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.

Hiatus

As you may have already noticed, the blog is on a bit of a hiatus. I'm trying to figure out a better direction for this blog and will be back online soon hopefully.

In the meantime, I'm keeping up to speed with new developments in HD and HDV equipment, software, machines, techniques...you get the idea. I'm also following the new Adobe CS3 products which are all launching soon (certain programs will soon be available as FREE beta downloads...more information available at www.adobe.com).

I'll be back!

The Anvel: After Effects Expertise on the Web

Have you ever wanted to explore the depths of After Effects but felt overwhelmed by the possibilities? Well it's time to step up to The Anvel.

Dean Velez hosts a website for his amazing After Effects tutorials at www.TheAnvel.com. The name comes from his own name (deAN VELez). Once there, you can browse around the many tutorials he publishes throughout the year. Additionally, there are an astounding number of completely FREE After Effects projects available for you to download. These are fully-modifiable projects and assets that you can use as-is or customize to your own needs.

The main purpose of the project resources is for you to observe the techniques Dean has used in producing the projects and then apply them to your own compositions. Additionally, there is a pay program available for you to take part in the regularly released advanced training from Dean. More information is available on his site.

I just felt like this is a wonderful resource for all of us who constanly look to sharpen our skills on one of the more complex tools we use - After Effects. You can look all over the Internet and find many more learning options for After Effects (some of them free, some not), but few of them are as interesting or reasonably priced as the ones offered from The Anvel.

Go check it out, learn something new!

Avid Liquid on Tour

Avid, having completed their aquisition of Pinnacle and also completed the merger of the formerly separate product lines, is parading their recently released Avid Liquid product out for the masses here in the US. More information here:

http://www.avid.com/events/bigsplashtour/index.asp

If you haven't had a chance to check out Liquid past or present, it is a capable product worth your consideration. I would argue that the Liquid line of NLE software and hardware doesn't necessarily break any new ground, but instead finds ways to simplify common tasks and enables smoother workflow from aquisition to output.

Have a look at the product and check out the tour if you have the chance.

Safeguarding Your Creative Work

All you need to do is simply type "Copy DVD" into a Google search to see how easy it would be for anyone to create copies - legal or illegal - of any DVD (or CD) on the market today. It's a point of much debate for both Hollywood studios and independent content creators. The idea behind the technology of copy protection is to simply prevent someone from having what they did not purchase. More importantly, the goal is to prevent loss of profits that occur as unauthorized copies are purchased or downloaded. Clearly, no Hollywood studio is afraid of there being too many copies of their product in circulation - thus, the driving force is money.

So how do you go about copy-protecting your work on a DVD or CD? Macrovision is the standard for DVD Video, but there are two issues you may want to consider. First, you cannot use Macrovision protection on writable media (DVD+/-R/RW, CD-R/RW). It is only available on replicated discs - those made typically in the 1,000s by a factory manufacturing process. This is because there are very few similarities in the actual media used in your computer's DVD burner and the media the replicator uses. The second - and perhaps more important issue - is that Macrovision is easily defeated (again, simply do a Google search and you will find many ways to do this). This is Hollywood's standard protection and consumers can toss it aside. The rule that applies here is this: if you can play it in your player, then you can copy it. When you play the disc, the player is handling the decryption of the Macrovision. When you put 2 and 2 together, you can see why this method has been so easily defeated.

So again, what do you do? Macrovision doesn't work, so what else can you try? The answer is probably "nothing." As I stated above, writable media does not accept Macromedia protection. What would have been more accurate is to say "writable media does not accept ANY copy protection." If you are using a replicator to manufacture your discs, you can use a couple of options (including Macrovision) but I am going to recommend that you save your money and not spend a single dime on digital copy protection.

Let's all ask one more time - so what do you do?

Knowing that the odds are great that you will not be able to prevent unauthorized duplication, let's think of some alternatives to digital protection, and call it "insurance," or may "copy resistance." Start by writing some method of copyright agreement into your contracts and/or on the disc surface itself, such as "Copyright 2006 My Fun Production Company. All rights reserved. Unauthorized duplication is a violation of Federal law. Violators will be prosecuted." While your average software or movie pirate is going to be unimpressed, your typical customer might think twice. Most people will not find the risk worthwhile, knowing that it would be easier for a smaller production company to become wary of the duplication efforts than that distant Hollywood studio. Hollywood doesn't waste much money prosecuting individual consumers duplicating their DVDs, but by stating this upfront you may have been able to imply that you might find it worthwhile - after all, a single duplication may represent a significant percentage of the work you earned in the first place.

Another option is to just price your business around the original work, and consider any additional discs that you may sell as icing on the cake. Then, you can price additional copies either at or just barely above your costs of duplication. The success rate here assumes that you are going to be able to duplicate the discs for the client at a much lower cost than they would incur by doing it themselves. You are able to get bulk rates on media and cases that your customer likely cannot get by purchasing a 10 pack of DVD-R from the local store. If it costs you $0.35 per disc, $0.50 per case and around $1.20 for ink and paper usage on the disc and insert, then your material cost is only $2.00. If it takes you 15 minutes to burn, print and assemble this all, then figure 1/4 of your hourly rate (this kind of work can pull anywhere from $10/hour to $40/hour). So you're talking about no more than $4 to $12 dollars for an additional copy. Charge them about that much for duplicates and they won't think twice about copying it themselves.

The biggest success, however, may be in promoting your work itself. Make an attractive package inside and out, but make them stick on the outside. If they duplicate your disc, they will easily get the creativity that you put into the disc itself. More difficult for them will be copying the artwork that you assembled on the cover and the artwork for the disc (sidenote: if you are not doing printing on the disc and are instead using disc labels or no printing at all, WAKE UP!). Again, most pirates will either not care about the pretty packaging or will find a close-enough copy to do the insert and disc printing. We aren't dealing with pirates, though, and they probably don't care that much about the corporate video you produced or little Jimmy's bar mitzvah.

All you are trying to do is encourage the client to come back to you for additional copies. If you do good work and make it look very attractive, then you can justify higher costs of duplication for your clients. In fact, if you really worked hard and pulled off a great job, you probably earned a customer for life. Even if the client could assemble the parts and pieces for less money than paying you to press another copy, they may think twice if it means it won't look as good. That look is, after all, usually part of what they paid you for in the first place.

Royalty-Free Music from Stock20

Just found out about a new group today that is offering royalty-free, unlimited drop production music for $7/track. The company is Stock20 and you get your first track free. The account is free as well, no annual fees for access.

Now, with the big promo line out of the way, what's the value? Well, having browsed through the selections myself:

• the library is quite small so far (clearly a new endeavor)
  
• the music sounds like production music
  
• all tracks are available for multiple intervals (0:30, 1:00, 1:35, 2:00, 2:40, etc) all for the single purchase price
  
• it's $7.00 per track.
  

I'll leave you to make your own judgements, but my opinion is this: for $7.00, you aren't going to get John Williams. Ever. It's legal, unlimited uses for a single price, so no more breaking (or bending) the law to make your work that looks professional sound professional. And hey, sure it sounds like production music, but it's decent production music at a seemingly impossible low price with no annual contracts or commitments.

At the very least, go find one track you think you could use and sign up for your free account to download it. Good luck to them, they're definitely on the right track.

UPDATE: Two updates actually. First, they have just released 6 new tracks for March. Secondly, if you use my referral code, we both get an extra $7 in free music.

Here's how:
1) Click this link to use me as your referral, then create a free account (it takes about a minute).
2) Your new account will automatically be credited with $7 (enough to get a free song).
Then you will get an additional gift certificate by e-mail, just for creating an account. $14 worth of free music...pretty snazzy.

Adobe Production Studio Premium - What Will We Find?

I picked up the upgrade for the Adobe Production Studio Premium a little while back, and have yet to install it due to a bit of other work I'm trying to wrap up on the old versions first. I really do not want to chance flubbing the computer until I know it would be okay to do so.

First off, a plug for the fine folks at Atlanta CAD Services (ACS) for getting me a good price on the upgrade. In total honesty, there were some Adobe-related shipping issues that delayed the software for a little while, but it arrived nonetheless and ACS kept me posted and did not charge me until I had the product in-hand - kudos to them for being good business people. When I picked it up, they talked to me briefly about some related 3rd party hardware and software, and warned me that it would take about 1.5 to 2 hours to install the whole package. ****UPDATE: Install only took about 45 minutes for all disc content on my machine END UPDATE**** Good information to know upfront. This is a good company to do business with and they can answer lots of questions for you before and after your purchase (though they are not a 24/7 tech-support, so don't expect that). Give them a look-see.

Some non-technical items....the packaging is sort of different from some other software vendors, though similar to packaging from Adobe in the past. The box has a clear plastic slip cover with a sturdy box holding all the user manuals and software. One side of the box is "open" which is nice. I found in the past that to access the user manuals (without just leaving them lying around) I had to pull out the box and slide out the holder to get to the manuals. Now the box sits on the shelf with easy 1-step access to the manuals whenever needed. A small consideration but interesting that they thought about that enough to change the design. Nice for people like me who tend to reference the manual frequently.

The discs are in two cases - 6 software applications in one case (5 discs) and training materials in another (2 discs). The training is from Total Training, and is a few hours worth I believe. The software discs are only labeled Disc 1, Disc 2, etc. Previously discs were labeled per the software that was contained on the disc and each software was installed one at a time. Now you pop in Disc 1 and it runs through the whole bundle install, apparently letting you know when to insert the next disc. Of course, users in the forums have been complaining that this prevents you from installing just that software that you want on machine #1 and the rest on machine #2 (leaving out software you don't plan to use). Maybe piracy is part of the reason for designing it this way, but it does seem intelligent for Adobe to decide - by design - how they would like the package to be installed and in what order everything is done. I have no qualms because I use all of the applicatons and they get installed completely on two machines.

Not a lot of substance to this post, but I thought someone may find it interesting what was "in the box" so I stuck it up here for your reading pleasure. Once I install it and run it a while I'll post back about any crashes/bugs as well as what 3rd party plugins are included this time. Judging by my workload right now, installation is still probably a week or so away.

Blu-ray and HD-DVD: Some brief thoughts...

And now, a brief contemplation, blogged for your enjoyment -

The video delivery media of choice for the last 7 or so years now has been DVD. Only in the last 3 or 4 years have we really seen a near total adoption by independent productions utilizing this media for all or most of their projects. We are to the point now where if you do not deliver on DVD, you are being passed over.

In case you haven't already caught word of it, a new generation of discs intended to replace current DVD technology is now coming into the marketplace. Blu-ray and HD-DVD are two competing formats, supported by various companies on either side, vying for 1st place in this race. Media format wars are not new - CD-R media are made a variety of different ways by different manufacturers, but more recently we've dealt with the difference between DVD-R and DVD+R, with the arguments still ensuing.

Competition is good for the marketplace, but confusion certainly is not. In previous iterations of this format war, such as the recent -/+ division, the confusion was a result of the lack of a true winner. Both formats have a couple of advantages over the other. Regardless, these advantages are overemphasized at best and oversimplified at worst. When companies align themselves with a product, those users who typically align themselves with a company's other products will follow along - blindly at times - usually to their own detriment.

I'm not going to attempt to clear the waters here today on the new high-density DVD media (click the links above to do your best guessing). What I really came here to say is that with these new formats being developed and deployed, the marketplace is so eager for a new option that we have found ourselves rushing through development, choosing teams, and coming out the other side with two formats, neither of which seems to be a useful long-term option. What we seem to be headed for is another 8-year format, needing to redo it all again in another few years.

You may argue that with the ever-changing state of technology these days, a product that can hold us up for 8 years is a miracle. I do understand that point of view. However, media delivery does not sway so dramatically as the computing technology (a trend we are all too familiar with when our 5 month-old computer is considered "obsolete"). There is the ability for developers to predict the curve of our technology over a much longer span, and make a flexible media that will be able to manage a wider variety of circumstances than those currently available. The media we now have in Blu-ray and HD-DVD is clearly better in many respects to our current DVD solution - but sometimes "better" is not really cut out for "good" or "great."

lynda.com Training

After a little bit of coercing, my employer has just set me up with a premium annual subscription to the lynda.com training library. I will most likely post a few more times down the road to let you all know if I think it's work the money, but I've decided to do a little upfront review.

First and foremost, as a product, the training seems to be well organized. If you've ever purchased or used the Total Training videos, you're aware of how powerful instructor-led video training can be. However, at the lynda.com site, you don't need a DVD player to do your training. You can do it anywhere you have a computer and a decent Internet connection (note: obviously if you have a laptop with a DVD drive, this is a total non-issue). Slower connections can, supposedly, still use the training, but the videos will take a little longer to buffer before they start to play.



The offerings include areas such as HTML, PHP, Microsoft Office products (Excel, Powerpoint) and many others, but the focal point for me and you will likely be the video and image related programs. When you choose a course, it will list off the various chapters and subchapter points so that you can work on something for just a few minutes at a time, but also, it gives you a clear view of your direction by listing the individual areas that are being covered in each course. This is very handy information. Additionally, there are usually a few chapters that are available for free so that you can get a sampling of the video quality and speed at your location and see the layout for the courses.

The premium membership includes the actual project files used in the tutorial so that you can follow right along as you learn. The site also provides CD and DVD versions of many of the courses, and also has a series of books related to their online library offerings. However, only the online training is available with the membership - CD, DVD and book items are extra, and may be worth your while if there is only one or two items that you want training for (project files are included with these items).

Some of the training can be a little redundant if you are past beginner stage on a certain topic, but sometimes (as with all training) it can be valuable to review certain things that you may have forgotten about, or just refresh what you already use. Regardless, if you prefer, just skip the video clips that you do not want and move on. Again, very handy feature.

One thing I've noticed so far is that the video window, while quite large and of good quality, does not "zoom" to areas of interest to provide better detail. Instead, the courses seem to be captured via a utility like Camtasia that is just doing a solid screen grab. Total Training has a different approach, where the instructor will provide a close-up view of certain items at various points in the video. This is the only real shortcoming that I have found so far, and all I can say is at least the video window is clear and large enough to begin with.

One thing the site advertises is that they are not affiliated with any other software development companies. As such, they claim to offer unbiased information, and include workarounds for product shortcomings. They also claim they have no problem exposing bugs in the software.

As I mentioned above, I will post my personal experiences on occasion throughout the year. However, I do recommend you check out the website yourself (lynda.com) to determine if any of their training is right for you.

Digital Film Tools

Got a heads-up from DMN e-mail and thought I'd pass this along...

Digital Film Tools provides affordable yet HIGHLY desirable plug-ins to help you acheive a variety of effects in After Effects, Photoshop, Avid, Final Cut Pro, Shake and Discreet (the After Effects plug-ins also work in Premiere Pro, since the applications share a common plug-in architecture). I would try to give more information, but you're just going to have to check it out for yourself:
http://www.digitalfilmtools.com/index2.htm

Most of these effects can be acheived somewhat easily already in the supported applications (things like film look and such are sometimes just a matter of color manipulation). So maybe you would ask, "why pay for something I could probably already achieve on my own with the software I already paid for?" My answer to that is this....do you really want to spend all day figuring it out yourself? Do you really want to re-invent the wheel? Technology is your friend, and this technology will save you time....LOTS of time. Some nice guys in LA figured this out, made some plug-ins, and sell 'em on the cheap....take advantage of their hard work and be happier for it!

Very good ideas in these plug-ins....the "Light!" effect for Photoshop is especially creative. One of their newest offerings for Photoshop is "Snap." This one's used for isoloating objects in an image by means of selecting foreground and background elements. After that, the plug-in does some rough math and then you fine tune your selection area.

Free demo downloads available on their site. Check 'em out, but be sure to drool-proof your keyboard first.

Atlanta Videographers Meeting

The next meeting for the Atlanta Videographers Association is being held Wednesday February 1st. It starts at 6:30pm and is free/open to everyone. More information:
http://atlantavideographers.net/20268_1415.asp

Shooting for DVD

VideoSystems has a good quick-read article up right now on the idiosyncracies of shooting for DVD. In short, many digital video producers complete their projects with the delivery of a DVD disc. Due to the nature of the delivery method, there are certain things you will want to take into consideration when capturing your shots.

This article in particular gives some much needed thought on image capture as it relates to film stock, not just video tape.

http://www.videosystems.com/e-newsletters/Shooting_for_DVD012606/index.html

NAB Post|Production World Conference

Here's some detailed information on this year's NAB PostProduction World Conference:
http://www.nabshow.com/conferences/ppwc.asp

Also (listed on the page, but linked from here for your convenience) there is a PDF with a more eyeball-friendly view of the stuff available for you at the show:
http://www.nabshow.com/conferences/ppc2006schedule.pdf

Check out the page for more details on date, times and cost. I'm not yet registered, but I'm very seriously considering it for this year as there will be plenty of things to learn and see.

Details on Multicam feature in Premiere Pro 2.0

Here's a quick (well, 3 page) rundown on using Premiere Pro 2.0's new multicam feature:
http://www.dmnforums.com/cgi-bin/viewarticle.cgi?id=36989

Zaxwerks Promotion

Here's a promotion from Zaxwerks, creators of 3D compositing plugins...thought I'd pass it on:

"For a limited time we are offering a New Years special for you to upgrade to the PRO version for only $169, (regularly $225). Or upgrade to the fantastic ProAnimator for only $395 (regularly $645). These prices are available by phone order only, through February 15th, 2006. They are not available on our online web store.

To order, call 800-549-0250 in the US or 626-309-9102 and mention this email to receive the discounted prices. For international orders email us for instructions.

Invigorator PRO for After Effects - http://www.zaxwerks.com/2004/AEInvig_PRO_Hilights.html
If you don't have Invigorator PRO you are only getting half the picture. PRO has many additional features that will help you to work faster and make your work better looking. The built in text engine is worth the upgrade price all by itself. With it you can do your text layouts inside the Invigorator, skipping Illustrator completely. Making multiple titles takes nothing more than editing the live 3D text. Invigorator PRO also has motion blur, 3D primitives such as spheres, cubes and cylinders, and has the ability to paint your objects in wireframe, cartoon or hiddenline style shading for cool new looks. Find out about the other great features of PRO by clicking on the link above.

ProAnimator - http://www.zaxwerks.com/2004/PA_Hilights.html
What the Invigorator did for creating 3D titles and logos (instant creation, unlimited modification), the ProAnimator does for 3D animation. Especially designed for creating beautifully detailed and sophisticated title and logo animation, the ProAnimator brings extraordinary power to your fingertips. Create complete animations within a few short minutes. Make version after version of similar animations without having to redo any work. A remarkable piece of software. Purchase now and qualify to receive a free update to version 4, coming in January."

Exclusive Interview: Premiere Pro Product Manager Giles Baker

Charlie White of Digital Media Net sits down for some Q&A on the recently released Adobe Premiere Pro v2.0:

http://www.dmnforums.com/cgi-bin/viewarticle.cgi?id=36933

****(doh....I realize it sounds like I'm conducting the interview with Charlie White....actually, it is Charlie White conducing the interview, and he is speaking to Adobe. I'm just linking to it, that's all)****