Analysis Category: Digital Rebellion Blog

My thoughts on the new Final Cut Studio

Fri, 24 Jul 2009 09:54:23 MDT

Wow, I go away for a couple of days and Apple has a brand new version of FCS waiting for me when I get back (although I do think the fact that it is simply called Final Cut Studio and not Final Cut Studio 3 will cause confusion).

Here are my first impressions:

Architecture

This is Leopard and Intel-only, which is a little surprising because there's only a couple of months until Snow Leopard comes out, and I think many of us thought a Snow Leopard-only release in September was likely. There is no word on whether or not it takes advantage of the new features of Snow Leopard such as Grand Central Dispatch or OpenCL, nor any indication that Final Cut Pro has been rewritten in Cocoa as has been so often speculated. I noticed a lot of the screenshots in Apple's examples were taken in Tiger, suggesting that perhaps the feature list was set long before Snow Leopard was announced.

Apple claims that Final Cut Studio will not work on a device with integrated graphics - such as a MacBook or Mac Mini. However, they also say that ProRes 422 Proxy is designed for editing on a MacBook or MacBook Pro, so it would appear that Final Cut Pro can at least be used on a machine with integrated graphics, if not some of the other apps in the suite.

It's also worth noting that the minor applications in the suite only received minor updates, as indicated by their version numbers. So it is likely that the problems with Compressor have not gone away.

Blu-ray

Blu-ray burning directly in Compressor - I certainly didn't expect this. And integrating it into Compressor is significant too. Although I never really thought about it before, the majority of the DVDs I make in DVDSP are rough cuts for client approval that don't need a fancy custom menu and I never make use of any of the advanced features like scripting. I would imagine many people are in the same boat and therefore burning a basic disc in Compressor is a much faster and more efficient way to work.

It is telling though, that DVD Studio Pro did not receive a significant update for the second time running. We have been using essentially the same version for the past three years (an eternity in the technology world), and it suggests that Apple may perhaps discontinue this product in the future.

More ProRes options

Don't underestimate the importance of this. ProRes 4444 (the extra 4 refers to the alpha channel) allows you to convert footage shot with a high-end 4:4:4 camera to ProRes without sacrificing color information. With previous versions of Final Cut Studio, you would have had to leave it uncompressed (using up significantly more disk space and bandwidth), use Animation (slow) or explore a third-party codec.

The mastering possibilities are interesting too. HDCAM SR has long been the industry choice for HD mastering but it is expensive. Using ProRes 4444, you could create an HD master of equivalent quality to HDCAM SR but on a significantly cheaper LTO tape (LTO drives cost less than 1/10th of the cost of an HDCAM SR deck). LTO is the standard for data backup / archiving in the IT world and offers a number of other benefits such as potentially faster-than-realtime writing and also being format, frame size and frame rate agnostic. Of course, the receiver would have to have an LTO deck and necessary equipment.

LiveType discontinued

LiveType has long been superseded by Motion so it was only a matter of time before it was canned. In Motion 4 you can now adjust individual letters in a text object, meaning the one advantage LiveType had over Motion has now disappeared and consequently, LiveType has been discontinued. It was inevitable really.

Avid-like features

There are some nice new features to emulate Avid functionality, such as the new floating timecode display, global transitions and the ability to automatically import clips just by plugging in a drive. This is the benefit of competition.

Faster, better quality

I am a big fan of anything that makes things faster and/or improves video or audio quality. Background rendering and exporting is a huge feature and arguably should have been in Final Cut Pro 6 because they'd already laid the foundations with background SmoothCam processing.

Soundtrack Pro has a significantly redesigned architecture which improves performance and will hopefully address some of the issues I have experienced, such as working for a while on a project and then suddenly not being able to save it. It also features improved audio cleanup tools.

Faster frame control processing in Compressor gets my vote too.

RED support

The RED post workflow has always had issues and Apple has clearly developed the new Color and Cinema Tools with RED in mind. The main stumbling block in the RED workflow seems to be conforming the R3Ds once the offline edit is complete, and some third-party solutions have been created in an attempt to address this.

Now you can maintain the relationship between your original RED camera footage and your editing proxies inside a Cinema Tools database (hopefully CT creates and links the proxies automatically). You edit the proxies, export to Color and grade the original R3Ds using the data from the database to conform. This greatly simplifies things, although some would argue that native REDCODE support in the FCP timeline would be even better - perhaps when RED Rocket comes out?

Color also now supports 4K - although Apple will still be behind if the 6K Scarlet comes out this year as predicted.

Media Management

One thing people haven't commented much on is the improved media management, which has been the bane of every Final Cut Pro user at one point or another. Spotlight in Mac OS X indexes the files on your hard disk in a database and Final Cut Pro 7 uses that data to quickly reconnect the files, as opposed to querying them directly.

What this means is that FCP can reconnect files faster (so projects will presumably load a lot quicker) and hopefully be more intelligent when a file changes.

Missed opportunities

No ScriptSync (Avid) / Speech-to-Text (Premiere) - There is no way of syncing dialogue up to a script or automatically converting it to text. This means that, unless you have an assistant to transcribe it for you, you have to search through a load of footage in order to find the line of dialogue or the soundbite you are looking for.

No XML project files - Please Apple, this would make it far, far easier to seamlessly integrate Final Cut Pro with other applications.

No word on Phenomenon - Contrary to speculation, the Shake replacement codenamed Phenomenon was not included in Final Cut Studio or bundled into Motion, which begs the question of whether it will ever arrive.

Final Thoughts

There's some good stuff here - Apple has (eventually) listened to a lot of our complaints about media management, exports typing up the application, etc. But how well these work in reality will remain to be seen. I won't get my copy until next week.

But maybe it's not called Final Cut Studio 3 because there's not really anything there to justify calling it that. Although Final Cut Studio 2 also had few major features, it did at least come with a brand new application that used to cost $20k (Color). I think the new price cut reflects Apple's recognition that selling the upgrade at $499 would perhaps not be value for money, meaning future updates may not necessarily be as cheap.

Interesting Links

Official Final Cut Studio page
Fully-indexed online Final Cut Pro manual
Final Cut Studio in Depth - 66 page document from Apple detailing all the changes
Apple ProRes white paper
Apple KB: Installing content when upgrading
MacWorld review by Mike Curtis
How to Install Final Cut Studio 3
Norman Hollyn's take
In-depth review by Jan Ozer
Mike Jones compares Final Cut Pro 7 to his wishlist
Installing Final Cut Pro 6 and 7 side-by-side
Changes in FCP 7.0 XML - for developers
Studio Daily summary
More links from xlr8yourmac.com

Could SD cards replace DVDs?

Sat, 11 Jul 2009 07:36:33 MDT

ComputerWorld has an interesting opinion piece entitled Is Apple trading SD cards for DVDs in MacBooks?. The author, Seth Weintraub, speculates that the inclusion of SD card slots in Apple's latest notebook line signifies a gradual shift away from optical media to solid state, similar to the way Apple killed off the floppy disk.

Whether true or not, it would make a lot of sense. Steve Jobs has made it clear that he is not a fan of the licensing system for Blu-ray discs, and switching to SD or SSD distribution would not only remove the need to use a proprietary, licensed format but also provide the opportunity for more powerful hardware DRM / encryption to protect content, such as that used by the military. Although DRM is unpopular with consumers, it is a necessary evil in order to get content providers to embrace a new format.

SD cards / SSD drives also have the benefit of being reusable (although distributors could choose to prevent writes at the file system or controller level) and being considerably smaller than optical discs, which is both convenient and good for the environment. As well as being smaller, they would be much faster at reading and writing than conventional discs.

The content creation process would be much simpler too. Burned DVDs are inferior to replicated DVDs, and so any mass distribution requires you to send your master off to a replication facility, which is an expensive process that can be very inflexible when it comes to quantities. SD cards / SSDs, on the other hand, can easily be cloned in-house for no cost and there would be no physical quality issues in doing so.

Computer manufacturers could use the space taken up by large DVD drives to increase the battery size of laptops, add more components (such as ExpressCard slots and eSATA ports, Apple), increase performance, reduce heat, or reduce the physical size of the computer. Television manufacturers could simply include an SD slot in the TV itself, removing the need for a separate player, saving both space and cost.

As to the format on such a disk, it would be silly to use H.264 as it requires royalty and licensing fees, and one of the positive reasons for switching to SD / SSD is to get rid of such licensing fees. As you may be aware, a battle for web video formats is currently ongoing and Ogg Theora, while weaker in a technical sense, could be a great open format for SD/ SSD-based distribution as bandwidth and storage space would be much less of an issue than on the internet.

SD distribution would also provide a means of increasing compatibility, as it would be possible to include NTSC, PAL, 16:9, 4:3 and HD versions on the same disk, which could be automatically selected based on the type of television being used (or the resolution of the computer display). If video formats should change in the future, it would be dead easy to include both the new and old formats on the same card to maintain full compatibility between old and new. Companies could even put 4K video on the card in anticipation of future technologies.

It would have the potential to really level the playing field for independent filmmakers. Right now the safest option for indies is digital distribution because it doesn't cost any money to put your film online. It just sits there, for free, until it is sold - in stark contrast to the DVD approach, where you pay a lot of money up front and hope and pray that you make it back. Most indies will not be able to get their discs into physical stores like Wal-mart, which makes getting through inventory much harder. The downside to a download-only approach is that by not going the DVD or Blu-ray route, you cut out a significant portion of the audience who have no desire for digital downloads.

It's very difficult for an independent filmmaker to create a Hollywood-quality DVD, as Hollywood has access to high quality hardware encoders and professional compressionists that are experts in squeezing out the maximum quality in the limited bandwidth available. With SD cards, bandwidth would be considerably higher and so it would take much less effort to produce a high quality image suitable for distribution. And if the video formats were open formats like Ogg Theora, there would be no license fees to pay for mass distribution.

Will this ever happen? Well, there are currently two barriers. The first is that the cost per GB of solid state media is very high. This is something that will decrease with time though.

The second, more pertinent, issue is the fact that many companies are heavily invested in DVD and Blu-ray technology including studios, post houses, distributors, replication houses, disc manufacturers, drive / player manufacturers, software developers, and let's not forget the consortium of companies that receive patent royalties. None of these will want to see their investments or, for some companies, their entire business model go out of the window.

Of course, this is all pure speculation. When the cost and size of SD cards becomes viable, there could be a brand new technology which renders this solution unnecessary. We'll just have to wait and see what happens, what Apple chooses to do, and if they have the ability to make an impact on this issue.

WWDC 2009 Summary

Mon, 08 Jun 2009 15:37:37 MDT

The WWDC Philnote ended a few minutes ago. If I were to sum it up in one sentence, it would be "one step forward, two steps back".

15" MacBook Pro

Apple announced a new 15" MacBook Pro with a built-in battery like its 17" sibling. This results in dramatically improved battery life, performance and reliability at the expense of a battery you cannot replace. To me this is not a problem at all but to some it will be a dealbreaker.

It also has an improved display with a 60% greater color gamut, allowing it to display a much greater range of colors. It's much faster, with up to a 3.06GHz Core 2 Duo CPU and up to 8GB of RAM, with a 500 GB hard disk or 256 GB SSD. It's also cheaper, starting at $1699 for the base model.

However, much like its previous notebook offerings, Apple gives with one hand and takes with the other. In a move that makes me question how in touch Apple is with its pro users, they have replaced the ExpressCard slot with an SD card slot. So that means no more native SxS support - you'll need to fork out for a USB adapter. And expect a drop in transfer speed over USB too.

Removing the ExpressCard slot drastically reduces the flexibility of the laptop. They've replaced a versatile port with one that has few uses (at least for video professionals). It also means we will not be able to connect eSATA devices or monitoring / conversion devices such as the Matrox MXO2 to MacBook Pros, drastically reducing their usefulness. This is a ridiculous decision for Apple to make on a device with "Pro" in the title.

Sure, you can get around this issue by buying a 17" MacBook Pro but I feel an ExpressCard slot should come as standard and not require you to buy a bigger, heavier and more expensive machine just for that feature.

Another aspect that is sure to irk ProApp users is the base model. Although it is good that Apple has reduced its price, it only features onboard graphics, unlike all the others which feature onboard and discrete graphics. This makes it unsuitable for applications like Motion and makes me question how future-proof this machine will be when Snow Leopard with OpenCL comes out. I think a machine with "Pro" in the title should be appropriately-specced to run Apple's professional applications.

13" MacBook Pro

Speaking of which, Apple rebranded the aluminum unibody MacBooks as the 13" MacBook Pro. Although the specifications are similar to the base 15" model and will therefore also result in limited ProApp usage and questionable OpenCL performance in Snow Leopard, I don't have a problem with that because this is something that was never there in the first place - this is not something Apple has taken away from us.

There's also some good news - Apple seems to have paid attention to the protests over the lack of FireWire ports in the previous generation and has now restored a single FireWire 800 port. The models are available up to 2.53 GHz with up to 8 GB RAM, an SD slot and a GeForce 9400M. The high-end 13" model is identical to the base 15" model in specification, which reiterates my opinion that the base 15" model is underpowered.

MacBook Air

Like the others, the MacBook Air has received a speed bump. It's also had a huge price cut and there is now only a few hundred dollars difference between the regular hard disk and SSD versions.

Snow Leopard

Apple demoed a few features but as the main changes were under the hood, these will probably be explored in more detail during the rest of the week.

Worthy of note:

Snow Leopard takes up around 6 GB less space than Leopard
"Fewer wait cursors"
Exposé is built into the dock - click and hold on a Dock icon and the app's windows will zoom out
Browser plugins are put in a separate process so that they do not crash the browser when they fail (it's unclear whether browsers other than Safari will be able to take advantage of this)
QuickTime X has been rebuilt from scratch, is hardware accelerated, has built-in ColorSync support and can stream data from any HTTP server (unfortunately more detailed information was not given)
QuickTime X has a minimal UI - it's very similar to QuickLook. Simple editing and uploading to popular video sharing sites built-in (essentially QuickTime Pro for free).
All system apps run in 64-bit
Grand Central allows developers to manage threads to make multi-threading more efficient

The biggest Snow Leopard announcement is that Snow Leopard will cost $129 retail like all the rest but only $29 if you are upgrading from Leopard. Yes, you read that correctly. It comes out in September, a month before Windows 7.

Safari 4

Safari 4 is out today and is available for download for Mac OS X 10.5.7. and Windows. This was one of my favorite announcements of the day - why? Because it makes Safari 4 the first shipping browser to pass Acid3 and support many new HTML5 web features.

One notable feature is video and audio tags. These allow you to play supported video and audio content directly in the browser without the need for Flash, Silverlight or other technologies. Plugins are always slower and more resource-hungry than native support for a particular feature, and open standards are always preferable. See this page for an HTML5 video that plays directly in your browser without Flash.

These changes have also made it across to MobileSafari, and it means Flash on the iPhone is even less likely than before (not a bad thing).

iPhone 3GS

It is a new iPhone but the name is very similar to the previous iPhone 3G, probably because no external differences were made to the phone or perhaps because it is still on the 3G network. It is considerably faster, features a 3MP digital camera, can record video, has a magnetometer (compass), 7.2Mbps HSDPA (faster 3G connection), voice operation, available in 16 and 32 GB on June 19th. The iPhone 3G has been reduced today to $99 and will continue to be sold once the new phone is out.

Tethering is not supported by AT&T and MMS will only work on the AT&T network at the end of summer (other networks do not have this handicap). Even Apple seemed fed up with AT&T's general incompetence, making frequent jokes at AT&T's expense.

One other notable feature is called Find My iPhone. Mobile Me users can log in and locate their lost iPhone on a map, send messages to it or make it emit a sound so that it can be located (even if it is on silent). If the phone has been stolen, you can remotely wipe your personal data from it. This is a pretty nice feature.

Final Cut Studio 3

This was missing in action, leading us to wonder when it will be released. Will it be released in conjunction with Snow Leopard - who knows? All I know is that Avid and Adobe CS4 have edged ahead and are looking mighty tempting, and Nuke is looking like a great replacement for Shake. When it comes to making your living, you can't wait around forever for software that you don't know anything about in terms of new features and may not even end up being released. You have to buy what you need when you need it - Apple needs to realize this.

So in conclusion, there's some great stuff there for consumers but professional users appear to have been sidelined once again.

NAB 09 Day 1

Tue, 21 Apr 2009 05:17:32 MDT

Yesterday was the first day of NAB. I'm not going to list every single announcement (for that you can go here), but I'm going to focus on what I feel were the biggest or most interesting announcements.

Avid completely redesigned their logo - I can see what they were trying to do but I'm not a big fan of it. Luckily they had some bombshell announcements to go with it. In a surprising move, Avid qualified Final Cut Pro to run on its Unity MediaNetwork and ISIS storage. This makes it considerably easier to use both FCP and Avid systems on the same project.

Avid also redesigned its support offerings and showcased RED support and stereoscopic 3D integration. Avid has always had the edge on FCP when it comes to media management but the recently-introduced AMA architecture takes that one step further. There is no need to Log and Transfer - just link to the P2 or XDCAM volume and all of the clips just pop up in the bin, complete with metadata. This is clearly a lot better than FCP's clunky implementation (hopefully something Apple will address in FCP 7) and Avid were keen to show it off.

Adobe announced it has partnered with several manufacturers to create TVs with Flash support. So you could theoretically watch a documentary on a subject and then view interactive content related to that subject.

But far more interesting was Adobe's post announcements. Adobe Story is a collaborative screenwriting application that is integrated with Adobe Premiere. There are very few details but it seems likely that it will build on Premiere's transcription function to introduce an Avid-like Script Sync feature.

This continues the recent trend of linking pre-production processes directly to post production software - something we will no doubt see more of in the future. Right now Apple appears to be considering storyboard integration.

Blackmagic Design announces UltraScope - 3Gb/s SDI and optical fibre scopes for $695. This is huge. Hardware scopes cost more than some cars, so a scope for $695 is a real game-changer. Lets hope it's good - Blackmagic's products normally are.

It is a PCI Express card that plugs into a Windows computer with a 24-inch monitor (alas no Mac support as yet) to display output on the screen. As one PVC commenter notes - the lack of Mac support is not necessarily a bad thing as you would probably not use the machine for any other purpose, thus a cheaper PC would be a better option.

This is a clever solution to an age-old problem and I wish I was at NAB to see it in action.

Blackmagic's HDLink looks to be a worthy opponent to the original Matrox MXO. This gives you HD monitoring via DVI or HDMI for only $495. Monitor 4:4:4 SDI video on a regular computer monitor.

In addition, Blackmagic have lowered the prices of several of their existing products.

Matrox CompressHD is a PCI Express hardware H.264 encoder. This allows you to encode H.264 faster than realtime using Matrox's MAX technology. Also announced is the MXO 2 Mini, which is a cut-down, smaller, cross platform version of the MXO 2. It lacks XLR and SDI ports, unlike its larger and more expensive brother but it works on PC, Mac, and all QuickTime-compatible editing applications. It costs $449 or $849 with the H.264-accelerating MAX option.

AJA has a very nice new website and have introduced the KI Pro. It connects to a camera and records to ProRes422 in the field, without the aid of a laptop. It is the only device to do this because AJA have an exclusive contract with Apple for ProRes support.

This means you can import footage into Final Cut Pro instantly without the need for transcoding. It also means that the post production team is dealing with the same video format each time, no matter what type of camera was used on set.

It can accept SD/HD SDI, HDMI and component inputs and can connect to your computer via FireWire 800 or Ethernet. It can also convert from one video standard to another in realtime. You can record to removable ExpressCards or an external hard disk. It can be remotely controlled through Wifi via a laptop or iPhone (nice!).

AJA also announced the Io Express which looks to be similar to the Matrox MXO 2. I haven't had time to do a feature-by-feature comparison yet though.

Finally, Panasonic is developing a 3D camera and JVC is developing a very pricey $200,000 4K camera.

That's what interested me... did I miss anything?

Look for the FCPUG SuperMeet on Day 2 (today) where a brand-new exclusive version of our very own Preference Manager will be given out on the SuperDVD.

Also, a lot of people think that Apple will release new details of Final Cut Studio 3 today. I don't think this will be the case - we'll have to wait and see I guess.

Best and worst of iPhone 3.0

Wed, 18 Mar 2009 04:34:53 MDT

Apple released details of iPhone OS 3.0 yesterday. It's got all kinds of great features - turn-by-turn GPS, copy and paste, MMS, tethering, to name a few. Here's my take on the best and worst features.

The Best

Stu Maschwitz from ProLost was particularly impressed with the new accessory APIs, which is probably the biggest new feature that no-one is talking about. Do not underestimate the importance of this - it is HUGE. This bridges the gap between software and hardware and takes the phone from a simple smartphone to a full-scale development platform.

No other phone developer is offering this. A lot of them are jumping on the app store bandwagon now but Apple just increased the gap even further. Apple is once again taking advantage of their control over hardware and software - I believe Apple's toughest rival is Google but it would be difficult for Google to replicate this with Android as they do not control the hardware.

Of course, hardware development is more complicated from a business perspective as you'd need to manufacture it, handle billing, arrange shipping and keep inventory (which is always a little risky, particularly in a recession). So this is purely aimed at companies and not bedroom developers. I don't know if Stu will get his wish for an iPhone scope (I hope so) but it will be very interesting to see what developers come up with. There are loads of on-set applications here ranging from remote operation/focus pulling to synchronized iPhone timecode slates to an app for editing camera/lens metadata. I could totally see the RED guys embracing this technology.

The Worst

The most worrying aspect is the new in-app payment system. I can picture only a few scenarios where this would be genuinely useful (such as an e-book reader or GPS app with its own maps) and I can see a lot of developers abusing this. It really will bring out the worst in developers.

The problem with the iPhone development platform is that it's far too easy for developers to charge money. If they were selling software on their own sites they would need to pay for marketing and sort out a system for billing. It's a lot more complicated and there are more up-front costs so they'd need to ensure they were selling something of value.

With the iPhone it is very easy for someone to create a poor application in five minutes and charge for it, and if some poor sucker buys it that's a win for the developer. If no-one buys it, then the developer hasn't lost anything either. It's win-win for them.

There are lots of applications on the app store for $0.99 that are completely valueless (for example the multitude of "flashlight" apps that display a white square on your screen). The devs are charging $0.99 because they can. It's too easy. And Apple's just made it even easier. I see this as a bad thing for the consumer.

Although I am certain this will be abused, I think the benefits of the accessory APIs will far outweight abuse of this feature. If developers need to keep inventory, they will have to ensure they have something worth selling. Sure, not every developer will choose to use in-app purchasing, and I'm sure many will offer excellent value for money. But when the new apps are accepted into the store, it will be important to read the small-print and be aware of exactly what you are getting for your money.

Having said that, I can't wait to see what developers come up with.

Guide to Final Cut Pro Internal Tools

Wed, 11 Mar 2009 16:48:09 MDT

Did you know Final Cut Pro has a hidden menu? Just hold down Cmd + Option + Shift and click the Tools menu. You should now see a new menu item called Internal Tools.

This is a debug menu used by the developers of FCP, but it actually has some uses for us mere mortals as well. It's especially useful for plugin developers and system troubleshooters, but some features benefit all users. Here is a rundown of what's in the menu.

Adjust Windows

When you open the Audio Mixer, Frame Viewer and several other tools in the Tools menu, they open in a tabbed window called the Toolbench. This normally appears on top of the Viewer and is hidden behind it when you select the Viewer again.

The Adjust Windows menu item adjusts the window layout so the Toolbench can fit in without being obscured by other windows. If you don't have the Toolbench open when you click this item, it will leave a gap in your window layout.

Before

After

To restore the default window configuration again, press Ctrl+U.

App / Perf Info

This generates a text file containing just about everything you could ever wish to know about your FCP configuration.

Probably the most useful part is the Project / Sequence Information section. This gives various statistics about your project including the total number of clips placed in your timeline and the proportion of those clips that were unique. It will even tell you how many edits you performed per minute (don't let your boss see this!).

Log OpenGL Profile Costs

This function displays timing information about OpenGL Profiling in the Console. It will do nothing until you start profiling (see the Statistics section below), at which point it tells you how long (in ms) it took your machine to process the given frame sizes and codecs.

One thing I noticed about this is that it takes a fair while for the data to be posted to the Console - around 1-2 minutes.

Log VM Footprint

This outputs the current memory usage to the Console.

Resident refers to data in physical memory, Virtual refers to data on the disk ready to be copied into main memory as required. Note that the system often assigns more virtual memory space than it needs, so not all of that space will actually be used. So if you see a ridiculous number like 4 GB, it is not necessarily a cause for alarm.

Movie Dumpster

This one crashes Final Cut Pro for me, so I wasn't able to ascertain exactly what it does. However, Apple offers a tool called Dumpster on their developer site which gives you a large amount of technical information about a specific movie clip. I would imagine this would be similar if it worked.

Playback Meter

This will show you how your media drives are performing, and is probably the most useful tool in the menu.

If you are not using a RAID, only the audio bars will work. Everything is fine while the bar is green, but if it turns yellow or red, this is an indication that your computer cannot keep up.

Screen Size Override

This allows you to fool Final Cut Pro into thinking that you have a different-sized monitor.

Just select the desired resolution from the pull down menus and press Ctrl + U to automatically resize the windows to the new dimensions.

If you mess things up, just restart Final Cut Pro and press Ctrl + U to restore the windows to the correct position for your screen resolution.

Statistics

This displays a lot of technical information about what's going on under the hood of FCP.

For instance, select the Render check box, drag the playhead across the timeline and then click the Average button. This will average the times taken to perform the various function calls required to render the image to the screen. If your system is getting sluggish, you may find it useful to use the Averages function to see which areas are taking a long time to process.

Most of the checkboxes are self-explanatory so I won't elaborate on them here. However, I would advise selecting them one at a time otherwise you'll end up with an overflow of information.

If you want to clear the text box, click Reset. Copy copies the entire data to the clipboard and Copy Avg copies only the averages. Unset All deselects all of the checkboxes.

Both Auto Profile and RT Verify go through each item in the Browser (video clips, sequences, images, etc), playing each one four times and averaging the data. Sequences take longer because the profiler initially tests with only the V1 track enabled, and then gradually enables V2 and V3 to perform compositing tests (if such tracks exist of course).

It's worth mentioning that since it goes through everything four times, it will take a while to finish processing, depending on the size of the project. You cannot switch to another application either or the profiling will fail. I would advise creating a brand new project with short media clips and sequences. If you truly have serious bottlenecking, this will still be apparent in the shorter sequence.

All the timing information is stored inside the Profile.csv log. Although you can view this in TextEdit, it will be difficult to read because it will not be formatted correctly. A spreadsheet application, such as MS Excel or the free NeoOffice or OpenOffice packages, is recommended.

If you are experiencing poor performance, look at the timings in this file to see where the major bottlenecks are. For instance, a slow FXScript filter could be indicative of a CPU bottleneck or an inefficient script. A slow Flop operation could be indicative of a GPU bottleneck.

Auto Profile and RT Verify appear, on the surface, to perform exactly the same task. However, it is likely that Auto Profiling actually updates your RT information whereas RT Verify merely performs the test without changing anything. This is difficult to verify without official documentation though.

Most of the functions in the Internal Tools menu will be too technical for a lot of users, and so the menu will likely remain something of a novelty. But if you are troubleshooting performance issues or developing applications and plugins for FCP, it is an invaluable source of information on the inner workings of Final Cut Pro.

The only downside is that the menu must be reactivated every time you start Final Cut Pro. If anyone knows of a way to enable it permanently through a preference file, I'd love to hear about it.

New Mac Pros, iMacs and Minis

Tue, 03 Mar 2009 08:25:17 MST

Apple has hit us with three hardware refreshes in the same day.

Mac Mini

2.0GHz Intel Core 2 Duo	2.0GHz Intel Core 2 Duo
1GB memory	2GB memory
120GB hard drive	320GB hard drive
8x double-layer SuperDrive	8x double-layer SuperDrive
NVIDIA GeForce 9400M graphics	NVIDIA GeForce 9400M graphics
$599, shipping within 24 hours	$799, shipping within 24 hours

I'm really glad this little guy is still going strong. There were fears it would be discontinued but thankfully this has not proven to be the case.

Not the greatest specs in the world, but the GeForce 9400M is a welcome addition that should provide a decent performance boost to graphical apps.

Apple is claiming that it now uses 45% less power, making it even more viable for server-related tasks (my personal favorite use for Minis). It's worth noting that the case has not been redesigned to match the iMac, as was rumored.

iMac

20" display	24" display	24" display	24" display
2.66GHz Intel Core 2 Duo	2.66GHz Intel Core 2 Duo	2.93GHz Intel Core 2 Duo	3.06GHz Intel Core 2 Duo
2GB memory	4GB memory	4GB memory	4GB memory
320GB hard drive	640GB hard drive	640GB hard drive	1TB hard drive
8x double-layer SuperDrive	8x double-layer SuperDrive	8x double-layer SuperDrive	8x double-layer SuperDrive
NVIDIA GeForce 9400M graphics	NVIDIA GeForce 9400M graphics	NVIDIA GeForce GT 120 with 256MB memory	NVIDIA GeForce GT 130 with 512MB memory
$1,199.00, shipping within 24 hours	$1,499.00, shipping within 24 hours	$1,799.00	$2,199.00

Not much to say here - just a speed bump and NVIDIA graphics across the whole line. The 24" now starts at a lower pricepoint.

Mac Pro

Quad-Core	8-Core
One 2.66GHz Quad-Core Intel Xeon "Nehalem" processor	Two 2.26GHz Quad-Core Intel Xeon "Nehalem" processors
3GB (three 1GB) memory	6GB (six 1GB) memory
640GB hard drive	640GB hard drive
18x double-layer SuperDrive	18x double-layer SuperDrive
NVIDIA GeForce GT 120 with 512MB	NVIDIA GeForce GT 120 with 512MB
$2,499.00, ships within 4 days	$3,299.00, ships within 4 days

And here's a custom configured Mac Pro with pretty much everything you'd ever need:

Two 2.93GHz Quad-Core Intel Xeon

32GB memory (8x4GB)

Mac Pro RAID Card

4 x 1TB 7200-rpm Serial ATA 3Gb/s

ATI Radeon HD 4870 512MB graphics

Two 18x SuperDrives

2 x Apple Cinema HD Display (30" flat panel)

AirPort Extreme Wi-Fi Card with 802.11n

Quad-channel 4Gb Fibre Channel PCI Express card

Xsan 2

Mini DisplayPort to Dual-Link DVI Adapter (needed for 2x 30" displays

AppleCare protection plan for Mac Pro

$19,994.00, shipping in 6-8 weeks

Processor - You might think it's just a speed bump but the Nehalem series of CPUs has a completely redesigned architecture that removes a lot of traditional bottlenecks. This will significantly improve performance (particularly memory throughput) over previous Mac Pros.

The new architecture also allows two threads per core, meaning that 16 threads can be run simultaneously on the 8 core. I had wondered if Apple would market it as a 16 core machine but they chose not to, which is probably best as it could have been misleading.

Go for the 2.93 GHz processor if you can afford it.

Memory - Apple has been generous with the memory in the 8-core model. My usual advice would be to custom configure the machine with the minimum amount of memory possible and then buy it separately from cheaper sources. Note however that the custom configurator offers a minimum of 6 GB of memory, which will be enough for the majority of people.

Hard Drives - There are four bays, each offering a 640 GB or 1 TB SATA drive at 7200 RPM. I'd advise against ordering additional drives from Apple. Instead, shop around and you will get a much better deal. They are dead simple to install.

Apple has chosen not to offer solid-state disks as an option.

Graphics - Apple is offering two cards - the NVIDIA GeForce GT 120 512MB and the ATI Radeon HD 4860 512MB. The GeForce card is available in multiples up to 4. I would not advise purchasing multiple graphics cards in anticipation of Snow Leopard, as you'd be forking out a lot of money for something that has an unknown performance benefit. You don't know that it would improve performance enough to warrant the extra cost, and you don't even know if Final Cut Studio 3 will be able to use the extra cards. You can always buy extra cards later.

The Radeon is advised for Pro App use, however, as it has much better Core Image performance and a much greater range of working color depths. It is much faster than the GeForce and no comparable NVIDIA cards are yet offered as a BTO option for the Mac Pro. Both cards come with dual-link DVI and Mini DisplayPort connectors.

Note the absence of the NVIDIA Quadro FX.

Optical Drives - Not much to say really, except no Blu-ray.

Displays - The new graphics cards have support for the DisplayPort standard so the new 24" LED Display can now be used by Mac Pros, in addition to the traditional 30" Cinema Display. It looks like the 20" will not be replaced.

Note: you must have two GeForce cards in order to connect a second 24" display, or a Mini DisplayPort to Dual-Link DVI adapter if you are connecting two 30" displays.

My advice would be to go for the 30" because it is not glossy (there unfortunately isn't a matte option for the 24") and if you want to connect more than one, your choice of graphics card is not restricted.

Other minor aspects - There is no FireWire 400 - it's FW 800 only, like the MacBook Pro. You can use FW 400 devices with a converter cable. Bluetooth is now built-in.

Conclusion

It's a product refresh - you can't expect a whole host of new features. I think the Mac Pro refresh was a decent one (and long overdue) although I would prefer more display options from Apple. The 24" should have a matte option for those that prefer it, but what I dislike the most is that you are tied to the much slower GeForce if you want to add two of these.

Additionally, no-one really knows the future of the 30". Is it wise to buy one now when there could be a possible refresh in the near future? Or is it actually better to buy one now in case Apple gives us an inferior refreshed product in the future (it has happened before)? Or should we just buy from an alternative manufacturer? That is the question.

I'm really glad they chose to release these machines while Leopard was still around. It means that when I come to buy one in the near future, I can downgrade to Leopard if problems occur with Snow Leopard. It's not best to be an early adopter of an OS if you use it for professional work, nor is it best to downgrade to an earlier OS that does not support your computer.

The price hike for the Mac Pros was less welcome but this is mainly due to the increased cost of the CPUs from Intel, so it was not unexpected. Whenever Apple gives us something, they take away something else - but I do think in this instance Apple has given more than they have taken.

Update: Apple also gave the 15" MacBook Pro a speed bump.

Why the RED delay is not a big deal

Wed, 18 Feb 2009 08:42:19 MST

Jim Jannard of RED announced today that the new Epic and Scarlet cameras will be delayed due to the current economic climate.

There has been a mixed Twitter reaction to this news. Here are five reasons why I don't think this is a big deal, and could even be considered a good thing:

1. Jim only expects a delay of "a month or two".

2. The RED One is beyond anything the competition currently has to offer. The RED One is not a bad camera, nor is it outdated (quite the opposite in fact). Does it need to be replaced quite so soon?

3. More RED Ones on the market mean lower rental prices and better availability (especially if demand is falling, as Jim says).

4. The RED One will be on the market for longer, meaning better NLE support and improved post workflows. Bigger production houses are looking for dependability with tried-and-tested workflows.

5. Components are constantly improving and prices are constantly falling (SSDs in particular). This delay may help RED deliver better and/or lower priced cameras.

Speculation on Mac Pro refresh

Wed, 04 Feb 2009 08:21:39 MST

It's been more than a year since the current Mac Pros came out. Although the software to fully take advantage of them is still not here, a year is a long time and technology has moved on. As a 2009 refresh is very likely, here's some speculation on what the new machines are likely to be like.

First of all, a release to coincide with Snow Leopard is very likely, as the Mac Pros are the best-equipped machines in Apple's lineup to show off the new OS. Snow Leopard will be released (assuming no iPhone-related delays this time) in either Q1 or Q2 2009, discounting any hardware that is due to be released after this date.

CPU

I'm almost certain this will be a Xeon 5500 series "Gainestown". That will be Intel's most powerful CPU line until Beckton towards the end of the year.

Although the clock speeds are identical to the Harpertown range inside current machines, they offer significant performance boosts elsewhere. The biggest of these is an on-die memory controller (i.e. built into the CPU instead of on the motherboard). This reduces bottlenecking significantly and is something AMD's chips have had for several years. It will provide a major performance boost.

Another new technology is QuickPath Interconnect, which replaces the legacy Front-Side Bus (FSB). The FSB connects all system devices and memory to the CPU through a single interface. This is now split up, with the new memory controller handling memory and QuickPath Interconnect dealing with the other system components. You may have noticed that the caches on these CPUs are smaller than their predecessors - this is because the greater efficiency in the new architecture means data spends less time in cache memory.

There have been several optimizations to multithreading, including hyperthreading which allows two threads per core (great for Snow Leopard). Although Gainestown is limited to four cores per CPU (8 in total in a Mac Pro), Apple may market it as a 16-core machine because of the 8 extra logical cores. True 16-core machines will not be available until the end of the year when the Beckton series is released.

Memory

You're probably familiar with dual channel memory which doubles memory bandwidth. That's why you have to install Mac Pro memory modules in pairs.

The new architecture has triple channel memory! Mac Pro motherboards are expected to have three rows of four memory sockets, totaling a maximum of 96 GB (12 x 8 GB). You would be required to install chips in groups of three.

Hard Disk Options

2 TB internal hard disks are now available so it seems likely that Apple will offer these in their machines. This will allow up to 8 TB in total.

What about solid-state disks? I doubt they will be offered for the Mac Pro just yet. They're too small for media storage (unless you can afford to RAID them) and although they are a decent size for boot disks I don't think they are suitable for that purpose just yet.

I always put Western Digital Raptors (10,000 RPM) as boot disks inside my machines because they reduce boot times, load applications faster, and everything is generally more responsive as memory can be paged to and from disk a lot faster. So the fast read speeds of SSDs are welcome from me, but there are two problems. Writing is slow. The OS writes a lot of data to disk and you will notice a slowdown when multitasking or using a lot of memory at once.

The second problem is that each memory cell inside the drive has a lifetime of around 100,000 writes. You can easily exceed that in the lifetime of your computer, particularly if it is switched on constantly. Modern chips try to get around this by writing evenly to all areas of the disk in order to balance it out, but the usefulness of this will depend on the total size of the disk.

SSD technology looks very promising and these are problems that will be overcome as time goes on, but they are not ready for this kind of usage just yet in my opinion.

Graphics cards

I don't know what the stock graphics card will be but the following cards may be offered as options:

Radeon 4870 - This is a high-end card capable of accelerating H.264 and MPEG-2 encoding and decoding. ATI's drivers are traditionally much better optimized for Core Image than NVIDIA's so Final Cut Studio performance is likely to be good. Crossfire technology is available on the PC version of the card - it remains to be seen if this is something Apple will embrace. Another version, the 4870 X2 with dual GPUs, will not be available for the Mac.

It comes with DisplayPort and HDMI connectors. Apple may request a Mini DisplayPort connector instead (or in addition).

GeForce GTX 285 - This is a single-GPU card that is SLI-capable (NVIDIA's equivalent to Crossfire), should Apple choose to utilize that technology. This card does not offer DisplayPort by default so this is something likely to be requested by Apple for the Mac version.

Let's hope NVIDIA improve their Mac drivers to offer better Core Image performance.

Quadro FX 5800 - This card supports DisplayPort technologies as well as the brand-new OpenGL 3.0 specification (which the other cards do not). It's very fast but also very expensive. It is not necessarily guaranteed to make a significant difference to Pro App usage because, while it has a lot of raw power, it does not have some of the optimizations that the other cards have (e.g. H.264 hardware acceleration), and I don't know how well-optimized for Core Image they are. In addition, raw power is worthless if it is bottlenecked by other components in your system.

With the launch of Snow Leopard, Apple will be trying to sell us multiple graphics cards in our machines. I would personally wait until I have read reviews before deciding on purchasing multiple cards for Pro App usage. Also, I would have to wait until Final Cut Studio 3 came out anyway because multiple cards with FCS 2 cause problems.

Things you shouldn't hold your breath for

* eSATA - Apple has completely ignored this particular technology in the past - this time around will most likely be no different.
* FireWire S3200 / USB 3.0 - It's early days and I'm not aware of any devices currently supporting the new standards.

Conclusion

It's pure speculation but if my predictions come true, there will be a hell of a lot of new tech in the Mac Pros. Which is great because they'll be leaving a lot of legacy technologies behind - but on the other hand, new things carry a certain degree of risk.

The first-gen Mac Pros needed a couple of firmware updates to fix minor issues, and I have my own rule that says I refuse to use an operating system for professional work until at least 10.x.4. This rule will be particularly crucial for Snow Leopard which now has a 64-bit kernel, meaning every system component will need new drivers. This is fine for the hardware that ships with your machine but what about third-party capture cards, graphics tablets etc? I don't think it's going to be a huge problem but it's worth thinking about in advance.

Either way, 2009 looks pretty good for video professionals.

What does 2009 hold for Final Cut Studio?

Wed, 31 Dec 2008 13:50:50 MST

Now, 2008 has been a year of frustration for us editors. We've seen few Final Cut Studio updates (and some of those have broken more things than they fixed), we've seen matte displays replaced with glossy ones, we've seen no Apple at NAB 2008 and we've seen very little in the way of Mac Pro updates.

Has Apple abandoned pro users? Are they more interested in making iPods? Yes and no. Yes, of course, they will want to put a lot of resources into something that contributes strongly to their bottom line. However, I don't believe they have abandoned pro users at all.

Everything changes with Snow Leopard. Snow Leopard is Apple's way of telling us it still cares. Look at the feature list - Grand Central, OpenCL, QuickTime X, even the 2.2 gamma change - is there anything there that will benefit the average Joe Bloggs user when he's checking his email? No, this is a lean operating system designed for performance. And it's also designed to sell Mac Pros of course, and make the 8-core Mac Pro you bought a year ago worthwhile. This is an operating system designed to put the Mac back on top of the list of pro must-haves. Apple has a massive head-start on Microsoft here.

And what better way to promote Snow Leopard and the Mac than with a highly-optimized version of its flagship pro suite, Final Cut Studio.

I don't think Apple is abandoning us at all. I think they are just diverting their pro app resources into something much better. Think how the number of patches and the number of fixes has dwindled lately. Updates are rare and they only fix major issues. It makes sense that Apple would only put resources into fixing major bugs if Final Cut Studio 2 was at the end of its life.

Another thing I find interesting is that Apple is putting Shake updates in Pro Applications Updates but it is not putting Logic or Aperture updates in there. This would suggest that there may have been a merging of the Shake and Final Cut Studio teams.

And let's look back at the original launch of Final Cut Studio 2. If you remove Color from the equation, there's really not much there. Worth upgrading, sure, but no big architectural changes like FCP 4.0 to 4.5 or 4.5 to 5.0. Could it have been a version designed to tide us over until the big changes came along? Only Apple knows the answer to that question.

So here are my predictions:

1. Final Cut Studio 3 launches in 2009 to coincide with the release of Snow Leopard. I don't know how backwards-compatible it will be, it could well be Snow Leopard-only (which also means Intel-only). It will be largely rewritten to take advantage of new Snow Leopard features and hardware acceleration.

2. LiveType will be killed off and its features will merge into Motion. Motion will inherit some of the features of Shake. This will better position it to compete with After Effects. It remains to be seen whether Apple will keep the node-based interface from Shake or spin it off as a separate application. I don't think Apple will completely merge the two together as they have different target markets and different complexity levels.

3. There will be greater interoperability between Final Cut Studio applications. Color will be redesigned to better fit into the studio. Interfaces will be improved so that there is greater coherence between applications.

4. Media management will be redesigned and there will be tighter integration with Final Cut Server.

5. The current NLE fashion is to have an automatic transcription tool. I would imagine Apple would implement this too, as it has great potential, even with the inevitable inaccuracies. Imagine this with Final Cut Server - you could easily search for that elusive line of dialogue within hundreds or even thousands of media files.

Ok, some of these are predictions, some of these are wishful thinking. But I believe Apple will at least optimize FCS3 for Snow Leopard technologies, because Snow Leopard is pointless if software isn't written to support it. At the end of the day, performance is what matters most.

Other features that may not come but I'd like to see anyway:

1. Why do we have to keep exporting to XML? Why not just make the FCP project file XML?

2. Add scripting abilities to the applications in the Studio and improve their expandability. Apple can't possibly think of everything - let third party developers fill in the gaps. It might also win over some larger companies who will be able to integrate it with their other applications and databases.

3. Blu-ray - Who even knows? It might interfere with Apple's iTunes business model but either way, BD support in Adobe Encore is proving that there is a demand for it and it is possible to provide it in an authoring application despite the draconian licensing issues.

Roll on 2009!

How to keep your job as an editor

Mon, 17 Nov 2008 17:32:53 MST

As an editor, there are certain technical things you can do that will, in most cases, result in instant dismissal by your employer. Here are some tips on how to avoid these pitfalls.

Black frames

We've all done it - you've got the timeline zoomed out, you drag a clip and think it snapped to the end of another clip but really it snapped to a marker or overlapping bit of audio right next to it. Consequently there'll be a gap and a flash of black when the clip is played back - which producers and audiences never fail to notice.

Before you output, put the playhead at the start of the timeline and press Shift-G. This will jump the playhead to the next gap in the timeline. If you encounter a gap, press Ctrl-G to close it. If no more gaps can be found, the playhead will jump to the end of the timeline.

Unsafe luma levels

Maximum white is higher on a computer than it is on a TV. Consequently, it is possible to set white levels beyond maximum levels for NTSC broadcast. If this happens, overmodulation can occur which means that the signal can leak to radio frequencies other than the ones assigned to the TV channel, resulting in the TV company getting into big trouble with the FCC. Not surprisingly, this trouble would come your way very quickly (that's a worst-case scenario by the way).

When I am color correcting, I always switch on the luma indication in Final Cut Pro (View > Range Check > Excess Luma). This will tell you with a warning triangle and red "zebra" lines which areas are above the recommended limit. You can then use a 3-way Color Corrector to bring down the highlights until the triangle changes into a green tick.

Then, just before my project is ready for output, I create a new sequence in Final Cut Pro and nest the old sequence inside it by dragging it from the Browser into my new timeline. I then go to Effects > Video Filters > Color Correction > Broadcast Safe to make the entire nested sequence broadcast safe.

Why do I perform this step when I already made it safe earlier? Because you can't be too careful. Maybe I thought I'd corrected each one but I'd actually missed one out by mistake. Maybe I added a last-minute clip that I forgot to correct. And if you're wondering why I nest it instead of just selecting all the clips and applying the filter to all of them, that's because I might be asked to make a last-minute change right before it goes out (in the world of broadcast TV anything is possible at the last minute). Nesting the sequence ensures that everything inside that sequence will be broadcast safe, no matter what I change later on.

It's also worth mentioning that the default settings for the Broadcast Safe filter work for the vast majority of cases. It's rare to have to modify them.

Peaking audio

Like luma levels, audio levels have a maximum limit as well. If they exceed 0 dBFS on Final Cut Pro's audio meters, they will produce an audible "crunch" noise that is very ugly to hear and will instantly distract any engaged viewers.

For broadcast work, it is recommended to have your dialogue around -12 dBFS (but not lower than -18 dBFS), with very loud sounds not exceeding -6 dBFS. Film post production tends to work with a higher dynamic range so the dialogue is normally around -18 dBFS.

The most important thing, however, is that your audio doesn't exceed 0 dBFS. To ensure this, after you've completed your mix, drag the sequence from the Browser to the Viewer, then go to Mark > Audio Peaks > Mark. This will put markers in your timeline at every point where the audio exceeds 0 dBFS. This is another of those situations where even though you've already mixed it, it's so quick and easy to check for peaks that there's no reason not to do it.

To remove the markers again, go to Mark > Audio Peaks > Clear or Mark > Markers > Delete All.

Incorrect field dominance

Here's one you probably won't spot unless you are using a broadcast monitor. This is why it's important to use a broadcast monitor or at worst, a regular TV, to view your work before output.

Interlaced video uses fields to display the image. There is a field for odd-numbered lines and a field for even-numbered lines, and they are displayed one after the other for every frame. But which one should be displayed first?

NTSC video uses the Lower (Even) field dominance, meaning it shows the even-numbered lines first. If you add a clip to your timeline that has Upper (Odd) field dominance, its fields will be reversed and the motion between those fields will be reversed, so moving objects will tend to judder as they move forwards and then backwards. PAL and HD video use the Upper (Odd) field dominance, with the exception of DV-PAL, which uses Lower (Even).

This is generally not a problem with footage acquired from an NTSC or PAL camera, as it will already have been shot with the correct field dominance. The problem usually occurs with motion graphics and visual effects sequences because they have been created in software that can create both types of footage and has to be manually told which dominance it should use.

If you have been given footage that has the wrong field dominance, first try to obtain correct footage from the person who originally supplied it. If this is not possible, go to Effects > Video Filters > Video > Shift Fields to swap the fields around.

In some cases, Final Cut Pro can get confused and think that a file with the correct dominance is incorrect, so it automatically adds a Shift Fields filter when you import it. If you suspect that the file is actually correct, first check the clip for automatically-assigned filters and remove them.

Finally, it's worth mentioning that when you drag the first clip to a new sequence, Final Cut Pro 6 will ask you to change the sequence settings to match the clip if they differ. A lot of people click Yes without thinking, but taking a moment to check whether the clip in question does actually have the correct settings will save a lot of head-scratching later on.

I hope this article has given you ideas on how to avoid these problems because in a lot of cases, mistakes aren't made through ignorance but instead lack of time, lapses in concentration, tiredness, etc. That's why most of the steps in this article are very quick and easy ways of double-checking after you've already implemented corrections. These are important aspects to keep under control so it helps to have a range of defensive measures in place. When your job could potentially be on the line, you can't double-check often enough.

Why release a 28K camera?

Fri, 14 Nov 2008 02:56:09 MST

As you surely must know by now, RED yesterday announced a revamped product line which included a camera capable of shooting at up to 28K.

Once the excitement of such a large number had worn away, I started to wonder what their strategy was. In a world where the biggest display available (IMAX) maxes out at around 9-10K, what is the purpose of releasing a camera that shoots nearly three times this resolution?

The answer can be found by looking back at the RED One. Now here was a camera that bucked the trend in all areas, but particularly the area of workflow. The unique workflow resembled photography more than film, and a lot of its features were designed so that you could be very flexible and change things in post that would normally be baked into the footage of a regular camera.

It seems that RED is putting large sensors in its video cameras for the same reason that SLR camera manufacturers are putting ever-larger sensors in their cameras. For a start, it's good for marketing, but more importantly, it offers you increased flexibility. For a long time, still photographers have been taking large photographs and cropping them down to frame the areas they want in the image, without having to make that decision on location.

So with RED's 28K camera, you could just sit the camera on a tripod shooting a static wide of the whole scene, add close-ups, zooms and pans in post, and then still be able to release for IMAX. Directors would not be tied to any of the decisions they made on set.

Now, to my mind, this would appear to take away some of the skill of filmmaking - following the general trend in which directors are increasingly directing their films in post, rather than on set. But then again, films are not judged on how they are made. If Francis Ford Coppola had made The Godfather the movie it is by sheer accident and luck, that would not change the fact that it is a masterpiece. Still photographers have been doing this for a while and they are not considered any less-skilled because of it. And although such a trend is uncomfortable for the purists like myself - if it results in better movies, this would be a good thing for the industry as a whole.

Upcoming Snow Leopard features you should know about

Mon, 27 Oct 2008 03:20:07 MDT

Snow Leopard is the name of the next version of Mac OS X, due next year. The idea behind Snow Leopard isn't to add a lot of features but instead to overhaul and optimize the OS for maximum performance. Developers are already receiving pre-release versions - here are some of the biggest features:

* No PowerPC support - This operating system will be Intel-only I'm afraid.

* Full 64-bit support - This was somewhat rudimentary in previous versions and consequently developers didn't really take advantage of it.

* New default display gamma - This one is very important for editors. With previous versions of Mac OS X, the default gamma was 1.8 which was great for print work. The default display gamma in Snow Leopard is now 2.2, which brings it closer to most TVs and Windows computers.

* Cocoa rewrites for all applications - "Almost all" of the visible applications (including Finder) have been rewritten in Cocoa. Cocoa and Carbon are two different application programming interfaces (APIs). Basically, Apple has decided that it wants to transition developers away from Carbon (which is more convenient if you are also developing for Windows) and towards Cocoa instead. Consequently, Cocoa tends to get all of the new features (such as 64-bit support) while Carbon gets left behind.

Ars Technica speculates that Carbon applications in Snow Leopard could be "wrapped" in Cocoa. I imagine this would affect performance and it should be noted that Final Cut Pro is currently written in Carbon. A Cocoa rewrite of FCP is inevitable (and much appreciated) but of course, no-one knows when that will occur.

* And then of course, all the features mentioned in the original press release - Grand Central for more efficient multi-core processing, OpenCL for using the GPU as another processor (must be why the new MacBook Pros have two GPUs) and QuickTime X which offers "optimized support for modern codecs and more efficient media playback" which would imply some kind of acceleration.

So all in all, this looks to be a promising update for people in the film and TV industries.

Is this the death of FireWire?

Fri, 17 Oct 2008 17:03:49 MDT

One of the biggest things making the rounds this week is the fact that Apple's new MacBooks have had their FireWire 400 port removed. Now why would Apple do this when they were the company that popularized it in the first place?

Someone posted an email purportedly from Steve Jobs onto Flickr in which Steve states that most modern consumer camcorders nowadays operate over USB 2. That may well be the case but as we all know, FireWire is the superior standard and it seems silly in my eyes to phase it out in favor of an inferior format. It seems like a case of Betamax vs VHS in which the most convenient format and not the best format actually won, with the best format relegated solely to the professional market. It's a great shame in my eyes.

Advertising may also play a part too - USB 2 is advertised as operating at 480 Mbps vs FireWire's 400 Mbps which looks good on paper but as we all know, FireWire is capable of sustaining 400 Mbps whereas 480 Mbps is just a theoretical limit for USB 2.

FireWire still hasn't achieved mass adoption among PC users. Apple is its primary proponent so if Apple lets it go, it will most likely die (as a consumer format at least). It's good to see it remain on the professional side - where I think it will stay for some time - but it's a little more inconvenient to now need an adapter to use FireWire 400 equipment. This is inconvenient because there seems to be considerably more 400 equipment out there than 800.

The most troubling thing for me isn't the demise of FireWire, it's the lack of a suitable replacement from Apple. eSATA would be great for hard drives but Apple seems to be shunning it for reasons unknown.

Final Cut Pro Audio Filter Guide Part 2

Sun, 05 Oct 2008 10:12:09 MDT

This is the second part of the Final Cut Pro Audio Filter Guide. Part 1 covered the Audio Units that ship with Mac OS X and is available here. This part will cover the audio filters that ship as part of Final Cut Pro.

This guide is intended to inform Final Cut Pro users of the options available to them for fixing bad sound. It is worth mentioning at this point that this guide is intended for users of Final Cut Pro 6.

Now, one thing you may have noticed is that there are often duplicate filters such as AUBandpass (an Audio Unit) and the built-in Band Pass Filter. So which should you use? Well, for a start, bear in mind that some of those filters have the same function but different parameters. I would generally advise you to pick the built-in filters over the Audio Units whenever possible, as they tend to use up fewer system resources.

3 Band Equalizer

This allows you to take three separate bands (low, med and high) and adjust the gain up and down individually. I personally prefer AUFilter (in the Apple folder) because it gives you a bit more control and allows you to adjust 5 bands.

This is useful when you need to boost the bass of a voice or improve a flat-sounding voice.

Band Pass Filter

This will allow a range of frequencies on either side of the center frequency to pass through and reduce (attenuate) frequencies outside this range.

This is identical to the AUBandpass filter (in the Apple folder) except that instead of the bandwidth parameter, it has a mysterious one called Q. Q stands for Quality Factor and is a different way of representing the bandwidth. There are numerous articles about it on the internet that get quite technical but all you need to know is that it's the relationship between the center frequency and the bandwidth (f/b) so Q is inversely proportional to the bandwidth (i.e. when the bandwidth goes up, Q goes down by a proportional amount). It is worth noting that Q is not the bandwidth itself but it is related to it. If you want to find out the bandwidth, just divide the center frequency by Q.

If you don't understand the above explanation just play it by ear or use the AUBandpass filter.

Compressor/Limiter

The Compressor / Limiter reduces the volume of sounds above the threshold amplitude. This is a useful way of minimizing the difference between two subjects talking at different volumes or making sure that the audio fits within the limits of the playback device.

Obviously this reduces the volume of the overall audio so Preserve Volume rectifies this (although I find it is often then too loud). Attack time refers to the time it takes for the filter to decrease the volume once it has detected a frequency with an amplitude above its threshold. Release time refers to the time taken for the filter to increase the volume again once the high amplitude frequency has finished playing. Higher values allow for a smoother and less noticeable response but set them too high and the compressor won't respond quickly enough. This is something inherited from live audio mixing where you don't know what's coming next. Setting the threshold to just under your preferred limit allows time for the compressor to lower the volume in anticipation for a louder sound once the threshold is reached.

Ratio tells the compressor by how much it should reduce the volume when a sound exceeds the threshold. If the ratio is set to 2 (2:1), then a 10 dB increase in volume above the threshold will be halved to a 5 dB increase. It is worth noting that the compressor lowers the volume of sounds above the threshold but does not necessarily reduce them to a value at or below the threshold. Be aware that very loud sounds could still theoretically peak.

Finally, it is also worth mentioning that the compressor reduces the volume difference between the subject and any background noise, so background noise will be more noticeable upon boosting the audio after applying the compressor.

DC Notch

Sometimes you may experience a DC current leakage through the mic, causing noise in the recorded audio. A DC Notch filter will remove the DC offset component which you probably need a degree in audio engineering to fully understand. It has no parameters.

This is one of the lesser-used filters FCP provides.

Echo

This one obviously adds an echo. Effect Mix allows you to mix the echoing audio with the original in order to better blend it in. Effect Level controls the volume level of the echoes (but not the original audio). Brightness controls the degree that the echoes will overlap. Feedback controls how long each echo will last and delay controls the spacing between each repeat.

It is worth noting that the echoes will be abruptly cut off unless you lengthen the audio clip or fade it out.

Expander / Noise Gate

The opposite of a compressor. A compressor takes high amplitude sounds and lowers them whereas an expander takes low amplitude sounds (sounds below the threshold) and lowers them. I know it probably seems strange to lower sounds that are already quieter than the rest of the audio but this is designed to increase the dynamic range of the clip.

Threshold is the amplitude below which the expander will kick in. Ratio controls the proportion of expansion - for example with a ratio of 2 (2:1), a 3 dB fall below the threshold will be adjusted to a 6 dB fall. Attack time is the time for the volume change to be applied once it falls below the threshold. Release time is the time for the volume to return to normal once the signal goes above the threshold again.

A noise gate is a more extreme expander that will completely eliminate frequencies below the amplitude threshold. This can be achieved with high ratios (e.g. 10).

Gain

This is a simple filter that raises or lowers the volume of the audio. It is added automatically to clips when you use the Modify > Audio > Apply Normalization Gain command.

High Pass Filter

This will attenuate (reduce) low frequencies below the threshold. This is the same as a Low Shelf Filter. Use the Q slider to modify the bandwidth (width of the frequency range).

Useful for cutting out low frequency noise such as the rumbling of traffic or very low notes in a deep voice.

High Shelf Filter

This will attenuate (reduce) high frequencies above the threshold. This is the same as a Low Pass Filter. Gain allows you to adjust the volume of audio that passes through the filter.

Useful for filtering out high frequency noise such as buzzing on the soundtrack.

Hum Remover

This is similar to the Shelf / Pass filters but it has several extra parameters. Frequency, Q and Gain have been explained many times above. In order to explain what the harmonic check boxes mean, we need to delve into a little audio theory.

The fundamental frequency is the lowest frequency in a harmonic series (the Frequency value in this case). Harmonics are integer multiples of the fundamental frequency - e.g. if f=60, 2f=120, 3f=180, etc. These play at the same time as the fundamental frequency and contribute to the tone of a sound. The Hum Remover is more powerful than a Shelf / Pass filter because it allows you to remove these specific frequencies without removing any frequencies in between these. For example, if f=60 and you wanted all harmonics up to 5f removed, a Low Shelf or High Pass filter would remove ALL frequencies up to 300 Hz, potentially affecting the quality of your sound. The Hum Remover would not do this.

Despite being called Hum Remover, the use of harmonics makes it useful for other purposes such as enhancing or reducing a musical instrument on a soundtrack.

Low Pass Filter

The Low Pass Filter has the same effect as the High Shelf Filter - it will attenuate (reduce) frequencies higher than the specified frequency range, keeping lower ones intact.

Frequency refers to the center frequency and Q is a way of representing the bandwidth (the width of the frequency range).

Useful for reducing high frequency noise such as buzzing.

Low Shelf Filter

The Low Shelf Filter has the same effect as the High Pass Filter - it will attenuate (reduce) frequencies lower than the specified frequency range, keeping higher ones intact.

Useful for reducing low frequency noise such as air conditioner hums.

Notch Filter

The opposite of a Band Pass filter. Instead of only allowing frequencies within a certain range, this cuts out frequencies within a certain range.

Frequency refers to the center frequency and Q is a way of representing the bandwidth (the width of the frequency range).

Useful if you have noise of a constant frequency on your soundtrack (such as a buzzing sound).

Parametric Equalizer

This is a combination of Band Pass, Notch and Shelf filters combined into in a single filter. Frequency is the center frequency, Q is related to the bandwidth (see the explanation above) and gain allows you to boost or cut the frequencies passing through the filter.

Reverberation

This is similar to the Echo filter but considerably more sophisticated. Rather than simply repeating sounds with a delay, it allows you to mimic the characteristics of echoes within various locations. This is incredibly useful when performing ADR (Automated Dialogue Replacement) because it is highly likely that the sound booth you record the ADR in will sound nothing like the original location. This allows you to mimic the effect of sound waves bouncing off walls, with some canceling each other out and some increasing in intensity. It can also be used sparingly to improve a flat-sounding voice.

Subtlety is often the key with this filter and Effect Mix allows you to mix the reverb with the original sound to help blend it in. Effect Level controls the intensity, Brightness controls the degree that the echoes overlap and Type allows you to specify various preset locations.

It is worth mentioning that the reverberation will end abruptly unless you extend your audio clip or fade it out at the end.

Vocal DeEsser

This helps to reduce the intensity of "s" sounds, most noticeable if the actor has a lisp. The controls are similar to a compressor but it is optimized for reducing sibilant ("s") sounds. Ratio controls the amount of reduction - e.g. if the "s" sound is 6 dB and the ratio is 2, it will be reduced to 2 dB.

Emphasis controls the sensitivity of the filter and Broad Band Mode widens the bandwidth so that more frequencies around the center frequency are affected.

Vocal DePopper

Sometimes if a microphone is directly in front of an actor's mouth they will accidentally breathe into it while speaking, causing a wind-type noise to be generated. This filter aims to minimize these.

The parameters are similar to a compressor - ratio controls the ratio of reduction proportional to the intensity of the sound. Broad Band Mode widens the bandwidth so that more frequencies around the center frequency are affected.

One Final Note

These filters do a decent job of repairing troublesome audio but they are not miracle cures. Sometimes (and this is never popular with producers) it just isn't cheaper to fix it in post. Even big Hollywood movies with access to multi-million dollar sound studios re-record a lot of their audio. It is important to always think realistically.

However, I hope this two-part guide has been useful in showing you just what can be improved. I noticed a significant improvement in the sound quality of my projects once I understood more about the audio filters available to me, and I hope you'll be able to say the same.

Browser corruption bug still not fixed

Thu, 10 Jul 2008 16:36:49 MDT

I can't believe Apple still hasn't fixed this. This bug has been in Final Cut Pro for as long as I can remember (since at least version 5) and is so simple to replicate that you'd think they'd have fixed it by now. I've been experiencing it for a long time but for some reason it really annoyed me today.

1. In the Browser, modify the height of the window so that the bottom element in the list is at the very bottom of the window but not so much that the scroll bar appears.

2. Use your mouse's scroll wheel to scroll downwards.

It's really annoying when it happens accidentally, especially if a client is looking over your shoulder. I fix it by making the window a bit smaller to force the scroll bar to appear.

This is by no means the worst bug of Final Cut Pro but it really shouldn't have been here for so long. It's ridiculously simple to fix because it's so easily replicable.

Mac OS X 10.6 Snow Leopard Intel-only

Thu, 12 Jun 2008 13:12:24 MDT

MacNN has listed the minimum specifications of Mac OS X 10.6 Snow Leopard, the next version of Mac OS X, due to be released in "about a year". The biggest change is that it is Intel-only - PowerPC users are left out in the cold.

Or to be precise, the Developer Preview is Intel-only but I think this will extend to the final release as well. Why? Because Snow Leopard is about speed and optimization of the operating system and what better way to optimize the OS than to remove code for systems that haven't shipped in 3 years (by the time it is released next year)? There are very few applications out now that aren't Universal Binary or Intel-optimized, and three years is pretty generous I must admit.

However, before you throw out your old PowerBook or PowerMac, remember that Snow Leopard has very little in the way of features and is purely an optimization release. As you're not running cutting-edge hardware anyway, the extra performance probably doesn't make much difference to you. But I'm sure the frantic selling will begin regardless.

More WWDC 2008 Day 1 news

Mon, 09 Jun 2008 23:40:51 MDT

Since my previous post some more things have cropped up:

3G iPhone
* Not 3G but is actually 3.5G
* Thinner at the edges but actually thicker in the middle than its predecessor by 0.7mm and slightly taller (people are making way too big a deal about this)

AT&T
* Apple no longer gets a cut of the subscription fee from AT&T
* No more prescribed service plans - mix and match data and voice
* Starting price: $30 a month for unlimited 3G data plus $39.99 a month for voice. Text messages are no longer included so add $5. This means the price increases from $59.99 a month to $74.99 a month. And that is the base plan.

As someone who was put off more by the monthly price than the initial cost of the phone, this doesn't make me happy. And this is entirely an AT&T thing because Apple no longer receive money from them.

However, if you want to use your phone as an iPod Touch with internet access even when you're not near a WiFi point, this is a good thing. Or if you only use voice, for example.

* In-store activation only, no more activating via iTunes
* GoPhone service no longer available

[via TUAW]

So Apple adds features, AT&T takes features away. Great.

Mac OS X Snow Leopard announced

Mon, 09 Jun 2008 23:12:10 MDT

Apple just released a few preliminary details about Mac OS X Snow Leopard (I think they're running out of cat names...). The interesting thing to note is that NOWHERE does it say that this is OS X 10.6. It could be a major point update for 10.5. I think it probably is 10.6 but it's worth bearing that in mind though.

Apple has stated that the focus will not primarily be new features but improving the quality of the OS. I think a lot of people will be disappointed by the lack of features but this is great for people who demand high performance (a lot of people reading this blog I'd imagine).

Here are the improvements:
* Multi-core optimizations with a new technology called Grand Central. This makes it much easier for developers to create multi-core optimized applications (FCP dev team, I'm looking at you...)
* OpenCL support - Enables developers to use the processing power of the GPU to perform tasks. It will be interesting to see how developers take advantage of this but it could use your graphics card as an extra processing core when rendering and encoding for example.
* Theoretical support for 16 TB of RAM. But how much can each application address?
* QuickTime X - "optimizes support for modern audio and video formats resulting in extremely efficient media playback". That's a little vague so I'm wondering if there is some kind of GPU acceleration involved. And the "modern audio and video formats" bit makes me wonder if Windows formats such as WMV are supported out of the box, without requiring something like Flip4Mac.
* Support for Exchange 2007
* Safari speed improvements
* Takes up less space on disk
* Released in "about a year"

There have been rumors that 10.6 will be Intel-only but this report neither confirms nor denies this.

Also, there is no word on price. Consumers might be hard to win over if there are no new features so Apple may adopt lower pricing. I have heard some people say that performance and stability should be in Leopard anyway so the update should be free (which I disagree with). I personally would pay full price for an update that "unlocked" my graphics card for use as an extra core though. To me, that is worth paying for. And it'd probably result in a bigger performance boost than buying $130-worth of hardware.

Rough cuts

Mon, 02 Jun 2008 23:41:42 MDT

Shane Ross has a great post about "rough" rough cuts and how frustrating it is when producers cannot see past a lack of audio or sound effects, or a dodgy transition. What is worse is when the producer gets it into his or her head that you are trying to pass that off as the end product, despite your protestations to the contrary. That has happened to me and is a nasty situation for all involved.

I think the key is to make the producer comfortable with you. Normally these kind of problems go away on the second or third project as the producer realizes that you can do the job and are not a cowboy, and they get familiar with the way that you work. I also find that a comfortable producer will give you a lot more creative freedom (I prefer to see scripts as a guide rather than a rulebook for example) and in return you will take advantage of that freedom to return a better product, so it is mutually beneficial.

Toshiba plans 512 GB SSDs for 2009

Wed, 23 Apr 2008 14:34:10 MDT

Toshiba has announced that production improvements will allow it to ship 512 GB solid-state drives (SSDs) by 2009. This is a four-fold increase over its 128 GB drives that will start shipping in June.

The Japanese company estimates that it can reduce the price of making SSDs by as much as 40 to 50 percent every year, resulting in far less expensive drives at greater storage levels. While a 1.8-inch SSD costs 2.9 times as much as its rotating hard disk equivalent, a reliable price drop could reduce the cost to a comparatively reasonable 40 percent premium within the near future. When this will occur is uncertain.

This is important because SSDs are small, light, sturdy, less prone to physical failure, more power and heat efficient, and above all - FAST. This surprising rate of growth would mean that by the end of 2009, SSDs will be able to compete with conventional hard disks on space and, not long afterwards, price as well. Current models have some writing problems - namely, a lower maximum number of writes and slower write speeds than conventional hard disks. However, this is increasing all the time and will probably not be an issue in the next couple of years.

This is an exciting technology for the film industry for both acquisition, post production and, potentially, distribution that I will be keeping my eye on.

Why does QuickTime report a different resolution?

Sun, 13 Apr 2008 03:02:01 MDT

Ever wondered why QuickTime reports a completely different resolution to the one you exported at?

Welcome to the world of non-square pixels. NTSC and PAL use rectangular pixels to fill up space on the screen and save transmission bandwidth, which was more of an issue when the standards were invented. Computer monitors use square pixels and so QuickTime has to squeeze one side of the image in order to prevent it looking stretched. This is purely for display and the file is not modified.

The pixel aspect ratio of NTSC footage is 0.889 meaning 720 x 0.889 = 640 so it is displayed at 640x480. For PAL it is 1.067 so 720 x 1.067 = 768 and it is displayed at 768x576.

QuickTime also has some options for controlling how the movie is displayed. Open up your movie, go to Window > Show Movie Properties and click on the Presentation tab.

You will see an option marked "Conform aperture to:" with the following options:

Classic - Classic is identical to having the conform aperture setting switched off.

Clean - Scales the image to compensate for the pixel aspect ratio and crops it to mimic the overscan on a broadcast monitor.

Production - Scales the image to compensate for the pixel aspect ratio but does not crop the image.

Encoded Pixels - No modification is made to the footage. Note the stretching caused by non-square pixels.

This is one of the many reasons why a broadcast monitor is essential.

Exporting chapter markers to DVD Studio Pro

Fri, 04 Apr 2008 01:35:36 MDT

I am constantly seeing posts on Apple's support boards by people who can't get this to work. This seems to be a common problem so I'm going to give a step-by-step workflow followed by troubleshooting tips at the end.

1. In the Final Cut Pro timeline, navigate to the point you wish to place the marker, press M once to place a regular marker and then press M again to open up the Edit Marker dialog.

Make sure that you are adding the markers to the sequence itself and not to an individual clip. There are some rules though - Don't place one within 1 second of the beginning, don't place one within 1 second of the end and don't place them less than 1 second apart.

2. Click the button marked Add Chapter Marker and it will automatically insert some text into the box. Do not change this text; just click Ok.

Repeat for every marker.

3. Go to File > Export > QuickTime Movie. Do not export as QuickTime Conversion. Under the Markers drop-down, select DVD Studio Pro Markers.

Or Go to File > Export > Using Compressor. This will not display a dialog box but you will be able to see markers on the timeline in the Preview window.

4. Export the file.

5. Open up DVD Studio Pro and drag the exported file onto a track.

In the timeline, drag the edge of the horizontal scroll bar to decrease the size of the timeline and see everything at once. You should be able to see all of your chapter markers.

6. Go to Simulate and double-check that they work.

Troubleshooting

I think most problems are caused by not knowing the restrictions on chapter markers. This is from the FCP 6 manual:
* No chapter marker should appear closer than 1 second to the beginning or end of
your edited sequence.
* A chapter marker should be at least 1 second away from any other chapter marker.
* A maximum of 99 chapter markers can be placed within a single program.
* When you export from a sequence, only sequence markers are exported; markers in
clips are ignored.
* When you export a clip from the Browser, the clip's markers are exported.

Markers within nested sequences will not be exported.

You must select DVD Studio Pro Marker and not Chapter Marker under the QuickTime export options.

Don't put chapter and compression markers in the same marker!

I have had better luck with DVD Studio Pro Marker rather than All Markers in the QT export dialog.

Be aware that if you export a QT movie with markers and then import it into Compressor, you will lose your chapter markers if you do not have Compressor 3 (included with Final Cut Studio 2).

I have heard of people having success by trashing their preferences. We have a free utility that will automate it for you - Preference Manager.

Let me know if you can think of any more troubleshooting tips.

Final Cut Server coming soon?

Mon, 17 Mar 2008 04:25:13 MDT

Apple just mysteriously added a new category to their discussion forum named Artbox. Now, if you recall Artbox was originally developed by Proximity and was purchased by Apple two years ago and turned into Final Cut Server.

It was announced at NAB 2007 and slated for release in the summer of that year, but never came. It was then pushed back to January 2008 but still has not been released. I hope this is a sign that preparations are being made for its release.

The most plausible answer of course is that it's just a support section for existing Artbox users (rather late though, considering Apple purchased them in 2006), although I am not aware of Apple doing this for Final Touch users before the release of Color.

160 GB SSDs coming soon?

Wed, 12 Mar 2008 12:08:11 MDT

This is a few days old but still worth mentioning. Intel has announced that it is entering the SSD (solid-state disk) market this year. In addition to bringing down prices through extra competition, Intel is also offering speed improvements over existing SSD drives from other manufacturers.

Details are sparse but enough to whet our appetites - there will be a SATA (3 Gbps) version and the drives will range from 80 to 160 GB in size (in comparison, the largest generally-available ones are 64 GB). This means that SSDs can, for the first time, directly compete with hard drives on a technical level. They can't yet compete with hard disks on price but Intel is predicting prices of less than $200 by 2010.

This means a lot because solid-state disks are considerably smaller, faster and more reliable than conventional hard disks. Tests with the MacBook Air have shown considerably faster boot and application loading times. The traditional downside to SSDs (and something Intel did not mention) is that their write speeds are considerably lower than their read speeds - in fact, lower than the write speed of a conventional hard disk. This will no doubt change with time but for some tasks such as high-bandwidth acquisition, they are not yet ready to replace something like the RED Drive.

They would be great in a video editing environment though, where you don't need to write large amounts of data very often and much of the your time is spent reading data. With a lot of editing systems (particularly with the advent of 8 core Mac Pros), the bottleneck lies in the disk speed. It can also improve the responsiveness of applications like Final Cut Pro that store only a limited amount of timeline information (such as clip thumbnails) in the main memory, with the rest on disk. I can't wait to see these new drives in a RAID 0 configuration.

Poor GeForce 8800 GT Pro App performance

Tue, 04 Mar 2008 01:06:07 MST

BareFeats has some benchmarks of the new Nvidia 8800 GT in Motion 3. The interesting thing is how badly the two Nvidia cards (8800 GT and Quadro FX 5600) perform compared to the ATI cards, causing many people to cancel their orders.

The Nvidia 8800 GT is meant to be considerably more powerful than the ATI Radeon 2600 XT but it beats it in all of the tests except gaming, which isn't much help to readers of this blog.

Then add the fact that Color doesn't work well on Nvidia cards as they only offer a limited set of working bit depths, and there is a serious problem for owners of the new Mac Pros. They do not have a high-end ATI graphics card option, and it seems like all pro apps are optimized for ATI.

Their only solution is to go back to the ATI X1900 XT, which is a great card, but it is old tech. You also need to jump through a few hoops in order to get it working. I think the ATI buyout by AMD has complicated the situation for Apple and Intel, which is unfortunate. Let's hope Apple will release some new drivers soon to at least reduce the performance issues.

Xserve RAID replaced by third party solution

Tue, 19 Feb 2008 10:17:02 MST

Today has been a day of good news and bad news. The good news is that Xsan 2 was released and it looks GREAT, and the bad news is that Apple has now discontinued the Xserve RAID. It's bad news but it's bad news with a decent solution.

There was no official statement from Apple but the old Xserve RAID page now points to the Promise VTrak E-Class RAID Subsystem. It's a shame as I love our Xserve RAIDs (we have three), even though they do put out a lot of heat and noise.

I can see why Apple did it, as the price and complexity did not help sales, and endorsing an established third party is cheaper and easier. The Xserve RAIDs were in need of a update, so it is refreshing to read the specs on this machine:

	Xserve RAID	Promise V-Track
Fibre Channel Port Speed	2 GB	4 GB
Fibre Ports per Controller	1	2
Max number of drives	14	16
Max drive size	750 GB	750 GB
Max storage	10.5 TB	12 TB (24 TB with expansion module)
Drive type	Ultra ATA	SATA / SAS
Controller cache	512 MB	2 GB
On-drive cache	8 MB	16 MB
Redundant controllers	No	Yes
Expansion	None	Expansion chassis adds 16 extra drives
Rack size	3U	3U

See more specs here.

Pricing Comparison

Low-End:

Promise:
6 TB: $11,999.95
Cost per GB (1/1024 TB): $1.96

Xserve RAID:
1 TB: $5999
Cost per GB: $5.86

Mid-Range

Promise:
12 TB: $14,999.95
Cost per GB: $1.22

Xserve RAID:
3.5 TB: $8199
Cost per GB: $2.29

High-End

Promise:
24 TB (12 TB + 12 TB expansion): $26,999.90
Cost per GB: $1.10

Xserve RAID:
10.5 TB: $13,799
Cost per GB: $1.28

Other Promise Configurations

4.8 TB SAS storage: $18,999.95
12 TB expansion chassis: $11,999.95
4.8 TB SAS expansion chassis: $15,999.95

This is without a doubt much better value for money than the Xserve RAID but the high initial cost will put a lot of people off, I would imagine. I think I am going to take advantage of cheap Xserve RAID units and get the maximum possible performance out of our existing units before shelling out for these.

I have spoken to a few people that own Promise RAIDs and they say they are very satisfied with them, so my mind is at rest on that front.

Toshiba to drop HD DVD

Mon, 18 Feb 2008 11:12:39 MST

BBC News is reporting that shares of Toshiba have risen over speculation that it will scrap the HD DVD format. Toshiba was one of the pioneers of the format and has stood by it even after it was eclipsed by Blu-ray.

The article states that Toshiba is "reviewing its business strategies" but no decision has been made about HD DVD's future yet. This reflects a change in Toshiba's attitudes as it used to answer a firm "yes, the format will continue" when asked.

I hope Toshiba kills it sooner rather than later, as not only are they hurting themselves and the industry, but they are prolonging the inevitable. I think the major complaint about Blu-ray - price - will become a non-factor in the future as the industry can now focus its resources on one format to bring down prices, instead of splitting them between two. Also, technological improvements over time and increased demand will lower production costs and bring down prices as well.

Some people are wondering if it will all be in vain, as the download industry is just starting to take off. That remains to be seen but I don't think they are ready to directly compete with discs yet though.

Update 2/19/08: It's official. Toshiba has now suspended production of HD DVD players and recorders but will continue to clear out its inventory until March. This is a lot earlier than I had originally expected, so well done Toshiba for not drawing it out.

More troubles for HD DVD

Tue, 12 Feb 2008 10:28:10 MST

AppleInsider reports that the ailing HD DVD format has suffered two more blows.

Best Buy has stated it will promote Blu-ray over HD DVD in its stores. Blu-ray discs and players will have more prominent placing and staff will be instructed to recommend Blu-ray over HD DVD.

Netflix stated that, to ease consumer confusion, it will not be adding new HD DVD formats to its catalog and will gradually phase out the existing ones.

When you consider how much of a share Netflix has over the home rental market and how much Best Buy has over the retail DVD market, this is a massive blow for HD DVD. It is also a psychological blow because consumers can sense that the ship is sinking and no price cuts from Toshiba will change this. Even if they gave away HD DVD players for free, I don't think they could make a comeback.

Apple, despite being on the Blu-ray board, has remained incredibly quiet over the whole issue. I think the whole issue lies with burning Blu-ray discs. From what I have read, standard DVD and Blu-ray are so different that DVD Studio Pro will require a rewrite in order to support Blu-ray. I am guessing the same applies to iDVD and the Finder's built-in disc burning capabilities.

I would imagine this is the primary reason why Apple does not offer a Blu-ray drive option in their lineup. Maybe they were waiting for a clear winner to emerge before putting resources into updating their software packages. It would be very expensive to write code for a losing format. Price may also be a factor, considering the ~$1000 price tag of Sony's burners and the $10-25 price per disc.

Everyone predicts a Blu-ray burner from Apple every year and it never arrives but this year is different because we now have a clear winner. Everyone is so glad that a winner is emerging that they are putting all of their resources behind it to spur it on, leaving no doubt in my mind that HD DVD will eventually die. When that occurs is up to Toshiba. If I was managing Toshiba, I'd stop production, sell off the remaining inventory and count my losses. Persevering in the face of obvious defeat will only damage them in the long run.

I think we could see Blu-ray drives in Mac Pros by the end of the year (probably as a BTO option).

MacBook Air: Solid-state vs regular hard disk

Mon, 11 Feb 2008 12:42:46 MST

AppleInsider pitted a solid-state MacBook Air against one with a regular hard disk. They found that with large amounts of data, the read speeds of these drives were up to 18 times faster than regular hard disks. Write speeds were lower, at around 70% but when you compare a 30% loss in write speed to an 1800% gain in read speed, I'd gladly take that performance hit.

SSDs have other advantages:
* They are more reliable because they have no moving parts
* They are great for situations where data is littered all over the hard drive because they do not have heads that need to physically move from one area to another
* No noise
* Lower power consumption and less heat generated

Now, can you think of an application where reliability is important, you are transferring a lot of data that may be all over the place, where reading is more common than writing, and where noise and heat is undesirable?

I can't wait to throw out my Xserve RAIDs and replace them with SSD ones. They are noisy, they generate a ton of heat, I constantly worry about them failing on me, and they are really heavy and bulky. I would love to have a 1U SSD Xserve RAID that is lightweight, fast and quiet.

Unfortunately, price is the limiting factor right now. However, the proliferation of the iPhone and iPod Touch, and the increasing demand for SSD storage in compact notebooks will bring the price down with time. We're at a turning point right now because for the first time, SSDs have reached a size and price point that makes them viable for consumer laptops. There is no way they could have offered a 32 GB SSD with the Air. Ok, $999 is a lot for a 64 GB disk but it is within reach. It will probably be half that in 12 months' time anyway.

When the size and price becomes viable though, these will be great for editors.