OK, if you are an editor, and are on Twitter, you probably know about the hashtag #timelinetuesday. It’s where us editors post the timelines from our current shows…or perhaps past shows…as a way to go “Look at how complex my edit is!” Because, well, we can’t show you the show yet, but we can show you the skeleton of it, how it was constructed. It also gives us a way to show others “look how I lay out things on my timeline.” That’s what I do (OK, fine, I also do it to brag about the complexity)…show people how I like to organize my timeline, and lay out my tracks in a logical manner.
See, I’m an organizational nut! No, wait, that sounds wrong. I’m a nut about organization…ok, that’s better. Organization is the center of how I do things, so if I can impart some of my organizational knowledge to others, I’m feel good. Especially because I’ve worked with some people who can’t organize their way out of a box! Wait, can anyone do that?
ANYWAY…normally I just post a single timeline on Twitter, or now also on Facebook in the AVID EDITORS or ASK AN EDITOR section. Be it in progress or a finished thing. But this week I wanted to do something different. I wanted to show timelines from an Act of a show I worked on, starting with what it looked like at the end of day one, and ending on what it looked like at the end of day 7, with a bit of explanation about what I accomplished on each day. So….here we go. This is the timeline for Act 1 of a reality show.
This is a rough string out of only the reality. Normally this is something that the story producers would slap together, but this was the last episode, and since our show has an AFTERSHOW (like Talking Dead), we editors needed to do a more polished reality pass so that they could air this on the show. So, this is what I accomplished a few weeks before I actually returned to the act. So it’s only the reality moment, no VO, and audio barely addressed (I didn’t isolate mics).
I’ve now dropped in the “shell” of Act 1…meaning the spot where the show tease goes at the head, and then the open title sequence, and at the end, the shell for the tease out. I’ve also started dropping in the VO, and putting the reality tracks into the proper configuration, and isolating mics. A couple parts that you see at the end with tracks that dip into the PURPLE and SALMON range…those were additional reality moments added by the story producer. Here you can better see how I color code my tracks: BLUE is Interview, GREEN is reality, SALMON is sound effects, and PURPLE is music. And I make different shades of each so I can see at a glance where the stereo pair tracks are. By that, I mean that all the tracks for this are MONO, but all the ODD tracks are panned LEFT, and all the EVEN tracks are panned RIGHT, so I need to make sure I add my stereo clips on the proper tracks, odd first, than even. If I do it even first and then odd, the clips have the stereo pair reversed. NOT good when you head to the MIX.
Another thing you’ll notice is that I label my tracks by what type of audio goes on them. Helpful for me at a glance, and other editors who might end up fine cutting this, or dealing with notes. AND…this information gets transferred to the ProTools session (track names). Helpful for them, too.
Finished adding VO and adjusting the reality tracks and isolating mics (meaning only having the audio up for the people talking at that given moment, to cut down on audio distractions). And I’ve started cutting the scenes, adding reactions and b-roll.
More filling out the reality moments and adding b-roll. The small grouping of clips around the 3:50:00 mark is a flashback package.
More filling out…another flashback package
ALMOST there. Added the tease at the beginning, cut by another editor.
Finished filling out. Added a tease for the upcoming at at the end, lower thirds, and addressed producer notes given just after lunch. This Act 1 is ready to go to network as a rough cut….joined with the other acts other editors worked on.
EDIT BAY POSTS
The forty-ninth episode of THE EDIT BAY is now available for download.
Many movies and TV shows have little easter eggs hidden in them…commercials too. I tell you a few examples of Easter eggs I and my fellow editors have planted.
To play in your browser or download direct, click here.
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EDIT BAY POSTS
The forty-eigth episode of THE EDIT BAY is now available for download. This one is about how new production is different than documentary production…and a small issue with pre-roll.
I’m having a small issue with my podcast posting software, so it’s not available on iTunes yet. But I’m working on that…it’ll be up soon.
To play in your browser or download direct, click here.
To subscribe to this podcast in iTunes, CLICK HERE.
The forty-seventh episode of THE EDIT BAY is now available for download.
This on is how editors are pigeon holed, not only by type of show (doc, reality, scripted), now they are pigeon holed by the TV networks they cut for.
To play in your browser or download direct, click here.
To subscribe to this podcast in iTunes, CLICK HERE.
Along with straight up creative cutting, I also online edit and color correct. This started years back when I started using FCP. The show I was on had a preliminary color pass to show the network…PROVE to the network, that we could mix the full sized tape based Panasonic Varicam, and the newly introduced HVX-200. That grade was done on a full scale, tape to tape DaVinci system. I looked at what was done, and said, “I can do that.”
Now, I’m no stranger to online and color correction, not at that point. I was an assistant online editor for many shows, and I learned from talented people. This was the first time I decided to take it on myself. At that time, I used the simple 3-way color corrector and a little product by Red Giant software…Magic Bullet Editors.
From onlining and grading a special here and there, I landed a full year job grading two series and a handful of specials. At that time I used Apple Color. I still used that from time to time, on every FCP job that landed on my desk. But I also started digging into Avid Symphony…as more and more jobs coming my way were Avid based.
But now I have a job coming my way that’s shot on 4K, but needs a 1080p finish…with the ability to revisit it later at 4K. The network stated that Resolve would be the better solution for the task, so now I’m learning DaVinci Resolve.
And it’s about time! I’ve had it in my tool belt for a couple years now….Resolve 9. I won a copy of it a couple summers back doing the first #Postchat scavenger hunt. And I’ve sat on it, never needing to use it. I always kept referring to Color or Symphony. I never needed to use Resolve to convert footage, or do a final grade. Sure, I COULD have…but I’ll admit, I was lazy…other tools did the job just fine. But now I needed to use Resolve…I just needed to figure out how to use it.
OH…and while I had DaVinci Resolve 9…a couple years old of an app…I was able to upgrade to Resolve 11…FOR FREE. And when Resolve 12 comes out…another free upgrade. And Resolve Lite, that tops out at 1080 support, is still free.
I’ve been editing from home lately, and using my 2012 MacBook Pro as my main editing computer. I had to abandon my 2008 MacPro tower as it’s really showing it’s age. It’s getting finicky with random crashes, the AJA card in it is finally giving up the ghost (8 solid years with that baby!) and it’s just plain slow compared to my 2012 MacBook Pro.
The thing is, my MBP doesn’t have that many external ports on it. Sure, it has a LOT more than a MacBook Air, but when it comes to all the things I need connected to it when editing…it falls short. For the record, it has:
(1) Ethernet port
(1) Firewire 800 port
(1) Thunderbolt port
(2) USB 3 ports
(1) SD CARD slot
(1) Audio In
(1) Audio Out
The Ethernet port I use on occasion to network with the tower, to transfer files. Or to connect to my control surface for color correction. Firewire 800…obviously for a FW800 drive, of which I have a dozen or so. Thunderbolt…that’s the busiest one. For I need that to connect to an IO device, the AJA IoXT that’s connected to an FSI professional color monitor, and also loop to a computer display. And then because my laptop monitor is too small to hold all the bins I need open, I use one of the USB ports for a USB to DVI adapter. And because editing/rendering/compressing causes a lot of heat on my laptop, the other USB is taken by a cooling pad. And then the audio out goes to the mixer and speakers.
Now I’m out of ports, but I need more. I need more USB for thumb drives to connect to, for backing up projects, or bringing over files from other people (fonts, pictures, etc), I need one for the keyboard and mouse, as I don’t use the laptop for that…it’s off to the side, I need one for other USB drives I have, like the RAMPANT drive I grab elements from time to time. Occasionally I attach other firewire drives, and yes, you can loop through…daisy chain…to some other drives, but it’s nice having other connections.
So I need a hub. But I want to future-proof myself so I want a major hub. Not just USB ports…but in the future I will get a new computer, as my 2012 laptop might not last long for editing either. And none of the newer models have Firewire 800. I might also want eSATA ports, as my tower has those, and I have many drives with that fast connection, but no new computers have them. So, I could either get Firewire to Thunderbolt adapters, and eSATA to Thunderbolt adapters, Ethernet to Thunderbolt (for connecting to network RAIDS), and USB hubs, or one unit that solves all my needs.
So I have been looking at Thunderbolt docks. These connect to the computer via Thunderbolt, and with that one connection, offer many connections on the other end. Multiple USB3, Firewire 800, eSATA, Ethernet, and audio ports…with Thunderbolt loop through. The ones I tested are from Otherworld Computing, CalDigit and AkiTio…all offer different options.
Let’s do this in alphabetical order…
AKITIO THUNDERDOCK 2
The Akitio Thunderdock 2 is a nice small box. It’s about the size of a small USB drive, so it has a very small footprint.
And this box sports a lot of connections…two Thunderbolt ports for loop through (very important)…two bus powered USB 3 ports (backwards compatible with USB 2 and USB 1), two eSATA ports (up to 6Gbps), and one FW800 port.
There’s no Ethernet port, but I know many people won’t need this….if you do, other options sport this. But this is the only device of all of them that has both FW800 and eSATA…so that alone makes it useful. The bus powered USB ports get their power from the box, not the computer. So even when your computer isn’t connected to the unit, the USB ports supply power…great for things like charging your cel phone, or keeping your astronaut light lit.
This unit requires power, therefore it needs to be plugged in….just like every model I tested. But this is fine with me…this is how it can offers bus powered USB ports.
How fast are the connections? Glad asked…first, a baseline. The drive attached is a CalDigit VR, the two drives raided as RAID 0, for speed. Here are the speeds of firewire directly connected to the computer. Around 75MBps read and between 70 MBps and 80 MBps write
Now the FW800 port on the AkiTio offers 66 MBps write/80 MBps read…so, comparable.
Now, my laptop doesn’t have eSATA, but my MacPro does…so I’m going to use it as a baseline. It has a CalDigit eSATA card in it. The speeds I get between it and the Caldigit VR are about 111MBps write and 125Mbps read:
The eSATA on the AkiTio? Would you believe it’s FASTER? Well, it is. Between 155-162 MBps write and 164MBps read. Impressive.
In short, the AkiTio is small, sports many connections, and has connections that are as fast, if not faster than direct to computer connections. The only issue I found was that the box ran a little hot. No, you can’t fry an egg on it, but I wouldn’t rest my hand on it for too long. Not hot…but more than warm. But after two weeks of use 10 hours a day, it didn’t seem to be an issue. Great little box. It retails for $245.99 and ships with a Thunderbolt cable.
CALDIGIT Thunderbolt Station 2
A friend of mine has this unit, and swears by it. He has a MacMini that also is running short of connections, and this has served him well. And in my 2 week trial with it, it worked great for me too.
This unit also offers a small footprint, and sits nicely behind or next to my computer.
And this one offers a different set of connections. Two Thunderbolt ports (allowing loopthrough), and 4K HDMI port, three USB 3 ports (two in the back and one in the front that is bus powered), two eSATA ports, an Ethernet port, and audio IN and OUT ports.
The HDMI is 4K at 30Hz, so it can send out an image to a 4K computer display or 4K TV. So you can send a signal out to a computer monitor via HDMI, or Thunderbolt (some monitors still needing a TB to DVI adapter). Now, one thing that this unit CAN offer over any other, is dual display monitoring from a single Thunderbolt connection. Meaning the one Thunderbolt out from your computer, can then be split to the HDMI out and Thunderbolt outs. But ONLY if your monitors connected via Thunderbolt are Thunderbolt native connections…like Apple’s monitors or LG’s TBT display. I was unable to test this feature, as I didn’t have one of those monitors.
The eSATA connection speed is comparable to the AkiTio…156MBps Write 165MBps Read. Again, faster than my MacPro offered.
Very useful to have that, as I have more than a couple drives with eSATA, and with high data rate formats, and the need to edit native formats, speed is good.
Another great box with many useful connections. It gets a little warm, but not bad. The case dissipates the heat well. It also has an AC adapter and is required to be plugged in to work, but again, that’s how you get power out to USB 3 ports. And the dual monitors via one Thunderbolt connection is a nice feature. But again, they need to be specific monitors. It retails for $199, and doesn’t ship with a Thunderbolt cable.
OtherWorld Computing (MacSales) Thunderbolt 2 Dock:
This unit is the biggest of the bunch, but it also sports more connections. And it still fits behind my computer nicely:
OK…this unit has two Thunderbolt ports (again, loopthrough), FIVE bus powered USB 3 connections, one Firewire 800 port, one HDMI 4K port, one Ethernet port, and Audio In and Out.
Where the AkiTio has both FW800 and eSATA…and the Caldigit has eSATA but no FW800…this unit has FW800, but no eSATA. Which is fine for many, as many people might not have eSATA, but need the FW800 connections, as all new Mac computers lack this connection. And we all have lots of FW800 drives that still function, and we still need to connect them to the computer.
The speeds of the FW800 connection are pretty much identical to what I get with the AkiTio box. 67MBps write, 80MBps read.
And like the CalDigit unit, this one also allows for display splitting, with the same restrictions. The monitor connected to the Thunderbolt port must be a Thunderbolt monitor.
This is my favorite unit in the bunch. Mainly because of all the USB ports (five of them) and the FW800 connections. In fact, the two ports on the side are “super-charged,” meaning they have extra power fed through them for fast charging of your tablet or mobile phone. I have a lot of things I need to connect via USB…a USB to DVI adapter (on the computer), a fan (on the computer) and then keyboard, Rampant drive, thumb drive, dongle for Resolve, Time Machine drive, or other transfer drive…all on the OWC unit. And when I do eventually upgrade, I’ll need the FW800 and Ethernet connections as I have lots of FW800 drives, and a color control surface.
And it runs pretty cool…about the same temp as the CalDigit unit. And like the rest, it also requires AC power. It retails for $229, and ships with a Thunderbolt cable.
These are not the only Thunderbolt docks on the market…these are just the ones I tested. There are also ones by Belkin, Elgato, and one by Sonnet that also has a BluRay drive for authoring BluRay disks.
The CalDigit and AkiTio review units were returned. I did retain the OWC unit as my expansion unit of choice.
Every day after school, my youngest daughter (age 11) comes into my office to watch me cut A HAUNTING. She does this in the guise of “I’m going to do homework out here while watching you edit.” Although she does end up paying more attention to what I’m doing and asking about what I’m doing than doing homework. But I tend to forgive the lack of homework doing because she’s very interested in the craft of editing. But I do make sure she does it later…
Normally this show might be a bit intense and scary for a child of her age…and well, the age she was when she started watching me edit and watch the show…age 8. But because she sees how the show is cut, she sees the scene pre-visual effects, pre-scary sound effects and music cues, the show has been de-mystified for her. So she’s not scared. But, she still really enjoys it, and she loves watching it come together.
She will be in my office one day as I watch down all the dailies for a scene…and then start to assemble the scene. I’ll explain to her why I cut to a different angle when I do…the motivation of the cut. Or why I won’t cut at all, just leave the one long take. She will be in the office the next day as I cut the music and SFX for that scene. I’ll explain why I use a certain sound effect, or why I chose the certain music cue. And then explain the process of back-timing music to make it fit the scene, and then why I might extend shots a few frames or so to accommodate the music hits. Many times I will play a scene and ask her opinion as to what type of sound effect she thinks I should put, and when. So I can see what sort of editing instincts she has. Most of the time they are spot on, as she will say “hmmm, I think I want to hear some sort of sound here when the person sees black ooze on their face in the mirror, and they jump. Some sort of boom…or something.”
Pretty good. But that doesn’t top what happened last week.
I’m cutting this one scene, and it consists of single long takes. The first angle is a medium shot that becomes a close up of a person walking down the hall after hearing a sound…Then the scare happens. Then the next shot is of another person entering the hall to come to her aid. The first two takes the camera is panned away from the first person, focused on the doorway as the second person emerges…then it follows him down the hall as he comforts his person 1. This is also a one shot take…no reverse angles. Five single angle takes. The first two takes started in the doorway, then panned down the hall, but they both had issues later on that made them not great. The far better takes are the next two takes…but the problem is that they didn’t start in the doorway…they started on a wide of the hall, angle on the first person.
This was an issue because not only would this be a jump cut, but the position she was in for the CU of the scream, didn’t match the wider shot at all. Sure, I tried it, because often this difference would be minor and not noticeable…but it was just too different. So I wasn’t sure I was going to do. I explained the situation to my daughter as she sat doing her “homework” on the client sofa. She put down the book, stood next to me and studied the situation.
“Hmmm…” she said. “How about cover that cut with an interview bite?”
I was about to say why that wouldn’t work when I realized that it would work…and rather well too. See, you need to know (if you don’t watch A HAUNTING), the show is a mixture of interviews and recreations. Mainly recreations, but with interviews of the people the incidents really happened to to give the scenes more weight. I will cut the scenes, but then need to adjust the cuts to accommodate the interview bites. And in this scene I had the interview bites happen much later in the scene, after the second person rushes to aid the first. But I could just move the first one up sooner. Have her scream…then say “I was utterly scared, and fell to the floor,” then cut back to person 2 coming to comfort here…a few lines back and forth, and then the rest of the interview.
BRILLIANT! This suggestion took her less than 5 seconds to come up with.
Now, I’m sure I would have figured that out eventually (maybe, after ranting about it for a bit)…but her instinct on this was so spot on, so quickly…I was humbled for a moment. This kid has a future in editing, that’s for sure.
There’s a new trend that has come about because of digital cinematography. Not only longer takes, but more footage overall.
Back in the days of shooting film, you’d hear the words: “Roll sound. Roll camera. ACTION!” And then, after the scene was over, the words “cut!” You might also hear the words “check the gate,” meaning look for hairs or dust in the film gate, but that’s besides the point. OK, we still hear those words, especially when rolling second system audio (audio recorded separate from picture)…but a new trend is happening, something not encountered when shooting film. Longer and longer takes.
When shooting film, one tended to be economical. Meaning, you shot only the scene, and when it was done, you stopped. Because film is expensive, as is processing that film. So you set up your shots, rolled film, got the take, stopped, and reset for take two. You’d use the time between takes to give the actors and crew directions, reset props and touch up makeup, etc. And when you were done with the main shots, you’d move in for inserts and pickups. Shooting the actors saying crucial lines or giving needed reactions.
This wasn’t limited to film. This was also done when shooting to tape. Because you didn’t want to use up all your tape…you shot practically.
But now, with the advent of tapeless media, things have changed. First off the amount of footage we get has increased by a major factor. On narrative projects, when we shot on film we’d get an hour or two of dailies per day. With tapeless, that has increased to between 4 to 6 hours of dailies per day. And us editors still need to watch every bit of that footage. That doesn’t leave much time to actually cut. And the production schedule…the edit schedule…hasn’t changed. So days get longer and longer. Deadlines might get pushed, but that’s rare. So this means the hours the editor works in a day…a week…increases.
What’s going on with this increase of footage? Well, many things. One thing that happens is that one “take” actually consists of multiple takes. The director doesn’t call “cut,” he simply says “OK, reset to one quickly” and while the camera is rolling, they do another take, or multiple takes. Recently I had one “slated take” that consisted of multiple resets. So one slated take contained five “takes.” That scene had four slated takes, and those four takes consisted of twelve actual takes.
Also, a lot of things can happen between the takes…and all while no one called cut For example, a friend of mine had a scene where one slated take was eight minutes long. In that eight minutes there was one minutes and thirty seconds of the director giving directions before action is started. He called for cameras and sound to roll, and then went to give directions. Finally he called “action,” and the shot took one minute from start to finish. Then while the camera was rolling the scene was reset, notes were given, makeup re-applied…6 minutes of general hub bub…and then another one minute take.
This is something that would never happen when shooting film. I recall being called to the set because they were doing a pickup of a scene and they needed me, the editor, on set so that they could make sure the continuity was right. The director asked if I was ready, then called “action.” When it got to the part I needed input on, I paused, trying to remember. “COME ON!” the director prodded, “we’re rolling! Quickly quickly!” I gave my direction, they did the scene and called “cut.” Film is expensive. (I mentioned that)
Another thing that can happen is smaller resets in the one slated take. That same friend of mine worked on a show where one slated take contains the full scene…but also the director will stop the actors in scene and have them repeat lines. Not once, but five to six times, maybe more. And not in one part of the scene, but he would stop them several times. The director will also stop several times to prod the actors to give better, or different, reactions. Redo moves. Basically the one slated take will also be minutes long and contain lots of bits and pieces to complete the scene. The scene itself, and all the pickups. Not only does this make cutting more challenging. But now the editor needs to scrutinize every second of the dailies, and dig through all of this for not only the best scene, but all the good reactions and lines, and then cut that all together, cohesively.
And yet, as I said before, post schedules don’t change, so this leads to longer than 10 hour days, or working on the weekends. Often without overtime pay.
Now, it can be argued that doing this makes for a better show. And that is true, because some good performances can be had, and great reactions…stuff missed when you only have 3-4 full takes. This might just produce that one golden moment or reaction that makes the scene shine. Another argument is that stopping down the scene and needing to go in an reset and slate adds more time to the production schedule. So doing multiple takes in one slated take can save precious minutes.
I can understand that. Still, some happy medium needs to be struck. Saving time on one end adds time to another. And post is the cheaper side of that argument. But a little extra time should be considered for the post side, in order to deal with the added amount of dailies.
I didn’t mention reality shows at all, because not much has changed there. They roll and roll and roll, and always have, because they are documenting what is happening. STACKS of tapes arrived at the office daily from DEADLIEST CATCH. Five ships, three to four cameras per ship…filming nearly 24/7. We have always gotten lots of footage from reality shoots. And that’s one reason they take so long to edit. The editors have to sift through all of that footage to look for the gold. Even when we have story producers who pull selected scenes for us to work with, us editors need to watch all the footage surrounding that moment…if we are given the time to do so.
Finally, another regular blog post, after 2 years of sparse activity…barring a few reviews (another coming). This was due to the fact that I was under NDA at the company I worked for. All I could say was that I was working on a certain show. Beyond that…I couldn’t say anything. On that note, for the past two years I’ve worked on two seasons of ANCIENT ALIENS, two seasons of AMERICA’S BOOK OF SECRETS, a short series called BIBLE SECRETS REVEALED and two seasons of THE CURSE OF OAK ISLAND. With a handful of specials and a few shows that I’ve onlined and color corrected. One of those series that I color corrected was for Werner Herzog…which is really cool! A cinematic hero of mine. But other than saying “I made Werner Herzog shows look pretty,” I didn’t have much to say about the shows…technically speaking.
OK, there was one great thing. He framed one interview to include a window, because there was a view of the freeway outside of it. It was blown out and he wanted me to do a power window and fix it as best I could, because he wanted to see the cars. He loved cars, ever since he was a young boy growing up in Bavaria, where he was so poor that he nor his friends could afford one. When one would drive by on the road, he and his friends would all run to see it drive by. OK…there, got that out of the way.
Now, back to A HAUNTING. I did cut 3 episode of season 5 this fun show 3 years ago…and I blogged about it starting with this post. And I have done the fine cut notes one episode, and recut another episode with another editor in the past year. Those fixes lured me back. That and being able to work from home…that’s a big bonus. No commute so those hours can be…well…used to work a little longer on the show.
Another bonus is being able to have my kids watch me work, which they like to do. And they like the show, too. And they really like seeing how the show is put together. My youngest (age 11) will come into my office and watch me watch dailies, and then assemble a scene. I’ll even be a bit sly and educate her on editing, by ask her advice about which take she thinks is the best. Most often it’s the one I thought as well. Other times, she’ll point out some part of a take that I might not notice. Some reaction that she likes…and it’s nice to have that perspective. I’ll ask her when she thinks I should cut…and why. And what she thinks I should cut to. It’s pretty fun.
Today she sat behind me as I was beginning to score a scene and add SFX. She really likes to see a scene come together with sound effects and music. She marvels at how a small effect will impact things…and how many I layer really fills out a scene. “It makes the scene…you know…more rich. Less hollow.” Good way to describe it.
So, in this scene the character begins to vacuum and hears a sound in the kitchen…but he’s alone in the house. He stops looks around, calls for his wife…then shrugs and goes back to vacuuming. A sound happens again, and again he stops to investigate. While he’s looking about he hears another sound, turns around and then the ghost appears. Well, in the filming of the scene when the actor starts the vacuum, there is no vacuum sound. That is something I need to add. And in both cases where the actor needs to react to the sounds, the director can be heard saying “SOUND” in the background. “How are you going to get rid of the director talking?” my daughter asked. “Why did the director even talk..that makes this difficult.”
“Well, let’s see. If I remove the sound of the director…what does that do?” And I do…and as expected, having audio cut out to complete silence was jarring. “Well, you can’t do that,” she replied. “Now it sounds empty…and it’s too abrupt.” I was able to explain to her about the use of “room tone” in situations just like this. But this was tricky as the actor was performing an action….moving a vacuum on the floor. The room tone worked for the third time the actor hears the sound, for the vacuum is off and the actor is still, looking about the house. But for the other two times. The first thing I did was add the sound of the vacuum…which helped a bit, but you could still hear the audio cut out as the sound of the vacuum moving on the floor can be heard, and then suddenly not heard.
“What do we do about that?” she asked.
“Well,” I replied, “we need a similar sound…of the vacuum moving on the floor, right? So I just need to grab some audio from a time he’s moving the vacuum and match the motion…so we cut out when he’s pushing it forward. Let’s find another place where he’s pushing it forward, and use that.” I did and it worked great. So after adding the vacuum, and patching the hole where the director spoke, I then looked for a sound to occur. I chose a loud floor creak, as that’s something that one might think a person could make…but could also be a sound a ghost makes. And then I sweetened that with a low boom sound effect when the actor reacts to the sound. And looked or a place where the music goes from a low tension drone to have a musical sting. And then back timed that and mixed the track so the edit was smooth.
After a couple hours we had the scene edited and with layers of audio. And with that my daughter excused herself to go inside and have a snack, and then go for a bike ride. But during the time I had her with me, she was engaged and really enjoyed herself. Thinking that I might have one of my kids following in my foot steps.
More and more I’m coming to rely on my MacBook Pro as my main editing machine, as my 2008 MacPro is really showing it’s age. OK, to be honest I’ve been relying on it as my main edit machine since I bought it. But my laptop isn’t all the new either. It’s a mid-2012 non-retina MacBook Pro. Now, this model is also getting a bit long in the tooth, but I feel it still has quite a bit of useful life in it yet. And since I’m not one to chuck away a computer when it’s just a little old, I relied on my 2008 for four years…I’m hoping I can get more life out of my laptop. I thought I’d look at options to extend it’s life as long as I can.
Most of the time I’ve used it, it’s been on side projects, as I’ve been working in an office on their Avid machines. These smaller side projects always end up needing me to attach a hard drive to my computer. This is quite normal…but there are some inconveniences. First off, the power drain is pretty quick, requiring me to constantly be plugged in. Second, and this one is the biggest problem…those hard drives occasionally unplug and throw all the media offline, and the app to crash.
Then I came up with a solution. I have this optical drive that I rarely use. I happen to have an external one for the two Mac Minis and two MacBook Airs in the household, so if I needed one, I have one. So why not take that thing out and put in a second SSD? A large one, and fast one, to store media on? I’ve been seeing ads online, and hearing about the Mercury Extreme Pro 6G from MacSales (AKA OtherWorldComputing) from friends, and how fast they are. So I sent for one (the 480GB model), and for an optical drive replacement kit (known as a Data Doubler).
They arrived last week. Instead of going into all of the boring details of how to install it as they are in the nice manual they send…
which I at first I thought would be confusing, but as it turned out, it was very straightforward and easy:
So the first thing I had to do was get the SSD drive into the Data Doubler…that was easy enough…just a couple mounting screws:
Now to get it into the computer. I’ll just say that while I had to disconnect a couple cables and take out a lot of screws (and keep track of what went where), and disconnect and reconnect a couple small and delicate cables…I was able to do that without much effort, and pretty quickly (20 min total).
This computer surgery took place on the dining room table, with my kids watching on…wondering if I’d end up breaking or losing anything. Nothing of the sort happened, and I couldn’t tell if they were happy, or saddened by that. Sometimes I think they want me to break something by accident just once, as I often take apart my computer or other electronic thing.
But I did have a couple leftover screws. Which is always a bit worrisome…but in this case, the manual said this is perfectly normal, as they provided two screws to mount the Data Doubler, making these two no longer needed:
So the new drive is in…and happily on the desktop underneath my system drive:
And it is FAST. See for yourself…here’s the AJA Speed Test:
And the Blackmagic Design Speed Test.
Plenty fast for 1080p ProRes or DNxHD…or 2K footage. Not that I get 2K footage, or 4K. I mainly deal with 1080p. But it is plenty fast for my needs. Faster than the SAS RAID I have in my office, and TONS faster than eSATA. Approaching Thunderbolt RAID speeds. F-A-S-T.
I’ve been using it for the last few weeks for a sizzle reel…a show pitch for a network. The only issue I’ve had is a slightly higher power drain. My battery used to last about 5 hours, now it lasts 4 hours. That’s longer than when I have an external drive attached…my battery drops to between 2-3 hours with one of those attached. But I tell you, when I installed my first SSD, replacing the spinning OS drive…THAT was a big change. That alone will make your machine like new.
So I’ve extended the life of my computer even more. I’m hoping to get two more good years out of it. And with all I’ve put into it…I think I will.
If you happen to have a laptop with optical drive, and don’t need to author DVDs…I highly recommend replacing it with an SSD. Or at least replacing your main OS drive with one. Having an SSD as the main boot drive is amazing. 12 seconds to boot the computer, just a few seconds to launch applications. Night and day compared to the older spinning drives.
(The Mercury Extreme Pro 6G and Data Doubler were provided by MacSales at no cost to the reviewer. I’m pretty sure this did not sway my review in any way. It would have been just as fast and just as handy had I bought it, which I was planning on doing.)
OK, this is a tip for the more advanced user. One who knows their way around the Avid Media Composer software enough to dig themselves out of any hole they might dig themselves into. Or those who know a bit about how Avid MC operates under the hood. Although some if this is easy enough for the beginner. Just…be careful.
If you edit with Avid Media Composer (MC), you may notice that Avid has a very specific way that it organizes media, and there’s not much you can do to change it. Avid media is ALWAYS stored in the following path: Hard Drive>Avid MediaFiles>MXF>1. Or other numbered folders, as there is a file size limit of about 5000 files. Get near that and Avid makes a number “2″ folder, and so on. Avid MC will ONLY see media if it is in that very specific file structure. Any media outside of that, and it won’t be seen. Even if you have a “1″ folder just on the root level of the hard drive, Avid won’t see it.
And you can’t make specific folders and direct Avid MC to render/import/capture to those specific folders on the project level. Meaning you can’t have the 1 folder be for Project X, and the number 2 folder be for Project Y. Avid will always default to putting media into the 1 folder until it is full, then shift to folder 2. Because of this it makes it difficult to separate your media from one project into separate folders…like we did with Final Cut Pro Legacy (1-7). For those of us who are hyper organized, and like to do this on the finder level…it’s frustrating.
See, Avid MC does all the organization inside the application. That’s where you access the media, copy the media…and sort the media. Want to delete the media for a specific project…then you need to open the Media Tool and search for media for that specific project, and delete it. Or if you want to move it, you use the same thing…Media Tool and then CONSOLIDATE. It can be a hassle
Now, if you have media that isn’t for one project…but is to be used in multiple projects, you want to keep that media separate from the project specific media. Say the same music cues, sound effects, basic b-roll or stills. Well, I have a solution. My original solution was to just have different numbered folders, because Avid will see the folders if they are numbers in the MXF folder. So I numbered my music as “10″ and my SFX and “20.” This way I could easily find them. I would love to have had a folder called “SFX” and one called “MUSIC,” but if I named them that, FCP would see them. They needed to be numbers or Avid MC wouldn’t see them.
But then I saw something that raised my eyebrow.
The folders started with numbers, but then had names with letters after that number. And yes, Avid still did see the media. I took out the number, and the media went offline…add it back, they returned. Did I think of this solution? No, I can’t take credit for that. I had a project arrive with things done this way, and I was a bit amazed to see that it actually worked. You see, I thought that the folders had to be ONLY numbers. You see, if you had a number first, Avid will see it. So you can still add a name. Sweet!
BUT…Avid MC still defaults to putting media into the “1″ folder when you render or import new media. So it might be best to make the numbers higher…starting at 10 or 20. And if you import new media that needs to go to one of those folders…after you import, do a REVEAL FILE to reveal the media, and move it to where you want it. Just know that any new footage goes right into the “1″ folder. So if you need it moved, you need to do that manually.
This is where the dangerousness of this comes into play. If you don’t know Avid MC well, you can dig yourself into a hole. Make media go missing. So you need to know how to fix things if you mess up. If you have media from your project that you need, and you THOUGHT you moved it to a new folder, but you didn’t…oops. So BE CAREFUL.
In my continuing pursuit to convert my edit bay from my old MacPro to my faster MacBook Pro…and any future computer…I’m looking at large hard drive storage solutions that utilize Thunderbolt. I have my CalDigit HDOne working fine with the Sonnet PCIe Thunderbolt bridge, but it’s only 8TB (6.8TB Raid 5), and file sizes are only getting larger. But the bridge is loud, and the HDOne isn’t all that quiet either. Besides, I’d like to look to the future at some point…bridging with the past can only go so far.
So OtherWorldComputing (OWC – MacSales.com) approached me asking if I’d like to review their new Thunderbolt RAID solution, the Thunderbay 4. I was more than happy to test this unit, as I had a few projects coming my way and I would no doubt need the space. My CalDigit still has a couple ongoing projects on it and I use it as archival storage, so is getting full. Plus, I can test the unit in a real world editing situation. They agreed to lend me the unit for an extended period so that I could run it through the paces…the real demands of editing.
The projects are standard HD projects. Meaning all of the footage will be 1080i, 1080p HD…and then a slew of HD and SD stock footage. Nothing 2K, 4K, ProRes 4444…that high end. But they do have a TON of footage. One has about a thousand hours, and another a few hundred. The third is just getting started, so just about 25 hours at the moment. But I do have some 4K footage to test on the unit, because I’m sure plenty of people out there will be needing to do just that.
The unit I received was a 12TB unit…plenty of space. Four 3TB drives. OWC does sell this unit without drives, or with drives. It works with both SATA drives as well as SSD drives. The unit I tested shipped with SATA drives. Normally the Thunderbay 4 ships configured RAID 0. But this was a special unit…It was configured as RAID 5 using bundled SoftRaid software. That is an optional way to buy the unit. You can buy it RAID 0 or JBOD…or you can buy it with the SoftRaid to enable RAID 5. Click here to see how to see what that is all about. More on that later. I opted for the RAID 5 version because as much as I like speed, I like being protected. And I didn’t have enough drives to have a “manual RAID 0,” a backup of all the imported media. 9TB was just right for my needs.
The first thing I want to point out is how the unit was packed. Because they take great care to ensure the drives they shipped with the unit were protected. Just like CalDigit, they ship the drives wrapped separately from the unit.
All the drives were surrounded by pretty durable bubble wrap.
The unit itself was in a separate box. And it shipped with the drive unit, a power cable (no power brick…which I prefer. I dislike power bricks), a thunderbolt cable (meaning I don’t need to shell out $50 for one from Apple), and a set of keys. Why keys you ask? So you can lock the drives into the unit so a stupid editor doesn’t come along and go “What happens when I do this? Hey…why is everything offline?” No…but it is for security. The unit does come with a standard locking port on the back, so that means the unit is pretty secure…no one can steal the drives.
So I took out the drive case, and manually inserted the drives…tightening the screws to keep them securely in place:
And locked them in tight
I then spent the next day filling the unit up with footage. Figured I’d give the drive speed specs when the unit had footage on it, instead of empty. Now…did you know that copying footage via Thunderbolt is REALLY FAST? It was so fast I had to compare it to USB 3 and Firewire 800. My fledgeling project took up 118GB, so I copied that first to a USB 3 drive. It took 23 min. Then to a FW800 drive. That took 20 min.
Then to the Thunderbay 4…that took 5 MINUTES That’s fast!
With the footage finished copying, the drive contained 6TB out of the 9TB available (12TB unit, RAID 5…four 3TB drives…one drive is for safety, so 9TB). That done I ran the Blackmagic HD Speed Test. But in order to be dramatic about things, I’ll first show you the results of the test on the HDOne first. The HDOne is 8TB, also has 6TB of footage on it…and is connected to my computer via a Sonnet Echo Express Thunderbolt bridge. Here is that result:
173 Write, 350 Read. That’s slower than it directly connected to my MacPro. Those numbers are 280 Write and 430 Read. But I’m phasing out that MacPro because everything else about it is slow. And sure, those speeds are plenty fast for the type of footage I am editing. But not the best for 4K editing on my laptop. OH…and that 88GB took 8 min to copy over to the HDOne. Good, but not Thunderbay 4 good.
OK, I think the dramatic pause has been long enough. Time for the Thunderbay 4 SpeedDisk test.
443 Read, 510 Write. Much faster than the HDOne. This’ll be good. And this isn’t RAID 0 numbers, those are faster. But I’ll be even more dramatic and get to those later.
The Thunderbay 4 has two Thunderbolt 2 ports, so you can use it as loop through. Which is exactly what I did, as my laptop only has one Thunderbolt port. So I went from computer to Thunderbay 4 to AJA IoXT…and then with an adapter to a computer display. Didn’t have one issue looped through this many devices.
I also want to point out that the small size of the unit makes it pretty portable. At one point I needed to take it and my computer from my home office to a post facility, and everything fit in my backpack. Yes, it made it pretty heavy, but it was a lot more portable than my HDOne…or many other 12TB units I have dealt with in the past.
And the unit is very quiet. I barely notice it is on. And it’s footprint is pretty small, so it can sit on your desk, or if you get a longer cable, under your desk of out of sight somewhere.
I had no issues while editing and onlining with the Thunderbay 4. No hangups, no freezing…no crashing. And my test editing with 4K footage and ProRes 4444 in Adobe Premiere went smoothly. Managed 3 layers of 4K playback. Not completely smooth, but that is no doubt due to my computer not having a CUDA card to enable the Mercury Engine.
Now that the second dramatic pause has gone on long enough, I’ll show you the numbers I got for the unit running RAID 0. First thing I did was make sure I archived anything and everything I needed to archive, as I was going to be wiping the drive clean. Then, to configure the unit to be RAID 0 instead of RAID 5, I unmounted the drive, opened the SoftRaid software, deleted the current configuration, and created a new one..this time opting for RAID 0. The reformat took seconds. I copied over 3TB of footage for this test (that only took about 2 hours…Great Scott!) and as you can see they are significantly better.
Their site does say that the Thunderbay 4 could get up to 1342 MB/s read/write…but I’m sure that’s with SSDs installed. I’m sure that 639 Write and 760 Read is PLENTY fast for most anything.
I need to mention that there is a slight pricing difference between RAID 0/JBOD and RAID 5 capable units. For example, the 12TB unit is configured for RAID 0/JBOD $969 …while the same unit (the one I tested) with the SoftRaid software enabling RAID 5 capability is $1099. For me the extra $130 for protection and piece of mind is well worth it.
In short…this is a terrific Thunderbolt solution for your large project, or large format project needs. Does great with lots of footage, handles 4K footage with ease. Copying over data is lightning fast, and it’s whisper silent. My only regret is that I needed to return the unit when testing was concluded. But I’m sure I’ll be buying a unit when I get a large enough project that requires it. By then I might even throw in SSD drives.
For another great review for this product, check out what Scott Simmons had to say.