Tech Edge Demystifying LTO Video Archiving . . . by Steve McGrath [August 2012]

Picture this scenario.  You just bought a nice Raid-5 storage system for your video editing assets.  After half a year, you seem to have filled it up.  You paid $40,000 dollars for the initial investment of one storage chassis.  The manufacturer offers a supplemental chassis of storage to attach to your first chassis for the nice discounted price of $35,000.  There must be a more affordable solution, right?
Video archiving has come to be a forefront technical question in the past few years.  When people hear “video archiving,” mental images of complex robots moving tapes and even more complex cataloging come to mind.  In the past few years, the perception and the reality of archiving have changed quite a bit.  Video archiving has become simpler than ever.   This issue, we will look at the more common archiving solutions available and how simple, robust and dependable they have become.
LTO Tape –Champion of the Archive
LTO tape is currently the most popular format for archiving.  LTO stands for “Linear Tape-Open.”  LTO tape was first released in the year 2000 and every few years since has been updated.  We are currently on the 5th generation of LTO tape, or as it’s more commonly called “LTO-5.”  With each generation change of LTO tape, the total amount of data you are able to store on a LTO tape has grown as well.  Currently shipping LTO-5 tape can store 1.5TB per tape.  This is a huge improvement from the initial LTO offering of 100GB.
LTO tape is much more robust than most storage.   LTO tape has a lifespan of anywhere from 15-30 years.   You can load and unload each tape around 5000 times.  A 1.5 TB LTO-5 tape will cost you under $50 as well making it the most cost efficient solution out there.  I have seen many LTO demonstrations where the presenter will drop the LTO tape to show how robust they are. Although LTO is more robust than most storage, it is not bulletproof.  Dropping an LTO tape could potentially damage to the leader pin. The leader pin is the part that holds the physical tape in place inside the tape cartridge. If that breaks, so does your tape.
Using an LTO tape archive can be as simple or complex as you want it to be.  They can take up an entire rack in your server room, or they can sit in your editing suite next to your mouse pad.  You can have a system that will create and label its own bar code system and then have robotic arms pull those tapes out of the archive.  These systems typically will hold hundreds of tapes.  You can also have a smaller LTO archives that just do one tape at a time where you are putting the tapes on the shelf without the assistance of robots.
The thing that really makes the LTO tape an intelligent medium for storing media is the fact that there is a file system attached to each tape.  You deal with file systems every day and may not know it.  When you buy a USB thumb drive that works in both your Mac and PC it is because there is a file system on the thumb drive called Fat32.   The Fat32 format enables drives to be seen by both Macs and PCs.
Most LTO tapes deal in a file system called LTFS (Linear Tape File System).  This enables the video files on the tape to be indexed, tapes to be managed and helps you maintain control of the locations of your video files.  This enables customers with LTO drives that hold just one tape, to manage all the tapes in their library and know exactly what tape has what files and projects on it.
There is another great benefit of LTFS formatted LTO tapes.   In most software applications, your LTO tape will show up on your desktop exactly as a USB thumb drive would.  This enables people with LTO archives to just drag and drop the files they want to archive to the tape (which shows up on your desktop as a drive).  The flipside to this is as simple as it is to drag and drop a file to the LTO archive tape, it’s just as simple to browse the folders of the LTO archive tape to restore from your archive.   This makes this daunting video archive behave just like any other external hard drive.  This makes the learning curve on LTO archives quite minimal as 99% of video professionals have used external hard drives.
Once you start archiving multiple tapes, your archive system will reliably start indexing the metadata about those tapes.  Most manufacturers will have a light web-browsing user interface where you can search your archived tapes.  You can search by project name, file name, or date created.  You can also create custom fields to search from such as videographer name, shooting location, just about anything you could imagine.  This lets users start with a simple setup, and then customize it to fit their specific needs.  This means you can search in the software user interface and it will tell you exactly which LTO tape will have those video files and assets.
There are other manufacturers out there that come up with their own file systems to compete with LTFS.  Manufacturers will claim that their file systems are better for a myriad of reasons.  The reality is LTFS is so widely supported by so many different manufacturers that you will never find yourself abandoned when a manufacturer decides to abandon that product line.  When choosing an archive, make sure you choose a file system that will be here 20 years from now.  Never give in  to the file system of one manufacturer for your video archive.  If that manufacturer goes out of business…so does your file system and any hope for future support for it.  This is the archive of your life’s work, make sure it’s protected.
Steve McGrath is a Broadcast Sales Engineer for HB Communications.   He has worked with NBC, ABC, CBS, NESN, Fox, Versus, ESPN, Reuters, Pentagon, USDA, Powderhouse and many others. 
You can reach him at Steve.McGrath@HBCommunications.com.

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Did You Say FREE? Absolutely . . . By Steve McGrath [June/July 2012]

There are a ton of free tools out there that can help you with minor annoyances and in some circumstances; they can save your editing session. Lets take a look at some of these freebies. The freebies shown this month will save you time and money.
Carbon Copy Cloner

Carbon Copy Cloner is a must-have tool for anyone using a Mac.  Carbon Copy Cloner (or CCC) is an image-creating tool.  What that means is that CCC will take a snapshot of your operating system, media drives or any other data that needs protection.

Image the scenario where your Mac auto-updates itself and breaks compatibility with your editing software.   With Macs, there is no simple way to restore an update that Apple rolled out.  That’s where CCC can help you.  With CCC, you can back-rev to an image of your Mac that you previously created. This protects you from bad updates, hard drive failures and other nightmare scenarios that editors can face.

Other things that this software can do is create a Mac OS Lion installer.  With Lion, Apple changed the way they deploy their operating systems.  Gone are the days of installer disks.   Apple now provides Lion via the App Store.  Once you run the installer, it auto-deletes itself and if you need it again, you need to re-download it from the App Store.  CCC will back up your Lion installer to a disk image so you don’t need to re-download.

The CCC user interface is very simple and very intuitive.   On the left hand side Source side, you select what drive you want imaged whether it’s your operating system or media drives.  The right hand “Destination” side is where you want to store the image you are creating.  You can put your images on a network drive, flash drive or wherever you like.

You can download CCC here: http://www.bombich.com/.

AJA System Test and Data Rate Calculator

AJA is one of the most generous companies in our industry.  They provide a myriad of free tools for Mac and PC, but the ones that are the best are the AJA System Test and the Data Rate Calculator.

What System Test does is tests the speed of your hard drives.  It will calculate the amount of data that your drives can handle.  Knowing what your drives are capable of saves you from the scenario of taking on an edit that your hard drives can’t support.   Think you are going to edit 3 streams of RED files off your Mac internal hard drive?  No way, Jose.   These tools will show you with tangible math, why that won’t happen.

In my screen shot below, I see that my internal Macintosh HD is capable of writing 64.9 MB/sec and reading 59.2 MB/sec.  I can now take those numbers to the AJA Data Calculator and see what resolutions I can support on that drive.

The AJA Data Calculator is another free tool hat will tell you what your hard drives are capable of in regards to bandwidth.  How it works is you select your target video resolution on the “Presets section.”  The top “Video” section will show you what you would need for bandwidth to support 1 stream of that video resolution.

The other great aspect of this tool is the “Storage” section on the bottom.  This will tell you how much hard drive space you will need to house the media you are ingesting based on your target video resolution and how many minutes of said target video resolution that you plan on housing.  So we see below that each stream of RED will be 35.99 MB/sec.

Another good use of this tool is taking a read on your drives the first day you have them, and then doing health checks on them to make sure that your storage is not degrading

You can get all the free AJA tools here: http://www.aja.com/en/products/software/

Disk Inventory X

Disk Inventory X is a Mac hard drive tool that will do an analysis on a hard drive and tell you what is on your drive and how much space it is using.  It answers the age-old question “Where did all my hard drive space go?”

When you run Disk Inventory X it will take a few minutes and do a complete audit of the files on any given hard drive.  It will then provide you with a very comprehensive report exactly where your space went.  The one aspect about this product that really makes it stand out is how it shows you that information.

Once you run your analysis on your hard drive it will provide you with this excellent diagram that shows you how much hard drive space your base OS folders are using and how much space each file type is taking.  Each little square in the diagram below represents a different folder.  When you click on the square, you get the folder.  It’s so simple, its brilliant.

You can download Disk Inventory X here: http://www.derlien.com/

Preference Manager

Preference Manager is used to back up preference files of Mac based editing  and creative software.  It supports Final Cut Pro, Avid Media Composer and Adobe Creative Suite.

We have all had wonky things happen to our editing systems.  Exports crash, playback stutters, bus thread errors…the list goes on and on.  You call into tech support and they tell you trash the preferences and somehow magically that fixes the problem, but you have lost all of your editing preferences. Custom export settings, keyboard shortcuts, toolset layouts…it’s all GONE!

What Preference Manager does is lets you do is back up all of your editing preferences for all your editing applications in one click.  Take the time to remove preference files one at a time?  Or just do it all with one simple click?

What this can also do is make sure that everyone editing in your facility is using the same preferences.  You hire 10 editors and 8 of them can export their sequences just fine, but those last 2 editors always seem to have problems.  They use the wrong aspect ratio, wrong resolution or even wrong file format.  With Preference Manager, you can clone the settings for one of your 8 stellar editors, and paste them on the 2 problematic editors.  This eliminates what is known as the “P.I.C.N.I.C.” issue.  In other words “Problem In Chair, Not In Computer.

You can download Preference Manager here: http://www.digitalrebellion.com/prefman/

Keep in mind that most of these tools are created by individuals, and where they do not charge you, they will take a donation.  So if there is a tool that you use all the time, feel free to donate to keep these tools going.

Steve McGrath is a Broadcast Sales Engineer for 
HB Communications. He has worked with NBC, ABC, CBS, NESN, NECN, Fox, Versus, ESPN, Reuters, Pentagon, 
USDA, Powderhouse and many others.  You can reach him 
at Steve.McGrath@HBCommunications.com.

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COOL TOOL OF THE YEAR: Canon 5D Mark III HD DSLR Arrives . . . By Loren S. Miller [April 2012]

Canon EOS 5D Mark III
MSRP: $3495.00
http://www.usa.canon.com

The 5D Mark III was introduced to a rapt crowd at Rule / Boston Camera’s popular Pub Night on Wednesday, March 28th; emceed by Boston Creative Pro User Group’s chairman Dan Berube, who with cinematographer brother Don, is also Canon reps in New England. The presenter of the new camera was Canon’s Carl Peer, who gave a very detailed visual tour and discussed with us the ins and outs of operation and behavior.

The 5D Mark II was the camera that started the DSLR revolution, released in 2008, developed by Canon after they observed journalists on assignment were taking short movies to go along with photo stories and audio notes. It was instantly adopted by filmmakers from network TV like Fox’s “24” to indie features and has spawned a robust industry in accessory supports and rigs. Since then the 7D, a more robust HD-only model of the same still camera form factor was released. And now the latest sequel to the 5D has arrived with a few 7D controls morphed in. Weighing a little over 2 pounds, with Canon EF lens mount, it’s a tight package with some tasty enhancements.

The imager of the Mark III is a 22.3 megapixel Digic 5+ CMOS 24mm X 36mm sensor, two stops better than Mark II, with 14-bit internal A/D signal processing for smoother tone transition. 61-point autofocus looks at color and luminance, and additional AF controls are available.

The Mark III offers improved video quality, decreased moiré during downsampling through sensor and software secret sauce. It has decreased noise, too, even at higher ISO rates. That ISO range has increased, by the way:  Mark II offered ISO 100 – 6400; the Mark III offers 100 – 25,600. The movie range is automatically set within 100 – 12,800. At 12,800, the image noise level is “serviceable,” according to Carl Peer.

It sports a crisp 3.2” million-dot LCD with a 170-degree viewing angle.

This is not a swivel screen—Canon reports that the highest repair demand was on broken swivels. The menu has changed from the Mark II: you’ll encounter less scrolling down. The layout of command groups is lateral.

Overall durability is improved; better body seal against elements like water, dust and sand. The Mark III will take 2.5 inches of rain per hour without issues; just wipe it down afterwards. It has greater tolerance to heat buildup, and when it does get too hot, you won’t see a degraded image as it goes south. It simply shuts down after a viewfinder warning.

Camera codec give you a choice of MPEG 4 AVC / H264 IBP recording or All I-frame. All-I is a perfect intraframe editing codec, although storage requirement triples—figure 11 minutes per 8GB card. At 1080P All-I, the variable bitrate averages 105 MB. Frame rates at 1080P are 30/25/24 fps; this camera also records 1280 (720P) at 60 (59.94) or 50 fps; at standard definition 640 X 480 30 (29.97) and 25 fps.

Maximum clip length is 29:59. Apparently this arbitrary figure conforms to European tax codes which define a video camera as anything recording more than 30 minutes of video. The camera would cost 12% more with longer files!

Timecode is now supported and reduces post issues like synching to external audio. Like tape decks of old; TC can be Free Run or Record Run.

The Mark III provides improved 48K PCM audio: you can control the recording volume manually with a silent LCD screen touch control to reduce noise transmission through the camera body. Several physical controls on back of the camera are dampened with this in mind. Still no XLR inputs—serious filmmakers must continue to use double-system recording and synch-up.

Zoom focus function appears by default along the left side, but can be moved to the assignable Set key along the right. Start-stop function, default location on camera back, can be set to use shutter button. There are 13 customizable functions in all.

The Mark III supports dual memory cards—Compact Flash UDMA-7 compatible plus SDXC. Internal to each card, files are divided into maximum 4GB limits, but this is transparent to user. Card recording auto-switches from one to the other but unfortunately no clip spanning. You’ll need to manually start the new clip after the switch. Processing overhead required for auto-spanning as in P2 and XDCAM configs would make the camera too large.

HDMI output doesn’t send out pre-processor uncompressed signal; it’s optimized for consumer monitors; and signal to other outputs cut out when one is engaged. Other ports: standard USB 2.0, flash sync, remote terminal, mic, and – finally – a standard headphone jack.

Still camera functions are beefed up as well, including HDR 3-shot bracketing for high contrast range photography, with internal shot integration to shorten post time. Still images record at up to 6 frames per second. No intervalometer for time lapse is offered but a remote control accessory is available.

Other accessories include a GPS Receiver and Wireless File Transmitter for tracking and logging.

The optional camera grip holds 2 LP-E6 batteries or an included AA battery magazine, and is useful in counter-balancing large lenses.

A major new cool tool from Canon!

For more information visit Canon.com.

 

Loren Miller is a filmmaker, longform editor, and designer.
Reach him anytime at techpress@mindspring.com.

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Books Re-Look, Cool Tools . . . By Loren S. Miller [March 2012]

Books for Actors

This month’s theme is about the thespian’s craft, so we’re reminding you of two great craft manuals from Michael Wiese Productions covered here in the past year.

Casting Revealed

Hester Schell
$20.95, Michael Wiese Productions (2011)www.mwp.com

The book makes a solid case for casting trained actors. The amount of time saved during rehearsals and shooting pays off. The book provides industry-standard tools a casting associate is expected to handle, like headshot sheets, with tips for ideal compositions for actor photos. Standard acting resume
layout is provided. The full review first appeared in Imagine News February 2011.

Voiceovers: Make Money with Your Voice

Terri Apple
$26.95, Michael Wiese Productions (2011) www.mwp.com

Here you learn VO work takes great acting chops- secondary to your great voice and ability to read copy. You also get the entire range of voice employment, wisdom about unions, and good detail about administrivia in voice employment, and good copy samples to exercise. Voiceovers include short interviews with practicing casting directors and talent. The full review first appeared in Imagine News March 2011.

Chroma Light

MSRP $649.00, Litepanels, Inc.
www.litepanels.com

This is a junior softlight with extras.
Compared to early models like the low-end Micro-Lite, which had battery and filter holder issues, the fit, finish and redesign here are apparent. Croma’s main attraction is its ability to mix alternating bands of LED hues to quickly create indoor or outdoor lighting  balanced to existing ambient or main sources. It also makes a lovely spot fill light in studio work. At 6 feet  in full daylight mode, it’ll throw over 9 footcandles/98 lux with an even spread, flicker-free, better than a small tungsten unit with the inevitable hotspot.

Croma was designed for news and event videographers and DSLR shooters. Even without the included slide-in diffusion gel it features a hallmark soft white diffused glow. Intensity is controlled by one knob, able to ramp from 100% to zero with no noticeable color shift, while the second knob lets you quickly dial in any color temperature mix between 56K (like sunlight) and 32K (like tungsten sources) on the fly.

You can power your Croma four different ways: with 6 AA alkaline or rechargeable batteries (lithium-ion cells can also be used but excessively heat up the unit, which will automatically shut down when detected); employ the included AC adapter;  add the optional D-tap power cable for sources such as Anton-Bauer packs; or you can piggyback on camera battery power with optional plates for Sony, Panasonic and Canon. The kit comes with a diffusion gel,  a ball head socket with camera shoe and tripod screw
receptacle in its base, and handsome carrying case.

As you’d expect from any cool tool, it runs with little or no heat.

Tech Tool Pro 6.04 and TechTools
Protogo

Checking and repair utility for Macintosh 0S9, OSX 10.4.11 and later on PowerPC and Intel machines.

TTP 6.04: $99.00, TT Protogo: $169.00
www.micromat.com

The standalone version of TechTool Pro 6 can be used to boot into a troubled system via DVD disc on recent Intel Macs. You can
purchase the product in disc form, or download file, which easily allows you to make a bootable DVD. Because DVD’s are gradually going away, MicroMat counsels using their eDrive, a special partition you create on an available hard disk to boot from in emergencies. Edrive plays well with OSX 10.7’s new HD Recovery feature, but TTP adds file recovery of erased work, and file defragmentation or volume optimization as well.

Or get TechTool Protogo, designed for mobile digital desktop doctors.  It’s handy for either freelancers who work on several different Macs around town, or an administrator servicing varied Mac models in one location. Protogo comes with a choice of startup profiles for PowerPC (back to 876 MHz Macs) or Intel machines; booting OS9 or OSX. It can plug into any Mac from the past decade or so. I easily built a flash drive containing both OS9 and OSX bootup partitions—knowing full well the OS9 partition would not boot—OS9 didn’t support remote booting via USB, only FireWire.

I plugged it into the rear USB 2.0 slot of my ailing Quicksilver G4 Dual 800 —it wasn’t booting correctly into OSX for some time. It wasn’t even qualified for TTP. When the main dashboard came up I let it take overnight do a full computer check, including a surface scan- a detailed, block-by-block examination– on all four ATA drives installed. The scan would have been faster had I created and booted from a FireWire drive, but it did complete the tests. It also told me every disk passed the scan with no bad blocks detected.

The 10-year-old G4 still gave me bootup problems, but Protogo is not a sealed system. By allowing me to boot from a cheap 16GB flash drive I could then invoke Alsoft’s DiskWarrior to repair the disk directory  and Apple’s own Disk Utility to repair the disk’s permissions, which led to successful boot-up. You can easily add these and any other of your favorite free utilities, like Onyx, or paid utilities, like Drive Genius, to the Protogo flash drive, limited only by space. If you instead use a FireWire drive, as with the flash volume, be aware that installing Protogo requires the entire drive and wipes any previous data.

TechTool Pro has new tools including tests for iSight cameras. It has a very good file and volume optimizer to defragment severely discombobulated files or entire volumes. You will feel the difference in loading times and writing files to disk after living with high defragmentation.

The graphics are friendly. My G4 Dual 800 was listed as an 876 MHz system, but that was me, pushing the envelope to troubleshoot an unsupported model.  TechTool Pro doesn’t seem to be multithreaded on my PowerPC—only one CPU was engaged during scans and other operations. It is certainly multi-core aware on my Intel 8-core.

TechTool is a both a checker, repair, optimizer and preventative maintenance utility,  and TTP Protogo adds a gracious host for everything else you like to use in troubleshooting. These are cool tools with unique abilities which I’m glad to have available.

 

Loren S. Miller reports for IMAGINE
News and other venues, edits longform drama and docs coast to coast, and teaches college level post.
Reach him anytime at
techpress@mindspring.com

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Cool Tools Two Version 6.0S . . . Loren S. Miller [December 2011]

Episode 6 is the latest iteration of Telestream’s comprehensive media encoding/compression product, ideal for laptop or desktop users who need to process one job batch of files at a time. Episode Pro 6 adds the punch of more professional encoding formats and the ability to encode two separate file batches simultaneously, ideal for busy production houses working on more than a single job.

Episode and Episode Pro 6
$495.00 and $995.00 respectively,
Intel-based Mac 10.6 or later including Lion 10.7, or Windows 7 systems running QuickTime 7.6.2 or later. Telestream, Inc.  www.telestream.net

As if true 64-bit processing of files isn’t enough (available in Mac OSX 10.7 “Lion” and flavors of Windows 7), both systems allow easy clustering of computers to create even faster data pumps.

Those who are familiar with Episode Encoder 5 or 5 Pro or earlier will experience a redesigned interface which expresses the Episode input-output-where do you want it? workflow much more clearly, truly drag and drop, but in a right side Inspector window it provides access to the same array of encoding controls for video and audio bit budgeting, for those who know what they’re doing.
Windows WMV7 and 8 can be processed through Telestream’s Flip4Mac QuickTime component. WM9, WMA and WMA Pro are handled natively. Flash 8 (VP6s/VP6e) remain supported with its ability to hold an alpha channel—for those web page live action-against-white shots of CEO’s and such introducing their product or service. Today, web authors are moving toward HTML 5, which has been in development since 2007, to produce webpage multimedia of all kinds, but Flash remains a standard in many enterprises.

The most important new codec Episode offers in all versions to encode is professional AVC-Intra 50 and 100 Mb/s. Decoding to MXF and MOV formats is available in Episode Pro and the enterprise-scaled Episode Engine. DVCProHD formats are available with a separate QuickTime plug-in. The same for RED 2K files. A new card-based camera format, AVCHD, is now supported—although it appears camera card folder structure is not, so you access the MTS files inside them after copying the folder for each card to hard disk. Still, I dragged 6 MTS files, totaling 6 GB, and outputted these to 35 GB of ProRes422 at very good looking 1920 X 1080 with stereo audio preserved. This is a typical expansion rate for 1080. Dedicated utilities like ClipWrap (www.divergentmedia.com/clipwrap) although just about as fast, provide only a limited subset of ProRes422 output and Avid DXnHD output. Episode now offers output to ProRes 4444, the highest end of Apple’s editing codec’s, supported on all Macs where it’s installed, and on Windows in Episode Engine. Episode also maintains the ability to transcode NTSC to PAL video standards.

Episode Pro is the first compression/decompression/transcoding utility I’ve seen with built in File Transfer Protocol (FTP) support. SMB and automatic publishing to YouTube are also offered, all welcome features comprising a robust version 6.

 

Avid Media Composer 6
$2499.00 retail for Mac OSX 10.7 Lion and Windows 7
Upgrades available for between $299 – $599.
Crossgrade for Final Cut Pro users- $1000.00 discount to 1499.00
www.avid.com

Finally 64-bit tastiness has arrived at the nonlinear editor banquet table, and all users with Mac Pro’s running Lion or PC towers running Windows 7 64-bit version can gorge on it. And the interface has been streamlined, with just a whiff of Windows 1.0 – lean and mean lines around title bars and frames — but more tasteful. Some changes are awesome, some obscure, but the package will please veteran Avid users, those returning to Composer from FCP7, and those in school learning it.

A lot of development work is apparent. Some interesting interface changes appear. The addition of stoplight colors for each window control corner (collapse, expand, close) is simple yet pretty. In – Out marks in the timeline are slimmer and almost timid on some monitors—I vote for a classic option. But the rest of the look is nice: cleaner, more contemporary. Locators are now called “Markers”—where’d they get that? Did anybody ever use the “Brief” bin view? Hope not, it’s gone. Text, Frames and Script view remain, accessible from a popup menu in each bin. Brief view can be made from Custom view. You can collect tool windows into groups by dragging their window tabs, similar to Adobe products. Bins can be aggregated into a single window this way. Workspace customization, which works across dual monitors, is well supported here.

The open timeline trend continues, utilizing increased RAM and processors to play many mixed formats and frame rates in realtime, depending on the power of your tower, without accessory boxes like Nitris and Mojo. For those producing stereoscopic 3D films, Media Composer now carries a robust set of tools for joining, editing, and tweaking clips shot for 3D. For professional colorists, Avid offers Avid Artist Color, requiring a driver for specific control surfaces supported by the system, which provides more intuitive color correction. Taking a page from the Lion-integrated Apple App Store, a fully integrated Avid Marketplace menu appears in version 6 with listings for video and audio plug-ins, media libraries, support and training.

The streamlining is everywhere. The title tool is now a separate application—you just don’t feel it. You invoke it the same way, as a title effect, and use it the same way, but many functions rolled into the main app menu now appear in Avid Title Tool menus.

A lot of tweaking of audio tools and functions show up. There’s a new Set Multichannel Audio dialog to specify channels and voices to be used for clip audio, from single-voice mono to 7.1 eight-channel surround. In the timeline, audio waveforms sport color change for off-project sample rates. If you defined your project with 48K, the waveforms display in black, and off-rate clips like 32K or 44.1 K display in white. MC 6 sports a new Advanced Panner tool for 5.1 and up surround.

I had shot a bunch of Sony HDV footage (that’s right! Tape!) and had already live captured/transcoded it to ProRes full raster HD ready for use in Final Cut Pro 7, but decided I’d load it instead into Media Composer to drive MC6. Using Import I selected clips and they all came in as transcodes to Avid’s flavor of ProRes in the MXF wrapper. For some reason, trying to transcode large batches of clips triggered some exceptions (crashes), but the alternative would be to assign the storage disk as an AMA volume, and I couldn’t use that method—the footage was in a Capture Scratch folder in use by Final Cut Pro. So I had to transcode it a few clips at a time to another volume, into an Avid Mediafiles folder, which, once done, worked just fine. Editing operations really showed off 64-bit snappiness. It is fun to watch Mac Activity Monitor display all cores engaged in playback and rendering. This show will stay in Composer until finished.

This is only a brief view of what’s new in the product—Media Composer 6 is a real feast. It remains a sine qua non cool tool for today’s working editors and students.

Loren S. Miller is a feature documentary and
dramatic editor working coast to coast. He reports for
Imagine News and other venues. Reach him anytime
at techpress@mindspring.com.

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Cool Tools . . . by Loren S. Miller [November 2011]

Final Cut Pro X

www.apple.com
$299.00, v. 10.0.1, available for Mac download only, through the Apple App Store

There are very few talents out there who make life interesting and full of magic moments worth waiting for. Walt Disney was one. Steve Jobs, who passed in October, was another. We miss him the way we miss Walt. It seems sensible they joined up toward the end of his life, as he sold Pixar to Disney and served on its board.

Both men delivered great products and always endeavored to provide the wow factor in their own domains. In the world of computer software, many of us in media were anticipating the wow factor radiating from the next hotly anticipated version of Final Cut Pro.

But the reaction to Final Cut Pro X (“ten”), revealed while Steve was alive, at the Las Vegas SuperMeet in April 2010, was sort of “Wow! What? Why?” Within days of release, the editors of Conan O’Brien’s late night TBS show were all over FCPX with a scathing parody- it made mainstream news.

Lots of stuff has changed. The familiar “four corners” of all popular NLE’s are only echoed here. There is no Project Browser with bins, no Viewer for source marking, no Canvas / Record / Composer monitor for the assembled program, and no timeline as we know it. They’ve been reworked into four general areas: Event Library with Event (Source) Browser, Project Library with Project (Sequence) Timelines, a Viewer window which does double-duty, and a context-sensitive Inspector panel.

Accessed from the Project Library are your edited “primary storylines” and ancillary timelines. Here you can shift, trim clips, and apply transitions and effects. Color matching from scene to scene has been made tremendously easier. Title design is a little more interactive – you can actually see the video background when you build titles.

Audio fixes such as rumble and DC hum can be tackled while the clip is being imported, as can image stabilization, and correction for rolling shutter from the new DSLR video cameras. All extremely cool.

Central to the new version is the Magnetic Timeline, a sort of free-form sandbox for editing your sequences. You keyboard or drag clips in from your Event Browser and if they collide with others they dodge automatically to a new layer. That’s very cool. It allows you to arrange your story unhindered.

The problem is, when you’re done, it’s a visual mess. There is yet no magic button to complete the work, to cascade this creative chaos into orderly tracks for fine tuning or export of audio stems or image for finishing. Or for any of several kinds of deliverables – FCPX wants you to export your work from your messy sequences based on how you’ve tagged your clips.

Underlying the new architecture is heavy reliance on metadata – in the form of favorites, keywords, smart collections, and Roles you can define. It’s a bit much to work with these when all you want to do is grab clips you’ve imported and edit. But they provide tools for sequestering selects for easy searching and auditioning, and Roles in particular, a feature of the newest 10.0.1 release at this writing, tags a clip to best describe what “track” it’s on: Dialog, Music, Effects, or anything you define – this in response to the groan over missing tracks.  In this manner can you define exported deliverables required by your client or broadcast venue?

The present incarnation of Final Cut Pro X is better described as “iMovie Pro X” and reflects not the need and workflow of professional users but Apple’s bottom line exigency of leveraging millions of iMovie users into a more professional tool.  Those readers of this column who are versed in iMovie 11 are going to have a ball with the new Final Cut Pro X! Go for it.

The most well-known proponent of Final Cut Pro before this release was Walter Murch, master editor of GHOST, THE ENGLISH PATIENT, COLD MOUNTAIN, JARHEAD, TETRO and many others, and the man who coined the term “sound designer,” as he graduated from audio to image editing, as did many greats, like Dede Allen. He made using FCP for studio feature work acceptable and cost effective.

Walter aired his opinions covering what’s wrong with Final Cut Pro X from his point of view, at the second annual Boston SuperMeet held on October 27th, fast becoming the sine qua non convocation of editors and post pro’s in New England who want to network and keep up with latest products and changes. Walter hit highlights of a very articulate bullet list of issues he sent to Apple marketing; the group seems to control the product’s future more than any at this moment. Other professionals have also logged in their thoughts.

I met recently with the same marketing people behind this product and they’re basically bright and considerate folks, but they’re charged with moving FCPX to the greatest numbers, and it’s safe to say, most of those are not professional editors. I’ve suggested they’re not going to get many pro’s interested in the product until longform documentary and feature work can be demo’d in it, with dramatic scenes and takes or documentary events efficiently accessible and storable, rather than tagged clips from shortform extreme sports videos, travelogs, and home movies for YouTube. They are surely listening. To their credit, for instance, multicam capability returns early next year.

FCPX is certainly a cool tool – but for who?

Loren Miller is a freelance editor working coast to coast, using FCP7 and Avid, and reports regularly for IMAGINE. Reach him anytime at techpress@mindspring.com.

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Cool Tool and Wild Workflow . . . by Loren S. Miller [October 2011]

Screenflow 3 from Telestream, Inc.

$99.00 Mac OSX 10.6.4 or higher (lower Intel OS should use the latest V. 20x)
www.telestream.com

One of the coolest tools! Named “Best Screencasting Application” at MacWorld 2009. Anyone creating screen capture
software tutorials should know about Screenflow by now, and version 3 just gets better. Not only does Screenflow capture the activities occurring live on your full main monitor, to highest resolution available, it allows you to immediately edit the capture in its own timeline, trimming and arranging audio and video separately.

Recording is utterly simple. You can invoke it from a hotkey or from the menu bar Helper controller which includes handy options such as screen selection on dual monitor setups, and mike selection for audio recording.

A Screenflow capture can be scaled to 400%. Screenflow’s video actions allow you to zoom, rotate, spin any movie for stylish presentations. Add a reflective surface for the screen to stand on.

For instructional design, the cursor can be customized, and can be enlarged for visibility. Keytaps can be displayed visibly as they occur. Blurs and highlights can be added with callouts. With a USB or FireWire mike you can simultaneously add audio as you’re recording screen activity plus any audio coming from the system. All this flexibility raises the bar on competitors such as SnapZPro and iShowU desktop capture systems.

Screenflow was central to a recent one hour full HD documentary I edited about the impacts of social media.  After trimming and enhancing the captures to taste, I was able to export them at full raster ProRes422 HD to my RAID for inclusion in the program, and on an intense deadline.

Excelling at software tutorials and how-to’s you can email to students, friends or family, Screenflow enables you to export your polished screencast in any QuickTime codec or, with Telestream’s affordable Flip4Mac QuickTime component installed on your
Intel Mac, export to Windows Media format. It has publishing presets to YouTube and Vimeo as well as iPhone and iPad.

Screenflow 3 is optimized with hooks into OSX 10.7 Lion’s enhancements but works with Snow Leopard 10.6.4 or later.

De Wolfe Music Library
www.dewolfemusic.com
Rates vary per project and license chosen.

It had been years since I visited a production music library like DeWolfe. I was first introduced to DeWolfe and the concept of a film music library by composer Don Wilkins, who trained as a Hollywood music editor, grew and chaired the Film Scoring Department at Berklee College, and who to this day I credit with whatever sharpened music editing ability I have.

De Wolfe Music was the first in the business, started by composer/conductor Meyer DeWolfe in 1909, offering live orchestral sheet music for silent films shown in British movie theaters. Today it has branches in 40 countries, with music cues backing Beyonce, Addidas commercials, documentaries like Planet Earth and movies like THE SIMPSONS, BROKEBACK MOUNTAIN and many others.

My first hurdle was to convince my producer that, since we had no time or money for a trained composer- always my first choice – we needed good quality, affordable, clearable music of all kinds. The alternative was cheaper (and some really bad) royalty free collections of CD’s out there. I was seeking class work on a tight budget.

My second was to wean us away from the unidentifiable temptrack I had placed into the show to cut picture against – and which we were starting to fall in love with.

So I returned to DeWolfe, now on the web, and noodled their search page. The variety of the catalog is huge. Visit DeWolfe’s website to do some sample searches to hear what I mean. Dismiss your stereotype of “elevator music” – that is certainly available if needed, but there is very compelling material in there for the rest of the building as well.

Licensing fees associated with production music had always made me cringe. I remember single-cue prices, and needle drop rates (for each use of the same tune in a show). But I liked the possibilities I was auditioning. So I contacted licensing specialist Lauren Pavia in New York, who introduced me to the present rate structure. Pricing is offered in several reasonable schemes, including a blanket license for single documentary use, which at this writing consists of the ability to raid the DW library for anything you need for $1350 per 60 minute show, cleared for public no-charge screenings, festival screenings, domestic public TV broadcast, and even a 100,000-DVD release – all in one license, easily upgradeable if/when your market expands. Offerings like this attract frugal producers in need of quality cues in a hurry.

Lauren not only gave me a log-in, but also adroitly whipped up several near-sound-alike cues to the three untitled temptracks I had used, and which I immediately downloaded, indentified three I liked and swapped out for the unidentified temps. The producer signed off on them and began negotiating the blanket license barely a week before a benefit premiere.

The art of the production music library is in the find, and DeWolfe’s search page is no toy; it’s smooth and clean. You can search by track or CD title, search for a cue by keyword , or composer – DeWolfe has always courted accomplished yet lesser known composers from the very beginning. Keyword search is powerful; type in terms such as the mood: urgent, lyrical, comic, showbiz, etc. It’s all cross-indexed.  As you become more familiar with the library’s offerings old and new, you can find your way quickly into distinct
sections – or just use the Select Genre dropdown with its many categories.

You can even sequester selects into custom playlists under your own account. Playback is fast on any reasonably snappy internet connection of 1.5 to 5 Mb/second. Each cue’s download menu offers all the popular formats and bitrates you might need.

Short of budgeting a good composer and a custom score, this was truly a wild workflow, with engaged support behind the site and fast access to over 80,000 cues. And for those who are looking for a custom score, or a helping hand searching for just the right cues, it should not surprise you that DeWolfe offers those services as well.

 

Loren S. Miller reports for IMAGINE News and
freelances as editor of documentary and dramatic feature
productions, residing in Boston, traveling coast to coast to coast as needed.
Reach him anytime at techpress@mindspring.com

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