Get some coffee, sit back and take your time reading this post. I apologize for its length in advance, but there’s a lot of new hardware and software to talk about. I’m going to cover my impressions of NAB along with some “first looks” at Adobe Creative Suite 6, Smoke 2013 and Thunderbolt i/o devices. There’s even some FCP X news!
Impressions of NAB 2012
I thought this year was going to be quiet and laid back. Boy, was I wrong! Once again Blackmagic Design stole the spotlight with democratized products. This year the buzz had to be the Blackmagic Cinema Camera. It delivers on the objective of the original RED Scarlet idea. It’s a $3K camera with 2.5K of resolution and 13 stops. I’ll leave the camera discussions to the camera guys, but suffice it to say that this camera was thought up with post in mind. That is – no new, proprietary codec. It uses ProRes, DNxHD or Cinema DNG (the Adobe raw format). It also includes a copy of Resolve and UltraScope with the purchase.
Along with that news was Blackmagic’s re-introduction of the Teranex processors. Prior to that company’s acquisition by Blackmagic Design, the top-of-the-line Teranex image processor loaded with options was around $90K. Now that Grant Petty’s wizards have had a go at it, the newest versions in a nicely re-designed form factor are $2K for 2D and $4K for 3D. Sweet. And if you think free (or close to it) stifles R&D, take a look at the new, cleaned-up DaVinci Resolve 9.0 interface. Great to see that the development continues.
You’ll note that there was a lot of buzz about 4K camera, but did you notice you need to record that image to something? Enter AJA – not with a camera – but, with the KiPro Mini Quad. That’s right – a 4K version of the Mini already designed with Canon’s C500 4K camera in mind. It records 4K ProRes 4444 files. AJA is also building its Thunderbolt portfolio with T-Tap, a monitoring-only Thunderbolt-to-SDI/HDMI output adapter under $250. More on Thunderbolt devices later in this post.
The NLE news was dominated by Adobe’s reveal of Creative Suite 6 (with Premiere Pro CS6) and Autodesk’s re-designed Smoke 2013. Avid’s news was mainly broadcast and storage-related, since Media Composer version 6 had been launched months before. Although that was old news to the post crowd, it was the first showing for the software at NAB. Nevertheless, to guarantee some buzz, Avid announced a short-term Symphony cross-grade deal that lasts into June. FCP (excluding X), Media Composer and Xpress Pro owners can move into Symphony for $999. If you are an Avid fan, this is a great deal and is probably the best bang-for-the-buck NLE available if you take advantage of the cross-grade.
An interesting sidebar is that both FilmLight and EyeOn are developing plug-in products for Avid software. FilmLight builds the Baselight color correction system, which was shown and recently released in plug-in form for FCP 7. Now they are expanding that to other hosts, including Nuke and Media Composer under the product name of Baselight Editions. EyeOn’s Fusion software is probably the best and fastest, feature film-grade compositor available on Windows. EyeOn is using Connection (a software bridge) to send Media Composer/Symphony or DS timeline clips to Fusion, which permits both applications to stay open. In theory, if you bought Symphony and added Baselight and Fusion, the combination becomes one of the most powerful NLEs on the market. All at under $5K with the current cross-grade!
Autodesk has been quite busy redesigning its Smoke NLE for the Mac platform. Smoke 2013 features a complete Mac-centric overhaul to turn it into an all-in-one “super editor” that still feels comfortable for editors coming from an FCP or Media Composer background. See my “first look” section below.
Quantel, who often gets lost in these desktop NLE discussions showed the software-only version of Pablo running on a tweaked PC. It uses four high-end NVIDIA cards for performance and there’s also a new, smaller Neo Nano control surface. Although pricing is lower, at $50K for the software alone, it’s still the premium brand.
There’s been plenty of talk about “editing in the cloud”, but in my opinion, there were three companies at the show with viable cloud solutions for post: Avid, Quantel and Aframe. In 2010 Avid presented a main stage technology preview that this year has started to come to fruition as Interplay Sphere. The user in the field is connected to his or her home base storage and servers over various public networks. The edit software is a version of the NewsCutter/Media Composer interface that can mix local full-res media with proxy media linked to full-res media at the remote site. When the edit is done, the sequence list is “published” to the server and local, full-res media uploaded back to the home base (trimmed clips only). The piece is conformed and rendered by the server at home. Seems like the branding line should be Replace your microwave truck with a Starbucks!
The company with a year of real experience “in the cloud” at the enterprise level is Quantel with Qtube. It’s a similar concept to Avid’s, but has the advantage of tying in multiple locations remotely. Media at the home base can also be searched and retrieved in formats that work for other NLEs, including Media Composer and Final Cut.
An exciting newcomer is Aframe. They are a British company founded by the former owner of Unit, one of Europe’s largest professional post facilities built around FCP and Xsan. Aframe is geared toward the needs of shows and production companies more so than broadcast infrastructures. The concept uses a “private cloud” (i.e. not Amazon servers) with an interface and user controls that feel a lot like a mash-up between Vimeo and Xprove. Full-res media can be uploaded in several ways, including via regional service centers located around the US. There’s full metadata support and the option to use Aframe’s contracted logging vendor if you don’t want to create metadata yourself. Editors cut with proxy media and then the full-res files are conformed via EDLs and downloaded when ready. Pricing plans are an attractive per-seat, monthly structure that start with a free, single seat account.
Apple doesn’t officially do trade shows anymore, but they were at NAB, flying under the radar. In a series of small, private meetings with professional customers and media, Apple was making their case for Final Cut Pro X. Rome wasn’t built in a day and the same can be said for re-building a dominant editing application from the ground up. Rather than simply put in the same features as the competition, Apple opted to take a fresh look, which has created much “Sturm und Drang” in the industry. Nevertheless, Apple was interested in pointing out the adoption by professional users and the fact that it has held an above-50% market share with new NLE seats sold to professional users during 2011. You can parse those numbers anyway you like, but they point to two facts: a) people aren’t changing systems as quickly as many vocal forum posts imply, and b) many users are buying FCP X and seeing if and how it might work in some or all of their operation.
FCP X has already enjoyed several quick updates in less than a year, thanks to the App Store mechanism. There’s a robust third-party developer community building around X. In fact, walking around the NAB floor, I saw at least a dozen or more booths that displayed FCP X in some fashion to demonstrate their own product or use it as an example of interoperability between their product and X. Off the top of my head, I saw or heard about FCP X at Autodesk, Quantel, AJA, Blackmagic Design, Matrox, MOTU, Tools On Air, Dashwood and SONY – not to mention others, like resellers and storage vendors. SONY has announced the new XDCAM plug-ins for X and compatibility of its XDCAM Browser software. Dashwood Cinema Solutions was showing the only stereo3D package that’s ready for Final Cut Pro X. And of course, we can’t live without EDLs, so developer XMiL Workflow Tools (who wasn’t exhibiting at NAB) has also announced EDL-X, an FCP XML-to-EDL translator, expected to be in the App Store by May.
On the Apple front, the biggest news was another peek behind the curtain at some of the features to be included in the next FCP X update, coming later this year. These include multichannel audio editing tools, dual viewers, MXF plug-in support and RED camera support. There are no details beyond these bullet points, but you can expect a lot of other minor enhancements as part of this update.
“Dual viewers” may be thought of as “source/record” monitors – added by Apple, thanks to user feedback. Apple was careful to point out to me that they intended to do a bit more than just that with the concept. “RED support” also wasn’t defined, but my guess would be that it’s based on the current Import From Camera routine. I would imagine something like FCP 7’s native support of RED media through Log and Transfer, except better options for bringing in camera raw color metadata. Of course, that’s purely speculation on my part.
Now, sit back and we’ll run through some “first looks”.
Adobe charged into 2012 with a tailwind of two solid years of growth on the Mac platform and heavy customer anticipation for what it plans to offer in Creative Suite 6. The release of CS5 and CS5.5 were each strong in their own right and introduced such technologies as the Mercury Playback Engine for better real-time performance, but in 2011 Adobe clearly ramped up its focus on video professionals. They acquired the IRIDAS SpeedGrade technology and brought the developers of Automatic Duck on board. There have been a few sneak peeks on the web including a popular video posted by Conan O’Brien’s Team Coco editors, but the wait for CS6 ended with this year’s NAB.
Adobe’s video content creation tools may be purchased individually, through a Creative Cloud subscription or as part of the Master Collection and Production Premium bundles. Most editors will be interested in CS6 Production Premium, which includes Prelude, Premiere Pro, After Effects, Photoshop Extended, SpeedGrade, Audition, Encore, Adobe Media Encoder, Illustrator, Bridge and Flash Professional. Each of these applications has received an impressive list of new features and it would be impossible to touch on every one here, so look for a more in-depth review at a future date. I’ll quickly cover some of the highlights.
As part of CS6, Adobe is introducing Prelude, a brand new product designed for footage acquisition, ingest/transcode, organization, review and metadata tagging. It’s intended to be used by production assistants or producers as an application to prepare the footage for an editor. Both Prelude and Premiere Pro now feature “hover scrubbing”, which is the ability to scan through footage quickly by moving the mouse over the clip thumbnail, which can be expanded as large as a mini-viewer. Clips can be marked, metadata added and rough cuts assembled, which in turn are sent to Premiere Pro. There is a dynamic reading of metadata between Prelude and Premiere Pro. Clip metadata changes made in one application are updated in the other, since the information is embedded into the clip itself. Although Prelude is included with the software collection for single users, it can be separately purchased in volume by enterprise customers, such as broadcasters and news organizations.
A lot of effort was put into the redesign of Premiere Pro. The user interface has been streamlined and commands and icons were adjusted to be more consistent with both Apple Final Cut Pro (“legacy” versions) and Avid Media Composer. Adobe took input from users who have come from both backgrounds and wanted to alter the UI in a way that was reasonably familiar. The new CS6 keyboard shortcuts borrow from each, but there are also full FCP and full MC preset options. Workspaces have been redesigned, but an editor can still call up CS5.5 workspace layouts with existing projects to ease the transition. A dockable timecode window has been added and Adobe has integrated a dynamic trimming function similar to that of Media Composer.
The changes are definitely more than cosmetic, though, as Adobe has set out to design a UI that never forces you to stop. This means you can now do live updates to effects and even open other applications without the timeline playback ever stopping. They added Mercury Playback acceleration support for some OpenCL cards and there’s a new Mercury Transmit feature for better third-party hardware i/o support across all of the video applications. Many new tools have been added, including a new multi-camera editor with an unlimited number of camera angles. Some more features have been brought over from After Effects, including adjustment layers and the Warp Stabilizer that was introduced with CS5.5. This year they’ve broken out the rolling shutter repair function as a separate tool. Use it for quick HDSLR camera correction without the need to engage the full Warp Stabilizer.
By adding a highly-regarded and established color grading tool, Adobe has strengthened the position of Production Premium as the primary application suite for video professionals. The current level of integration is a starting point, given the short development time that was possible since last September. Expect this to expand in future versions.
SpeedGrade works as both a standalone grading application, as well as a companion to the other applications. There’s a new “Send to SpeedGrade” timeline export operation in Premiere Pro. When you go into SpeedGrade this way, an intermediate set of uncompressed DPX files is first rendered as the source media to be used by SpeedGrade. Both applications support a wide range of native formats, but they aren’t all the same, so this approach offers the fewest issues for now, when working with mixed formats in a Premiere sequence. In addition, SpeedGrade can also import EDLs and relink media, which offers a second path from Premiere Pro into SpeedGrade. Finished, rendered media returns to Premiere as a single, flattened file with baked-in corrections.
As a color correction tool, SpeedGrade presents an easy workflow – enabling you to stack layers of grading onto a single clip, as well as across the entire timeline. There are dozens of included LUTs and looks presets, which may be used for creative grading or to correct various camera profiles. An added bonus is that both After Effects and Photoshop now support SpeedGrade Look files.
With CS5.5, Adobe traded out Soundbooth for a cross-platform version of Audition, Adobe’s full-featured DAW software. In CS6, that integration has been greatly improved. Audition now sports an interface more consistent with After Effects and Premiere, newly added Mackie and Avid Eucon control surface protocol support and mixing automation. The biggest feature demoed in the sneak peeks has been the new Automatic Speech Alignment tool. You can take overdubbed ADR lines and automatically align them for near-perfect sync to replace the on-camera dialogue. All of this is thanks to the technology behind Audition’s new real-time, high-quality audio stretching engine.
Audition also gains a number of functions specific to audio professionals. Audio CD mastering has been added back into the program and there’s a new pitch control spectral display. This can be used to alter the pitch of a singer, as well as a new way to create custom sound design. Buying Production Premium gives you access to 20GB of downloadable audio media (sound effects and music scores) formerly available only via the online link to Adobe’s Resource Central.
Needless to say, After Effects is the Swiss Army knife of video post. From motion graphics to visual effects to simple format conversation, there’s very little that After Effects isn’t called upon to do. Naturally there’s plenty new in CS6. The buzz feature is a new 3D camera tracker, which uses a point cloud to tightly track an object that exhibits size, position, rotation and perspective changes. These are often very hard for traditional 2D point trackers to follow. For example, the hood of a car moving towards the camera at an angle.
Now for the first time in After Effects, you can build extruded 3D text and vector shapes using built-in tools. This includes surface material options and a full 3D ray tracer. In general, performance has been greatly improved through a better hand-off between RAM cache and disk cache. As with Premiere Pro, rolling shutter repair is now also available as a separate tool in After Effects.
Photoshop has probably had the most online sneak peeks of any of the new Adobe apps. It has been available as a public beta since mid-March. Photoshop, too, sports a new interface, but that’s probably the least noteworthy of the new features. These include impressive new content-aware fill functions, 3D LUT support (including SpeedGrade Look files) and better auto-correction. There’s better use of GPU horsepower, which means common tasks like Liquefy are accelerated.
Photoshop has offered the ability to work with video as a single file for several versions. With CS6 it gains expanded video editing capabilities, enabled by a new layer structure akin to that used in After Effects. Although Premiere Pro or After Effects users probably won’t do much with it, Adobe is quite cognizant that many of its photography customers are increasingly asked to deal with video – thanks, of course, to the HD-video-enabled DSLRs, like the Canon EOS series. By integrating video editing and layering tools into Photoshop, it allows these customers to deliver a basic video project while working inside an application environment where they are the most comfortable. Video editors gain the benefit of having it there if they want to use it. Some may, in fact, develop their own innovative techniques once they investigate what it can do for them.
Adobe Creative Suite 6 offers a wealth of new features, expanded technologies and a set of brand new tools. It’s one of Adobe’s largest releases ever and promises to attract new interest from video professionals.
Thanks to the common Unix underpinnings of Linux and Mac OS X, Autodesk Media & Entertainment was able to bring its advanced Smoke editor to the Mac platform in December of 2009 as an unbundled software product. The $15K price tag was a huge drop from that of their standard, turnkey Linux Smoke workstations, but still hefty for the casual user. Nevertheless, thanks to an aggressive trial and academic policy, Autodesk was very successful in getting plenty of potential new users to download and test the product. In the time since the launch on the Mac, Autodesk has had a chance to learn what Mac-oriented editors want and adjust to the feedback from these early adopters.
Taking that user input to heart, Autodesk introduced the new Smoke 2013 at NAB. This is an improved version that is much more “Mac-like”. Best of all it’s now available for $3,495 plus an optional annual subscription fee for support and software updates. Although this is an even bigger price reduction, it places Smoke in line with Autodesk’s animation product family (Maya, Softimage, etc.) and in keeping with what most Mac users feel is reasonable for a premium post production tool. Smoke 2013 will ship in fall, but the new price took effect at NAB. Any new and existing customers on subscription will receive the update as part of their support. Tutorials and trial versions of Smoke 2013 are expected to be available over the summer.
Autodesk was successful in attracting a lot of trial downloads, but realized that the biggest hurdle was the steep learning curve even expert Final Cut and Media Composer editors encountered. Previous Mac versions of Smoke featured a user interface and commands inherited from the Linux versions of Smoke and Flame, which were completely different from any Mac editing application. Just getting media into the system baffled many. With Smoke 2013, Autodesk has specifically targeted editors who come from an Apple Final Cut Pro and/or Avid Media Composer background. The interface uses a standard, track-based editing workflow to maintain the NLE environment that editors are comfortable with. There’s a familiar Mac OS X menu bar at the top and the application has adopted most of the common OS commands. In short, it’s been redesigned – but not “re-imagined” – to act like a Mac application is supposed to.
Smoke now features a tab structure to quickly switch between modes, like media access, editing, etc. The biggest new tool is the Media Hub. This is an intelligent media browser that lets you easily access any compatible media on any of your hard drives. It recognizes native media formats, as opposed to simply browsing all files in the Finder. Media support includes RED, ARRIRAW, ProRes, DNxHD, H.264, XDCAM, image sequences, LUTs and more. Media Hub is the place to locate and import files, including the ability to drag-and-drop media directly into your Smoke library, as well as from the Finder into Smoke. Settings for formats like RED (debayer, color, etc.) are maintained even when you drag from the Finder. Since Smoke is designed as a finishing tool, you can also import AAF, XML (FCP 7, FCP X, Premiere Pro) and EDL lists generated by offline editors.
Beyond familiar commands and the Media Hub, the editing interface has been redesigned to be more visually appealing and for the easier application of effects. ConnectFX is a method to quickly apply and modify effects right in the timeline. Tabbed buttons let you change between modes, such as resizing, time warps, Sparks filter effects and color correction. When you choose to edit effects parameters, the interface opens a ribbon above the timeline where you can alter numerical settings or enter a more advanced effects editing interface. If you need more sophistication, then move to nodes using ConnectFX. Smoke is the only editor with a node-based compositor that works in 3D space. You get many of the tools that have been the hallmark of the premium Autodesk system products, such as effects process nodes, the Colour Warper, relighting, 3D tracking and more.
Smoke 2013 is positioned as an integrated editing and effects tool. According to Autodesk’s research, editors who use a mixture of several different tools to get the job done – from editing to effects to grading – often use up to seven different software applications. Smoke is intended as a “super editor” that places all of these tools and tasks into a single, comprehensive application with a cohesive interface. The design is intended to maximize the workflow as an editor moves from editing into finishing.
Lighter system requirements
Apple is changing the technology landscape with more powerful personal workstations, like the iMac, which doesn’t fit the traditional tower design. Thunderbolt adds advanced, high-bandwidth connectivity for i/o and storage in a single cable connection.
To take advantage of these changes, Smoke 2013 has been designed to run on this new breed of system. For example, it will work on a newer MacBook Pro or iMac, connected to fast Thunderbolt storage, like a Promise Pegasus RAID array. A key change has been in the render format used by Smoke. Up until now, intermediate renders have been to uncompressed RGB 4:4:4 DPX image sequence files. While this maintains maximum quality, it quickly eats storage space and is taxing on less powerful machines. Rendering to an uncompressed RGB format is generally overkill if your camera originals started as some highly-compressed format like XDCAM or H.264. Now Smoke 2013 offers the option to render to compressed formats, such as one of the Apple ProRes codecs.
Another welcomed change is the ability to use some of the newer Thunderbolt i/o devices. Smoke on a Mac Pro tower has been able to work with AJA KONA 3G cards, but with Smoke 2013, AJA’s new Io XT has been added to the mix. The Io XT is an external unit with most of the features and power of the KONA card. It connects in the Thunderbolt chain with storage and/or a secondary display and is the only current Thunderbolt i/o device with a loop-through connection. Thus it isn’t limited to being at the end of the chain.
While at NAB, I took a few minutes to see how comfortable this new version felt. I’ve been testing Smoke 2012 at home and quite frankly had some of the same issues other FCP and Media Composer editors have had. It has been a very deep program that required a lot of relearning before you could feel comfortable. When I sat down in front of Smoke 2013 in the NAB pod, I was able to quickly work through some effects without any assistance, primarily based on what seemed logical to me in a “standard” NLE approach. I’m not going to kid you, though. To do advanced effects still requires a learning curve, but editors do plenty of in-timeline effects that never require extensive compositing. When I compare doing this type of work in Smoke 2013 versus 2012, I’d say that the learning requirements have been cut by 60% to 75% with this new version. That’s how much the redesign improves things for beginners.
You can start from scratch editing a project strictly on Smoke 2013, but in case you are wondering, this really shouldn’t be viewed as a complete replacement for FCP 7. Instead, it’s the advanced product used to add the polish. As such, it becomes an ideal companion for a fast application used for creative cutting, like Final Cut Pro, Premiere Pro or Media Composer.
Apple’s launch of Final Cut Pro X was a disruptive event that challenged conventional thinking. Autodesk Media & Entertainment’s launch of Smoke 2013 might not cause the same sort of uproar, but it brings a world-class finishing application to the Mac at a price that is attractive to many individual users and small boutiques.
Thunderbolt I/O Devices – A First Look
Over the years media pros have seen data protocols come and go. Some, like Fibre Channel, are still current fixtures, while others, such as SCSI, have bitten the dust. The most exciting new technology is Thunderbolt, which is a merger of PCI Express and DisplayPort technologies co-developed by Intel and Apple. Started under the code name of Light Peak, the current implementation of Thunderbolt is a bi-directional protocol that passes power, video display signals and data transfer at up to 10Gbps of throughput in both directions. According to Apple, that’s up to twelve times faster than FireWire 800. It’s also faster than Fibre Channel, which tends to be the protocol of choice in larger facilities. Peripherals can access ten watts of power through Thunderbolt, too. Like SCSI and FireWire, Thunderbolt devices can be daisy-chained with special cables. Up to six devices can be connected in series, but certain devices have to be at the end of the chain. This is typically true when a PCIe-to-Thunderbolt adapter is used.
A single signal path can connect the computer to external storage, displays and capture devices, which provides editors with a powerful data protocol in a very small footprint. Thunderbolt technology is currently available in Apple iMac, MacBook Air, MacBook Pro and Mini computers and is starting to become available on some Windows systems. It is not currently available as a built-in technology on Mac Pros, but you can bet that if there’s a replacement tower, Thunderbolt will be a key part of the engineering design.
By its nature, Thunderbolt dictates that peripheral devices are external units. All of the processing horsepower of a PCIe card, such as a KONA or Decklink, is built into the circuitry of an external device, which is connected via the Thunderbolt cable to the host computer. I tested three Thunderbolt capture/output devices for this review: AJA Io XT, Blackmagic Design UltraStudio 3D and Matrox MXO2 LE MAX. AJA added the monitoring-only T-Tap at NAB to join the Io XT in AJA’s Thunderbolt line-up. Blackmagic Design has developed four Thunderbolt units at difference price tiers. For smaller installations or mobile environments, the UltraStudio Express, Intensity Shuttle Thunderbolt or Intensity Extreme are viable solutions.
Matrox has taken a different approach by using an adapter. Any of its four MXO2 products – the standard MXO2, Mini, LE or Rack – can be used with either Thunderbolt or non-Thunderbolt workstations. Simply purchase the unit with a Thunderbolt adapter, PCIe card and/or Express 34 slot laptop card. The MXO2 product is the same and only the connection method differs for maximum flexibility. The fourth company making Thunderbolt capture devices is MOTU. Their HDX-SDI was not available in time for this review, but I did have a chance to play with one briefly on the NAB show floor.
All three of the tested units include up/down/cross-conversion between SD and HD formats and perform in the same fashion as their non-Thunderbolt siblings. Each has pros and cons that will appeal to various users with differing needs. For instance, the AJA Io XT is the only device with a Thunderbolt pass-through connector. The other units have to be placed at the end of a Thunderbolt path. They all support SDI and HDMI capture and output, as well as RS-422 VTR control. Both the AJA and Blackmagic units support dual-link SDI for RGB 4:4:4 image capture and output. The Matrox and AJA units use a power supply connected via a four-pin XLR, which makes it possible to operate them in the field on battery power.
The need to work with legacy analog formats or monitoring could determine your choice. This capability represents the biggest practical difference among the three. Both the MXO2 LE and UltraStudio 3D support analog capture and output, while there’s only analog output from the Io XT. The MXO2 LE uses standard BNC and XLR analog connectors (two audio channels on the LE, but more with the MXO2 or Rack), but the other two require a cable harness with a myriad of small connectors. That harness is included with the Blackmagic unit, but with AJA, you need to purchase an optional DB-25 Tascam-style cable snake for up to eight channels of balanced analog audio.
One unique benefit of the Matrox products is the optional MAX chip for accelerated H.264 processing. In my case, I tested the MXO2 LE MAX, which includes the embedded chip. When this unit is connected to a Mac computer, Apple Compressor, Adobe Media Encoder, Avid Media Composer, Telestream Episode and QuickTime perform hardware-accelerated encodes of H.264 files using the Matrox presets.
Fitting into your layout
I ran the Io XT, UltraStudio 3D and MXO2 LE through their paces connected to a friend’s new, top-of-the-line Apple iMac. All three deliver uncompressed SD or HD video over the Thunderbolt cable to the workstation. Processing to convert this signal to an encoded ProRes or DNxHD format will depend on the CPU. In short, recording a codec like ProRes4444 will require a fast machine and drives. I haven’t specifically tested it, but I presume this task would definitely challenge a Mac Mini using only internal drives!
The test-bed iMac workstation was configured with a Promise Pegasus 6-drive RAID array. The iMac includes two Thunderbolt ports and the Pegasus array offers a pass-through, so I was able to test these units both directly connected to the iMac, as well as daisy-chained onto the Promise array. This system would still allow the connection of more Thunderbolt storage and/or a secondary computer monitor, such as Apple’s 27″ Thunderbolt Display. Most peripheral manufacturers do not automatically supply cables, so plan on purchasing extra Thunderbolt cables ($49 for a six-foot cable from Apple).
These units work with most of the current crop of Mac OS X-based NLEs; however, you may need to choose a specific driver or software set to match the NLE you plan to operate. For instance, AJA requires a separate additional driver to be installed for Premiere Pro or Media Composer, which is provided for maximum functionality with those applications. The same is true for Matrox and Media Composer. I ran tests with Final Cut Pro 7, X and Premiere Pro CS 5.5, but not Media Composer 6, although they do work fine with that application. Only the Blackmagic Design products, like the UltraStudio 3D, will work with DaVinci Resolve. In addition to drivers, the software installation includes application presets and utility applications. Each build includes a capture/output application, which lets you ingest and lay off files through the device, independent of any editing application.
Broadcast monitoring and FCP X
The biggest wild card right now is performance with Final Cut Pro X. Broadcast monitoring was a beta feature added in the 10.0.3 update. With the release of 10.0.4 and compatible drivers, most performance issues have stabilized and this is no longer considered beta. Separate FCP X-specific drivers may need to be installed depending on the device.
If you intend to work mainly with Final Cut Pro “legacy” or Premiere Pro, then all of these units work well. On the other hand, if you’ve taken the plunge for FCP X, I would recommend the Io XT. I never got the MXO2 LE MAX to work with FCP X (10.0.3) during the testing period and initially the UltraStudio 3D wouldn’t work either, until the later version 9.2 drivers that Blackmagic posted mid-March. Subsequent re-testing with 10.0.4 and checking these units at NAB, indicate that both the Blackmagic and Matrox units work well enough. There are still some issues when you play at fast-forward speeds, where the viewer and external monitor don’t stay in sync with each other. I also checked the MOTU HDX-SDI device with FCP X in their NAB booth. Performance seemed similar to that of Matrox and Blackmagic Design.
The Io XT was very fluid and tracked FCP X quite well as I skimmed through footage. FCP X does not permit control over playback settings, so you have to set that in the control panel application (AJA) or system preference pane (Blackmagic Design and Matrox) and relaunch FCP X after any change. The broadcast monitoring feature in FCP X does not add any new VTR control or ingest capability and it’s unlikely that it ever will. To ingest videotape footage for FCP X using Io XT or UltraStudio, you will have to use the separate installed capture utility (VTR Xchange or Media Express, respectively) and then import those files from the hard drive into FCP X. Going the other direction requires that you export a self-contained movie file and use the same utility to record that file onto tape. The Matrox FCP X drivers and software currently do not include this feature.
Finally, the image to the Panasonic professional monitor I was using in this bay matched the FCP X viewer image on the iMac screen using either the Io XT or UltraStudio 3D. That attests to Apple’s accuracy claims for its ColorSync technology.
Performance with the mainstream NLEs
Ironically the best overall performance was using the end-of-life Final Cut Pro 7. In fact, all three units were incredibly responsive on this iMac/Promise combo. For example, when you use a Mac Pro with any FireWire or PCIe-connected card or device, energetic scrubbing or playing files at fast-forward speeds will result in the screen display and the external output going quickly out of sync with each other. When I performed the same functions on the iMac, the on-screen and external output stayed in sync with each of these three units. No amount of violent scrubbing caused it to lose sync. The faster data throughput and Thunderbolt technology had enabled a more pleasant editing experience.
I ran these tests using both a direct run from the iMac’s second Thunderbolt port, as well as looped from the back of the Promise array. Neither connection seemed to make much difference in performance with ProRes and AVCHD footage. I believe that you get the most data throughput when you are not daisy-chaining devices, however, I doubt you’ll see much difference under standard editing operation.
The best experience with Premiere Pro was using the Matrox MXO2 LE MAX, although the experience with the AJA and Blackmagic Design devices was fine, too. This stands to reason, as Matrox has historically had a strong track record developing for Adobe systems with custom cards, such as the Axio board set. Matrox also installs a high-quality MPEG-2 I-frame codec for use as an intermediate preview codec. This is an alternative to the QuickTime codecs installed on the system.
Portions of this entry originally written for Digital Video Magazine.
©2012 Oliver Peters