Tag Archives: Brady Betzel

Review: Maxon Cinema 4D R19 — an editor’s perspective

By Brady Betzel

It’s time for my yearly review of Maxon’s Cinema 4D. Currently in Release 19, Cinema 4D comes with a good amount of under-the-hood updates. I am an editor, first and foremost, so while I dabble in Cinema 4D, I am not an expert. There are a few things in the latest release, however, that directly correlate to editors like me.

Maxon offers five versions of Cinema 4D, not including BodyPaint 3D. There is the Cinema 4D Lite, which comes free with Adobe After Effects. It is really an amazing tool for discovering the world of 3D without having to invest a bunch of money. But, if you want all the goodies that come packed into Cinema 4D you will have to pay the piper and purchase one of the other four versions. The other versions include Prime, Broadcast, Visualize and Studio.

Cinema 4D Prime is the first version that includes features like lighting, cameras and animation. Cinema 4D Broadcast includes all of Cinema 4D Prime’s features as well as the beloved MoGraph tools and the Broadcast Library, which offers pre-built objects and cameras that will work with motion graphics. Cinema 4D Visualize includes Cinema 4D Prime features as well, but is geared more toward architects and designers. It includes Sketch and Toon, as well as an architecturally focused library of objects and presets. Cinema 4D Studio includes everything in the other versions plus unlimited Team Render nodes, a hair system, a motion/object tracker and much more. If you want to see a side-by-side comparison you can check out Maxon’s website.

What’s New
As usual, there are a bunch of new updates to Cinema 4D Release 19, but I am going to focus on my top three, which relate to the workflows and processes I might use as an editor: New Media Core, Scene Reconstruction and the Spherical Camera. Obviously, there are a lot more updates — including the incredible new OpenGL Previews and the cross-platform ProRender, which adds the ability to use AMD or Nvidia graphics cards — but to keep this review under 30 pages I am focusing on the three that directly impact my work.

New Media Core
Buckle up! You can now import animated GIFs into Cinema 4D. So, yes, you can import animated GIFs into Cinema 4D Release 19, but that is just one tiny aspect of this update. The really big addition is the QuickTime-free support of MP4 videos. Now MP4s can be imported and used as textures, as well as exported with different compression settings, directly from within Cinema 4D’s  interface — all of this without the need to have QuickTime installed. What is cool about this is that you no longer need to export image-based file sequences to get your movie inside of Cinema 4D. The only slowdown will be how long it takes Cinema 4D R19 to cache your MP4 so that you will have realtime playback… if possible.

In my experience, it doesn’t take that much time, but that will be dependent on your system performance. While this is a big under-the-hood type of update, it is great for those quick exports of a scene for approval. No need to take your export into Adobe Media Encoder, or something else, to squeeze out an MP4.

Scene Reconstruction
First off, for any new Cinema 4D users out there, Scene Reconstruction is convoluted and a little thick to wade through. However, if you work with footage and want to add motion graphics work to a scene, you will want to learn this. You can check out this Cineversity.com video for an eight-minute overview.

Cinema 4D’s Scene Reconstruction works by tracking your footage to generate point clouds, and then after you go back and enable Scene Reconstruction, it creates a mesh from the resulting scene calculation that Cinema 4D computes. In the end, depending on how compatible your footage is with Scene Detection (i.e. contrasting textures and good lighting will help) you will get a camera view with matching scene vertices that are then fully animatable. I, unfortunately, do not have enough time to recreate a set or scene inside of Cinema 4D R19, however, it feels like Maxon is getting very close to fully automated scene reconstruction, which would be very, very interesting.

I’ve seen a lot of ideas from pros on Twitter and YouTube that really blow my mind, like 3D scanning with a prosumer camera to recreate objects inside of Cinema 4D. Scene Reconstruction could be a game-changing update, especially if it becomes more automated as it would allow base users like me to recreate a set in Cinema 4D without having to physically rebuild a set. A pretty incredible motion graphics-compositing future is really starting to emerge from Cinema 4D.

In addition, the Motion Tracker has received some updates, including manual tracking on R, G, B, or custom channel — viewed as Tracker View — and the tracker can now work with a circular tracking pattern.

Spherical Camera
Finally, the last update, which seems incredible, is the new Spherical Camera. It’s probably because I have been testing and using a lot more 360 video, but the ability to render your scene using a Spherical Camera is here. You can now create a scene, add a camera and enable Spherical mapping, including equirectangular, cubic string, cubic cross or even Facebook’s 360 video 3×2 cubic format. In addition, there is now support for Stereo VR as well as dome projection.

Other Updates
In addition to the three top updates I’ve covered, there are numerous others updates that are just as important, if not more so to those who use Cinema 4D in other ways. In my opinion, the rendering updates take the cake. Also, as mentioned before, there is support for both Nvidia and AMD GPUs, multi-GPU support, incredible viewport enhancements with Physical Rendering and interactive Preview Renders in the viewport.

Under MoGraph, there is an improved Voronoi Fracture system (ability to destroy an object quickly) including improved performance for high polygon counts and detailing to give the fracture a more realistic look. There is also a New Sound Effector to allow for interactive MoGraph creation to the beat of the music. One final note: the new Modern Modelling Kernel has been introduced. The new kernel gives more ability to things like polygon reduction and levels of detail.

In the end, Cinema 4D Release 19 is a huge under-the-hood update that will please legacy users but will also attract new users with AMD-based GPUs. Moreover, Maxon seems to be slowly morphing Cinema 4D into a total 2D and 3D modeling and motion graphics powerhouse, much like the way Blackmagic’s Resolve is for colorists, video editors, VFX creators and audio mixers.

Summing Up
With updates like Scene Recreation and improved motion tracking, Maxon gives users like me the ability to work way above their pay grade to composite 3D objects onto our 2D footage. If any of this sounds interesting to you and you are a paying Adobe Creative Cloud user, download and open up Cinema 4D Lite along with After Effects, then run over to Cineversity and brush up on the basics. Cinema 4D Release 19 is an immensely powerful 3D application that is blurring the boundaries between 3D and 2D compositing. With Cinema 4D Release 19’s large library of objects, preset scenes and lighting setups you can be experimenting in no time, and I didn’t even touch on the modeling and sculpting power!


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: The Litra Torch for pro adventure lighting

By Brady Betzel

If you are on Instagram you’ve definitely seen your fair share of “adventure” photography and video. Typically, it’s those GoPro-themed action-adventure shots of someone cliff diving off a million-mile-high waterfall. I definitely get jealous. Nonetheless, one thing I love about GoPro cameras is their size. They are small enough to fit in your pocket, and they will reliably produce a great image. Where those actioncams suffer is with light performance. While it is getting better every day, you just can’t pull a reliably clean and noise-free image from a camera sensor so small. This is where actioncam lights come into play as a perfect companion, including the Litra Torch.

The Litra Torch is an 800 Lumen, 1.5 by 1.5-inch magnetic light. I first started seeing the tiny light trend on Instagram where people were shooting slow shutter photos at night but also painting certain objects with a tiny bit of light. Check out Litra on Instagram: @litragear to see some of the incredible images people are producing with this tiny light. I saw an action sports person showing off some incredible nighttime pictures using the GoPro Hero. He mentioned in the post that he was using the Litra Torch, so I immediately contacted Litra, and here I am reviewing the light. Litra sent me the Litra Paparazzi Bundle, which retails for $129.99. The bundle includes the Litra Torch,  along with a filter kit and cold shoe mount.

So the Litra Torch has four modes, all accessible by clicking the button on top of the light: 800 Lumen brightness, 450 Lumens, 100 Lumens and flashing. The Torch has a consistent color temperature of 5700 kelvin, essentially the light is a crisp white — right in between blue and yellow. The rechargeable lithium-ion battery can be charged via the micro USB cable and will last up to 30 minutes or more depending on the brightness selected. With a backup battery attached you could be going for hours.

Over a month with intermittent use I only charged it once. One night I had to check out something under the hood of my car and used the Litra Torch to see what I was doing. It is very bright and when I placed the light onto the car I realized it was magnetic! Holy cow. Why doesn’t GoPro put magnets into their cameras for mounting! The Torch also has two ¼-20 camera screw mounts so you can mount them just about anywhere. The construction of the Torch is amazing — it is drop-proof, waterproof and made of a highly resilient aluminum. You can feel the high quality of the components the first time you touch the Torch.

In addition to the Torch itself, the cold shoe mount and diffuser, the Paparazzi Bundle comes with the photo filter kit. The photo filter kit comes with five frames to mount the color filters onto the Torch; three sets of Rosco Tungsten 4600k filters; three sets of Rosco Tungsten 3200k filters; 1 White Diffuser filter; and one each of a red, yellow and green color filter. Essentially, they give you a cheap way to change white balance temperatures and also some awesome color filters to play around with. I can really see the benefit of having at least two if not three of the Litra Torches in your bag with the filter sets; you can easily set up a properly lit product shoot or even a headshot session with nothing more than three tiny Torch lights.

Putting It To The Test
To test out the light in action I asked my son to set-up a Lego scene for me. One hour later I had some Lego models to help me out. I always love seeing people’s Lego scenes on Instagram so I figured this would also be a good way to show off the light and the extra color filters sent in the Paparazzi Bundle. One thing I discovered is that I would love to have a slide-in filter holder that is built onto the light; it would definitely help me avoid wasting time having to pop filters into frames.

All in all, this light is awesome. The only problem is I wish I had three so I could do a full three-point lighting setup. However, with some natural light and one Litra Torch I had enough to pull off some cool lighting. I really liked the Torch as a colored spotlight; you can get that blue or red shade on different objects in a scene quickly.

Summing Up
In the end, the Litra Torch is an amazing product. In the future I would really love to see multiple white balance temperatures built into the Torch without having to use photo filters. Also, a really exciting but probably expensive prospect of building a Bluetooth connection and multiple colors. Better yet, make this light a full-color-spectrum app-enabled light… oh wait, just recently they announced the Litra Pro on Kickstarter. You should definitely check that out as well with it’s advanced options and color profile.

I am spoiled by all of those at home lights, like the LIFX brand, that change to any color you want, so I’m greedy and want those in a sub-$100 light. But those are just wishes — the Litra Torch is a must-have for your toolkit in my opinion. From mounting it on top of my Canon DSLR using the cold shoe mount, to using the magnetic ability and mounting in unique places, as well as using the screw mount to attach to a tripod — the Litra Torch is a mind-melting game changer for anyone having to lug around a 100-pound light kit, which makes this new Kickstarter of the Litra Pro so enticing.

Check out their website for more info on the Torch and new Litra Pro, as well as a bunch of accessories. This is a must-have for any shooter looking to carry a tiny but powerful light anywhere, especially for summer and the outdoors!


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: HP’s zBook x2 mobile workstation

By Brady Betzel

There are a lot of laptops and tablets on the market these days that can seemingly power a SpaceX Falcon 9 rocket launch and landing. If you work in media and entertainment like I do, these days you might even be asked to edit and color correct that Falcon 9 footage that could have been filmed in some insane resolution like 8K.

So how do you edit that footage on the go? You need to find the most powerful mobile solution on the market. In my mind there are only a few that can power editing 8K footage (even if the footage is transcoded into manageable ProRes proxies). There is Razer, which offers a 4K/UHD “gaming” laptop with its Razer Blade Pro. It sports a high-end Nvidia GTX 1060 GPU and i7 processor; Dell’s high-end Precision 7720 mobile workstation allows for a high-end Quadro GPU; and HP offers high-quality mobile workstations via its zBook line.

For this review, I am focusing on the transforming HP zBook x2 mobile workstation, complete with an Intel Core i7 CPU, 32GB memory, Nvidia Quadro and much more.

The zBook x2 allows you to go laptop-style to tablet by removing the keyboard. If you’ve ever used a Wacom Cintiq mobile tablet, you’ve likely enjoyed the matte finish of the display, as well as the ability to draw directly on screen with a stylus. Well, the zBook x2 is a full touchscreen as well as stylus-enabled matte surface compatible with HP’s own battery-less pen. The pen from HP is based off of Wacom’s Electro Magnetic Resonance technology, which essentially allows for cable- and battery-free pens.

In addition, the display bezel has 12 buttons that are programmable for apps like Adobe’s Creative Cloud. For those wondering, HP partnered with Adobe when designing the x2, so you will notice that Creative Cloud comes pre-installed on the system, and the quick access buttons around the bezel are already programmed for use in Adobe’s apps. However, they don’t give you a free subscription with purchase — Hey, HP, this would be a nice touch. Just a suggestion.

Digging In
I was sent the top-of-the-line version of the zBook x2, complete with a DreamColor UHD touchscreen display. Here are the specs under the hood:

– Windows 10 64-bit
– Intel Core i7 8650 (Quad Core — 8th gen)
– 4K UHD DreamColor Touch with anti-glare
– 32GB (2×16 GB) DDR4 2133 memory
– Nvidia Quadro M620 (2GB)
– 512GB HP Z-Turbo Drive PCIe
– 70Whr fast charging battery
– Intel vPro WLAN
– Backlit Bluetooth Keyboard
– Fingerprint reader
– One- or three-year warranty, including the battery
– Two Thunderbolt 3 ports
– HDMI 1.4 port
– USB 3.0 charging port
– SD card slot
– Fingerprint reader
– Headset/microphone port
– External volume controls

The exterior hardware specs are as impressive as the technical specs. I’ve got to be honest, when I first received the x2, I was put off by the sharp edged-octagon design. I’m so used to either square shaped tablets or rounded edges, so the octagon-edged sides were a little strange. After using it for a month, I got used to how sturdy and well built this machine is. I kind of miss the octagon shape now that I had to ship the x2 back to HP.

In addition, the zBook x2 I received weighed in at around 5lbs (with the bluetooth keyboard attached), which isn’t really lightweight. Part of that weight is the indestructible-feeling magnesium and aluminum casing that surrounds the x2’s internal components.

I’ve reviewed a few of these stylus-based workstations before, such as Microsoft’s Surface Pro and Wacom’s mobile Cintiq offering, and they each have their positives and negatives. One thing that consistently sticks out to me is the kickstand used to prop these machines up. When you use a stylus on a tablet you will have a height and angle you like to work at. Some tablets have a few specified heights like the Wacom offering. The Surface Pro has a somewhat limited angle, but the zBook x2 has the strongest and best working built-in stand that I have used. It is sturdy when working in apps, like Adobe Photoshop, with the stylus.

HP’s Wacom-infused stylus is very lightweight. I personally like a stylus that is a little hefty, like the Wacom Pro Pen, but don’t get me wrong, HP’s pen works well. The pen has a similar pressure sensitivity to the Wacom’s pens many multimedia pros are used to at 4,096 levels and includes tilt sensitivity. When using tablets, palm rejection is a very important feature, and the x2 has excellent palm rejection. HP’s fact sheets and website all have different information on whether the pen is included with the x2 or not, but when ordering it looks like it is bundled with your purchase. As it should be).

One final note on the build quality of HP’s zBook x2: the detachable Bluetooth keyboard is excellent. The keyboard not only acts like a full-sized keyboard, complete with numerical keypad (a favorite of mine when typing in specific timecodes), but it also folds up to protect the screen when not in use.

If you are looking at the zBook x2 to purchase, you are probably also comparing it to a Microsoft Surface Pro, a Wacom Cintiq mobile computer and maybe an iPad Pro. In my opinion, there is no contest. Te x2 wins hands down. However, you are also going to be paying a lot more for it. For instance, the x2 can be purchased with the latest Intel 8th gen i7 processors, an Nvidia Quadro GPU built into the tablet —not the keyboard like on the Microsoft Surface Book systems — it has the ability to be packed with 32GB of RAM as opposed to 16GB in all other tablets. And most importantly, in my opinion, this system offers a color-accurate UHD 10-bit-HP DreamColor display. As I said, it is definitely the beefiest mobile workstation/tablet that you will find out there, but will cost you.

One of my favorite practices that HP is starting to standardize among its mobile workstations is the use of quick charging, where you can charge 50% of your battery in a half an hour and the rest over a few more hours. I can’t tell you how handy this is when you are running around all day and don’t have four hours to charge your computer between appointments. When running apps like Blackmagic’s Resolve 14.3 with UHD video, you can drain the battery fast — something like four hours — but being able to quickly charge back up to 50% is a lifesaver in a lot of circumstances.

In the real world, I use my mobile workstation/tablets all the time. I surf the web, listen to music, edit in Adobe Premiere Pro or color correct in Resolve. This means my systems have to have some high-end processors to keep up. The HP zBook x2 is a great addition to your workstation lineup when you need to take your work on the road and not lose any features, like the HP DreamColor display with 100% Adobe RGB color accuracy. While it’s not a truly calibrated work monitor, DreamColor displays will, at the very least, give you a common calibration among all DreamColor monitors that you can rely on for color critical jobs on the run. In addition, DreamColor displays can display different color spaces like BT. 709, DCI-P3 and more.

Putting it to the Test
To test the x2, I ran a few tests using one of the free clips that Red offers to download from: http://www.red.com/sample-r3d-files. It is the Red One Mysterium clip with a resolution of 4096×2304 and runs at 29.97fps. For a mobile workstation this is a pretty hefty clip to run in Resolve or Premiere. In Premiere, the Red clip would play at realtime when dumbed down to half quality. Half quality isn’t bad to work in, but when spending $3,500 I would like to work in a better-quality Red files. Maybe the technology will be there in a year.

If you are into the whole offline/online workflow (a.k.a. proxy workflow — a.k.a. transcoding to a interframe codec like DNxHR or ProRes — then you will be able to play down the full 4K clip when transcoding to something like DNxHR HQ. Unfortunately, I couldn’t get a 10-bit DNxHR HQX clip to play at realtime, and with the sweet 10-bit display that could have been a welcome success. To test exporting speed I trimmed the R3D file (still raw Red) to 10 seconds and exported it as a DNxHR HQX 10-bit QuickTime (in the files native resolution and frame rate) and highly compressed H.264 at around 10,000mb/s.

The DNxHR HQX 10-bit QuickTime took 1 minute and 25 seconds to export. I then added a 110% resize and a color grade to really make sure the Quadro GPU kicked in, and unfortunately the export failed. I tried multiple times with different Lumetri color grades and all of them failed, probably a sweet bug.

Next, I exported an uncolored 10,000mb/s H.264 MP4 (a clip perfect for YouTube) in 2 minutes and 41 seconds. I then resized the clip to 110% and performed a color grade using the Lumetri tools inside of Premiere Pro. The MP4 exported in 1 minute and 30 seconds. This was pretty incredible and really showed just how important that Nvidia Quadro M620 with 2GB of memory is. And while things like resizing and color correcting will make sure your GPU kicks in to help, the HP zBook x2 was relatively quiet with the active cooling fan system that kicks all of the hot air up and out of the magnesium case.

Inside of Resolve 14.3, I performed the same tests on the same Red clip. I was able to play the Red clip at about 16fps in 1/16 debayer quality in realtime. Not great, but for a mobile tablet workstation, maybe it’s ok, although I would expect more from a workstation. When exporting the DNxHR HQX 10-bit QuickTime took 2 minutes and the same clip resized to 110% and color graded also took 2 minutes. The H.264 took 2 minutes and 33 seconds without any color grading and resizing, but it also took 2 minutes and 33 seconds when resized 110% and color graded. I had all caching and performance modes disabled when performing these tests. I would have thought Resolve would have performed better than Premiere Pro, but in this case Adobe wins.

As a bonus, I happen to have Fusion, GoPro’s 360 video camera, and ran it through Fusion Studio, GoPro’s stitching and exporting software. Keep in mind 360 video is a huge resource hog that takes lots of time to process. The 30-second test clip I exported in flat color, with image stabilization applied, took an hour to export. The resulting file was a 1.5GB – 4992×2496 4:2:2 Cineform 10-bit YUV QuickTime with Ambisonic audio. That’s a big and long render in my opinion, although it will also take a long time on many computers.

Summing up
In the end, the HP zBook x2 is a high-end mobile workstation that doubles as a stylus-based drawing tablet designed to be used in apps like Photoshop and even video editing apps like Premiere Pro.

The x2 is profoundly sturdy with some high-end components, like the Intel i7 8th gen processor, Nvidia Quadro M620 GPU, 4K/UHD HP DreamColor touchscreen display and 32GB of RAM.

But along with these high-end components comes a high price: the setup in this review retails for around $3,500, which is not cheap. But for a system that is designed to be run 24 hours a day 365 days a year, it might be the investment you need to make.

Do you want to use the table at the office when connected to a Thunderbolt 3 dock while also powering a 4K display? The x2 is the only mobile table workstation that will do this at the moment. If I had any criticisms of the HP zBook x2 it would be the high cost and the terrible speakers. HP touts the Bang & Olufsen speakers on the x2, but they are not good. My Samsung Galaxy S8+ has better speakers.

So whether you are looking to color correct on the road or have a Wacom-style table at the office, the HP zBook x2 is a monster that HP has certified with companies like Adobe using their Independent Software Vendor verifications to ensure your drivers and software will work as well as possible.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: HP’s ZBook Studio G4 mobile workstation

By Brady Betzel

It seems like each year around this time, I offer my thoughts on an HP mobile workstation and how it serves multimedia professionals. This time I am putting the HP ZBook Studio G4 through its paces. The ZBook Studio line of HP’s mobile workstations seems to fit right in the middle between ease of mobility, durability and power. The ZBook 14u and 15u are the budget series mobile workstations that run Intel i5/i7 processors with AMD FirePro graphics and top out at around $1,600. The ZBook 15 and 17 are the more powerful mobile workstations in the line with the added ability to include Intel Xeon processors, ECC memory, higher-end Nvidia Quadro graphics cards and more. But in the this review we will take the best of all models and jam them into the light and polished ZBook Studio G4.

The HP ZBook Studio G4 I was sent to test out had the following components:
– Windows 10 64 bit
– Intel Xeon 1535M (7th gen) quad-core processor – 3.10GHz with 4.2 Turbo Boost
– 4K UHD DreamColor/15.6-inch IPS screen
– 32GB ECC (2x16GB)
– Nvidia Quadro M1200 (4GB)
– 512GB HP Z Turbo Drive PCIe (MLC)
– 92Whr fast charging battery
– Intel vPro WLAN
– Backlit keyboard
– Fingerprint reader

According to the info I was sent directly from HP, the retail price is $3,510 on hp.com (US webstore). I built a very similar workstation on http://store.hp.com and was able to get the price at $3,301.65 before shipping and taxes, and $3,541.02 with taxes and free shipping. So actually pretty close.

So, besides the natural processor, memory and hard drive upgrades from previous generations, the ZBook Studio G4 has a few interesting updates, including the higher-wattage batteries with fast charge and the HP Sure Start Gen3 technology. The new fast charge is similar to the feature that some products like the GoPro Hero 5/6 cameras and Samsung Galaxy phones have, where they charge quicker than “normal.” The ZBook Studio, as well as the rest of the ZBook line, will charge 50% of your battery in around 30 minutes when in standby mode. Even when using the computer, I was able to charge the first 50% in around 30 minutes, a feature I love. After the initial 50% charge is complete, the charging will be at a normal rate, which wasn’t half bad and only took a few hours to get it to about 100%.

The battery I was sent was the larger of the two options and provided me with an eight-hour day with decent usage. When pushed using an app like Resolve I would say it lasted more like four hours. Nonetheless it lasted a while and I was happy with the result. Keep in mind the batteries are not removable, but they do have a three-year warranty, just like the rest of the mobile workstation.

When HP first told me about its Sure Start Gen 3, I thought maybe it was just a marketing gimmick, but then I experienced its power — and it’s amazing. Essentially, it is a hardware function available on only 7th generation Intel processors that allows the BIOS to repair itself upon identification of malware or corruption. While using the ZBook Studio G4, I was installing some software and had a hard crash (blue screen). I noticed when it restarted the BIOS was running through the Sure Start protocol, and within minutes I was back up and running. It was reassuring and would really set my mind at ease if deciding between a workstation-level solution or retail store computing solution.

You might be asking yourself why you should buy an enterprise-level mobile workstation when you could go buy a laptop for cheaper and almost as powerful at Best Buy or on Amazon? Technically, what really sets apart workstation components is their ability to run 24/7 and 365 days a year without downtime. This is helped by Intel Xeon processors that allow for ECC (Error Correcting Code memory), essentially bits don’t get flipped as they can with non-ECC memory. Or for laymen, like me, ECC memory prevents crashing by fixing errors itself before we see any repercussions.

Another workstation-level benefit is the environmental testing that HP runs the ZBooks through to certify their equipment as military grade, also known as MIL-810G testing. Essentially, they run multiple extreme condition tests such as high and low temperatures, salt, fog and even high-vibration testing like gunfire. Check out a more in-depth description on Wikipedia. Finally, HP prides itself on its ISV (Independent Software Vendors) verification. ISV certification means that HP spends a lot of time working with software vendors like Adobe, Avid, Autodesk and others to ensure compatibility with their products and HP’s hardware so you don’t have to. They even release certified drivers that help to ensure compatibility regularly.

In terms of warranty, HP gives you a three-year limited warranty. This includes on-site service within the Americas, and as mentioned earlier it covers the battery, which is a nice bonus. Much like other warranties it covers problems arising from faulty manufacturing, but not intentional or accidental damage. Luckily for anyone who purchases a Zbook, these systems can take a beating. Physically, the computer weighs in around 4.6lbs and is 18mm thin. It is machined aluminum that isn’t sharp, but it can start to dig into your wrists when typing for long periods. Around the exterior you get two Thunderbolt 3 ports, an HDMI port, three USB 3.1 ports (one on left and two on the right), an Ethernet port and Kensington Lock port. On the right side, you also get a power port — I would love for HP to design some sort of break-away cable like the old Magsafe cables on the MacBook Pros — and there is also a headphone/mic input.

DreamColor Display
Alright, so now I’ll go through some of the post-nerd specs that you might be looking for. Up first is the HP DreamColor display, which is a color-critical viewing solution. With a couple clicks in the Windows toolbar on the lower right you will find a colored flower — click on that and you can immediately adjust the color space you want to view your work in: AdobeRGB, sRGB, BT.709, DCI-P3 or Native. You can even calibrate or backup your own calibration for later use. While most colorists or editors use an external calibrated monitoring solution and don’t strictly rely on your viewing monitor as the color-critical source, using the DreamColor display will get you close to a color critical display without purchasing additional hardware.

In addition, DreamColor displays can play back true 24fps without frame rate conversion. One of my favorite parts of DreamColor is that if you use an external DreamColor monitor through Thunderbolt 3 (not using an SDI card), you can load your color profile onto the second or third monitor and in theory they should match. The ZBook Studio G4 seems to have been built as a perfect DIT (digital imaging technician) solution for color critical work in any weather-challenged or demanding environment without you having to worry about failure.

Speed & Testing
Now let’s talk about speed and how the system did with speed tests. When running a 24TB (6TB-4TB drives) G-Speed ShuttleXL with Thunderbolt 3 from G-Technology, I was able to get write speeds of around 1450MB/s and read speeds of 960MB/s when running the AJA System Test using a 4GB test file running RAID-0. For comparison, I ran the same test on the internal 512GB HP Z Turbo Drive, which had a write speed of 1310MB/s and read speed 1524MB/s. Of course, you need to keep in mind that the internal drive is a PCIe SSD whereas the RAID is 7200RPM drives. Finally, I ran the standard benchmarking app Cinebench R15 that comes from the makers of Maxon Cinema 4D, a 3D modeling app. For those interested, the OpenGL test ran at 138.85fps with a Ref. Match of 99.6%, CPU 470cb and CPU (Single Core) 177cb with an MP Ratio of 2.65x.

I also wanted to run the ZBook through some practical and real-world tests, and I wanted to test the rendering and exporting speeds. I chose to use Blackmagic’s DaVinci Resolve 14.2 software because it is widely used and an easily accessible app for many of today’s multimedia pros. For a non-scientific yet important benchmark, I needed to see how well the ZBook G4 played back R3D files (Red camera files), as well as QuickTimes with typical codecs you would find in a professional environment, such as ProRes and DNxHD. You can find a bunch of great sample R3D files on Red’s website. The R3D I chose was 16 seconds in length, shot on a Red Epic Dragon at 120fps and UHD resolution (3840×2160). To make sure I didn’t have anything skewing the results, I decided to clear all optimized media, if there was any, delete any render cache, uncheck “Use Optimized Media If Available” and uncheck “Performance Mode” just in case that did any voodoo I wasn’t aware of.

First was a playback test where I wanted to see at what decode quality I could playback in at realtime without dropping frames when I performed a slight color correction and added a power window. For this clip, I was able to get it to playback in a 23.98/1080p timeline in realtime when it was set to Half Resolution Good. At Half Resolution Premium I was dropping one or two frames. While playing back and at Full Resolution Premium, I was dropping five or six frames —playing back at around 17 or 18fps. Playing back at Half Resolution Good is actually great playback quality for such a high-quality R3D with all the head room you get when coloring a raw camera file and not a transcode. This is also when the fans inside the ZBook really kicked in. I then exported a ProRes4444 version of the same R3D clip from RedCine-X Pro with the LUT info from the camera baked in. I played the clip back in Resolve with a light color treatment and one power window with no frames dropped. When playing back the ProRes4444 file the fans stayed at a low pitch.

The second test was a simple DNxHD 10-bit export from the raw R3D. I used the DNxHD 175x codec — it took about 29 seconds, which was a little less than double realtime. I then added spatial noise reduction on my first node using the following settings: Mode: Better, Radius: Medium, Spatial Threshold (luma/chroma locked): 25. I was able to playback the timeline at around 5fps and exported the same DNxHD 175x file, but it took about 1 minute 27 seconds, about six times realtime. Doing the same DNxHD 175x export test with the ProRes4444 file, it took about 12 seconds without noise reduction and with the noise reduction about 1 minute and 16 seconds — about 4.5 times realtime. In both cases when using Noise Reduction, the fans kicked on.

Lastly, I wanted to see how Resolve would handle a simple one minute, 1080p, ProRes QuickTime in various tests. I don’t think it’s a big surprise but it played back without dropping any frames with one node of color correction, one power window and as a parallel node with a qualifier. When adding spatial noise reduction I started to get bogged down to about 6fps. The same DNxHD 175x export took about 27 seconds or a little less than half realtime. With the same spatial noise reduction as above it took about 4 minutes and 21 seconds, about 4.3 times realtime.

Summing Up
The HP ZBook Studio G4 is a lightweight and durable enterprise-level mobile workstation that packs the punch of a color-critical 4K (UHD — 3840×2160) DreamColor display, powered by an Nvidia Quadro M1200, and brought together by an Intel Xeon processor that will easily power many color, editing or other multimedia jobs. With HP’s MIL-810G certification, you have peace of mind that even with some bumps, bruises and extreme weather your workstation will work. At under 5lbs and 18mm thin with a battery that will charge 50% in 30 minutes, you can bring your professional apps like DaVinci Resolve, Adobe Premiere and Avid Media Composer anywhere and be working.

I was able to use the ZBook along with some of my Tangent Element color correction panels in a backpack and have an instant color critical DIT solution without the need for a huge cart — all capable of color correction and transcoding. The structural design of the ZBook is an incredibly sturdy, machined aluminum chassis that is lightweight enough to easily go anywhere quickly. The only criticisms are I would often miss the left click of the trackpad leaving me in a right-click scenario, the Bang & Olufsen speakers sound a little tin-like to me and, finally, it doesn’t have a touch bar… just kidding.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: Blackmagic’s DaVinci Resolve 14 for editing

By Brady Betzel

Resolve 14 has really stepped up Blackmagic’s NLE game with many great new updates over the past few months. While I typically refer to Resolve as a high-end color correction and finishing tools, this review will focus on the Editing tab.

Over the last two years, Resolve has grown from a high-end color correction and finishing app to include a fully-capable nonlinear editor, media organizer and audio editing tool. Fairlight is not currently at the same level as Avid Pro Tools, but it is still capable, and with a price of free or at most $299 you can’t lose. For this review, I am using the $299 version, which has a few perks — higher than UHD resolutions; higher than 60 frames per second timelines; the all-important spatial and/or temporal noise reduction; many plugins like the new face tracker; multi-user collaboration; and much more. The free version will work with resolutions up to UHD at up to 60fps and still gives you access to all of the powerful base tools like Fairlight and the mighty color correction tool set.

Disclaimer: While I really will try and focus on the Editing tab, I can’t make any promises I won’t wander.

Digging In
My favorite updates to Resolve 14’s Editing tab revolve around collaboration and conforming functions, but I even appreciate some smaller updates like responsiveness while trimming and video scopes on the edit page. And don’t forget the audio waveforms being visible on the source monitor!

With these new additions, among others, I really do think that Resolve is also becoming a workable nonlinear editor much like industry standards such as Avid Media Composer, Adobe Premiere Pro and Apple Final Cut Pro X. You can work from ingest to output all within one app. When connected to a collaborative project there is now bin-locking, sharing bins and even a chat window.

Multicam works as expected with up to 16 cameras in one split view. I couldn’t figure out how to watch all of the angles in the source monitor while playing down the sequence in the record monitor, so I did a live switch (something I love to do in Media Composer). I also couldn’t figure out how to adjust the multi-cam after it had been created, because say, for instance, audio was one frame out of sync or I needed to add another angle later on. But the multicam worked and did its job by allowing me to sync by in point, out point, timecode, sound or marker. In addition, you can make the multicam a different frame rate than your timeline, which is handy.

[Editor’s Note: Blackmagic says: “There are a few ways to do that. You can right click on the multicam clip and select ‘open in timeline.’ Or you can pause over any segment of a multicam clip, click on a different angle and swap out the shots. Most importantly, you get into multicam edit mode by clicking on the drop down menu on the lower left hand corner of the source viewer and selecting Multicam mode.”]

Another addition is the Position Lock located in the middle right, above the timeline. The Position Lock keeps all of your clips locked in time in your timeline. What is really interesting about this is that it still allows you to trim and apply other effects to clips while locking the position of your clips in place. This is extremely handy when doing conforms and online passes of effects when you don’t want timing and position of clips to change. It’s a great safety net. There are some more fancy additions like re-time curves directly editable in the timeline. But what I would really love is a comprehensive overhaul of the Title Tool that would allow for direct manipulation of the text on top of the video. It would be nice to have a shortcut to use the title as a matte for other footage for some quick and fancy titling effects, but maybe that is what Fusion is for? The title tool works fine and will now give you nice crisp text even when blown up. The bezier curves really come in handy here to make animations ease in and out nicely.

If you start and finish within Resolve 14, your experience will most likely be pretty smooth. For anyone coming from another NLE — like Media Composer or Premiere — there are a few things you will have to get used to, but overall it feels like the interface designers of Resolve 14 kept the interface familiar for those “older” editors, yet also packed it with interesting features to keep the “YouTube” editors’ interest piqued. As someone who’s partial to Media Composer, I really like that you can choose between frame view in the timeline and clips-only view, leaving out thumbnails and waveform views in the timeline.

I noticed a little bit of a lag when editing with the thumbnail frames turned on. I also saw recently that Dave Dugdale on YouTube found an interesting solution to the possible bug. Essentially, one of the thumbnail views of the timeline was a little slower at re-drawing when zooming into a close view in a sequence Regardless, I like to work without thumbnails, and that view seemed to work fluidly for me.

After working for about 12 minutes I realized I hadn’t saved my work and Resolve didn’t auto-saved. This is when I remembered hearing about the new feature “Live Save.” It’s a little tricky to find, but the Live Save feature lives under the DaVinci Resolve Menu > User > Auto Save and is off by default — I really think this should be changed. Turn this fuction on and your Resolve project will continually save, which in turn saves you from unnecessary conniptions when your project crashes and you try to find the spot that was last saved.

Coming from another NLE, the hardest thing for me to get used to in a new app was the keyboard layouts and shortcuts. Typically, trimming works similar to other apps and overwriting; ripple edits, dissolves and other edit functions don’t change, but the placement of their shortcuts does. In Resolve 14, you can access the keyboard shortcut commands in the same spot as the Live Save, but under the Keyboard Mapping menu under User. From here you can get grounded quickly by choosing a preset that is similar to your NLE of choice — Premiere, FCP X, Media Composer — or Resolve’s default keyboard layout, which isn’t terrible. If this could be updated to how apps like Premiere and/or Avid have their keyboard layouts designed, it would be a lot easier to navigate. Meaning there is usually a physical representation of a keyboard that allows you to drag your shortcuts to and from it realtime.

Right now, Resolve’s keyboard mapper is text-based and a little cumbersome. Overall, Resolve’s keyboard shortcuts (when in the editing tab) are pretty standard, but it would do you well to read and go through basic moves like trimming, trimming the heads and tails of clips or even just trimming by plus or minus and the total frames you want to trim.

Something else I discovered when trimming was when you go into actual “trim mode,” it isn’t like other NLEs where you can immediately start trimming. I had to click on the trim point with my mouse or pen, then I could use keyboard shortcuts to trim. This is possibly a bug, but what I would really love to happen is when you enter “trim mode,” you would see trimming icons at the A and B sides of the nearest clips on the selected tracks. This would allow you to immediately trim using keyboard shortcuts without any mouse clicks. In my mind, the more mouse clicks I have to use to accomplish a task means time wasted. This leads to having less time to spend on “important” stuff like story, audio, color, etc. When time equals money, every mouse click means money out of my pocket. [Note from Blackmagic: “In our trim tools you can also enter trim mode by hitting T on the keyboard. We did not put in specific trim tool icons on purpose because we have an all-in-one content sensitive trim tool that changes based on where you place the cursor. And if you prefer trimming with realtime playback, hit W for dynamic trim mode, and then click on the cut you want to trim with before hitting JKL to play the trim.”]

I have always treated Resolve as another app in my post workflow — I wasn’t able to use it all the way from start to finish. So in homage to the old way of working, a.k.a. “a round trip workflow,” I wanted to send a Media Composer sequence to Resolve by way of a linked AAF, then conform the media clips and work from there. I had a few objectives, but the main one was to make sure my clips and titles came over. Next was to see if any third-party effects would translate into Resolve from Media Composer and, finally, I wanted to conform an “updated” AAF to the original sequence using Resolve’s new “Compare with Current Timeline” command.

This was a standard 1080p, 23.98 sequence (transcoded to one mezzanine DNx175x codec with 12 frame handles) with plenty of slates, titles, clips, speed ramps, Boris Continuum Complete and Sapphire Effect. Right off the bat all of the clip-based media came over fine and in its correct time and place in the timeline. Unfortunately, the titles did not come over and were offline — none of them were recognized as titles so they couldn’t be edited. Dissolves came over correctly, however none of the third-party BCC or Sapphire effects came across. I didn’t really expect the third-party effects to come over, but at some point, in order to be a proper conforming application, Resolve will need to figure out a way to translate those when sending sequences from an NLE to Resolve. This is more of a grand wish, but in order to be a force in the all-in-one app for the post finishing circle, this is a puzzle that will need to be solved.

Otherwise, for those who want to use alternative nonlinear editing systems, they will have to continue using their NLE as the editor, Resolve as a color-only solution, and the NLE as their finisher. And from what I can tell Blackmagic wants Resolve to be your last stop in the post pipeline. Obviously, if you start your edit in Resolve and use third-party OpenFX (OFX) like BCC or Sapphire, you shouldn’t have any problems.

Last on my list was to test the new Compare with Current Timeline command. In order for this option to pop up when you right click, you must be in the Media tab with the sequence you want to compare to the one loaded. You then need to find the sequence you want to compare from, right click on it and click Compare with Current Timeline. Once you click the sequences you want to compare, a new window will pop up with the option to view the Diff Index. The Diff Index is a text-based list of each new edit next to the timeline that visually compares your edits between the two sequences. This visual representation of the edits between the sequences is where you will apply those changes. There are marks identifying what has changed, and if you want to apply those changes you must right click and hit Apply Changes. My suggestion is to duplicate your sequence before you apply changes (actually you should be constantly duplicating your sequence as a backup as a general rule). The Compare with Current Timeline function is pretty incredible. I tested it using an AAF I had created in Media Composer and compared it against an AAF made from the same sequence but with some “creative” changes and trimmed clips — essentially a locked sequence that suddenly became unlocked while in Online/Color and needed to reflect the latest changes from the offline edit.

I wasn’t able to test Resolve 14 in a shared-project environment, so I couldn’t test a simultaneous update coming from another editor. But this can come in really handy for anyone who has to describe any changes made to a particular sequence or for that pesky online editor that needs to conform a new edit while not losing all their work.

I can’t wait to see the potential of this update, especially if we can get Resolve to recognize third-party effects from other NLEs. Now don’t get me wrong, I’m not oblivious to the fact that asking Resolve engineers to figure out how to recognize third-party effects in an AAF workflow is a pie-in-the-sky scenario. If it was easy it probably would have already been done. But it is a vital feature if Blackmagic wants Resolve to be looked at like a Flame or Media Composer but with a high-end coloring solution and audio finishing solution. While I’m at it, I can’t help but think that Resolve may eventually include Fusion as another tab maybe as a paid add-on, which would help to close that circle to being an all-in-one post production solution.

Summing Up
In the end, Resolve 14 has all the makings of becoming someone’s choice as a sole post workflow solution. Blackmagic has really stepped up to the plate and made a workable and fully functional NLE. And, oh yeah not to mention it is one of the top color correction tools being used in the world.

I did this review of the editing tab using Blackmagic Design’s DaVinci Resolve 14.2. Find the latest version here. And check out our other Resolve review — this one from a color and finishing perspective.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: G-Tech’s G-Speed Shuttle XL with EV Series Adapters, Thunderbolt 3

By Brady Betzel

As video recording file sizes continue to creep up, so do our hard drive storage size, RAID and bandwidth needs. These days we are seeing a huge amount of recorded media needing to be offloaded, edited and color graded in the field. G-Technology has stepped up to bat with its 24TB G-Speed Shuttle XL with EV Series adapters, Thunderbolt 3 edition — a portable, durable, adaptable and hardware-RAID powered storage solution.

In terms of physical appearance, the G-Speed Shuttle XL is just shy of 10x7x16-inches and weighs in at around 25 pounds. It’s not exactly lightweight, but with spinning hard drives it’s what I would expect. To get a lighter RAID you would need SSD drives, but those would most likely triple the price. The case itself is actually pretty rugged; it seems like it could withstand a minimal amount of production abuse, but again without being an SSD RAID you have some risks since spinning disk drives are more volatile.

The exterior is made out of a hard plastic, and it would have been nice to have the rubberized feel on at least the handle of the Shuttle XL — similar to G-Tech’s Rugged line of drives — but it still feels solid. To open the Shuttle XL, there is an easy-to-access switch on the front. There is a lock switch that took me a few wiggles to work correctly, but I would loved to have seen a key lock that would to add a little more security since this RAID will most likely house important data. When closing the front door, the slide lock wouldn’t fully close unless I pushed hard a second time. If I didn’t do that the door would open by itself. On the back are the two Thunderbolt 3 ports, a power cable plug and a Kensington Lock slot. On the inside of this particular Shuttle XL are six 4TB 7200 RPM Enterprise Class HGST (Western Digital) drives configured to a RAID-5 by default and two EV Series Bay adapters.

Since I was on a Windows-based PC I had to download and format the drives since it comes formatted for Mac OS by default. The EV adapters allow for quick connection of memory products like Atomos Master Caddy drives, CFast 2.0 or even Red Mini Mags. This gives you fast connection on set for transferring and backing up your media without extra card readers. The HGST hard drives are enterprise class, which very simply means that the drives are rated to be run 24 hours a day, seven days a week, 365 days a year more reliably than standard hard drives. This should do as it says, but if it doesn’t there is a five-year limited warranty that will back up this product. Basically, if the RAID or its drives fail due to craftsmanship errors, they will replace or repair it. Keep in mind, you are responsible for shipping the item back to them, and with the heavy weight of the RAID it may be costly if it goes bad. They will not cover accidental damage or misuse. Another caveat to G-Technology’s limited warranty is that they will not cover commercial use, so if you plan to use the G-Speed on a commercial shoot, you might not be covered. You should contact G-Technology’s support to check if your use will be covered: 1.888.426.5214 if you are in North or South America, including Canada.

The Shuttle XL comes pre-RAID formatted in a RAID-5 configuration for the Mac OS, but it can also be formatted as RAID-0,-1, -6, -10 and 50 using the G-Speed Studio Utility. Here is a quick RAID primer in case you forget the differences:

– RAID-0: All drives are used as one large drive. This gives you the fastest RAID performance.
– RAID-1: Total amount of drive space is halved, so if one drive goes out you will not lose your data and it will be rebuilt over time once the bad drive is replaced. The speed is slower than RAID 0. Essentially each drive is mirrored to an identical drive in the RAID.
– RAID-5: Needs at least three drives and uses each drive to create a safety net if a drive fails. The plus side is that it is faster than RAID-1 and includes a safety net. This is why G-Technology ships this drive with this configuration. You will have about 80% of usable disk space. The downside is that if a drive goes out you, will have degraded speed until the RAID fully repopulates itself once the bad drive is replaced.
– RAID-6: Works similar to RAID-5 but has two safety nets (a.k.a. parita blocks). One drawback of RAID-5 is that if a second drive goes out while the RAID database is rebuilding, all data can be lost permanently. RAID-6 adds another safety net so that if two drives go out you can still rebuild your RAID. The downside is that you have only 60% of your storage usable.
RAID-10: RAID-10 requires at least four drives and cuts your usable drive count in half. The upside is that if a drive goes out, you will not have degraded speed during the RAID rebuilding process, which depending on the data involved can be multiple days or longer. RAID-10 essentially mirrors a striped RAID.
– RAID-50: RAID-50 can be thought of as a RAID-5 + 0 and needs a minimum of six drives. It’s two RAID arrays running RAID-5. In each of those RAID arrays you will lose one drive’s worth of usable space. The good news is that if you can have a drive in each RAID array go out while minimizing total RAID loss unlink RAID-5 alone.

Those RAID formatting options are a lot to think about, and frankly I have to look them up about every year or so. If you didn’t read all about RAID formatting, then you may want to stick with RAID-5, which gives you a nice combo of safety vs. speed. If you are a risk taker, backup your data regularly, or if you can survive a total RAID failure, RAID-0 might be more your style. But in the end, keep in mind no matter how good your equipment is or how high a level of RAID protection you have, you can always suffer a total RAID failure and backups are always important.

I tested the 24TB Shuttle XL in each of the available RAID configurations on an HP ZBook Studio G4 with a Thunderbolt 3 interface using the AJA System Test Utility. Each test used the 4GB testing size, 3840×2160 resolution and DNxHR 444 codec since I typically use RAIDS when editing video or motion based projects, which tend to be higher file size. As a caveat, when I lowered the file size to 1GB the speeds increased tremendously. For instance, in RAID-0 the Read/Write speeds were 953MB/s/2274MB/s compare to those below. Here are my results, including the total size of the RAID:

RAID-0: 21.83TB – Read: 960 MB/s – Write: 1451 MB/s
RAID-1: 10.91TB – Read: 439 MB/s – Write: 639 MB/s
RAID-5: 18.19TB – Read: 950 MB/s – Write: 1171 MB/s ***
RAID-6: 14.55TB – Read: 683 MB/s – Write: 750 MB/s
RAID-10: 10.91TB – Read: 506 MB/s – Write: 667 MB/s
RAID-50: 14.55TB – Read: 614 MB/s – Write: 933 MB/s

***I pulled a drive while working live in RAID-5 and while the read/write speed degraded to Read: 326MB/s and Write: 858MB/s it continued to function while the RAID rebuilt itself.

For some reference I also ran the AJA System Test on my local hard drive and got Read 1606MB/s — Write 1108MB/s, which is pretty fast, so the Shuttle XL is doing well. I also wanted to test real-world copy speed and using 50GB of Cinema DNG files here are the results:

RAID-0: 2 mins. 7 seconds (~403 MB/s)
RAID-1: 3 mins. 35 seconds (~238 MB/s)
RAID-5: 2 mins. 49 seconds (~303 MB/s)
RAID-6: 3 mins. 6 seconds(~275 MB/s)
RAID-10: 3 mins. 17 seconds (~260 MB/s)
RAID-50: 2 mins. 45 seconds (~310 MB/s)

While these results are pretty self explanatory, when configured in RAID-5 they are pretty impressive. If you ran the tests continuously for a day you would probably see some variation on the average, maybe a little higher than what you see here. The speeds are pretty impressive, especially when considering a drive can give out and you can still be running at a pretty high bandwidth. Technically, G-Technology states that the Shuttle XL can reach a maximum transfer rate up to 1500MB/s — which I was close to hitting. This is very surprising since typically these specs are a little like miles-per-gallon on new cars but not in this case. I really appreciate that accuracy and think it will go a long way with consumers. In terms of other apps, I wasn’t running anything other than the AJA System Test, but I also did not shut down anything in the background so it is possible some background apps affected these transfer numbers, but I wouldn’t say they had a lot of influence, you should see similar results.

Summing Up
In the end, the G-Technology G-Speed Shuttle XL with EV Series Adapters Thunderbolt 3 Edition is a great choice for a RAID that might need to stand up to a little abuse in the field. The 24TB version of the Shuttle XL that connects using Thunderbolt 3 has a retail price of $2,799.95 with EV adapters being sold separately for between $99.95 and $199.95. The Shuttle XL is available from 24TB all the way up to 72TB, which will cost you $7,699.95.

If you like the idea of multiple RAID options, including ones that require more than four drives, the Shuttle XL has a decent price, a great build quality that should last you for years thanks to its Enterprise Class hard drives, and high bandwidth — the only thing better would be to load it with some SSD drives, but that could cost another $10,000 and would call for another review. Check out the Shuttle XL at G-Technologies website.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: Red Giant Trapcode Suite 14

By Brady Betzel

Every year we get multiple updates to Red Giant’s Adobe After Effects plug-in behemoth, Trapcode Suite. The 14th update to the Trapcode suite is small but powerful and brings significant updates to Version 3 of Trapcode as well as Form (Trapcode Form 3 is a particle system generator much like Particular, but instead of the particles living and dying they stay alive forever as grids, 3D objects and other organic shapes). If you have the Trapcode Suite from a previous purchase the update will cost $199, and if you are new the suite costs $999, or $499 with an academic discount.

Particular 3 UI

There are three updates to the Suite that warrant the $199 upgrade fee: Trapcode 3, Form 3 and Tao 1.2 update. However, you still get the rest of the products with the Trapcode Suite 14: Mir 2.1, Shine 2.0, Lux 1.4, 3D Stroke 2.6, Echospace 1.1, Starglow 1.7, Sound Keys 1.1 and Horizon 1.1

First up is the Tao 1.2 update. Trapcode Tao allows you to create 3D geometric patterns along a path in After Effects. If you do a quick YouTube search of Tao you will find some amazing examples of what it can do. In the Tao 1.2 update Red Giant has added a Depth-of-Field tool to create realistic bokeh effects on your Tao objects. It’s a simple but insanely powerful update that really gives your Tao creations a sense of realism and beauty. To enable the new Depth-of-Field, wander over to the Rendering twirl-down menu under Tao and either select “off” or “Camera Settings.” It’s pretty simple. From there it is up to your After Effects camera skills and Tao artistry.

Trapcode Particular 3
Trapcode Particular is one of Red Giant’s flagship plugins and it’s easy to see why. Particular allows you to create complex particle animations within After Effects. From fire to smoke to star trails, it can pretty much do whatever your mind can come up with, and Version 3 has some powerful updates, including the overhauled Trapcode Particular Designer.

The updated designer window is very reminiscent of the Magic Bullet Designer window, easy and natural to use. Here you design your particle system, including the look, speed and overall lifespan of your system. While you can also adjust all of these parameters in the Effects Window dialog, the Designer gives an immediate visual representation of your particle systems that you can drag around and see how it interacts with movement. In addition you can see any presets that you want to use or create.

Particular 3

In Particular 3, you can now use OBJ objects as emitters. An OBJ is essentially a 3D object. You can use the OBJ’s faces, vertices, edges, and the volume inside the object to create your particle system.

The largest and most important update to the entire Trapcode Suite 14 is found within Particular 3, and it is the ability to add up to eight particle systems per instance of Particular. What does that mean? Well, your particle systems will now interact in a way that you can add details such as dust or a bright core that can carry over properties from other particle systems in the same same instance, adding the ability to create way more intricate systems than before.

Personally, the newly updated Designer is what allows me to dial in these details easily without trying to twirl down tons of menus in the Effect Editor window. A specific use of this is that you want to duplicate your system and inherit the properties, but change the blend mode and/or colors, simply you click the drop down arrow under system and click “duplicate.” Another great update within the multiple particle system update is the ability to create and load “multi-system” presets quickly and easily.

Now, with all of these particle systems mashed together you probably are wondering, “How in the world will my system be able to handle all of these when it’s hard to even playback a system in the older Trapcode Suite?” Well, lucky for us Trapcode Particular 3 is now OpenGL — GPU-accelerated and allowing for sometimes 4x speed increases. To access these options in the Designer window, click the cogwheel on the lower edge of the window towards the middle. You will find the option to render using the CPU or the GPU. There are some limitations to the GPU acceleration. For instance, when using mixed blend modes you might not be able to use certain GPU acceleration types — it will not reflect the proper blend mode that you selected. Another limitation can be with Sprites that are QuickTime movies; you may have to use the CPU mode.

Last but not least, Particular 3’s AUX system (a particle system within the main particle system) has been re-designed. You can now choose custom Sprites as well as keyframe many parameters that could not be keyframed before.

Form 3 UI

Trapcode Form 3
For clarification, Trapcode Particular can create particle emitters that emit particles that have a life, so basically they are born and they die. Trapcode Form is a particle system that does not have a life — it is not born and it does not die. Some practical examples can be a ribbon like background or a starfield. These particle systems can be made from 3D models and even be dynamically driven by an audio track. And much like Particular’s updated Designer, Form 3 has an updated designer that will help you build you particle array quickly and easily. Once done inside the Designer you can hop out and adjust parameters in the Effects Panel. If you want to use pre-built objects or images as your particles you can load those as Sprites or Textured Polygons and animate their movement.

Another really handy update in Trapcode Form 3 is the addition of the Graphing System. This allows you to animate controls like color, size, opacity and dispersion over time.

Just like Particular, Form reacts to After Effect’s cameras and lights, completely immersing them into any scene that you’ve built. For someone like me, who loves After Effects and the beauty of creations from Form and Particular but who doesn’t necessarily have the time to create from scratch, there is a library of over 70 pre-built elements. Finally, Form has added a new rendering option called Shadowlet rendering which adds light falloff to your particle grid or array.

Form 3

Summing Up
In the end, the Trapcode Suite 14 has significantly updated Trapcode Particular 3 with multiple particle systems, Trapcode Form 3 with a beautiful new Designer, and Trapcode Tao with Depth-of-Field, all for an upgrade price of $199. Some Trapcode Particular users have been asking for the ability to build and manipulate multiple particle systems together, and Red Giant has answered their wishes.

If you’ve never used the Trapcode Suite you should also check out the rest of the mega-bundle which includes apps like Shine, 3D Stroke, Starglow, MIr, Lux, Sound Keys, Horizon and Echospace here. And if you want to get more in-depth rundowns of each of these programs check out Harry Frank’s (@graymachine) and Chad Perkin’s tutorials on the Red Giant News website. Then immediately follow @trapcode_lab and @RedGiantNews on Twitter.

If you want to find out more about the other tools in the Trapcode Suite check out my previous two-part review of Suite 13 here on postPerspective: https://postperspective.com/review-red-giants-trapcode-suite-13-part-1 and https://postperspective.com/review-red-giant-trapcode-suite-13-part-2.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: Boxx’s Apexx 4 7404 workstation

By Brady Betzel

The professional workstation market has been blown open recently with companies like HP, Apple, Dell, Lenovo and others building systems containing i3/i5/i7/i9 and Xeon processors, and  AMD’s recent re-inauguration into the professional workstation market with their Ryzen line of processors.

There are more options than ever, and that’s a great thing for working pros, but for this review, I’m going to take a look at Boxx Technologies Apexx 4 7404, which the company sent me to run through its paces over a few months, and it blew me away.

The tech specs of the Apexx 4 7404 are:
– Processor: Intel i7-6950X CPU (10 cores/20 threads)
– One core is overclocked to 4.3GHz while the remaining nine cores can run at 4.1GHz
– Memory: 64GB DDR4 2400MHz
– GPUs: Nvidia Quadro P5000 (2560 CUDA cores, 16GB GDDR5X)
– Storage drive: NVMe Samsung SSD 960 (960GB)
– Operating system drive: NVMe Intel SSDPEDMW400 (375GB)
– Motherboard: ASUS X99-E WS/USB3.1

On the front of the workstation, you get two USB 3.0, two USB 2.0, audio out/mic in, and on the rear of the 7404 there are eight USB 3.0, two USB 3.1, two Gigabit Ethernet, audio out/mic in, line in, one S/PDIF out and two eSATA. Depending on the video card(s) you choose, you will have some more fun options.

This system came with a DVD-RW drive, which is a little funny these days but I suppose still necessary for some people. If you need more parts or drives there is plenty of room for all that you could ever want, both inside and out. While these are just a few of the specs, they really are the most important, in my opinion. If you purchase from Boxx all of these can be customized. Check out all of the different Boxx Apexx 4 flavors here.

Specs
Right off the bat you will notice the Intel i7-6950X CPU, which is a monster of a processor and retails for around $1,500, just by itself. With its hefty price tag, this Intel i7 lends itself to niche use cases like multimedia processing. Luckily for me (and you), that is exactly what I do. One of the key differences between a system like the Boxx workstation and ones from companies like HP is that Boxx takes advantage of the X or K series Intel processors and overclocks them, getting the most from your processors all while still being backed by Boxx’s three-year warranty. The 7404 has one core overclocked to 4.3GHz which can sometimes provide a speed increase for apps that don’t use multiple cores. While this isn’t a lot of cases it doesn’t hurt to have that extra boost.

The Apexx 4 case is slender (at 6.85-inches wide) and quiet. Boxx embraces liquid cooling systems to keep your enterprise-class components made by companies like Samsung, Intel, etc. running smoothly. Boxx systems are built and fabricated in Texas from aircraft grade aluminum parts and steel strengthening components.

When building your own system you might pick a case because the price is right or it is all that is available for your components (or that is what pcpartpicker.com tells you that is what fits). This can mean giving up build quality and potentially bad airflow. Boxx knows this and has gone beyond just purchasing other companies cases — they forge their own workstation case masterpieces.

Boxx’s support is based in Austin – no outsourcing — and their staff knows the apps we use such as Autodesk, Adobe and others.

Through Its Paces
I tested the Apexx 4 7404 using Adobe Premiere Pro and Adobe Media Encoder since they are really the Swiss Army knives of the multimedia content creation world. I edited together a 10-minute UHD (3840×2160) sequence using an XAVC MP4 I shot using a Sony a6300. I did a little color correction with the Lumetri Color tools, scaled the image up to 110% and exported the file through Media Encoder. I exported it as a 10-bit DNxHQX, UHD, QuickTime MOV.

It took seven minutes and 40 seconds to export to the OS drive (Intel) and about six minutes and 50 seconds to go to the internal storage drive (Samsung). Once I hit export I finally got the engines to rev up inside of the Boxx, the GPU fans seemed to kick on a little; they weren’t loud but you could hear a light breeze start up. On my way out of Premiere I exported an XML to give me a headstart in Resolve for my next test.

My next test was to import my Premiere XML into Blackmagic’s Resolve 14 Studio and export with essentially the same edits, reproduce the color correction, and apply the same scaling. It took a few minutes to get Resolve 14 up and running, but after doing a few uninstalls, installing Resolve 12.5.6 and updating my Nvidia drivers, Resolve 14 was up and running. While this isn’t a Boxx problem, I did encounter this during my testing so I figured someone might run into the same issue, so I wanted to mention it.

I then imported my XML, applied a little color correction, and double checked that my 110% scaling came over in the XML (which it did), and exported using the same DNxHQX settings that I used in Premiere. Exporting from Resolve 14 to the OS drive took about six minutes and 15 seconds, running at about 41 frames per second. When exporting to the internal storage drive it took about six minutes and 11 seconds, running between 40-42 frames per second. For those keeping track of testing details, I did not cache any of the QuickTimes and turned Performance Mode off for these tests (in case Blackmagic had any sneaky things going on in that setting).

After this, I went a little further and exported the same sequence with some Spatial Noise Reduction set across the entire 10-minute timeline using these settings: Mode: Better; Radius: Medium; Spatial Threshold: 15 on both Luma and Chroma; and Blend: 0. It ran at about nine frames per second and took about 25 minutes and 25 seconds to export.

Testing
Finally, I ran a few tests to get some geeky nerd specs that you can compare to other users’ experiences to see where this Boxx Apexx 4 7404 stands. Up first was the AJA System Test, which tests read and write speeds to designated disks. In addition, you can specify different codecs and file sizes to base this test off of. I told the AJA System Test to run its test using the 10-bit Avid DNxHQX codec, 16GB file size and UHD frame size (3860×2140). I ran it a few times, but the average was around 2100/2680 MB/sec write and read to the OS drive and 1000/1890 MB/sec write and read to the storage drive.

To get a sense of how this system would hold up to a 3D modeling test, I ran the classic Cinebench R15 app. OpenGL was 215.34 frames per second with 99.6% ref. match, CPU scored 2121cb and CPU (single core) cored 181cb with MP Ratio of 11.73x. What the test really showed me when I Googled Cinebench scores to compare mine to was that the Boxx Apexx 4 7404 was in the top of the heap for all categories. Specifically, within the top 20 for overall render speed being beaten only by systems with more cores and placed in the top 15 for single core speed — the OpenGL fps is pretty incredible at over 215fps.

Summing Up
In the end, the Boxx Apexx 4 7404 custom-built workstation is an incredible powerhouse for any multimedia workflow. From rendering to exporting to transcoding, the Boxx Apexx 4 7404 with dual Nvidia Quadro P5000s will chew through anything you throw at it.

But with this power comes a big price: the 7404 series starts at $7,246! The price of the one I tested lands much higher north though, more like just under $14,000 — those pesky Quadros bump the price up quite a bit. But if rendering, color correcting, editing and/or transcoding is your business, Boxx will make sure you are up and running and chewing through every gigabyte of video and 3D modeling you can run through it.

If you have any problems and are not up and running, their support will get you going as fast as possible. If you need parts replaced they will get that to you fast. Boxx’s three-year warranty, which is included with your purchase, includes getting next day on-site repair for the first year but this is a paid upgrade if you want it to continue for years two and three of your warranty. But don’t worry. If you don’t upgrade your warranty you still have two years of great support.

In my opinion, you should really plan for the extended on-site repair upgrade for all three years of your warranty — you will save time, which will make you more money. If you can afford a custom-built Boxx system, you will get a powerhouse workstation that makes working in apps like Premiere and Resolve 14 snappy and fluid.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: OWC’s USB-C dock

By Brady Betzel

Whether you have a MacBook Pro with only one USB 3.1 Gen 1 port (a.k.a. USB-C) or a desktop PC and aren’t fond of reaching around the back of your tower to plug in peripherals, you’ll need a dock. At first you might think a dock isn’t necessary, but it is. With the popularity of the USB-C connection you can use one single cable to plug in your dock and connect with many different devices, including HDMI, Mini DisplayPort, SD cards and multiple other USB connected devices.

OWC has a reputation for having high-quality, Mac-focused products like external RAID storage solutions. OWC branded SSD drives, memory upgrades and even refurbished Mac OS-based systems. One of the company’s latest products is the USB-C dock that is compatible with both Mac OS- and Windows-based computer systems. The OWC USB-C dock comes in two versions: Mini DisplayPort and HDMI. Otherwise, the rest of the ports are identical.

In the front of the dock is an SD card reader, 3.5 headphone/microphone combo port and high-powered USB 3.1 Gen 1 USB port. On the back are three USB 3.1 Gen 1 ports (one of those is another high-powered charging port), one USB 3.1 Gen 1 Type-C, Gigabit Ethernet, a USB 3.1 Gen 1 connection for your system, HDMI or MiniDP port, and the DC power connection. The docks come in four different colors that match Apple’s MacBook Pros, including space gray, silver, gold and rose gold. The Mini DisplayPort version costs $148.75, and the HDMI version costs anywhere from $127.99 to $148.75.

What I really love about the USB-C dock from OWC, aside from the abundance of ports, is the addition of high-powered charging ports. I have a Samsung Galaxy S8+ phone, which can charge at a high speed with ports like these, so having them on the dock is extra handy. Besides the S8+, other electronics like the GoPro Hero 5 Black Edition can benefit from these ports.

Where the USB-C dock will really shine is in an environment where you don’t want to carry around all your peripherals and you use a newer MacBook Pro that features USB 3.1 Gen 1 Type-C connections. Keep in mind that the dock will supply up to 60W of power for your computer in addition to the 20W for other peripherals, so if your computer needs more than 60W to charge it may charge slowly or not at all.

For us desktop users, the USB-C dock expands our connections by adding multiple USB ports, an HDMI connection, and even add a Gigabit network adapter all at close range instead of having to reach around the back of your workstation.

The HDMI port supports connection via HDMI 1.4b-enabled displays or televisions: and a high-speed HDMI cable is required for display resolutions of 1080p or higher. Most HDMI cables these days are high-speed, you can even find the AmazonBasics high-speed HDMI cables for $7.99.

As mentioned earlier, the OWC USB-C dock is compatible with both Windows and Mac OS systems, but a driver is required if using the Gigabit Ethernet port on Mac OS X system 10.10 and 10.11. You can find that driver here.

In a Windows-based environment you will not have to update the Ethernet driver, but in both Mac OS and Windows environments if you have the HDMI version, you will need to install the following firmware update.

Summing Up
Out of selfishness, I wish there was one more USB port on the back of the USB-C dock to host my four Tangent Element color correction panels, each of which has its own USB connections. Instead, I have one poking out of the front. In addition, it would be nice to have a Thunderbolt 1/2 port on the dock for my legacy Thunderbolt-connected RAIDs; instead, I will have to buy an additional adapter. Other than those two suggestions, the dock is awesome and works great. It measures just over an inch tall, 3.5 inches wide, and just under 8 inches long. It weighs .9 lbs and comes with a power supply that is actually heavier than the dock, and what I think is a way-too-short Type-C cable measuring at about 20 inches. Obviously, for those using the dock with a laptop this is sufficient, but for those using this dock with a tower something triple that length is needed.

The USB-C dock comes with a two-year limited warranty which in simple terms means that if anything goes wrong with the product because of bad manufacturing they will fix or replace it. They will not cover your data or shipping, so keep that in mind.

The dock’s manual features tips, like the Type-C USB 3.1 port between the traditional USB ports and the Ethernet port is for data and power only; it will not support video signals or video adapters. In addition, this dock is not compatible with Apple’s USB-C Digital AV multiport adapter or USB-C VGA multiport adapter. There are plenty of other usage notes you will want to read, so make sure that you check the manual out before you use the dock.

If you not only want a dock. but also want to update an older MacBook Pro, OWC has some great SSD and memory bundles.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.

Review: Røde Mic’s Stereo VideoMic Pro Rycote

By Brady Betzel

There are a ton of microphone types out there, and when it comes to adding an external mic to a camera you need to know what kind of mic works best in different situations. For interviews, you most likely want a microphone that picks up the audio that is placed directly in front of the microphone. If you are recording a music performance or ambience, you may want something that records in multiple directions without concentrating in any one specific location. I wanted to talk about Røde Microphones, which makes many of the on camera mics you see used YouTube content creators, Podcasters and filmmakers.

The way a microphone picks up audio is typically described as a polar pattern. The most common polar patterns in microphones are Cardioid, Super Cardioid and Omnidirectional. A Cardioid microphone will record mostly audio directly in front of it; a Super Cardioid will record mostly audio in the front, but also some directly in the rear; and an Omnidirectional will pick up audio equally from all directions. To further complicate the matter, if you record in stereo you can have a pickup pattern like X-Y Cardioid.

So after all that description of microphone polar patterns (you are welcome), here I’m going to focus on the Røde Stereo VideoMic Pro Rycote, which has an X-Y Cardioid polar pattern. You may be familiar with Rode’s famous VideoMic Pro, which is a great Super Cardioid, dual-mono microphone. The VideoMic Pro would be a great mic for recording a discussion outdoors, focusing on the conversation, but also picking up a little of the ambience. The Stereo VideoMic Pro Rycote uses its X-Y Cardioid to record a stereo scene without a focus on a smaller specific area. In plain language, the Stereo VideoMic Pro Rycote is great for recording ambience or performances. It is not the mic you want to use for an interview; that would be a job for the VideoMic Pro or better yet a directional mic like the Rode NTG series, which will give an intense focus on the area it is pointed at.

Capturing Ambience Outdoors
So why would someone want the Stereo VideoMic Pro Rycote? If you record scenes outdoors, like at a baseball or soccer game, where you want to generally focus your audio on an area but also catch the surrounding ambience of the crowd… or at an outdoor group performance. Something I see missing a lot in videography is ambience in timelapses or b-roll, the Stereo VideoMic Pro Rycote is exactly the on-camera mic you need to grab some great stereo ambience and add life to any b-roll shot, instantly. If you record traffic b-roll with cars crossing the camera from left to right or right to left, the stereo recording will convey traffic movement in a much more natural way engaging the viewer more than a mono recording of traffic that will not convey movement.

For all of the technical nerds out there, the Røde Stereo VideoMic Pro Rycote features a frequency range of 40Hz ~ 20,000Hz but can be limited with the built-in High Pass Filter that clips anything below 75Hz, matched pair ½” condenser capsules in X-Y stereo configuration, three position level control -10dB, 0 and +20dB. It uses a single 9V battery, measures 4.5” x 3.1” x 5.3”. It connects using a 3.5mm stereo mini-jack and weighs only .26 lbs.

The Stereo VideoMic Pro Rycote is an updated version from the original Stereo VideoMic Pro, which includes the nearly indestructible Rycote Lyre shock mount, new condenser capsule setup, new Kevlar reinforced braided cable and improved foam windscreen. Best of all it comes with a 10-year warranty (one-year warranty plus nine additional years when you register your microphone). If you read any online comments about Røde microphones, you will notice one common theme: great customer service. More often than not you will see someone talk about how they needed an addition piece or how their warranty ran out but Rode still helped them out free of charge.

Putting it to the Test
To test the Røde Stereo VideoMic Pro I tried a few different scenarios including some outdoor scenes where I showcased stereo and mono recording. You can check out my YouTube video. I recorded everything on a Blackmagic Pocket Cinema Camera, which is notorious for having low audio recording levels. Luckily, the Stereo VideoMic Pro Rycote has the three position level control and I was able to boost the recording by +20dB with very little noise. Otherwise my levels would have to be boosted when editing and that would definitely introduce more noise than I would have liked. While I did pick up a little bit of handling noise when recording, the Rycote Lyre shock-mount limited the little movements that other mics without this shock mount would have picked up. In terms of noise recorded on the mic, you can hear a little bit but nothing you couldn’t easily take out if it bothered you.

In the end the, Røde Stereo VideoMic Pro is a high-level external microphone that will add production value to any camera recording. It is priced between $279 and $300, although I found differing prices. Visit here to find a retailer near you, and one that will make sure you can take advantage of the tremendous warranty and customer service they offer. I also noticed that many retailers are including the Dead Kitten wind muff for free with purchase for when you are recording in a windy area.

When you listen to the difference between recording stereo with the Røde Stereo VideoMic Pro Rycote vs. recording mono on a mic like the Røde VideoMic Go, you can really feel your b-roll opening up. It adds a great level of depth to what would ordinarily be straight up the middle audio with no sense of left or right panning.

The Røde Stereo VideoMic Pro Rycote has an incredible recording and product build quality that will add depth to any footage you film. If you record outdoor b-roll, performances, or any other non-interview type footage. The Røde Stereo VideoMic Pro Rycote is going to be a vital piece of equipment you need to have in your bag.


Brady Betzel is an Emmy-nominated online editor at Margarita Mix in Hollywood, working on Life Below Zero and Cutthroat Kitchen. You can email Brady at bradybetzel@gmail.com. Follow him on Twitter @allbetzroff.