parameters (length, width, color / mono) of the image and the size of the packets and a few other things.

  So, how can I calculate speed?  I need to know exactly how much time elapses between each image.  And it must be constant.  I can't have a different frame rate.

  NEITHER told I can calculate the frame rate using this equation:

  

  That comes from this article.

  But I am skeptical because the article also says:

  Please note that the time to transfer an image is slightly faster than the time it takes to acquire an image.
  

  People out there can clarify this for me?  Is the frame rate constant?  And then I actually calculate when using size 7?

  The rate will be constant.  It won't change from image to image.  The difficult part is to find what it is.

  Basler camera manual will tell you how to calculate the frame rate.  There are three different calculations, and gives you the slower pace is one you use.  These calculations are accurate enough, I think.

  Another possibility is to measure the frame rate, but that requires several seconds (or minutes) for a measurement precise.  The simplest method is to start a life-long and save a frame in time at the beginning, wait several seconds (or minutes) and save the time of another framework.  Subtract the chassis numbers, subtract the time and divide to get the frame rate.  With a wait of several minutes, it's extremely accurate.  To get the acquisition time, read an image whose value "Next Image", then save the chassis number and read the msec timer immediately after reading.  Using a flat sequence structure is probably the best to ensure that everything happens in the desired order.  If you loop playback, you will see real cadence cadence converge slowly.  Stop it when it is pretty accurate.

  In a program I wrote, I controlled the pace by setting the shutter exposure time.  I used the derived formula of the Basler manual for cadence and reversed to calculate the shutter speed.  This only works if you have another way to adjust the brightness levels (opening, lighting, etc.).

  Bruce

• UCS and QoS

  Hello:

  The ecosystem of the UCS relies on a solution of aggregation of port to the i/o chassis, namely, FEX modules.

  The FEX modules are not fully featured switches. Nor do they have a political intelligence transfer at all. Instead, the FEX modules deploy approach "pinned" in which the descenders (those facing NIC in the Server Blade, LOM, mezzanine cards) are mapped to an uplink port (those who face a 6100 Interconnect fabric) to form what can be described as a group of aggregator.

  The result is a simplified approach to blade i/o in which traffic patterns are predictable and failover is deterministic. In addition, there is no need to configure STP because ports are sent in order to exclude any possibility of a loop connection.

  This having been said, there is some merit to the argument that this port aggregation design places a hole in the middle of a deployment of QoS for the scheduling of packets on the uplink to the 6100 of interconnection fabric ports is not done in a way that recognizes the priority?

  In order to develop a little more, one can have a VMware deployment and use NetIOC or maybe configure QoS on a 1000v switch (which uplink ports are mapped to a port on the VIC de Palo) and configure QoS on the VIC and then the 6100 Interconnect fabric. But, given that the FEX is not planning for traffic to the 6100 interconnection fabric on a priority basis, the deployment of QoS has a hole in the Middle, so to speak.

  Thoughts?

  Hello

  I posted an answer to your question here:

  http://bradhedlund.com/2010/12/08/Cisco-UCS-fabric-Extender-FEX-QoS/

  I hope this helps.

  See you soon,.

  Brad

• two or more frame with fabric in cluster interconnect

  Hi experts

  I just want to confirm the proper way to connect two or more UCS 5108 chassis with a pair of interconnect fabric 6120xp clustered.

  I though that they should connect like this: the tissue Extender first of all chassis must connect on interconnection fabric A and second all chassis tissue Expander connects to the fabric interconnect b. as on the diagram here: https://supportforums.cisco.com/docs/DOC-5949

  However, I saw someone did: 1 chassis connects as I went through although above but for the 2 chassis, fabric Extender 1 connect to the B interconnection fabric and fabric fabric Extender 2 interconnect a. -

  can someone tell me which is appropriate/best practices? no reason the second chassis enjambment?

  Thank you

  Ming

  Ming, you must fix this implementation.  It's like ghostbusters: do not exceed the streams!

  Always systematically cable chassis fex to interconnection fabric.  Most common installation:

  Interconnection of fabric (primary) is connected to the hand (looking for the rear of the chassis) left FEX

  Fabric interconnect (subordinate) B is hand-bound straight FEX.

  Why?  You will get errors (can't be bothered them up!) and if you move a Service profile to a chassis to another chassis that is wired differently, it will not work (CNAs wired to different financial institutions, where the living are active / inactive = bad).

  PS - to change this, if I were you, I would like to turn off the entire system - fabric interconnects, chassis, everything.  then re-cable.  then turn on the fabric of the interconnections and chassis and check configurations are ok.

• The button code will not replace the stop code

  Hello

  I have been stuck for days trying to figure this out and would appreciate any help offered.

  In an HTML5 document, I use excerpts of code (HTML5) to make an animation stops at some of the images in the scenario and then buttons take the Viewer to specific sections of the timeline.

  

  The Start button must essentially ignore the playback head on a structure ahead of the frame with the code to stop... but it doesn't. When I preview the video, I can click on the button, but the playhead does not advance the flag "getgoing. I tried this with both specific chassis numbers, but that no longer works.

  I did test files containing a single button and the stop code and everything works fine. But in this file larger with several going on, the buttons stop working. Certainly, I have imported image sequences that I made in After Effects (my favorite animation software) and Animate takes more time to save and preview because of this. I don't know if the mere fact of having sequences of images as graphic symbols would change the functionality of a button, but I'm not nothing throw.

  Thank you!

  The debugging 101 button: first thing make sure that the event handler running one) in fact, b) to what you think it is targeting. The two goals can be accomplished by sticking a trace() statement in the button click event handler that prints everything that you target your call gotoAndStop(). For example, if you have this:

  paramecium.panda.parallelogram.gotoAndStop (451);

  Add this entry:

  trace (Paramecium.Panda.Parallelogram);

  If nothing prints when you click the button, or it prints "undefined", you will have significantly reduced the problem.

• Timeline playhead moves an image when you browse out demo - why?

  I understand that if the pre-comp was pushed into the composition it is nested in, this phenomenon occurs when you try to range a keyframe in a demo for example to support outside the demo. But I made sure this particular demo is broken to 0 in its model of parent, and it is - not to mention, all functionally lines upwards (i.e. a keyframe within the demo to the 700 performs its action to the chord outside the demo so 700). But when I break the playhead to this keyframe in the demo for example and then turn to the main composition in which it is nested, now the playhead is at 699. Hmm!

  Most likely, I'm missing an obvious After Effects mode of thinking, but I'm just confused why my playhead continues to move to different chassis numbers when my pre comps outcrop with the chronology of the main composition not to mention that everything is visually the tail as it should.

  Forum thanks!

  check these 2 things:

  1. that the pace you comp and your precomp is the same

  

  2. If you want to really make sure that you have not moved anything, temporarily use the time remapping feature (right click your layer and time-> enable time remapping) and see if CTI shows you the exact frame on your screen of CTI

  

  If it isn't - the layer was shifted so push until it is in place - Alt/Option + PgUp / PgDn

• Conversion a flash banner for Adobe Web, animation in a loop and ending the endframe

  Hello

  I have a web banner Flash 5.5 I want to convert in the file "adobe" to the output as HTML5 canvas.

  The banner must loop for 30 seconds and ends on an endframe.

  To do this in flash I have on the first image. :

  if(Count == undefined) {}

  Count = 0;

  }

  Then this action script on the framework that I wish a loop from (122 frame)

  Count ++;

  if(Count == 4) {}

  gotoAndPlay (124);

  }

  123 frame I have:

  gotoAndPlay (1)

  Frame 124 has my end frame melted to the top and frame 131a:

  Stop();

  How do I do this in CANVAS?

  Thank you

  Here is a simple loop:

  If (! this.looped) this.looped = 1;

  If (this.looped ++ == 3) this.stop ();

  For what you want, you can change it like this:

  Section 122:

  If (! this.looped) this.looped = 1;

  If (this.looped ++ == 3) this.gotoAndPlay (124);

  Section 123:

  this.gotoAndPlay (1)

  Section 131:

  This.Stop ();

  Although I recommend actually using the labels image instead of chassis numbers so that your code does not break, if you change the length of your timeline.  Which would look like this:

  Section 122:

  If (! this.looped) this.looped = 1;

  If (this.looped ++ == 3) this.gotoAndPlay ("end");

  Section 123:

  this.gotoAndPlay ("intro")

  Section 131:

  This.Stop ();

• Exactly how AE does not distribute the images in the scenario of a composition of 29.97 FPS?

  This issue is out of curiosity. I always wondered how this works because from what I see, a composition with a framerate of 29.97 FPS will have just 30 frames per second for every second on the timeline. Will it ever really a second on the timeline with 29 pictures in to compensate for the gap of 0, 03-framework? If not, then how is the resolved variance? Is the way the calendar displays images not 100% about how reliable they are actually distributed through time? Looks like this will have to be a 'yes '. But then how not problems of this?

  For example, if you want to have something to display a timer that counted in seconds right , helps manufacturers of second on the timeline would be inaccurate? Even if there is a second image 29 somewhere on the timeline to compensate for the difference of 0, 03 - fps, there still are many executives who have proved align perfectly seconds entire on the timeline, but in reality they would line up with them. So I guess that follow-up question, I, it is the timeline a accurate watch accurate actually seconds or frames in 29.97 FPS scenario? According to my way of thinking, one of them can be quite correct, whereas it is? (After asking this, I thought about the time value to the output text and look to see what is displayed when the playback head is a brand of second whole.) It showed a whole, second value for all those that I checked, and so this means that the timeline is exact frames, not seconds)

  Let me explain. This is going a little long so let me first start by saying that no. frames are lost, mixed or deleted when you run at 29.97 FPS. The only thing that changes is how you count frames. This info will be part of a forthcoming White Paper on my new Web site.

  What color television came the engineers needed to add a few lines in the removal of a TV signal part to send the color information. It is called color burst. The number of new lines that they needed a pris.03 seconds to add to the signal. Since all countries that run 60 Hz electricity works at 60 Hz, and television at the time was intertwined with a pair of even and odd scan lines form a framework so rather than expedite the time it took to draw each scan line was decided to reduce the rate of 29.97 FPS to keep things running at an even multiple of 60 cycles. This would keep old black and white televisions works without problem. Change the time it took to paint a line of scanning would be lack of things for older sets. Country PAL found a better way to add color information using some existing lines which were not used for anything else so they eliminated the problem.

  What's meaning? They had to slow the pace because they needed to add a few lines to the color TV signal would know where they were supposed to show the program in color. The largest number of lines still had to adapt to 60 cycles, so if you have added several lines, you reading fewer frames per second.

  Now, here's the problem. How you count this odd number of images and make it work with a real-time clock. Fall time frame was the solution. Drop Frame timecode does not diminish the frames, it just is not all because when the standard broadcast half-hour is 28 minutes, nobody's going to care about a missing image number... NOTE: I did not lack a framework.

  I tell him again. NO frameworks are never fallen or crushed or shortened in any application that is used to change or manipulate the video. The only thing that happens is that some numbers of chassis jumped so the hours, minutes, and seconds displayed on the timer is always accurate.

  You can get funky what happens with individual images or fields when you put images of 24 frames per second of a film in a video sequence of 29.97 FPS - but they worked already. The same thing happens when you add pictures PAL to NTSC program. When images of 24 fps are put in a PAL 25 fps video format they just play back a little faster so they don't have to do a funny interpolation.

  We will return to the time display in your AE timeline when you have a 29.97 (or the standard fractional rates as 59.94 or 23.976) default display time should be Drop frame that removes picture numbers that it counts, but does not diminish the frames. With DFTC (indicated by the; between hours, minutes and seconds) is used when the chronology said 30 minutes, then it will take 30 minutes exactly for your video playback. You can check this for yourself by browsing through a timeline with a Drop Frame timecode display one image at a time. Select the window timecode and top to 10000 (1 minute no seconds without frames) you will find yourself 0; 00; 59; 28 step forward of an image to get to 0; 00; 59; 29; and then a framework more far and end up at 0. 01; 00; 02 no frames were dropped, only the chassis of 0 numbers; 01; 00; 00 and 0, 01; 00; 01. the time displayed is correct in the duration of an image, that doesn't make much difference when you deal with a minute, but it makes a huge difference if you're dealing with an hour.

  There is an option for the Non-goutte time frame, but both practices, it is useless because the Timekeeping in the timeline panel is always bad. More the program error. Fall time frame gives you the exact time with a maximum error of a frame and a half. In the one hour show, you're out of 4 seconds. It is not significant for a youtube video, but it would be disastrous for network programming.

  You can check it out yourself. Start a new comp and the duration 1 hour. Add a solid layer and then press o to move the out point and you will see that the timecode is 0, 59; 59; 29 images. Do not get confused here because he said not 1 hour. Don't forget that the last image needs to continue to play for the program to stop because the CTI stops on the last visible image. Now, hold down the Ctrl/Cmnd key and click on the time indicator in the timeline and you'll see 107891 frames. A word of caution, if you look at the display of the time code and that you change the layout or project of frame drip not part time you will change the length of the composition and the number of images.

  Now, go to the project settings in earlier versions or to the Composition settings in the latest versions and select Non Drop Frame timecode display. Check the chassis numbers - they are exactly the same. Now Ctrl/Cmnd click the time indicator again and you will see 0:59:56:11 - If you were creating an hour long program and that you had the timecode set to image not to drop your program you would like to add about 4 seconds to your program. Imagine your surprise when he played on television and the last 4 seconds was cut off.

• gotoAndPlay ("label") going on at different times of second click HTML5 canvas

  I have a very strange problem, I can't seem to understand.

  I work in CC animate with a HTML5 canvas.  I made a simple interactive slideshow that a user can jump around in.  Instead of going to the chassis numbers, I use labels for each button.  My key codes look like this:

  This. SL01_01But.addEventListener ("click", fl_ClickToGoToAndPlayFromFrame_2.bind (this));

  function fl_ClickToGoToAndPlayFromFrame_2()

  {

  createjs. Sound.Stop ();

  this.gotoAndPlay ("Slide02");

  }

  I have to stop the sound, then go and play an image tag.  It works on the first click, however, if the user sees this new framework, on the second click goes to the next section (the one after the label).  For the life of me I can't understand why.  Any ideas?

  So what you see is expected.

  you will stop on Slide02.  and then a gotoAndPlay will leave Slide02 and get arrested on the following image, before he gets to Slide02 again.

  That is to say, your gotoAndPlay runs and then the this.stop () runs in the Slide02 more 1 frame.

  to remedy this, use this.gotoAndStop ('Slide02') for not going out when rerun.  But if you really want to get out and then re-enter that govern when you could use:

  this.gotoAndStop(this.currentFrame+1);

  this.gotoAndStop ('Slide02');

  Any reason you have to want to do this is probably better handled by other code.

• duration of the animation

  Hello.

  I am a first year student of Graphic Design at the University and I am new to After Effect.  I'm working on a project where I need to set up some length and ratio for an animation. According to the brief, I arrived to set up the composition of a 4 second video at 25 fps and the size must be 768px by 576px (4.3 proportions) for this animation, I had to use my own picture photographed hundreds. Unfortunately, when I import my 100 photos apparently in good order all properly numbered, Ae import for a reason, in separate files 2 1 includes 97 of my photos and another 3 (oddly, only 3 that I added to the pile later) and it happens everytime I try. In fact, this isn't my major problem, but perhaps it has an effect on the pain I feel. The problem I have is: I have set the dimensions in the composition settings, as he asked. However, the video is only until 03:07 dry parts + extra really short-00:03 that the separate program, who lives a relatively large gap on my compare video from 4 seconds to the size of it. I tried to understand where is the gap came, and why my photos can only compensate a 03:10 s animation. I'm stuck, but because my problem is quite specific I couldn't find any tutorial answering my question.

  Change the cadence of a composition does not change the pace of the film that put you in the computer. If you have a second clip, 30, who was shot at 60 fps in real time is 30 seconds. If you place this element in a model that is only 10 frames per second the clip will take 30 seconds to read that it will be as smooth because you won't see on a frame in 6.

  Default frame for importing image sequences is defined in your preferences panel. It is 30 frames per second. 100 images @ 30 frames per second is 3 minutes and 9/30 of a second or 03:09 @ 30 fps.

  If you put that image sequence in a model which is 25 fps and then the final visible image will be 03:07 and the end of the clip to 3:08(no_more_image) it's perfectly logical. If you look at the news to the right of the thumbnail for your image sequence when you select it in the project Panel, you will see that it is interpreted at 30 fps. You can change this by selecting the image and then right click or by clicking file > film > hand and change the images at 25 fps and your problem will be solved.

  Now let's talk about the numbering of the frame. Sequences of images must be in their own separate folder. If you have 100 images, then the chassis numbers must have 3 digits and exactly the same name. myFootage_1.jpg for the first image in a sequence of 100 images is not going to work. The frames will be out of use. You must use myFootage_001.jpg for the first picture and other images should be the same until you get to 100. The most likely cause of your problems with the import are directly related to the file names.

  I hope this helps. There are some fundamental things that apply to all film and video films. The search box in help in the upper right corner of the AE is your best friend when you come across something that is confusing. It will tell you some pretty decent community resources. The video is hard. You must understand the formats of compression, standards, rate frame, rendering, broadcast formats, formats of production and a bunch of other things like interlacing and pixel formats to work properly with the video. AE needs a foundation much more big in animation and composition techniques just to get some bases made reliable. Study and learn.