Tag Archives: editing

USB3 for Macs – Thunderbolt killer or simple step up?

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I’m a dyed in wool Mac User, so for me USB3 hardly came into view. I do remember watching a USB3 demo on a Mac where it displayed sub- FW800 performance – and decided to leave it at that. However, the continuing need to pass on my video work to PC users for archive, and the achingly slow performance of USB2, forced me to at least check it out for myself. At least it would give me something to do whilst waiting for sensibly priced Thunderbolt storage and cables.

After all, the Mac world is still full of USB2 devices: cheap, slow hard drives and computationally undemanding stuff like mice and keyboards. Little USB sticks for storage to perpetuate ‘sneakernet’ file sharing. There is of course, that funny USB3 sticker on most PC drives that claims high performance and that may be good enough for our PC using brethren, but we’re Mac users – why not sidestep the USB3 ‘upgrade’ for the super fast world of Thunderbolt?

That’s the mindset that Apple appears to want us to hold.

But the new set of Ivy Bridge equipped Macs will get, courtesy of their new chip set, USB3 functionality. Will Apple connect this functionality into the OS? Or will they find a way to block it? Should we care?

The world of PCs has been using USB3 for quite a while, scratching their heads over the Mac user’s obsession with FireWire and the ‘Unicorn poop’ status of Thunderbolt. Why are Mac users so precious about FireWire? USB3 blows it out of the water! They want Thunderbolt speeds – for what? And connect them with $50 cables? If the devices are blessed with pass-thru ports – which so many aren’t? (see sidebar below) USB3 has hubs!

I purchased the CalDigit USB3 card which fits into the ExpressCard slot of my MacBook Pro 17” – the choice of CalDigit is significant, as it’s the only one that’s touted to work with pretty much any USB3 drive – other manufacturers of USB3 cards tend to only work with their own drives and thus missing the meaning of the U in USB.

I’m used to working on FW800 drives, and so intended to use cheaper USB3 bus powered disks for backup and for handing over to clients, who could use them on their PCs. However, when used as the main working drive with a disk intensive application like Final Cut Pro, it was obvious that the USB3 drive was a lot faster. FCPX was running far better on USB3 than on FW800.

Enthused by this, I did a quick series of tests of drive performance with the Blackmagic Disk Speed Test app, available for free from the App Store. And so, in reverse order, here are the results:

Drive Write (MB/s) Read (MB/s)
Slow, cheap USB2 drive 21.6 26.2
Western Digital Passport SE (USB2) 30.1 32.8
LaCie Quadra 7200rpm 2TB on FW800 46.6 44.5
Crucial 256GB SSD on FW800 75 81.6
Western Digital Passport SE (USB3) 96.3 108.4
Internal 512 GB SSD in MacBook Pro 17” 88.8 167.0

Of course, what’s missing from this test is the ultimate: SSD in Thunderbolt drive, but these are still eyewateringly expensive.

The £75 Western Digital drives represent the kind of value we’ve been used to with spinning disks, and I can affirm that they work very well with Final Cut Pro 10 – the WDs on USB3 have been my drive of choice for onsite editing, with the added advantage that they’re cheap and compatable and can be passed over to the client without too many caveats (having archived to other drives).

Is USB3 better than Thunderbolt? No – it’s a different beastie. Should we give up on Thunderbolt for USB3? Of course not.

Should Apple now accept USB3 as a non-competitve alternative for non-specialist media use? Of course.

In the days of Steve Jobs, I’d fear that USB3 would be disabled in the new Macs in a fit of pique. The adoption of USB3 in the new Macs would demonstrate a more universal approach from Tim Cook et al.

At least CalDigit offer the option to MacBook Pro 17” users – and for everyone else, there is, of course, the Thunderbolt adaptor for Express Cards. Oh the irony.

Side bar: Thunderbolt devices can be powered via the cable from the host, but only one device per port. So, Thunderbolt powered devices do not have a passthrough port. Powered devices can have passthrough ports, but these are a rarity as most manufacturers seem to feel a single Thunderbolt port is enough.

However, when you’re paying top dollar for a new technology, the idea that a device will only work as the single device on the chain is frankly anathema. Video ingest device with no pass through to a storage device? Storage device with no pass through to a display device? No wonder Thunderbolt is taking its time to get accepted when device manufacturers assume their product will exist in its own lonesome prefecture.

FCPX – partying with your Flaky Friend

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Tart

UPDATE: Compound Clips, specifically splitting Compound Clips, and worst of all, splitting a compounded clip that’s been compounded, increases project complexity exponentially. Thus, your FCPX project quickly becomes a nasty, sticky, crumbly mess.

Which is a shame, because Compound Clips are the way we glue audio and video together, how we manage complexity with a magnetic timeline, and butt disparate sections together to use transitions. Kind of vital, really.

Watch these excellent demonstration videos from T. Payton who hangs out at fcp.co:

These refer to version 10.0.1, and at time of writing, were at 10.0.3, but I can assure you that we STILL have this problem (I don’t think it’s a bug, I think it’s the way FCPX does Compound Clips). We return you to your original programming…

Okay, report from the trenches: Final Cut Pro 10? Love it – with a long rider in the contract.

I’m a short-form editor – most of my gigs are 90 seconds to 10 minutes (record is 10 seconds and I’m proud of it). Turn up ‘Somewhere in Europe’, shoot interviews, General Views, B-Roll, get something good together either that night, or very soon afterwards, publish to the web, or to the big screen, or push out to mobiles and ipads…

This is where FCPX excels. As an editorial ‘current affairs’ segment editor, it’s truly a delight. I bet you slightly overshot? Got a 45 minute take on an interview that needs to be 45 seconds? Range based favourites are awesome, and skimming lets you find needles in a haystack. Need to edit with the content specialist at your side? The magnetic timeline is an absolute joy, and don’t get me started about auditioning.

It’s true: in cutting down interviews, in throwing together segments, and especially when arguing the toss over telling a given story, I’m at least twice as fast and so much more comfortable throwing ideas around inside FCPX.

But my new Editing Friend is a ‘Flaky Friend’.

She really should be the life and soul of the party, but somehow there’s a passive aggressive diva streak in her.

There are three things she doesn’t do, and it’s infuriating:

  • She doesn’t recognise through-edits – they can’t be removed, they are, to her, like cesarian scars, tribal tattoos (or so she claims), cuts of honour. We tell her we’re cutting soup at this stage, but no. ‘Cuts are forever’ she says, like the perfect NLE she thinks she is.
  • She doesn’t paste attributes selectively – it’s only all or nothing. ‘We must be egalitarian’ she croons. What is good for one is good for all, apparently. You can’t copy a perfect clip and only apply colour correction to the pasted clip – you must paste EVERYTHING, destroying your sound mix, needing extensive rework to your audio mix, and heaven help you if you change your mind.
  • She flatly refuses to accept that there is already a way we all do common things, and wants to do it her own kooky way. Making J and L cuts into a Tea Ceremony, blind assumption that a visual transition needs an audio transition, even if we’ve already done the groundwork on the audio… girl, the people who think you’re being cute by insisting this are rapidly diminishing to the point you can count them on your thumbs, and we do include you in that list.

So okay, she’s a good gal at heart. Meaning the best for you. But she needs to bail out and quit every so often, especially if you’re used to tabbing between email, browser, Photoshop, Motion et al. She’ll get all claustrophobic, and you’ll be waiting 20-40 seconds with the spinning beachball of death between application switches. It’s all a bit too much like hard work. ‘I can’t cope’, she sighs – and spins a beachball like she smokes a cigarette. We stand around, shuffling our feet as she determinedly smokes her tab down to the butt. ‘Right!’ she shouts at last. ‘Let’s get going!’

And yes, it’s great when things are going right.

But put her under pressure, with a couple of dozen projects at hand, some background rendering to do, it all gets very ‘I’m going to bed with a bottle of bolly’. I’m getting this an awful lot now, and I really resent being kept hanging around whilst she changes a 5 word caption in a compound clip that takes 5 FRICKIN’ MINUTES to change, I resent every minute of waiting for projects to open and close, and whilst it’s lovely to see her skip daintily through all that fun new footage, when it comes down to the hard work, she’s so not up to it…

I am twice as fast at editing in FCPX, but I am a quarter of the speed when doing the ‘maid of all work’ cleaning up and changes. It means that, actually, I am working twice as hard in X as I was in 7, just mopping up after this flakey friend who has a habit of throwing up in your bathtub and doing that shit-eating grin as they raid your fridge of RAM and CPU cycles.

Well, FCPX dear, my flaky friend, you’re… FIRED.