[Tim Jones]

I agree with Mark. I use a full-blown Mac Book Pro Retina and added a pair of 24″ HP IPS LED monitors. But, if I were outfitting a new desk, I’d buy the 27″ i7 iMac with 8GB (change the memory to 32GB from OWC or Amazon (as Bret mentions) with the default internal drive (would just be for apps) and upgrade to the GTX 680 graphics (2GB trumps 1GB every day of the week). I’d then add a Thunderbolt chassis from Sonnet with a SAS RAID array (only use ATTO for the HBA). My configuration came in at $2,349on the Apple store site.

Adding the GTX 680 graphics and the external SAS array will be the major performance pluses for Adobe or FCP X/Motion.

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

Great news!

Now Nikolas and I are in the credit roll for your next blockbuster, right :)?

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

Did you place the moved files into folders at the root of the new drive named “Final Cut Projects” and “Final Cut Events” as you moved then from your “Movies” folder? I’ve moved projects between drives and all was well – as long as I adhered to the expected naming convention.

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

Glenn,

Which ATTO card do you have? The H680 and R680 require different drivers. Also, the drivers included in their Driver CD are not the latest, so make sure that you’ve downloaded the latest from ATTO’s site.

Also, if you have a R3 or H3 card, they are not supported under Thunderbolt.

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

If you’ve looked at BRU products, you could use BRU’s “clone” mode whereby you use BRU to read the source folder (backup), write it to a pipe, and then use a second BRU instance to write the data to the new location (restore). Because BRU is automatically calculating CRC 32bit checksums for both the backup and restore side of the operation, you are sure that the data that was written to the destination was written 100% successfully.

For example:

cd /Volumes/MyWorkDrive
bru -cf - ./Premiere\ Pro\ Project\ Work | (cd /Volumes/MyArchiveDrive ; bru -xvvvf - )

Of course, MyArchiveDrive could be a sparseimage volume that you created in Disk Utility, providing you with a self contained, yet mountable and accessible volume for specific projects.

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

I guess the BRU UI could use a face-lift but it does the job and I didn’t have to spend much more than $3.5k for the whole setup. If only CatDV would spend some time integrating with it it would be even better.

We’re always excited to get input from our users on UI design, so please hit support.bru.com and submit a feature request.

As for CatDV, you can incorporate a BRU archival mechanism with the DAX Broadcast Archive component. DAX acts as the middle manager for maintaining Nearline read and write caching while using the BRU engine to archive or retrieve data from tape.

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

“I am evaluating BRU’s solution and I will likely buy it but in the mean time I need to dump a lot of data of my RAID and I don’t want to run the risk of dumping it with BRU and later decide I want a different solution and have my files stuck on a different format.
Keep in mind that all BRU products provide full restore capability even after the demo period expired – just for the case that you describe. Our service mark is “BRU … because it’s the RESTORE that matters.” drives what we do and we never want o place a customer – demo or otherwise – into a situation that prevents them from being able to restore there data.

Tim

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

David, what do you consider “long”? I ran some learning tests using a 30 minute set of shots from a seminar I gave and 2 of the cameras were stopped multiple times during the session because of small SD cards, but everything synced up – even with the gaps.

Are the Gap’d shots from the same camera being imported as separate clips? If so, make sure that you set the “Camera Name” to the same camera name in all of the separate clips. Next, select those and your other clips (including your external audio) and create a new “Multicam Clip” selecting “Camera Name” for the “Angle Assembly” and check “Use audio for synchronization”.

This worked first time out for my test angles.

Or, have I missed something in the discussion?

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

We just covered this in the RevUpTransmedia’s mini-course on multi-cam (best $20 I’ve ever spent, BTW). Did you create a new Multicam Clip from the sources?

Lesson 6 in Michael Wohl’s “Final Cut Pro X Advanced Editing” also covers it very well.

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!

[Tim Jones]

Close, but not quite –

We need “ls -la”

Tim
—
Tim Jones
CTO – TOLIS Group, Inc.
https://www.productionbackup.com
BRU … because it’s the RESTORE that matters!