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In my continuing effort to find a solid, reliable and affordable solution for long term archival of our editing projects, I have spent the last 12 months testing and creating a workflow for yet another product solution. Unlike when I reviewed the Cachea a few years back (the positive review since removed from the site), I decided to spend a lot more time really running it through the paces. I learned my lesson the hard way with the Prime Cache and made changes to my review process.The product that I’m reviewing this time is the “Edit Bay Production Desktop” software and hardware package from the Tolis Group. It has turned out to be quite the winner, and I’m excited to share our experience with it. While they do offer several different solutions of hardware/software or software only solutions (you provide the hardware), I’m going to focus on this one all in one package. It’s my feeling that this is the best fit for the small to medium sized post house with 1-5 workstations.
To see some of their offerings, check out their website.What’s Included – InstallationWhat I liked about the “Edit Bay Production Desktop” package right from the onset was that it was a complete solution for your Mac. You provide a G5 tower, Xserve or MacPro computer with a open PCIe slot (must be a 8x slot), and they provide you with everything else.In your open PCIe slot you will install a SAS host bus adaptor. The card they provide is the, and it was as easy to install as a video card. It’s as simple as removing the side panel of your tower and adding the card to your open slot.(Above is the that is on most, but not all Power Macs. Because the system we have the card installed on (a quad G5) does not support this utility, I took this snap from a different computer in the office just to show the utility. So don’t be surprised that in this shot the ATTO card is not listed.
The Tolis Group has released BRU Producer's Edition. Graphic arts pros. Producer's Edition (PE) lets users collect and organize assets and create session. Your current software version; Your platform and version; It is helpful if you. If you perform the upgrade, BRU Producer's Edition will no longer function AT ALL.
This utility allows you to configure the speed of your slots by dividing up the bandwidth in whichever way best suits your setup)Once booted up, you install a driver for the ATTO card from the included CD, reboot again and the card is ready for use.After that, turn the machine off and attach the LTO drive. Depending on the package that you choose, you will receive either a LTO-4 or LTO-5 drive.
Both are HP drives in a external case. We have the LTO-5 drive.With the LTO drive attached and the machine booted up, install the BRU Producer Edition software (from here on referred to as BRU PE). This is really the heart of the product and is written for OSX specifically. Installation is as easy as mounting the included CD ROM or downloaded.dmg disk image and running the installer. Now you’re ready to start. Hardware DetailsAs mentioned, the LTO drive is a Hewlett Packard unit inside of a external case, and has a single SAS connector.
The case is nothing special, and if anything is a bit on the ugly side. In this case, form did not follow function, it just never showed up to the party.
It’s not a big deal given that the unit will be located out of sight in most instances, but it’s still worth noting.But there is one thing I really dislike about the case. I don’t have any sound measuring equipment, but being the nerd that I am I can tell you this unit is LOUD when it’s on. Too loud if you ask me. And I’m not talking about when the tape is shuttling all over the place (it’s even louder then), I’m saying just when you flip on the power button. I don’t think any attempt was made what so ever to make this thing quite, and it is far too loud to have in a edit suite while you’re working. Even if you’re not doing sound editing, it will drive you insane after awhile. We DO have it in a edit suite, but only run the backups after hours because of the noise it creates.
When I return in the morning and open the edit suite door, it sounds like I’m entering a machine room that’s full of all kinds of hardware fans.I asked Tollis about this, and they said they didn’t consider this to be a noisy unit. I disagree, especially when you’re selling it as a “Edit Bay” product.There’s nothing physically wrong with the unit, it’s not as if a fan is broken, so it’s just the way it was designed. We plan to relocate ours into a machine room soon with all of the other noisy gear. Our SetupIt’s important to note that all of our backups are done over gigabit ethernet. What that means is that we can keep the LTO-5 software and hardware on a central machine, but still access every machine in the office to do backups.
In our case, we only have 2 places that the editing projects and media are stored, but neither of those are on the local machine running BRU PE.As shown in the diagram, we have multiple machines accessing 2 main media drives, and a G5 that we use exclusively for BRU PE.Software OverviewHaving used a few different backup programs over the years, I can tell you that backup software (regardless of backup media type) falls into two categories. There is the really full featured software that was well thought out and does virtually everything you need, but is somewhat complicated to learn and use. And in the other camp you have the software that’s very easy and intuitive to use, but falls short of doing anything beyond the most basic tasks and usually lacks some critical features. I think this is the first time I’ve used a piece of backup software that straddle both camps nicely.If there’s one thing that hits you when you first start using BRU PE, it’s that it’s so simple it’s almost disturbingly easy to use.
I kept thinking I must be missing something, or maybe I was doing something wrong and just didn’t know it yet. But that was not the case.Here are the general steps to creating a backup in its most basic form. Launch the program. Drag and drop full volumes, folders or individual files from direct attached or network mounted machines into the main window.
Click on the “Create Archive” button. Go have lunch and see a movie.Seriously, it’s THAT EASY. That’s not to say that there are not more options that you could choose, but you don’t have to if you don’t want to.
This in itself is proof that just as their promotional information points out, you can train the most junior level of your staff to do this in just a few seconds. Even after using the Cachea product (the Prime Cache) for nearly 2 years, I never felt like I had a good handle on how it worked or even what a good workflow was.
Who knew that well thought out, well designed and properly executed software could be both powerful and easy to use!?If you do nothing more than click on the “create archive” button, here is what will happen.First, the software will scan the files that you dragged to the window and display a estimated size of the final archive. This is handy to make sure your final archive is not larger than the media you are putting it on (although you can span tapes, so that in itself is not a big deal).If you do nothing, this dialog will go away after 30 seconds and it will start the archiving process. Obviously, how long it takes has everything to do with the amount of data you’re backing up, but generally speaking it’s very fast. There is a very nice, good looking progress window that provides all kind of useful information.Once the archive has been created, the software will then automatically verify the archive. This is the process of comparing the data on the hard drive to the data on the tape and making sure everything matches perfectly.
What’s interesting is that this is done a a 2k level, checking and comparing at 2k intervals. While this adds a bit more to the final archive size, what you get in trade is a much more robust ability to catch errors during the backup and recover from them later should you have any on the tape.After the verify is done, a summary is displayed with several reporting options.In addition to doing full backups, BRU PE also handles both and backups, giving you flexibility on how you want to handle your archives.
This comes in most handy if you’re doing regular scheduled backups of full systems and don’t want to backup everything all the time.That’s the very simple overview of how it works. In a later section I’ll go into more detail of how we use the unit and what our post-production work flow is. TAR vs BRU FormatIt’s probably a good idea to compare the BRU archive format to what many would consider the long standard of tape backup, TAR.The majority of tape backup systems are based on the long standing TAR format.
TAR has been around for many years and is a cross platform standard for tape backups. I’m generally in favor of open standards vs closed standards (but don’t try to take any of my iOS devices from me!). There is comfort in knowing a technology does not reside with a single company.
But that’s not the whole picture to consider, or even the most important when it comes to creating backups.As The Tolis Group tells the story, the BRU format was created because of the shortcomings of the very old unix based TAR format ( TApe Archive). While the TAR format has been around for many years and is widely used and accepted, that doesn’t come without flaws.
Just a few of the shortcomings include lack of Checksum-based Verification, Recognition of Media Errors During Backup and the ability to recover from corrupted media. The BRU format was designed to fill in the gaps of TAR and to provide new modern features that make backups more robust and reliable.While this review is of the Mac version of BRU PE, the fact is that if you create a backup tape on a Mac system, you can later restore it on any other supported system, using any other version of the BRU software. For example, you can take your OSX created archive and with the proper software and the catalog file, restore it using BRU Server for Windows or BRU Workstation on Oracle/Sun Solaris.One thing that BRU handles very well, is metadata on your files. Unlike so many other backup systems we’ve tried (especially the Cachea device) all of the important metadata is included as part of your backup and restore process.
For example, file attributes such as ownership, permissions, creation and modification dates are all retained through the backup and restore process. Even and links are reproduced with all of their attributes intact.If you’re interested in knowing more, BRU has a great white paper that explains the significant differences. Our WorkflowOne of the most important parts of any backup plan is having a good workflow. You need a way to communicate when a project is done, when it’s prepped and ready to be archived, when the archive is complete and verified and when it’s OK to delete the media and free up drive space. It’s also a good idea to keep track of what’s on each tape as well with a cataloging system. After many revisions and improvements to our workflow, we finally have what I would consider a solid plan in place. That’s what I will describe here.
While the details I describe here are very specific to our setup, you should easily be able to adapt it to your operation, even if you’re not using BRU or a LTO backup system. Finder OrganizationA good foundation starts in the finder. Our projects are either ACTIVE projects, or COMPLETED projects.
By default, if a project is not complete it keeps the ACTIVE project status until it is complete. This can be anywhere from a few months to over a year in some cases (although that’s rare).At Edit Creations we have 3 main edit suites, and they share two different Fibre RAID systems. We have what I have always called a semi-poor mans shared drive system. The two MacPros we have are attached directly to their own dedicated RAID systems over 4-gig fiber. But those dedicated drives are shared over Gigabit Ethernet with each other, and a MacBook Pro laptop edit system.
Overall, it works out great. It allows us to open and edit with any project, in any of the 3 rooms, and have access to everything – even the render files. The MacBook Pro has no projects stored locally, and instead uses both of the RAID drives from the two MacPro Systems. This works out great because we can use a small SSD drive in the Laptop to speed it up while using the RAID drives for all of the heavy storage.On each of the RAID drives, we have a series of folders.Active projects are stored in a single folder, and are organized by job number. We follow a rigid folder structure that’s the same starting point for every job.If a project is complete, it’s moved to the “Project Archive” on the same RAID drive that it’s currently located. There are 3 different phases of a project that is considered complete.1) Needs Media Managing2) Ready to Archive3) Ready to DeleteHere’s how each of those stages are handled. Needs Media ManagingAbout once a month I look over all of the projects listed in the “Active Projects” folder, and I have each editor do the same thing.
While multiple editors may work on the same project, there’s almost always one person that’s considered the lead editor on a job and is ultimately responsible for the job.As the projects are reviewed, projects that are considered complete are highlighted in the finder using the YELLOW label. Once done reviewing the active projects folder, all of the projects marked in YELLOW are moved to the stage 1 folder of the project archive folder – Needs Media Managing.Each of the projects located in this folder now need the final sequences in the edit folder media managed so that all of the media used in the final edited sequences is included inside of the project folder. The main goal at this point is to create an archived project that can be opened at a later date and edited if needed.
All of this media needs to be consolidated into the project folder, not the capture scratch folder.Again, since we use a template driven work flow, there is always a bin in every FCP project called “Edit”. During the process of archiving, everything inside of the edit bin is media managed and consolidated into the project folder, so that everything needed to open that job is in a single location.In the example shown here, there were several sequences for this single project (I shutter to think how I would have to handle this in FCPx). There were many versions of this final video for different regions, and in different languages. I want to have each and every final sequence in a form that allows me to easily make revisions should I need to in the future.With the “Edit” bin selected, I select Media Manager and am presented with a window of options that help me decide how I want to handle the media for these sequences.
Because I don’t want to save absolutely everything, I need to optimize the settings here.I choose to COPY the media from these sequences, but also choose to discard any media that was not used in the final sequences. This alone saves a ton of space on most projects. While you can add handles that will give you some wiggle room on each shot, I almost always choose not to do this.
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