Build Your Own Workstation - Part 1: Justification

I've decided to do a 3 part rundown of my recent DIY workstation. I have very light experience with computer technology, but I learned about 5 years ago that you really don't need that much knowlege at all to build your own computer. The primary benefit, of course, is the money that you will save, but the secondary benefit is that you will know everything about the "under-the-hood" workings of your own computer once you're done.


Initial Assessment and Planning
About 7 or 8 months ago, I determined the need to upgrade my current video editing workstation. With a Core2Quad processor and 8 GB of RAM, most people would consider it a pretty decent machine. However, as I am taking on an increasing amount of HD production jobs, it's just not good enough.

Aside from the core system components of CPU and RAM, there were other improvements I was going to need. As of April, Adobe announced the upcoming release of Creative Suite 5, which would add a number of enhancements and new features, but none so important as the "Mercury Playback Engine," or MPE for short.

With MPE, Premiere Pro CS5 can take advantage of the graphics card (GPU) in a way that was only previously possible with so-called accelerator cards or "real time" cards, usually costing upward of $1,000. There have been many compatibility issues with those cards over the years, too many to list here, so to see Adobe making use of a more common piece of computer hardware was refreshing. Of course, the initial support list for GPU was rather short, and limited only to about 5 or 6 Nvidia-based cards.

So of course I wanted to upgrade my machine, but the question was how to go about it. Buy a new workstation from the likes of HP or any number of other outfits that make digital media workstations? Build a new machine from scratch? Upgrade the components of my current workstation?

Based upon the limitations of my current motherboard, it didn't take long to realize we were talking about a new machine. So I made a laundry list of what I wanted, based upon the components that HP and other system builders list on their workstations.

Here's a basic rundown of what I was considering:

• CPU - an Intel i7 or Xeon quad core processor (possibly dual processor)
• Motherboard - something with support for the newer SATA 3.0 (6 Gbps) hard drives coming out, and also possibly support for USB 3.0. Also needed available eSATA ports on back
• RAM - Triple channel capable, 6 DIMM or more, and 24 GB or greater RAM capacity
• GPU - An Nvidia Fermi-based card (preferably the GTX 470 or GTX 480)

By the time June rolled around, I had my new copy of CS5 installed and running on my existing workstation, and there wasn't necessarily anything in the software that came up short, even with the slightly older hardware. However, I was ready to bang out a new machine.

Price Shopping and Comparisons
After pricing out workstations from HP and a couple of other workstation system builders, I found the average cost to be between $3,500 and $5,000, with the main differentiating factor being i7 versus Xeon processors, and single or dual processors (along with the requisite motherboard and RAM differences between the two types of processors).

At this point, I proceeded to price out my own workstation from scratch. I quickly found that by building my own, I could save a significant sum, more than enough to justify the trouble of doing this myself. In fact, with a pretty good combination of parts and pieces, my workstation would probably end up being under $2,000. Early on, it even seemed possible to get closer to $1,500, but that didn't end up being the case at the end of this project.

I will go through the specifics of researching and acquiring the components in the next part (coming soon) and in the final part I will go through the actual system building process.

Other Thoughts
Many people wonder why, as a creative professional, I do not consider Apple (Mac) computers a viable option. My primary objection is price. Apple products are considered to be premium items, so it only makes sense that they would carry a higher price tag. Of course, each person has to decide for themselves whether the features justify the price. For me, having worked on Macs early in my career, and having compared them in the last 6 years to what's available on the PC side of things, I cannot justify it for my purposes.

Also, many video professionals use Apple's Final Cut Pro for non-linear editing (NLE). If that were my case, I'd be limited to only using a Mac computer. However, as I use the Adobe Creative Suite, I am not limited to just a Mac or PC. A Mac computer can only be configured in very specific ways, and with very specific parts (which actually excludes most of the Nvidia cards I would use for Adobe's MPE, not a good idea). So really, for me, it makes complete sense to edit on a PC, running Windows 7 x64.

IN REVIEW: Manfrotto 503HDV fluid head

WHAT - Manfrotto 503HDV fluid head

WHO - Designed for professional video producers using smaller form factor professional camcorders weighing up to about 10 pounds or so. Examples include Panasonic DVX100/HMC150/HVX200, Sony Z1/Z5, Canon GL2/XL2/XLH1/AH1.

WHEN - Previously owned a 503, I purchased the upgraded 503HDV in late 2008.

HOW - I use this tripod for virtually every production. It is just so versatile. It has so many useful features you just don't see on a cheap (er...inexpensive, I should say) fluid head in this price category.

As mentioned, I previously owned a 503 head and upgraded to the 503HDV head later on. The differences between the older and new versions made the additional cash output worthwhile.

It has a selectable load knob, which allows you to tailor the balance of the head to your total camera payload. There's even a setting to disengage the balance altogether. Some high end tripod heads incorporate this function but require moving springs in and out. Turning a knob is quite simple.

The controls on this head are in the right place, too. The tightening and drag knobs for tilt are located on the left side (which is where they should be).

One very unique and useful feature is the incorporation of a bubble level with an LED light. So you can actually view the thing in dark and dim working environments - not to unusual a situation.

I use a matched 2 stage tripod with this head, also from Manfrotto. Not much to say about the tripod, it does what it should do and did not break the bank.

Some things I don't like...the left pan handle (optional) does not mount directly to the head, at least mine didn't. A spacer (available from Manfrotto directly, cost of about $12) is required if you intend to use both pan handles. Also, the tightening knob/screw for the quick release plate is not adjustable. Many of these type devices - even on other Manfrotto heads - allow you to pull out the tightening screw and adjust the position by rotating around and releasing. Can't do that on this one, and it's a minor inconvenience but an inconvenience that should not exist anyway.

WHERE - A theme you will notice in my posts is that I pretty much always refer to B&H for equipment purchases. They are well known, trusted and usuallly the best price. And shipping is always very quick, very well packed and affordable (or free, in many instances). Used options are also available. In fact, if you can find a used one for 10% or more off of the cost of buying new, it's a good deal. These things don't usually wear out like a camera or other device might, so used ones are usually just as good as new.

I actually purchased mine as a used item...however, it had not actually been used, and was just one of these situations where a guy bought it, thought he needed it, then needed to get rid of it before he ended up using it. So I paid about $75 less than buying new, very good deal for me.

Overall, this head is the best bang for your buck. The similar but lower priced 501HDV head does not offer the same features (and is actually a friction drag, NOT fluid drag) and is better suited to shots that will be stationary. For good pan/tilt functionality and overall great features, I'd recommend paying the few extra dollars for the 503HDV.

IN REVIEW: Various camcorder accessories

WHAT - As the title says, there are a couple of items to go over here

WHEN - Like many things in life, it's not the initial purchase that sets you back, it's all the accessories you find yourself needing. Video production takes this rule and runs with it. I've been purchasing accessories ever since I started buying equipment over 7 years ago.

HOW - I use various accessories depending upon the needs of a shoot. I have various cases to organize everything and just take what I need when I head out for production. A time for everything, a place for everything.

WHO - If you've been reading and you know anything about me, you'll know most of my work is tailored to event/corporate video. However, many of the accessories I use are identical to those used in any line of video work, and have wide-ranging application.

So the best way to do this is just list things out, right? Right.

• Protective filter - the single most important item to accessorize any camcorder. Absolutely required.. These are usually screw on filters, just buy the size that matches your lens (check the manual). On my DVX100B and HMC150, it's a 72mm mount, so I have a Tiffen 72mm clear protection filter. These cost anywhere from $10 to $200, with the high end ones including multi coating to prevent/reduce glare and other anomalies that can be encountered with cheap glass. Tiffen is always a safe bet, so check them first. And it doesn't have to necessarily be listed as "clear" or "protective" to get the job done. Most UV filters do the same thing, while also reducing UV ray damage potential (although to what degree, who knows?)
• Shotgun microphone - All cameras include onboard audio capabilities, but when you're capturing critical sound, it's a much better idea to utilize a separate microphone. For one thing, the camcorder microphones usually are somewhat low quality, they just get the job done. For another, just about any sound you make when handling your camcorder - zooming, focusing, opening or closing the LCD, breathing - will be picked up by the camcorder mic. Best bet is to get a separate microphone (such as the one I will be listing in an upcoming review, the Røde NTG-2) and use a shock mount. Even better, hire an audio guy for your productions and don't even mess with the audio yourself. Just be sure that if you're mounting onto your camera that you don't get a microphone that's too long...it could break off your shockmount or even make an appearance in your next film by sticking out too far.
• NOTE: Panasonic and most other manufacturers usually sell their own shotgun mic to go along with the various cameras. I'd caution against it, as the mics are usually overpriced and underwhelming in terms of quality. Also, buy getting a true shotgun, you can use it outside of the camera itself - say, on the end of a boompole, or otherwise placed away from the camera and closer to the subject.
• Batteries - Nowadays, most cameras include a halfway decent battery that can give you 3-5 hours of juice (varying depending upon what you are doing, what screens are on, etc). Nonetheless, you want at least 1 spare battery (notice I mentioned "Batteries" in the plural at the start of this item). The name brands are usually the way to go, but occasionally you can find a 3rd party battery that works at least well - if not better - than the manufacturer's brand. And of course, the 3rd party options are usually 25-30% cheaper.
• It's also not a bad idea to grab a cheap battery tester. There are plenty of these available for cheap and they can help you see whether a battery needs charging or not. Great for when you're cycling through multiple batteries during an event...nothing as annoying as reaching in the camera case for a battery and pulling one out that you've already used up.
  
• White Card - doesn't have to really be anything fancy, it just needs to be white. You will seldom ever want to use your camera's auto white balance feature, so you will usually be setting white balance manually. Of course, if someone on your set is wearing a white shirt, that usually will work in a pinch. Sometimes when you buy a camera bag, matte box, light or other camera accessory the manufacturer will include a fairly sturdy white card (Porta Brace comes to mind). I actually purchased a product called Warm Cards and have found that this system works amazingly well. Read the manufacturer info for more details on that one.
• Headphones - Kinda hard to know whether or not the audio sounds good without listening to it, eh? Big thing to consider - and hard to know until you've been told about it - is that you need to match headphone impedence to the headphone jack of your camcorder. With that said, there are 3 basic kinds of headphones:
• Closed ear - these are the big ones, look like earmuffs. Usually the best quality, and since they completely surround your ear, they block out most ambient noises so you can focus on the sound you are recording. Critical audio recordings demand this style of headphone, and the prices can be quite steep. This is the style I use most often (specifically, Sennheiser HD 280 Pro).
  
• On ear - these are pretty standard headphones, they just sit on top of your ear. Average quality, average prices.
• In ear - these are also called earbuds, they go in your ear. There are some of these style that are quite expensive, and quite good, but it's very difficult to match the quality of a closed ear headphone set in such a tiny little earpiece. These are good if you simply need to monitor the overall level audio, and not necessarily the quality. The nice thing about these is they are teeny-tiny and will fit anywhere in your camera case.
• Camera case - these come in all shapes and sizes, from camcorder-only cases (holds just the basic camera with a battery and some tapes) to big carry-everything cases (usually holds a lot of the accessories you might have purchased to go with your camera). There are hard shell cases and soft shell cases, depending upon your need. I've got a whole separate review for this stuff coming, though, so stay tuned. Basic rule for you, don't buy cheap stuff...after all, it is going to be protecting your investment.
• Rain cover - not a necessity unless you do exterior work that can't be postponed under inclement weather. Lots of variety out there, depending upon your camera style and budget. I have a Kata CRC-14 for my DVX100B/HMC150 and it fits nicely and works just the way it should.
  

IN REVIEW: Panasonic AG-DVX100B

WHAT - The Panasonic AG-DVX100B camcorder

WHO - For the web video producer and/or event and corporate videographer

WHY - Don't get me wrong...the pseudo-ridiculousness of reviewing a camcorder that DOES NOT shoot HD and is over 4 years old is not lost on me. That being said, this camera is still selling, and people are still using it. For me, it is my primary camcorder, and I thought it would be nice to point out the continuing usefulness of this camera for a lot of the work I do.

I know what you're thinking..."gee, and you're trying to make money shooting standard definition in 2010? Good luck!"

HOW - ...as in, "how" am I using this camera today? Well, the real truth is that a lot of people do not actually want high def...the camera manufacturers and HD fan boys ignore this segment, as if they are not relevant customers anymore. In some cases - such as video on the web, or legal deposition videos - high definition is overkill. In fact, my primary destination format is web video, so this camera is a good match for my company (and my clients) in many ways. I still make money off this camera frequently.

Most importantly, it's probably the best progressive scan SD camcorder you can get, in terms of image quality. In fact, I'd argue it's the best SD camera you can get for progressive OR interlaced, under $5,000. I've viewed footage shot on this camera on a high def LCD screen, and it still looks really gorgeous. Most clients would not even know the difference between my images from the DVX100B and images from a similarly priced HD camcorder (of course, many consumers in general can't tell the difference between HD and SD in the first place...this proven by any number of informal polls or studies).

Aside from the images it produces, the DVX100B is just a very easy camera to use. The controls you need are present and easy to access, and only the very high end image tweaking controls are buried in a menu. Even those settings, however, are heavily customizable and can be programmed as a preset into one of the 6 available dial selections on the back of the camera.

The zoom control is also fully mechanical, just like on a high end camera lens. Panasonic was the first (and possibly only) company to include this in their sub-$5,000 camcorders. This functionality also carries over into their low end professional HD camcorders (the HMC150, the HVX200 and the HPX170). If you don't know the difference between mechanical and servo, you'll just have to try it to know the difference. It's huge.

One of my favorite features of this camera isn't really even the beautiful progressive images, it's the little port at the back of the camera that lets you plug in a zoom/iris/focus/record controller. All the major manufacturers offer similar controls, but only Panasonic allows iris control from this remote port. It's also available on the HD cousins listed above, and they all use the same controls (making later upgrades relevant to your existing accessories). None of the other camera makers allow this on their sub $10,000 camcorders. Again, it's a feature you have to use to appreciate, especially if you're using a Steadicam, camera crane or even a tall tripod in an event run-n-gun situation. Beautiful zooms with focus and iris control without having to touch the camera (and possibly shake the camera, messing up your shots). I should mention that the controller I use is the Varizoom VZ Rock PZFI...they have a different one with a different zoom controller, but the side-to-side rocker is much easier to use and gives you more control over the zoom speed.

Another useful item to mention is the VERY large LCD flip out screen. It's 3.5", which is large compared to just about every other camcorder in this class - HD or SD. The viewfinder is excellent, too, and both displays can be customized to run simultaneously, and you can even select the viewfinder to be black and white (very useful for judging overall exposure). Larger LCD screens make it easier to frame your shot, assess focus and view from a distance. I should also note that this same LCD screen (albeit slightly better resolution) is still in use on the HD cousins...the 4:3 aspect of the LCD allows those newer HD cameras to display the timecode, zoom/focus info and other details in the "letterbox" areas of the LCD above and below the image, making it easier to have your details visible without cluttering the image you are shooting.

Widescreen modes...this camera has them. I didn't delve into the 24p and 24pA modes of this camera much because they're pretty well explained by Panasonic and other places, but suffice it to say that shooting 24p gives your video a more "filmic" look. Likewise, most films are shot in a widescreen format. This camera allows you to shoot in two widescreen modes, but the most useful of the two for me is the squeeze mode. I will point out that some tests indicate a slight loss of resolution when shooting in squeeze mode for widescreen, but I have found than in real-world usage there is no visible difference on a moving image. The other mode (letterbox) still leaves you with a 4:3 image, just with black bars on top and bottom. Squeeze mode gives you a pixel aspect ratio that delivers the resulting 16:9 widescreen image.

This camera shoots to tape, continuing the list of things many people might point out that makes this camera obsolete. However, it's important to consider a few things related to tape-based shooting...

• Tape is a hard copy. It doesn't crash or corrupt like an SD card or a hard drive.
• Tape records full frames, not a GOP series like MPEG-based formats...this is important both for image integrity as well as ease of editing.
• Tape is a cheap, storable media...I keep my tapes stored in a fire/water-proof safe. SD cards and hard drives, on the other hand, are more expensive to store "as-is," but it's not a huge problem either.

Tape DOES, however, have its own issues (takes longer to capture than just transferring from a digital card or drive, subject to elements such as moisture, UV rays, etc.). But for now, it's very easy and works fine for most situations I find myself in.

Final items:

• WHEN - I bought mine in late 2006, and I use it for everything from corporate events, non-profits, sports, weddings, commercials...everything.
  
• WHERE - I'd recommend buying new from B&H. For used, you can still buy from B&H if you want total peace of mind, but there are other options as well. Many people sell on eBay, and there are good deals to be found and a certain amount of peace of mind (though not a whole lot). I've also had good luck using the buyer/seller marketplace at DVXUser.com (yes, a website dedicated to the DVX and similar camcorders, technologies, related equipment.....almost everything). Just be sure to only buy from people who have a presence on the boards, not folks who've only posted once or twice or who only show up on the boards to sell stuff (they're probably scammers). That's where you'll get the best deal. The MSRP is $2,995 right now, but street price is closer to $2,400 (and was down to $2,100 at one point).
  

And let's not forget one of the most important parts of this whole discussion...the price. You can get one of these new for just over $2K, and used for a few hundred dollars less. It's a real bargain, and any current or previous DVX user will tell you the same.

So to finalize, I just wanted to do a write up on this still useful camcorder since so many people still use it, even though the fanfare and praise of the industry at large has moved on to the high definition upgrades. I promise you this, though...if this camera was no longer relevant, and no one was buying it, Panasonic would probably have ceased producing so many of them - which they have yet to do.

I will be doing a review on my HD camera - the AG-HMC150 - in the near future. As mentioned above in this post, the HMC150 is the new HD generation version of the DVX100B.

Hiatus OVER

Alright, well, after almost 3 years, I've decided to try this again. It's not that I have much more to say than I did before, but I have a little more experience at least, and so HOPEFULLY something will come of all that in terms of this blog.

The first thing I thought I might do is create a run down list (or more likely, a handful of blogs) about some of the equipment I use, some of the strengths, weaknesses and probably a few additional links. Hopefully some of you will find this information helpful.

I know for me, at least, it can be a little confusing when you step into a new area - whether it be a particular service, or a style of production, or a new type of client, or in this case a new piece of equipment. Now, the Internet is chock full of product reviews, but these are often folks using demo models from the manufacturer and generally just scratching the surface. In some cases, the equipment being reviewed doesn't even leave these folks' studios.

So what I hope to do is NOT provide an unbiased review (in fact, I promise to be completely biased, and completely honest, since it will be strictly my unpaid opinion). Rather, I intend to give useful real world insight into WHY I bought something, WHAT kinds of problems I was hoping to solve, WHERE I purchased from (and where I didn't purchase from) and WHO I consulted before purchasing (blogs, magazines, forums, etc.).

Oh, hrm...looks like I left out WHEN, didn't I? Well....I guess it might be relevant to point out how long I've used something, and what kinds of projects I've used it on. Of course, as you'll probably see, I have some equipment that I thought I would use (even thought that I absolutely NEEDED) that turned out to be an unnecessary purchase.

So here we go again...let's see if I can make something out of this.