How I recovered from catastrophic data loss

In late 2012 and right after New Year’s Eve this year, in 2015, I experienced two data loss events, both of which happened on my Drobo storage devices. I’ll write a separate post detailing my experiences in recent years with my Drobos but for now, I wanted to let you know how I recovered my files.

First, what do I mean by “catastrophic data loss”? Simple: the loss of terabytes of my very important data: photos, videos, documents. Among other things, I am a photographer and a filmmaker. Losing my photos and my videos is a catastrophic event, as my libraries and archives include both personal and professional photos and videos. If I were to lose these things, I’d lose both treasured memories and part of my livelihood.

Here I should also point out that all of us are at risk of data loss. Most of our stuff is digital these days (or going that way). What would you do if you’d lose all your photos and videos? Think about that question and put a plan of action in place. Follow through with it and make sure you’re covered.

Now let me get the bad part out of the way: in 2012, I lost somewhere between 25,000 – 30,000 photos and I still haven’t counted how many videos, but it was a lot, probably about 20% of my video library. This is stuff I’ll never get back. It’s gone. Period. Who’s to blame? The Drobo. More on that in a later post.

Earlier this year, I could have lost an untold number of files once more but I didn’t. Why? Partially because the Drobo has improved in the way it’s handling errors but mostly because I had access to good software.

Here are the three methods of data recovery I’ll talk about below:

  • Data Rescue: it’s a piece of software that lets you mount bad drives and get your files backed up somewhere else. This let me copy all of the files it could read off the Drobo, although a lot of them ended up being corrupted, as detailed above.
  • Jeffrey Friedl’s Preview-Cache Image Extraction: this is a Lightroom plugin that allowed me to extract image previews for the lost images directly from my Lightroom catalogs. It’s a niche plugin but it’s super useful. You don’t realize just how good it is until you have to use it and then you thank the heavens that it exists.
  • Flickr and YouTube: I was able to download images and videos I’d published to Flickr and YouTube at their maximum upload resolution. They may not have been my digital negatives or my raw video files, which were lost forever, but at least I had something left. This is why I’ve started to upload to both Flickr and YouTube at the best resolution and quality possible, in case something like this happens again.

If you’re pressed for time, feel free to stop here. Make sure you use the methods outlined above and you’ll fare much better if you should lose your data, particularly if you’re working in visual media like I am. If you want the details, read on.

Data Rescue

Back in 2012, I was able to mount the corrupted Drobo volume using Data Rescue 3 and recover the bulk of my files. As mentioned above, Data Rescue was able to see all of the files, including the corrupted ones and it let me copy them off, but 25,000 – 30,000 of a total of about 130,000 photographs and I don’t know how many videos were corrupted and couldn’t be read by either Lightroom, Photoshop, Final Cut Pro or Quicktime, so they were of no use to me. They were gone. These were original RAW, DNG, TIF and JPG files from my cameras and SD and HD video files (MP4, MOV and AVI) from my video cameras. I also lost a great deal of family videos and films and cartoons I’d painstakingly digitized from VHS tapes and DVDs I’d purchased, as well as shows and films I’d recorded from TV using a DVR and then edited and stored on the Drobo. In most cases, the files just wouldn’t open up at all. In other cases, I could open them but half or more than half of the image was gone, as you see below.

This is one of my wedding photographs. Most of my wedding photographs look like this or worse…

At our weddingHere’s another. This used to be a photograph of a cliff.

Cheile Turului

I could give you many more examples but the point is, they were irreversibly damaged when the Drobo decided to go kaput.

I don’t know what I would have done without Data Rescue. Because I bought it and used it, I was able to save 70-80% of my data after my 1st catastrophic data loss event and 100% of my data during my recent data loss event.

You may say it’s not data loss and it’s not catastrophic if I was able to recover the data. To that I say that I’d have recovered 0% of my data in both cases without Data Rescue and 0% of over 8 TB of data is damned catastrophic in my book.

Jeffrey Friedl’s Preview-Cache Image Extraction

This super-useful and little-known plugin for Lightroom allows you to extract JPG files from the preview images stored in your Lightroom catalogs. That means that even if you lose the original raw files, you can still have the JPGs and that’s a huge thing.

There’s one caveat though: you need to have allowed Lightroom to keep the previews and you also need to have allowed Lightroom to store high-quality previews. I won’t get into the exact terminology here, there are plenty of tutorials on the internet that will teach you how to optimize those settings. Suffice it to say that I now have my catalogs set to create 1:1 previews and to never delete them, just in case I ever experience data loss again.

I didn’t do this in the past, which meant that I was only able to recover thumbnails or smaller JPGs for most of my corrupted photos, but this was still better than nothing. I have precious photos of my wife that are thumbnail-sized, but at least I have those, I was able to get something back from the gaping maw of data loss.

Flickr and YouTube

These two websites aren’t just for sharing photos and videos. They also let you download your originals. Well, Flickr lets you download your originals. YouTube only lets you download MP4 files of your videos but hey, it’s wonderful anyway.

By the way, the Flickr mobile app and the Google Plus mobile app (for iOS and Android) both let you automatically back up the photos taken with that phone to your respective accounts on both services. They’re set to private by default so only you see them. That’s really nice.

Flickr download options

YouTube download options

This is why I now upload all my published photos to Flickr at their highest resolution and quality and why I also upload all my published videos to YouTube at their highest resolution and quality. In case I ever experience data loss in the future, I’ll have part of my photo and video library on these sites and I’ll be able to download it. And this is also why I no longer put watermarks on my photos. It’s no good to be able to download your own original and have a watermark on it. You now either have to crop it or Photoshop it. I have no time for that sort of thing. I’d rather deal with more productive stuff.

Of course, JPGs aren’t DNGs or RAW files but if they’re the highest resolution, dpi and quality available, they’ll do just fine. And an edited 1080p MP4 file isn’t the same thing as the original Final Cut Pro event and project along with the original video and audio files that were used to create it, but if you don’t have those anymore, you’ll be very thankful to have the MP4.

Now, for some less-than-obvious stuff…

But Raoul, why don’t you back up your stuff? That would solve all your problems! 

I do back up my stuff. I’ve been using CrashPlan for years and I also use Time Machine to back up the files on my Mac (but not all my files are on my Mac, they don’t all fit on it). Unfortunately, during my first data loss event in 2012, I was re-structuring my backup sets and the Drobo couldn’t have picked a worst time to fail. If I had relied on my backups, I’d have recovered only about 25% of my data.

This year, I was doing a little better, although I was also re-structuring my backup sets. Somehow these things seem to know when to fail just to cause more headaches (my warranty had also just run out about 3-4 days before it failed). That brought to mind images of planned obsolescence…

This time I’d have recovered about 80% of my data from the backups. Not ideal but much better than before. I can go into my backup strategy at a later time, but it’s much more difficult for me to back up all my stuff than it is for you, simply because I have a ton of data and I always run into bandwidth issues. For example, one of my backup jobs has to keep up with 8.1 TB of data. The other, with 6 TB of data. And I don’t add small amounts of data to those backup sets, I add gigabytes, lots of gigabytes, whenever I have a studio shoot or take a trip, whether it be photos or videos.

But Raoul, why do you keep using the Drobo when it keeps failing? 

The basic premise of a Drobo, that of using SATA drives of different sizes, from different manufacturers in a single array that can show up as a single 16 TB volume on my Mac, and also allow for one (or two) of those drives to fail while keeping the data safe, still cannot be beaten by anything else on the market. If you know of anything else that meets those criteria, let me know. The Drobo has its drawbacks and data corruption is one of them. Drobos also brick themselves quite a lot, just search for that phrase and you’ll see what I mean. They’re not to be relied upon but they provide the basic benefit outlined above.

But Raoul, you could have used photo recovery software to get all those tens of thousands of photos back! Why didn’t you? 

Back in 2012, I knew of no such software. Now I believe there are several options available and some allow for batch processing of corrupted photos. I haven’t tried any of them yet so I can’t tell you anthing about them. I doubt that any software can do much when half of a photo’s pixels are missing. Besides, I didn’t need to use them after my latest data loss, I was able to get it all back with Data Rescue.

But Raoul, you could have sent your Drobo in to a professional data recovery service. Couldn’t they have done a much better job? 

Maybe. I did get a couple of quotes. They ran anywhere from $3,000 – over $10,000 and they couldn’t guarantee they’d get all my data back. What also made things more complicated and expensive was shipping my drives to the US, where these companies were located. I live abroad and the customs are such a headache I try to avoid dealing with them whenever I can.

The trailer for my YouTube channel

This May, YouTube introduced a new design to the channel page which is easier to customize and resizes itself automatically on screens of multiple sizes, be it desktops, notebooks, tablets or phones. We can customize the videos that appear on the channel page much better than ever before, making it easier for visitors to see a variety of videos from our channel’s library. Best of all, we can create a channel trailer that helps those who are new figure out what our channel is about. It gets shown automatically to those who aren’t yet subscribed. Those who already are see viewing suggestions instead. Here’s my channel’s trailer:

If you haven’t yet subscribed, now is a good time.

Thanks!

How can a normal YouTube video garner so many copyright claims?

Have a look at a screenshot from my YouTube account, listing the various copyright claims made on a single video of mine.

That’s eight copyright claims, one of which still remains to be released if the music publisher in question, Believe, will do the right thing.

How can a simple video like this, where I went to the beach and filmed various simple scenes, cause YouTube’s copyright ID engine to flag it so many times?

I’m not upset (anymore). I used to get upset. (You can read those posts here and here.) For one thing, it’s not worth getting upset about. For another, YouTube has already taken steps to remedy the process, for which I thank them. Their copyright claim process, which I wrote about almost two years ago, is much improved these days, which makes it easier to file a dispute and to explain my position.

But it is mind-boggling that a simple, average video like this could trigger so many copyright flags. As I explained in past posts, all I did here was to minimally supplement the natural sound of the surf, which got muffled by wind noise in some portions of the video, with an iLife track called “Ocean Surf”. The track is royalty-free, approved by Apple for commercial and/or personal use, and the terms are clearly spelled out in the iLife Service Level Agreement.

I think there are two lessons to be learned here:

  1. YouTube’s copyright ID engine is still trigger-happy. It should be tweaked, and I suggest that this particular video of mine be used as a case study by YouTube engineers. If someone from YouTube/Google is interested, I’m willing to do a Screen Sharing session with them and show them exactly how I edited the video and where the “Ocean Surf” sound loop was used.
  2. Perhaps all these music publishers ought to stop copyrighting beach sounds? Let’s face it, nature sounds, especially ones that are as easy to record as beach sounds, are as public domain as sounds can get. Now if it’s the sound of the rare Brazilian polka-dotted bazooka bird, or some other rara avis, then I can understand the need to copyright it, but going to the beach, turning on the recorder, then calling it a copyrighted sound, is an exaggeration. Are you listening, publishers?

Ligia’s Kitchen: Glazed Cranberry Cake

Welcome to episode 20 of our raw food cooking show, Ligia’s Kitchen! It struck me a while back — about the time we started it, that a raw food cooking show is a contradiction in terms. After all, if it’s raw food, it isn’t cooked, but what else could we call it? A raw food uncooking show? Somehow that doesn’t have the same ring.

Ligia presents an original recipe in this episode, a Glazed Cranberry Cake, which is a great addition to any Thanksgiving feast. (You know what else would be a great addition to your Thanksgiving table? Spiced Apple Punch, naturally.)

Being raw foodists, our own feast will have no turkey or animal products, but I know we’ll be stuffed in the end just the same. And as I always like to point out to those who still eat traditional foods, you can eat raw foods till you burst and still not have the pounds to show for it, like you would after the usual holiday feasts. In my book, that’s a huge plus.

Episode LK-020-EN-HD, with Romanian subtitles
Released 11/21/2011

Enjoy!

Ligia was chosen for YouTube’s Next Chef program!

A little while ago, we heard about a contest Google had announced, called the YouTube Next Chef Program. We immediately thought about Ligia’s cooking show, Ligia’s Kitchen, and what a great fit that would be for the contest. Ligia applied, but didn’t think she’d win, particularly because the field of applicants was global, and the program promised to be exceptionally good in terms of the training and rewards offered. I had a gut feeling about it, I knew we’d put in the hard work needed to produce a quality show and felt we had a really good chance.

The contest winners would receive a 12-week training course in improving the quality and content of their videos, in marketing and promoting their videos and shows, and would also receive a package worth about $15,000 in exposure across YouTube and in new video equipment.

Time passed quickly and last week, we found out to our amazement that she’d been chosen as one of the 16 winners! I couldn’t believe it! For her, it was nothing short of a miracle. For me it was a confirmation of our efforts.

We got in touch with the folks at YouTube to find out the details, and were advised to be ready to receive inquiries from the American media. Sure enough, on Tuesday night around 1 am our time, we were talking with a journalist from the Sun Sentinel, the biggest paper in South Florida, who then wrote about Ligia on his blog. From what we understand, Ligia will also be mentioned or featured in the printed version of the newspaper within a few days.

We couldn’t say anything until yesterday, when the official announcement was made on the YouTube blog. We can’t thank Google enough, and Ligia can’t wait for the courses to begin! I’ll join in on the courses as well and look forward to learning new things.

You can watch all the episodes of our show, Ligia’s Kitchen, here. And if you’re not yet subscribed to Ligia’s channel or her website, let me invite you now to do so.

Do not use iMovie sounds for YouTube videos

Updated 4/24/12: YouTube has greatly improved the copyright claim dispute process in recent weeks, and it seems that even copyright holders have gotten much more responsive and willing to relinquish claims falsely flagged by YouTube’s Copyright ID engine. These are all good steps in the right direction! 

Are you a YouTube Partner? Great! Then don’t use sounds or tracks from the Final Cut Pro/iMovie/iLife library in your YouTube videos, because sooner or later, they’ll be flagged, taking them out of the revenue sharing program.

I’ve touched on this topic in this post and this earlier post as well. Until now, I thought filing a copyright dispute and trying to work within that process on the issue would lead to the correct solution, which would be a rejection of the false claims, but unfortunately that’s not the way the copyright dispute process is structured.

There is no mechanism on YouTube to adequately dispute a copyright claim, because the process is heavily tilted in the favor of the supposed copyright holder. There is a first step, which allows you to raise your hand and say to the alleged copyright holder, “Wait a minute, I’m not using your music, the track I’m using here is royalty-free, here is the iLife SLA, see where it says I’m allowed to use it commercially”, which may lead to the removal of the copyright claim, or not, in which case you can re-dispute but risk jeopardizing the standing of your YouTube account, the removal of your video along with its view count and the possible loss of your Partner status. That can be a terrible situation.

That’s right, beyond that initial “raising of your hand”, there is nothing else you can do. If YouTube staff is nice, they might give you an email address for the supposed copyright holder, and in some rare cases, someone might read your email at those places, respond and actually do something meaningful about your problem, but that chance is slim. The majority of the time, you’re going to be screwed over, and some alleged copyright holder is going to profit from your work.

The really annoying part in this whole screwing-over business is there’s no middle ground. Your video’s either in the revenue sharing program or it isn’t. YouTube has chosen to ignore the whole video aspect of this altogether, meaning that when a copyright claim is filed for the music in a video, even though you have a video which is wholly yours, and only the music might belong to someone else (but it doesn’t when you use sounds from iMovie, because they’re royalty-free), they pull the video out of revenue sharing altogether, as if there’s no video, only audio. Shouldn’t they allow you to continue to make some money on that video? After all, you shot it and edited it! Your only “fault” (if we could even call it that) was using royalty-free tracks from Apple to score it. In a logical world, that’s what would happen, but we don’t live in a logical world. We live in a world where YouTube chooses to obey the demands of alleged copyright owners without standing up for its YouTube Partners. All these supposed owners have to do is to upload sound-alike tracks to their YouTube catalog and they’re set. YouTube’s Content ID engine will start identifying videos that are using similar-sounding tracks and flagging them, leading to a lot of frustration on our part. I know this sounds harsh and I love Google and YouTube, but this is so frustrating for me that I’m not sure how else to put it.

Things have gotten so bad that now the copyright trolls have started to make music that sounds like the tracks from the iLife Library, for the express purpose of cashing in on YouTube. See this thread in the YouTube forums. And for a bit of background on the issue, see this thread as well. The problem’s existed for years, not months. YouTube likely knows about it. Privately, they’re likely tweaking the copyright engine algorithm and they’re trying to address the problem, but publicly, all I’m seeing is people getting screwed over by the copyright trolls.

You can’t even rely on the initial copyright warning anymore. In the past, you’d upload a video to YouTube, and within a few minutes, you’d get a warning saying the video matches content from such and such entity. Fine. I’d pull it down and re-edit it, using other sounds, even though the sounds I’d used were also from Apple’s royalty-free library. But now, you upload the video, everything’s fine, and months down the road, after the video’s been seen by thousands of people or more, and it’s been linked to, etc., you get the dreaded copyright warning. What are you going to do then? Pull it down? As you can see from the thread I linked to in the paragraph above, the copyright trolls are going through popular YouTube videos, identifying the music used in those videos, and then profiting from this loophole. We, the YouTube Partners, who do the hard work to create the videos that make YouTube a popular website are the ones getting screwed over. When is YouTube going to stand up for us?

To be fair, I think the blame rests squarely on the shoulders of both Google and Apple on this matter.

What Apple should have done, years ago, was to sign up for the Content ID program and upload all of the tracks in the iMovie/iLife Library (you know, the ones they keep saying are royalty-free). Then, they should have indicated to YouTube that whenever a video uploaded to the platform matches one of the tracks in their library, YouTube should do absolutely nothing about it, because it’s perfectly okay, they’re royalty-free tracks. If they had done that, we wouldn’t be in this mess now, would we?

YouTube is to blame as well. The copyright dispute process does not work. It puts all the balance of power in the hands of those who file the copyright claim, and because no person at Google reviews our disputes, the trolls have all the say in the matter. (I understand the sheer amount of work it would take if YouTube staff would have to review every dispute filed for false claims, but at least they could do it for their YouTube Partners, there aren’t that many of us.)

Instead our copyright disputes only get seen by the staff at the various copyright holding groups, who have an interest in maintaining their claims, since there’s no recourse from Google/YouTube for wrongly identified videos, and of course, let’s not forget the copyright trolls, who hang onto every claim they make no matter what one says in a dispute.

I make that distinction above because there are some groups within the music industry who aren’t copyright trolls. For example, I’ve had copyright disputes reviewed by staff at the GoDigital Media Group and the Warner Music Group, and they’ve ultimately agreed with me and retracted their copyright claims. So there are some good guys around, there just aren’t enough of them.

So my advice to you, as stated at the start of this post, is do not use music from the Final Cut Pro/iMovie/iLife Library at all if you’re a YouTube Partner. You’re better off using music from independent artists and licensing it directly from them, or getting it from websites like MusOpen — or scoring your videos yourself, with original music.

Perhaps Apple and Google will fix this at some point. Until then, do yourself a favor and follow my advice. You’ll be able to sleep better for it.

Interesting Places

Interesting Places is a playlist I put together for my travel and nature videos. It contains 52 videos at the moment, with more to come in the future. Here are just a few of the videos you’ll see in it:

Enjoy!

Adorable Animals

Announcing a new YouTube playlist containing my animal videos, called Adorable Animals. Those of you who like animals will love it! Here are just a few of the videos you’ll see there:

Enjoy!

YouTube and WordPress update oEmbed player to include CC button

This is big news for those of us providing captions or subtitles for the videos published on YouTube. I noticed today that the oEmbed video player for YouTube videos, the one used for all WordPress blogs, has been updated to include the CC button. It didn’t have it the last time I checked, which was yesterday. My site subscribers would always ask me where the CC button was, and how to see the subtitles, and I had to tell them to go see the video directly on YouTube if they wanted subtitles, which was a bit of a chore, and it certainly didn’t make things obvious and easy for folks who were using that feature for the first time.

Well, I’m glad to announce that from now on, you’ll be able to turn video subtitles on or off right here, on my website, and for those videos of mine where I’m providing two separate subtitles tracks, you’ll be able to switch between them as well.

I can’t tell you enough how pleased I am about this. For someone like me, who produces video shows for international audiences, YouTube’s CC feature is key, and the ability to control subtitles from within the oEmbed player used on my websites is key as well. So I’d like to thank both WordPress and YouTube for updating the video player and for making my life easier!

Quilling – The Art of Paper Filigree – Episode 2

In this episode, you will learn how to put together various design elements in order to create a veritable paper filigree (quilling) greeting card. It uses techniques taught in the first episode, plus it introduces some new ones. You’ll really like the result!

English subtitles available directly on YouTube. Click on the video itself to be taken to its page on YouTube, where you’ll be able to turn on/off the subtitles using the CC button.

Episode QARH-002-RO-HD
Released 2/25/11

Romania Through Their Eyes – Laura Tonlaveur

I promised it, and kept my word. Just launched a new show of my own that’s been in the works for some time. It’s live, right now, on my YouTube channel.

The show is called “Romania Through Their Eyes”, and it’s a series of interviews with foreigners — people who visited Romania, spent time in the country, and wanted to share their thoughts with me.

Episode RTTE-001-FR-HD
Released 2/1/11

The purpose of the show is to get their impressions about the country, and start a dialogue which will lead to a greater understanding of the issues facing Romanians and Romania. I’m hoping this will have an impact on the leadership of the country, and help them to focus their attention on issues that are of international relevance. Because, let’s face it, Romania’s reputation in the world isn’t exactly spotless…

This first interview is with Laura, who is from the South of France, and spent two and a half months in Romania in the fall and winter of 2010.

Thanks to YouTube’s CC option, I can provide two language tracks (English and Romanian) for each show. You’ll have to excuse my translation, I’m doing my best and it may not be as accurate as I want it to be, but at least it’s there. If there’s a need for subtitles in another language, get in touch with me and we’ll work together to get them up there.

My current plans are to put out one episode per month. As you know, I already film, direct, edit and produce my wife’s two shows (Ligia’s Kitchen and Quilling – The Art of Paper Filigree). There’s a significant time commitment already devoted to them. And you wouldn’t believe how much work goes on behind the scenes for one of these interviews… But, as I say in the video, if there’s enough interest, I’ll be glad to roll up my sleeves and get to work on more frequent episodes, like bi-monthly ones, or even once a week, who knows. It’s up to you — so if you like it, spread the word, like it, fave it, share it, etc. — get the word out!

Thank you!

What comes after High Definition?

Producing (set design, lighting, filming, directing, editing) my wife’s cooking show has gotten me thinking about what comes after HD, because there obviously is a large discrepancy in resolution between full 1080p HD and properly exposed 35mm film (up to 3500p) — as I already mentioned in my post on preserving classic movies.

Yes, high definition is a huge improvement over standard definition, which in turn was a large improvement over early television signals. But televisions and VCRs, in spite of their popularity, are a dismal failure in picture quality compared to what they replaced: film reels and projectors.

Nowadays, we’ve gained some foothold back when it comes to consumer/prosumer video quality. We have ready access to video cameras that will record in HD (at various qualities, given the model and the price), and we have newer computers and televisions that will allow us to play back those videos at their native (720p or 1080p) resolutions. Even websites have begun in recent years to allow us to play back HD videos, and the quality of broadband internet connections has increased to the point where one doesn’t have to wait a half hour or more in order to download/buffer an HD video and play it properly on their computer. We can even play back HD videos from the internet directly on our televisions, thanks to standalone or built-in media players.

But if we’re to get back to the quality of 35mm film and best it, we must keep moving forward. Thankfully, some visionaries have already taken the first steps and have come up with a camera that can record at a similar-to-film resolution: the RED One, which can give us 2300p of extremely high definition digital video. It’s not quite 3000p or 3500p (which would be the equivalent of properly exposed film), but it gets us pretty close, and it’s certainly much better than 1080p.

The RED camera captures each frame of video as a 12-bit RAW image, which means we, as videographers, have much greater freedom than before when editing the video, just like photographers do when they switch from JPG to RAW files. All of a sudden, white balance, exposure, recovery, blacks, vibrance, saturation, and tone adjustments can be made with much more accuracy.

One area where I’d love to see more improvement — although I’m sure it’ll come with time — is RED’s ability to capture more color depth, say 14-bit or 16-bit. Bit depth is still an area where improvement can be made across the board when it comes to digital cameras.

But let’s leave tech specs alone, and think about how we can edit and enjoy the videos we could make with a RED camera. That’s where difficulties come in, because you see, we still can’t properly do that, certainly not with consumer, and not even with prosumer equipment. No, we’d be looking at professional equipment and serious prices. The market just hasn’t caught up.

There are no computers that can display that kind of resolution at full screen, and there are no televisions that can do it, either. TVs and computers are still caught up in the world of 720p and 1080p. And to make things even more complicated, now we’ve got to worry about 3D video, which is nice for some applications, but from my point of view, it’s a distraction, because it adds yet another barrier, another detour, on the road to achieving proper video resolution across the board. Manufacturers, TV stations and filmmakers are jumping on the 3D bandwagon, when they should be worried about resolution.

So, what costs would a filmmaker be looking at if he or she wanted to shoot at the highest possible digital resolution available today (a RED setup)? I crunched some numbers, and mind you, these are just approximations. The costs are likely to be 1.5-2x that much when you account for everything you might need. On a side note, the folks at RED and at Final Cut Pro have worked together quite a bit to ensure that we can edit RED video natively, directly in Final Cut Pro, on a Mac. See this video for an overview.

  • RED One camera: $25,000
  • 35mm RED lens: $4,250
  • 18-85mm RED lens: $9,975
  • RED LCD: $2,500
  • RED CF media and cards: $1,500
  • RED rig: about $2,500
  • add extra $$$ for power, accessories, tripods, other media, etc.
  • RED video card, for encoding and editing video: $4,750
  • Mac Pro editing station: about $7,000-$12,000, depending on your needs, and you may need more than one of these, depending on how big your production is
  • 30″ display: about $1,000-$3,000, depending on your needs, and you may need more than one of these as well, depending on the number of workstations and your display setup
  • Final Cut Studio software: $1,000
  • HDD-based storage for editing and archival: $2,000-$20,000, depending on your needs
  • LTO tape or additional HDD-based storage for backup: costs will vary quite a bit here
  • Specialized cinema hardware and display for showing movies at full resolution: I have no idea what this costs, but it’s likely to go into the hundreds of thousands of dollars, and not every cinema has it

So at a minimum, we’d be talking about an investment of more than $60,000 in order to work with a RED setup today.

But let’s not get tied up in talking solely about RED cameras. Clearly the entire industry needs to take steps in order to ensure that videos at resolutions greater than 1080p HD can be played across all the usual devices. Unfortunately, they’re still tied up in SD and HD video. Most TV channels still transmit in SD or lower-than-SD video quality (lower than 480p). It’s true, most have always transmitted at broadcast quality (500p or better) but we’ve always had to contend with a lot of signal loss. And nowadays, we still have to pay extra for HD channels, even though they should be the norm, and we should be looking forward.

To that effect, computer displays need to get bigger and better, computer hardware needs to get faster, computer storage needs to expand, media players need to increase their processing power, televisions need to get better and bigger, and broadband internet needs to get faster, ideally around the gigabit range (see this talk from Vinton Cerf on that subject), so that full resolution, 4000K video can move across the internet easily.

For now, if I were to start working on RED, I’d still have to output to 720p or 1080p and keep my full resolution originals archived for another day, somewhere in the future, when consumer-grade electronics have evolved to the point where they can play my videos and films natively.

I for one look forward to the day when YouTube starts to stream 3500p videos, and when we can all play them conveniently and at full resolution on our computers and televisions!