Issue link: https://digital.copcomm.com/i/1262492
60 C I N E M O N T A G E T E C H N O L O G Y Software's Carbon Copy Cloner. She's the keeper of the content, so when the shift to remote editing happened, Luckey was able to help the other assistant editors pull what they needed to finish their episodes. "We're using sound effects and music from Season 1 and 2. Plus, we need to pull over all the material for the main title and the end credits. I would make sure the assistants took their episodes offline, found out what they lost, and copied over the missing media. They'd also need material from past episodes for the recaps. So, we'd email each other back and forth at home, saying, 'I don't have this and I need that.' But I have a copy of it on the bootable backups and so we're able to exchange media when we need it," Luckey said. Her setup at home is almost the same as her studio setup. From her cutting room, she has her Trashcan Mac running AVID, a USB 3.0 hub, two monitors, a DVD burner, and an office chair. The two main differences — and the cause of her big- gest frustrations — are that she's missing her client monitor that would have made it easier to view the VFX drop-ins for approval, and she has to rely on her resi- dential internet service. Uploading large files at home — like the online turnover which consists of a video-only "Same as Source" .mov files and separate .wav files totaling 13 GB — can take over five hours. The sound turnover is even bigger, with a split-track "Same as Source" chase, separate .wav files, and two sets of AAFs with different specs all totaling 22 GB. "The turnover to our sound team is always a huge file," Luckey said. "I start- ed that upload to Aspera in the morning and it finally finished a little before 5 p.m. This is crazy. To continue working this way, I would need the upload speed to be better. But, honestly, I don't think remote editing would be a wise thing to do for the future." Finally, let's look at the actual editing. If you're not connecting to your worksta- tion (DAW or NLE) remotely, then your computer at home has to handle the de- mands of your session or project. Music editor Brent Brooks has a "cheese grater" 12-core Mac Pro in his studio at Formosa Music, which "has way more horsepower than what I have at home," he said. His remote setup uses two laptops — a Mac Book Pro running Pro Tools (which is never connected to the internet) and another "online" laptop used to move content to and from Moxion (a secure content-sharing platform similar to PIX). Using the online laptop, he downloads the content to a thumb drive and then transfers that to the "offline" Pro Tools laptop. "This way, the content is safe. Even my online rig doesn't have these files on the desktop. That's the thing you have to be really careful about," he said. His Mac Book Pro is running the same version of Pro Tools that he uses in the SEE PAGE 64 Angie Luckey's home station. P H O T O : C O U R T E S Y A N G I E L U C K E Y