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Little Frog in High Def

Musings of an NLE ronin…

The fifty-sixth episode of THE EDIT BAY is now available for download.

This one is about the time I was THIS CLOSE to meeting one of my favorite actors…

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The fifty-fifth episode of THE EDIT BAY is now available for download.

In this episode, I get a little help from camera operators…

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The fifty-fourth episode of THE EDIT BAY is now available for download.

A producer I work with loves telling old Hollywood History stories. I share a couple.

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The fifty-third episode of THE EDIT BAY is now available for download.

This one uses making a puzzle as a metaphor for cutting a documentary and reality show. No, really…it’s a cool metaphor, as metaphors go. Here… “Editing a documentary is like assembling a 1000 piece puzzle with 40,000 pieces.” See? Cool, right?

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The fifty-second episode of THE EDIT BAY is now available for download.

In this episode, I talk about working on shows outside your normal field of work

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Or, “I WENT TO GO SEE DEADPOOL THIS WEEKEND, AND ALL I GOT WAS THIS MUG.”

Adobe invited me to see DEADPOOL on the 20th Century Fox lot in the Zanuck Theater (Atmos sound system) on Saturday, February 13. Who am I to say no to a free movie on a studio lot? Oh, and by the way…DEADPOOL WAS EDITED WITH ADOBE PREMIERE CC!!

In case you didn’t know. Hard not to, it was all over the Twitter-sphere and post production groups and sites. and yes, many of you will say things like “Man, I could totally tell it was edited on Premiere Pro!” in a sarcastic way, just like we do when Avid goes “HEY! All the Academy Award nominees for Best Picture and Best Editing were all cut on Media Composer!” We editors…and I’m guilty of this…will say “It’s all about the story. It doesn’t matter what tool was used to tell the story, it’s all about the skill and storytelling ability of the editor. You can’t tell if a movie was cut with Avid, Premiere, FCX or Lightworks.” And no, you can’t tell. Just like you can’t tell what tools were used to build a house. BUT…having a tool that helps the editing process go smoother, that helps the editor tell the story the way they want to…that is important.

This is something that I’m realizing more and more as I look at the features that each editing application brings to the table. They all have their strengths and weaknesses…all have areas where they do things better than the competition. This is why you choose one editing app over the another. You need to look at the workflow you want to tackle, the features that you need to accomplish what you want, and then use the editing application that best addresses those needs. In the case of DEADPOOL, the post team did just this, and felt that Adobe Premiere Pro would be the best choice.

The main reason for this is that it was a very effects heavy show…with a lot of speed ramps. The director, first timer Tim Miller, was already familiar with Adobe products as he is a visual effects artist with many features under his belt, and he knew he would be involved in the post process doing many of the speed ramp effects himself. And the ability to send from the editing app to After Effects to do this work and send it right back was a huge bonus. Now, I’m not sure if the editor, Julian Clarke has also done a lot of temp VFX work on the films he’s cut, this wasn’t mentioned in the post-screening talk (and he wasn’t there). But he has cut a lot of VFX films…so, maybe. So to look into the possibilities for how to best accommodate his needs, the team decided to look at Adobe Premiere Pro, and hired post consultant Vashi Nedomansky, an editor himself, and an expert with Adobe apps. Being an editor and consultant, he knew the real world workflows that would work best for the production. He came in very early on to discuss what equipment they would need, and how to best deal with the multiple cameras and formats they would be shooting.

OK…so I watched DEADPOOL in the Zanuck Theater equipped with an ATMOS sound system, and it was GREAT! Yeah, I mean the sound, but I also mean the movie. Very violent, with sex and nudity added…it really deserves that “R” rating. But it is gloriously self aware, and broke the 4th wall all the time, and in very creative ways. Amazing movie, with some amazing effects…tons of fighting, lots of speed ramps from normal speed to slow motion, CGI…the whole bit. Over 1200 VFX shots.  This is what I learned in the post screening talk, hosted by Michael Kanfer of Adobe (who has an impressive list of IMDB credits). On the panel was the post consultant I mentioned before, Vashi. As well as the First Assistant Editor, Matt Carson and post supervisor Joan Bierman.

OK, so the post super, editor and other editorial staff were convinced that Premiere Pro would be the best option for this movie, and with a little effort they were able to convince the studio as well. Yes, you do need to convince the studio about all the tools used on films. They are very budget conscious, and want to make sure things go smoothly. And Avid has a proven track record and well established workflow, so they feel comfortable with it. Deviate from that choice and you need to convince them why. They convinced the studio that this would be the best option given all VFX nature of the feature.

But convincing wasn’t the last step, the post staff also needed training. Again, they relied on Vashi. Not only did he help provide them with the post workflow, but he also provided training to the editor, director and post staff. Vashi said that there were about 9 basic keyboard command that any editor needs to edit, and he taught those to the crew. He also asked how they liked their keyboards mapped, and spent time mapping each station to the needs of the person at the controls…making sure that their muscle memory was able to go unchallenged. Anyway, by lunch time all of the edit staff was able to dive in and edit away without much issue.

Now for some technical details. The film was shot on a variety of cameras, from the main camera, an Alexa shooting 3.5K to a 6K Red and 4K Phantom. They converted all to a common container…ProRes LT, 2048×1152 center extraction. If they needed to reposition the shot, they could easily do that at any time by going back to the masters. The Assistant Editors would receive the dailies from Encore in Vancouver and would sync them with the audio and then turn them over to the editor. Normally, when they cut on Avid, they were used to getting ALE files that contained metadata they relied on, such as color information that could be passed onto the VFX teams. As a workaround for this, they received CDL files that were integrated into the footage.  When it was onlined, E-Film conformed the cut with the RAW masters.

They had five edit bays (including the VFX editor), all Mac based, using MacPro Tubes.  All of the footage was stored on an Open Drive Velocity…a RAID server 180TB in size, consisting of several SSD drives. This system was used on GONE GIRL the year before, and proved to serve the production well. This system was able to meet the demands of playing back multiple streams of ProRes on five edit stations, without any delays or skipping during playback. It also allowed the projects to open quickly. Each reel of the film was a separate project, and the larger they got, the slower they were to open, and the more VFX shots in a reel, the larger they got. At one point the final reel, the most VFX heavy, took 10 min to open. But, with help from the Open Drive tech people and tweaking, they got it down to 2 min.

Now, I could go on and on about the post audio workflow issues and solutions, the change list challenges, the DI conform…but I don’t want to do that. Adobe will be posting the video of the event online soon, so you can watch that to see the issues and solutions.  The main thing I want to talk about is primary reason they wanted to edit with Premiere Pro. What made them choose this over Avid or FCX, because that’s something I talk about all the time. There’s alway some flame war online about what editing app is THE BEST editing app out there. What is the BEST one to use for feature film cutting? For broadcast TV? What are the professionals using?  And there will be shouting matching about this. “Avid all the way, baby!” “Come on, grandpa, look to the future! Tracks are for losers, FCX for the win!” Blah blah blah.  The truth is they are ALL professional apps, it’s all about what’s best for the given situation.  For this movie, the clear choice was Premiere Pro, because of it’s integration with After Effects. And I’ll explain why.

During the editing process, the director would send clips to After Effects for treatment…the most common of this was speed ramping, as I said before. Due to the tight integration of Premiere Pro and it’s ability to SEND TO After Effects, and have the clip link to the AE comp, it made this process very smooth. Vashi explained that one lesson they learned on Gone Girl was that simply linking to the AE comp caused the systems to really bog down. Especially when there were many instances of this. So Adobe came up with a way for After Effects and Premiere Pro to access the same render cache. That is, the same “render file.” So when the AE comp was finished, the editor could use a new feature called RENDER AND REPLACE. This would render the AE comp out to a Quicktime file, and Premiere Pro would link to that file, rather than the comp. But there would still be a dynamic link to the AE project. So if the AE artists  would make a change to the comp (or in this case, the director), they would make the change, and back in Premiere all you’d have to do is again, RENDER AND REPLACE and the clip would render a new Quicktime clip from the comp and link to that. And this is a lot smoother, and a more simple, than rendering out of After Effects and importing into Premiere pro…and keeping track of the latest export and the export folder getting clogged with exports.

(Quick tech tidbit…the edit stations consisted of Mac Pro tubes…and during the production, they burned out TEN OF THEM! This was due to a hardware bug related to the D700 graphics cards that Apple eventually figured out. Several of the stations had external fans aimed down the tubes for additional cooling.)

So the director and editor could send a clip to After Effects, adjust the speed, go back to Premiere Pro and hit RENDER AND REPLACE and there it was. If it didn’t quite look right, they’d do it again until it was right. And then move on and continue cutting. And then they locked that VFX shot, they could take that After Effects project and relink it to the RAW camera file and redo the composition in 4K, full resolution. And then link that up in Premiere pro and reframe as needed.

If they used Avid, or FCX, they’d have to do the old fashioned way of exporting files and importing into the NLE and that would slow them down.  And this movie was FULL of speed changes. Every fight scene had multiple speed ramps. So this really sped up the edit, and kept the post schedule short…and a shorter post schedule is good on the budget, which makes the studio happy.  And this was a good thing as they didn’t actually lock picture until a few days before the premiere.

One favorite feature of Matt, the AE, was the idea of “Stacked Timelines.” Where in FCP you could have multiple timelines open at the same time, as TABS (and where in Avid you can only have one timeline, period…unless you open one in the Source monitor). What that is, is you can have two timeline windows open at once…and stack them like pancakes, one on top of the other. They used stacked timelines in a couple ways. One way was to have all the selects in one timeline, and then build the cut in another…dragging the footage from the top timeline do the bottom. This helped them track how far along the selects they were, and how much time they had remaining. The other benefit was in comparing new cuts and old cuts. One of Matt’s duties is to work on the temp mix…when the editor finishes a scene, he takes it and adds music and sound effects. And then when the editor goes back and does changes, Matt can stack the two timelines and compare them…see where the changes occurred, or new stuff was added, and address those areas. Often he’d be doing the temp mix while the scene was still being cut, so the editor wasn’t working with his temp mix, still just doing scene work. So when the scene work was complete, Matt could compare the scenes, drag over the work he had done and then continue work on the new areas. Coming from FCP, I’m a big fan of having access to multiple sequences at the same time.

So there you have it…one reason why Premiere Pro was the best option for editing DEADPOOL. It didn’t take long to train the editorial staff in using it…the editor wasn’t hindered by unfamiliarity, he was still able to focus on story and not really worry about the technical as much as he might with another NLE. A few hours training and he was off! Could you look at the movie and tell it was cut on Premiere Pro? No…and that’s the beauty. We aren’t supposed to be able to tell. Editing is best when it’s invisible, so that we, the audience, can concentrate on the enjoyment of the movie. Premiere Pro was the tool that enabled the editor and director to tell the story they way they wanted to.

Now, one tidbit that I wanted to mention, a story related tidbit. The fact that Deadpool had a full face mask enabled the filmmakers to retool dialog where needed. Make the jokes better, because he really could be saying anything under that mask. And they did that quite a bit. Ryan Reynolds would send them temp ADR all the time…and they’d cut it in and replace it with final ADR when they locked the scene dialog. This makes me hope that they release the alternate jokes as a special feature on the BluRay.

OK, enough chat. Go see the movie. The laughs start right away with the open credit scene, and continue after the credit roll ends. Typical of Marvel movies, this has a bonus scene at the end of the credit roll.

Excelsior!

(For more on the workflow for this film, head on over to the ProVideo Coalition where Steve Hullfish interviews Vashi Nedomansky. And watch this video from a panel at this years Sundance festival, where they talk workflow for Hail Cesar and Deadpool)

The fifty-first episode of THE EDIT BAY is now available for download.

Editor’s today need to know how to edit music, even if they aren’t musicians.

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The fiftieth episode of THE EDIT BAY is now available for download.

This one is all about how a network executive can’t seem to tear his eyes away from his iPad while giving notes on a show.

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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.

DAY 1:

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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).

DAY 2:

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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.

DAY 3:

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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.

DAY 4:

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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.

DAY 5:

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More filling out…another flashback package

DAY 6:

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ALMOST there. Added the tease at the beginning, cut by another editor.

DAY 7:

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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.

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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.

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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.

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The forty-sixth episode of THE EDIT BAY is now available for download.

This on is how in order to use the cool sound effect you want, you first need to find it

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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.

For that I turned to the Ripple Training tutorials of my friend Alexis Hurkman.  In a few hours, spread over a couple days, I got up to speed. It’s about time.

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.