Blog Archives

Solid State, the Future of Storage

solid stateREVISION* Since the VHS ( and Beta for you Sony lovers ) back in the early eighties, recording formats have been one of the slowest forms of a growing technology in the A/V industry.  Digi-Beta and BetaCam have long been the standard for the industry but as the song goes, “the time’s, they are a changing” .From DVD’s and mini-discs all the way to hard drives, the techies have been plotting to remove tape and install a new standard, and slowly but surely over the past few years production studios have started to come on board.  Broadcast stations have been and are continuing  to make the switch to tapless media both in storage and recording formats, and industry enthusiasts seems ready to make tape a thing of the past. 
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How strong should an NLE system be?

computer 2This is an often frustrating topic for myself.  I see so many companies and editor’s picking up the latest NLE or animation program and then nickle and diming their way through the actual hardware which they run on.   This couldn’t be a bigger mistake then was Sarah Palin’s political aspirations.  In defence of some of these people, they really don’t know their undermining the workflow process when they cheap out of hardware, or better still, they don’t think their cheaping out.  But the facts are, if you plan on doing ANY multi-program work ( ie working in Avid while using After Effects /Photoshop ) or simply working in HD your just begging for corruption or freezing without the proper setup.

So here’s the deal.  What any editor needs ( especially if he or she is working in HD, which most likely these days is a given ) is a quad-core processer at MINIMUM.  You hear that?  M-I-N-I-M-U-M.   Not a dual core, not a very fast this or that, but a quad-core at minimum.  I say at minimum, because with the new i7 processors ( which I recently upgraded to ) and the 64 bit platforms things are just going to get faster and more optimized, but for now, that’s your minimum for processors. 

Next is your graphics card.  A quick note for all of you, these programs are being  more GPU focused so your graphics card is beginning to take over more and more of the rendering duties as well as the ability to display your graphics and video.  So you need to buy a high end, yes that’s right, a high end graphics card to handle these responsibilties.  How high end?  Well, I’m not made of money either, so when I say high end, I mean a graphics card with a minimum of 1 gig of ram ( yes you will need that), at a cost of around $250 and up.  I say $250 because there are really really cheap graphics cards which hold 1 gig of ram but are absolute garbage and move at a snails pace or break after one month, so be careful.  By a name brand, ( or supported affiliate) and don’t get suckered into a 1 gig $99 dollar piece of crap.  Always remember, there’ s a reason why it’s that cheap compared to another card of seemingly equal specs.

Your platform.  64 bit is definitely the way to go for the new blood of editor’s.  The ” not a lot of programs use 64 bit…” argument is about as pathetic as it comes.  It doesn’t matter if EVERY program is going to utilize the 64 bit optimized engine, the point is, they are starting to.  Adobe CS4 is completely optimized as a 64 software package, and you know what?  If your software isn’t, so what!  64 bit is backwards compatible to 32 bit so you can still run your other software while having the benefit of the ones that do run at the higher bit.  And yes, as per my Adobe CS4 blog earlier, it does make a difference.

The final and most overlooked aspect I find is the ram.  If your running 4 gigs of ram while trying to multi-task with After Effects and Avid / FCP your just begging for problems, especially if running anything in HD.  These programs ( and most others ) utilize at least 3 gigs of ram on their own.  If your holding 4 gigs or ram while operating two or even three of these programs, exactly how to think the computer can handle that.  If your running a higher end Mac or Vista operating system you can hold up to 32 gigs of ram and have it properly distributed by the OS.  That would technically mean that you can run AE, FCP and Photoshop ( given that the rest of your hardware is solid) and you wouldn’t notice a difference in speed.  So remember to get a proper platform that can handle more than 4 gigs of ram and then load in the ram.  My experience is that currently 12 gigs will take care of all your needs while multiply applications running at full tilt.

So there it is for you.  I would advise that you heed this advice seriously, otherwise you’ll be one of those ignorant persons either blaming you editor for not working fast enough or complaining that your computer or software stinks.  From an experience standpoint I can assure you, about 99% of issues with glitches or crashing in regards to post production comes down to the hardware and system setup.  So don’t skimp and you’ll avoid the headaches.

Can you export an Alpha Channel from Avid?

imagesI ran into this question years back, and at the time began desperately searching for an answer as I was on the clock with a client.  Having worked with Avid at that point for many years I had never really attempted to export an alpha channel directly from Avid, since no client had really requested it, but I assumed that it was possible based on the docs that come with Avid and of course just plain common sense.

But then I discovered the fatal misconception that common sense and software don’t always go hand in hand.  Even if the documentation says it does.  So here are the facts people, and I’m gonna make this as clear as possible. 

If your reading this, you probably know what an alpha channel is but for the newbie’s I’ll make it real simple.  So first of all what is an alpha channel? 

An alpha channel is a portion of each pixel’s unused data that is reserved for transparency information.  Really, it is essentially a mask, it specifies how the pixels colors should be merged with another pixel when the two are overlaid.  Now back to issue at hand, the big question is can you export an alpha channel unmatted from Avid?

NO.  YOU CANNOT EXPORT A STRAIGHT UNMATTED ALPHA CHANNEL FROM AVID.  

There it is.  I know that the documentation may say differently but I think whoever wrote it was drinking the Jim Jones Koolaid at the time, or at least should have shortly there after because there is no codec, export option, or miracle that can provide your client or whomever with an unmatted alpha channel for them to import into whatever they are using and drop a background in.

It’s amazing how years later this is still an issue with Avid, despite constant complaining from it’s users and people who are desperately convinced that there is some way or form to do it.  There isn’t.  And Avid moderator ( via their website ) and customer support now admit that there is no way to do from within the Avid software.  The only solution is to bring the footage or sequence into a third party software ( such as AE ) and re-export the footage from there. 

So I just thought I would clear that little misnomer up since even today it is still a question on the minds of editors who run into this problem usually when they are on a deadline and begin to panic.  Until Avid fixes this, we’ll all just have to deal with it.

Avid… yes, still the King of NLE

avidWhile FCP seems to be really trying to push the competition, and further becoming the clear choice with medium and small post production facilities, Avid still seems to be the the king of the hill.  Recently the American Cinema Editors (ACE) Board honored Avid Media Composer with Its First-Ever “ACE Technical Excellence Award”.  The ACE Board of Directors has recognized AMC software with the Board’s first-ever “ACE Technical Excellence Award” – recognizing it as the preferred choice of the industry’s most acclaimed editors.   And that’s not all. 

Avid also seems to win big at the Oscars as well.  Most every year dating back as long as 10 years all of the nominees for Best Picture, Directing, Documentary Feature, Original Score, Film Editing, Visual Effects, Sound Mixing and Sound Editing used either Avid, Digidesign, Sibelius or Softimage, all happen to be Avid-owned companies.  Why is Avid so popular at the  Academy Awards?  Christopher Rouse, winner of Best Editing ( Bourne Ultimatum) said “An Avid system is far and away the most comfortable tool for me to work with,” notes Rouse. “There are zero barriers between me and the material. That, for me, makes all the difference.”  These comments along with the most recognized films and their editors including the recent Slum Dog Millionare show that Avid continues to make it’s presence felt.  Apple clearly seems to have it’s work cut out for it if it wants to make some be recognized as a serious platform with the industries top players but make no mistake, some, albet a few, have started to make the switch including David Fincher who rained praises on FCP which was used to cut both Zodiac and his Oscar nominated Curious Case.

Only time will tell but for now, Avid still seems to hold the keys to the castle.