Episode 1
FCG001 - Welcome to the Grill (feat. Carl Olson)
For the inaugural episode of FCPX Grill I sit down with my old friend Carl Olson, Host of The Digital Convergence Podcast, and we discuss his recent switch to FCPX. We get into a bit of details about some of the hurdles he had to get past to give up Final Cut Classic, including The Connected Clip and how to change the connection point. Carl also shares a tip about automatically making Keywords.
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Featuring
- Chris Fenwick
- Carl Olson - @thecarlolson
Transcription
00:00.001: But you know, that's a different clientele, different range of you know, the premium that people will pay in this industry is different than what they pay in the water damage restoration industry.
00:00.001: So it was just really cool.
00:00.001: But I do have to go do it from time to time.
00:00.001: Before you even launch Final Cut Program.
00:00.080: And you're never going to change the slide as I'm sitting here talking.
00:00.080: Final Cut Grill is sort of a spin-off, if you will, of Digital Cinema Cafe.
00:00.160: So I did that with Carl for a couple of years until he decided to cancel that show.
00:00.160: to participate in everything.
00:00.160: It doesn't sound good at all.
00:00.160: Carl does this gra that was a really great little demo that you did where you played a little piano and then you put the shimmer plug on it plug in on it and you just go
00:00.160: Or Gron?
00:00.160: The Lynda.
00:00.160: You know, you hate that the ambulance has to have a business for our ambulance service, but you sure are glad when you can call 911 and get one.
00:00.160: the pipeline or RinCon or whatever the next uh OS version is.
00:00.160: I had gotten to a point where I could go as fast as I could in Final Cut Pro 7.
00:00.160: So, why Final Cut 10 and why not have a Premiere?
00:00.160: What garage are you in?
00:00.160: You always got to be aware of your surroundings.
00:00.160: Wait, does Premiere allow you to group things?
00:00.160: I think when you're dealing with the v volume that I am, and of course I'm small, I have small data requirements compared to say like Walter Piscardi does, where he's editing multiple
00:00.160: I think in today's day and age, with the cost of hard drives the way they are, that is the best way to do it.
00:00.160: And I don't have any clever way of remembering D, but D is basically an overwrite, not an overlay, but an overwrite.
00:00.160: create as much content as I could.
00:00.160: or at least the whole iMovie concept.
00:00.160: Or do you use the list mode?
00:00.160: I know the colors.
00:00.160: And then you'd have to start it all over each time you did a new project.
00:00.160: So I can save a preset in the color correction.
00:00.160: So I would go and call my raw footage and organize them into folders, and then I give those folders meaningful names.
00:00.160: Presto, I've got everything pre-sorted.
00:00.160: and you go to one of your keyword collections and you're like, oh, where's all my media?
00:00.160: Press the letter Q.
00:00.160: But I really want to develop my skill as a sound designer.
00:00.160: you know, audio is organized and stays where it needs to stay.
00:00.160: But it's a great way to get more volume out of a a clip that's recorded too low.
00:00.160: 5.
00:00.160: Flood, or something like that, or the drip, or the sound of an extractor running.
00:00.160: for my personal projects, I would love to be able to have awesome sound.
00:00.160: I know that Alex has some projects that he wants to do on the side.
00:00.240: on today's episode, you know, something like that, are sponsored by anyway.
00:00.240: How they're using it, you know, are they making money with it?
00:00.240: We're going to, I think that everybody is going to learn.
00:00.240: Some of you know me because a few years ago, Carl invited me to be on his podcast, the Digital Convergence Podcast.
00:00.240: Oh man, I hope I can do you proud.
00:00.240: And it goes, and I go, Yeah, you're not using the right mic yet.
00:00.240: I mean, that is so exciting, isn't it?
00:00.240: You know, the key is looking for an industry that values education.
00:00.240: Okay.
00:00.240: Oh, yeah.
00:00.240: I was using a set of tools, and I created a whole look and feel around those tools.
00:00.240: which was it had a very quirky look, but it actually fit in with the Reach TV branding looking you know, looking feel that they had established over the years.
00:00.240: Efficiency is very patient, of course.
00:00.240: This was a means of making money.
00:00.240: And although Apple on a couple of occasions has said, hey, it's rewritten from the ground up, that was a bunch of crap.
00:00.240: And you quickly reached a ceiling with memory size.
00:00.240: a GM Saturn.
00:00.240: For Apple to say, you know, look, our wheels are round.
00:00.240: I like the idea of clips being attached to clips, and then when you move things around, they all stay together.
00:00.240: If I go into Premiere, and there's nothing wrong with Premiere, if you're on Windows, it's probably the only option you got.
00:00.240: But it's like circumstances and others might have some input.
00:00.240: Which might mean you're going to lasso around.
00:00.240: Sometimes when you're deleting a a clip from your primary storyline, or for people thinking of switching the
00:00.240: A couple of times, but you you learn to work with that.
00:00.240: You just moved to a spot.
00:00.240: project or event folder and the project and event folder will always be on the drive that you start on.
00:00.240: go across town and realize that all your capture scratch is gone.
00:00.240: And in the default settings, if you don't go in and monkey with all the preferences, it's pretty hard to lose your media.
00:00.240: How am I going to archive this project?
00:00.240: A few hundred megabytes, maybe a gig or something like that, to bring a a l a c a long clip in.
00:00.240: and they each have a LACI big disc, which is looped off the promise.
00:00.240: Yeah.
00:00.240: Frustrating?
00:00.240: knowing I'm going to have to make the change.
00:00.240: you know, dip my toe into the great big sea.
00:00.240: Yeah.
00:00.240: Stone with our bones, you know, just pounding on it, talking about how much we hated it, and
00:00.240: You know, I just had a client in the room the other day with me, and it was about two o'clock in the afternoon.
00:00.240: Yeah, and so the convers I'm getting but keep in mind I'm still learning, okay, so I've got the
00:00.240: Okay.
00:00.240: It's been created for the sole purpose of flooding it repeatedly and restoring it, which is absolutely cool.
00:00.240: Base.
00:00.240: gravitated toward using those presets is there's a half a dozen machines I might be editing on.
00:00.240: And so I'm trying to make better use of that.
00:00.240: was when I realized that it almost it almost universally I could say, just pretend that keyword collection is a bin.
00:00.240: one of the filters at the top of the event browser still had something typed in it, or it was still set for just show me favorites or something like that.
00:00.240: And I think that part of the reason why there's no more soundtrack, and it might be that the integration with Logic Pro 10 is going to increase.
00:00.240: Just rekindle that in such a big way.
00:00.240: And then it says Audio Enhancements Equalizer.
00:00.240: you can overdo it pretty easily.
00:00.240: And a couple of days ago I picked up my MacBook Pro and I was walking from room to room and I realized that this thing is the same size and shape as my old clipboard was.
00:00.240: So that's all I have for this week.
00:00.240: No, digital cinema cafes, you know, Alex and I have committed to doing that for a minimum of two years, and we're going to keep working on that together.
00:00.240: who are doing interesting and exciting things in Final Cut, let me know about it.
00:00.320: And I find that most of the time they are people that haven't really given it a fair shake.
00:00.320: Because every time when I would find somebody that did use it, we always have these like really energetic, exciting conversations.
00:00.320: So Alex and I started Digital Cinema Cafe, and I wanted to kind of do this sort of nerdy deep dive into Final Cut 10, and Alex is a busy guy, he doesn't have the time
00:00.320: But that's how we got to here today.
00:00.320: And I'm sure you're going to enjoy it because you know I was there, so I know what it's about.
00:00.320: Hey.
00:00.320: So anyway, the new show.
00:00.320: sort of along the same family as the Digital Cinema Cafe.
00:00.320: And not people who have heard a bunch of stuff about it.
00:00.320: And this is a simple conversation.
00:00.320: in seven, and all of a sudden you're using five hundred ten.
00:00.320: Okay, yeah.
00:00.320: for many of our customers, is already approaching six or seven thousand dollars.
00:00.320: The money aspect of this.
00:00.320: To 15 minutes.
00:00.320: With your new shimmer plug-in?
00:00.320: That's per year the price that you charge?
00:00.320: cramming to create content.
00:00.320: You're doing live action video, of course, some graphical support, some slides, lower thirds, stuff like that.
00:00.320: Oh, yeah, I want more of that.
00:00.320: and it still has some value, whether or not that value is monetizable, you've obviously shown that you can do that.
00:00.320: So I do feel a little twinge of hurt.
00:00.320: Okay, so that lets us know what we're doing.
00:00.320: What was the thing that was keeping you from moving to Final Cut 10 initially?
00:00.320: Right.
00:00.320: I need to go back and edit some of these things.
00:00.320: What was it that made you look toward Final Cut X and not one of the other players like Premier or Avid?
00:00.320: Editing.
00:00.320: It would be even better.
00:00.320: Yeah, but it's a model iMac was underutilized.
00:00.320: You make one little move and then you've got to know everything else.
00:00.320: I don't think anybody else does that.
00:00.320: Yeah, it stays with it, and I don't have to worry about it as much.
00:00.320: With a one second hunk of like a slug.
00:00.320: We had a guy, Eric Weiss, came in to Slice a couple weeks ago, and I did something.
00:00.320: Man, I got to send Chris a check for $100.
00:00.320: Here.
00:00.320: Yeah.
00:00.320: Hard drives with four terabyte hard drives.
00:00.320: To take your selection from there and to bring it down into your timeline.
00:00.320: with with oil and smoke blowing out the back end of it, you know.
00:00.320: Personal projects as well as commercial projects within Final Cut Pro 10.
00:00.320: I'm not sure if you're calling me the lowest common denominator or not.
00:00.320: adjust the thumbnail size to whether it's a five second block or ten second block or whatever, and or stretch it out and go through it.
00:00.320: And so there's certain looks I want to create.
00:00.320: Yeah, it just speeds things up for me.
00:00.320: Right.
00:00.320: You know, in the third act, we're going to go back to the villain's lair or whatever.
00:00.320: struggling with, trying to overcome my old bad habits of media organization and naming and keywording.
00:00.320: Okay.
00:00.320: I mean, you can change your search criteria and say that everything just, you know, blip, it's all there.
00:00.320: And actually that QWE, I've tried now twice to say this, I keep getting sidetracked.
00:00.320: pre-organization and using the use folders to create keywords.
00:00.320: I reach TV.
00:00.320: But I think one of the things that especially for a guy like you and for me because I don't often deal with outside sources is that there's actually a whole lot of control in the audio in Final Cut 10.
00:00.320: There's my compressor in Final Cut because it's it's a core audio compress plug-in and so um
00:00.320: Oh my word.
00:00.320: Um when I was a young lad in the video production world, um I used to carry around this aluminum clipboard.
00:00.320: And I know this is a bit of hubris, okay?
00:00.320: And it was one of these, it was sort of a box, and you opened it up and it revealed I had my I had a
00:00.320: And when I think about the amount of power that is inside my new clipboard, it blows my mind.
00:00.320: And thank you so much for being part of this inaugural episode, this little discussion.
00:00.320: Okay, Carl, I'm going to wrap this up and thanks for being on the show.
00:00.320: This is the end of an episode.
00:00.320: Yes, it was.
00:00.320: But I want you to feel free to do more than that.
00:00.320: So that's it.
00:00.400: share them with you.
00:00.400: Had that hum before, and then I realized, oh, now I know.
00:00.400: I love it.
00:00.400: That's good.
00:00.400: Here, okay.
00:00.400: And so, but but essentially the connected clip is that little, I call it the nipple that kind of hangs down and connects the upper clip to the lower clip.
00:00.400: track one, and something is attached to it, all of a sudden, where'd that go?
00:00.400: Wait, my music shifted because the music was attached to the opening shot.
00:00.400: Okay, so final cut, so final cut 10.
00:00.400: Media management, it's because it's a thing.
00:00.400: Oh wow, I'm so glad I made this choice.
00:00.400: So what we're talking about is QWE and the letter D.
00:00.400: Right.
00:00.400: perfect because the little tail of the queue is very similar to the little connected clip icon that will nipple.
00:00.400: you know, you click the A key to get selection, P for position, and all those things are it really I mean, if you just spent a day in it, you'd pick all that up pretty quick.
00:00.400: Yeah, I mean, you can use the mouse.
00:00.400: Warts and all.
00:00.400: About it took me about five, six months before I thought, well, I'm going to give it another little go.
00:00.400: You know, and he was he was shocked.
00:00.400: And interestingly enough, Adobe very quickly adopted the skimmer.
00:00.400: How do I normally use it?
00:00.400: Yeah, and I think one of the beauties of this is that basically any edit system is they are so flexible, you can adopt a workflow that makes sense in your mind.
00:00.400: And then put my stuff in there.
00:00.400: the um uh competitors.
00:00.400: Is there anything that you are like daily thinking, ugh, I wish this was different?
00:00.400: you know, a lot has been said about the birth of Final Cut 10, meaning the death of like soundtrack.
00:00.400: intention is to give you more and more tools that make it less and less necessary
00:00.480: And the experiment is that I've been using Funnel Cut 10 for about two years now.
00:00.480: Anyway, I really believe that I'm going to go out on the limb, and I think in the next six to twelve months, people are going to be giving this application a new look, a much more serious look.
00:00.480: But the purpose of this is to have an open, honest, and level-headed discussion with people that are actually using Final Cut 10.
00:00.480: You don't seem to have a problem with that.
00:00.480: Okay, and so the the type of videos that you're making, how about how long are they?
00:00.480: And at least in the short term, we know that, well, it still works with Mavericks, so we're okay there.
00:00.480: And if you I believe it's command option click on a clip.
00:00.480: its connection point will jump to the frame that you se just selected.
00:00.480: media management.
00:00.480: Each time you did a project, where are your render files going and your media is coming in and all of that?
00:00.480: And in the final cut, seven days, it was easy to leave your scratch disk pointed to another hard drive, then pick up the hard drive you were actually thought you were working on and
00:00.480: N well, no, I wasn't frust well, the the frustration early on was I was afraid of all this muscle memory that I had in Final Cut Pro 7, okay.
00:00.480: But yeah, educate.
00:00.480: So, I mean, I am a fast editor, but even still sitting in 10, I was almost immediately faster.
00:00.480: That was pretty cool.
00:00.480: is you know in Final Cut Pro 7, well let me back up.
00:00.480: Right.
00:00.480: You know, it's such a tiny little minuscule sliver of that because it was a very long clip.
00:00.480: I would love to be able to see tighter integration between Final Cut Pro 7, I mean 10, and Logic Pro 10 where the tracks
00:00.480: No.
00:00.480: the tools that I began using thirty years ago.
00:00.560: In various capacities, and to find out what their initial stumbling block was, what their aha moment was.
00:00.560: So today, on this first episode, I decided to contact my old friend Carl Olson.
00:00.560: This new show, do you have your mic set up the way you want?
00:00.560: Education put a premium on education.
00:00.560: And pro I don't know, I'm assuming maybe a little bit of music in the beginning, a little title scene or something like that.
00:00.560: at a more relaxed pace.
00:00.560: So you were going to either get Gabe to rewrite that plug-in for Final Cut 10 or you're going to have to change your look and feel like it's going to be.
00:00.560: Final Put Cut Pro 7 works with Mavericks?
00:00.560: Okay.
00:00.560: I feel it's important to think about workflow from the ground up.
00:00.560: Right.
00:00.560: what was the did you have any stumbling blocks where you just go, I just can't do it?
00:00.560: And so what they tried to do was say, no, we're going to control where Final Cut 10 keeps and stores everything.
00:00.560: number one things that they deal with in terms of like customer support and complaints that they get from people is that they lose their media.
00:00.560: pretty much self contained with what you shot and created this month?
00:00.560: And retrieve some of the how-to.
00:00.560: And yet I've talked to some very prominent, very vocal people in the production community who, oh, yeah, Drobo's awesome.
00:00.560: Anyway, I was experimenting with small projects.
00:00.560: Broadcast where I had I invited like six or eight different local editors in.
00:00.560: So your ah so I I don't know if we got to it.
00:00.560: There's an option, I wished I had it before me, but you can use folder names as keywords.
00:00.560: Yeah, so I'm on this icon and it's a long clip and I've made my selection.
00:00.560: I recently bought a very expensive audio plugin for audio work.
00:00.560: To actually have to use outside applications and sources and stuff like that.
00:00.560: clipboard, if you will.
00:00.640: for each subsequent renewal.
00:00.640: Yes, I mean, all of that is are facts of life.
00:00.640: So you were actually a little, it seems to me that you were sort of sitting on the sidelines going, Oh, I'd kind of like to do that, but I'm grounded over here.
00:00.640: Exactly right.
00:00.640: Let me think.
00:00.640: Those are the primary ways to take a selection from your I'll call it a bin.
00:00.640: E will put your current selection at the end.
00:00.640: You know, people always talk about the problem with changing is you want to make sure you have parity with all the people that you work with.
00:00.640: In what was July 2011?
00:00.640: for a little bit more control.
00:00.640: And then the last thing was I think your tip was
00:00.640: And you can reach me on Twitter at Chris Fenwick.
00:00.720: Are we recording?
00:00.720: And they renew once a year, is that correct?
00:00.720: like say keynote and say group them.
00:00.720: I am absolutely in love with the Promise R sixes.
00:00.720: Well, you know, a lot of people scorned the iMovie look, but I secretly lusted after some of the things that iMovie did.
00:00.720: No.
00:00.720: I would imagine it's a little tiny text file someplace.
00:00.720: Actually, I'm going to launch it on this machine, Final Cut Pro.
00:00.720: 1, it's 7.
00:00.800: rebranding the look and feel of our episodes going forward, which brings us to where Final Cut Pro X comes in, which we'll talk about in a minute there.
00:00.800: And that sort of sets the stage of how you're using it.
00:00.800: Click.
00:00.800: I think that final that Apple would like to have it just sort of magically disappear into the background.
00:00.800: And just walk away.
00:00.800: In sync with you.
00:00.800: I th the I wish it was different, maybe just trying to wrap my head around audio, because I have a goal that's not related to Reach TV.
00:00.800: It dawned on me, it's like, wow, you know, there's actually some really, really powerful tools, audio tools in Final Cut 10.
00:00.880: Hands, good to hear your voice, Chris.
00:00.880: Is the show going?
00:00.880: So so that was that was your your holdup was that you you you were kind of married to this one plug-in
00:00.880: or the dining room in the floodhouse, I know about what that room needs to look and I want it to look consistently across the videos.
00:00.880: That's very cool.
00:00.880: I had a five and a quarter floppy disk in there that had different programs on it that I would use in some of the devices that I worked with.
00:00.960: And I probably was making a mountain out of a molehill.
00:00.960: The way well, see, I'm producing a product, so I'm probably using 5% of the depth of Final Cut Pro 10, but that 5% is getting me where I need to be.
00:01.040: not the announcement, but the release.
00:01.040: Because I was doing something where I needed to have some stretch with the mic, and the thing was.
00:01.040: You got to find an audience that's going to pay good money for it.
00:01.040: What is your how much stuff are you producing every week or month?
00:01.040: So you're doing short informational things sold at a premium.
00:01.040: com of water restoration, aren't you?
00:01.040: It was from Crumple Pop.
00:01.040: Have you ever come across that?
00:01.040: Long-form documentary formats and television series shows.
00:01.040: Interesting.
00:01.040: Is there a trick or a tip or a workflow idea that you would like to share with the audience here?
00:01.040: Well, I don't know about that.
00:01.040: Well, it's fun.
00:01.120: And then I can experiment in and when I hear clever things like what you mentioned with the command option click on a clip.
00:01.120: And actually if you think about it in a long in something that's more long form than say your 15 minutes, if you know that
00:01.120: Boom goes the dynamite.
00:01.120: This sounds good.
00:01.200: Who really enjoys the application and really gets a lot of work done?
00:01.200: So tell us about the work that you're actually doing now.
00:01.200: They've moved on to bigger and better things.
00:01.200: You can connect it in a middle frame if need be.
00:01.200: Oh my word.
00:01.200: It was medium rare.
00:01.200: I want to thank Carl once again for being a part of this.
00:01.280: I like the creative process.
00:01.280: You know, it may be a different, for example, we may have two different types of pieces of equipment that does essentially the same thing.
00:01.280: Were you frustrated before you found those, or did you?
00:01.280: And I learned from, which is Mr.
00:01.280: If he had any stumbling blocks that were keeping him from making the adoption, why he chose Final Cut 10 over
00:01.280: I think one of the things that I've noticed literally just in the last few weeks was it was more of a revelation.
00:01.280: Notes, and it was my notebook.
00:01.280: Thanks for listening.
00:01.360: My guess is, if I enjoy having the conversation, somebody else is going to enjoy listening to it.
00:01.360: Okay.
00:01.360: Of course, my Drobo Elite, which is my archival device, at least for in-house, I'm now having to replace all the two terabyte
00:01.360: Um so did you have a moment, like that kind of sort of aha moment where you just went
00:01.360: I know how everything is supposed to look.
00:01.360: And he goes, Oh, cool.
00:01.360: My audio requirements are very simple.
00:01.360: Okay, so under the under the audio analysis tool.
00:01.440: Gordon?
00:01.440: Down near Turner Field.
00:01.440: It really is.
00:01.520: He goes, Really?
00:01.520: And then I had a you know, think about it, had over a hundred episodes of this thing in Final Cut Pro 7.
00:01.520: No, no, actually, that's not entirely true.
00:01.520: how blazingly fast I could edit.
00:01.520: Yeah, yeah, and that's a habit that I generated in my Final Cut Pro seven days.
00:01.520: In the audio panel, you click the little audio button at the top of the clip, there is I think actually maybe I should maybe I should launch it.
00:01.600: That's what I use all the time is a clipboard.
00:01.680: Now I do all I do edit off my promise.
00:01.680: And actually, I will probably be doing that today.
00:01.680: I think one of the aha moments for me was when I realized that even though I didn't have bins anymore and I and I had to use these keyword collection things,
00:01.680: 1 mixing and the music.
00:01.760: So did you get my show notes?
00:01.760: You and I were interchanging on Twitter the other day.
00:01.760: Oh my word.
00:01.760: What do you mean?
00:01.840: So I mean, I'm not trying to be facetious with that, but you know, when we first started off this thing, that was the whole thing: how can we speed up the process?
00:01.840: I think this is a show.
00:01.840: Audio, what is it under?
00:01.920: A lot of people in this business are very, well, you know, I don't really want to talk about money.
00:01.920: Groden, whatever his name is.
00:01.920: The other one that happens is you decide that your opening shot is not the one you want.
00:02.000: No, what I'm doing is I'm doing rock pot.
00:02.000: Yeah, now I could have hired the workout, but I would have spent a lot of money on that.
00:02.000: Okay, uh so I do wonder where they save those.
00:02.080: Okay, so if this was a real show, there'd be like some music here.
00:02.080: I start recording before I call.
00:02.080: Why is that?
00:02.080: It was called Lower Thirds.
00:02.080: That's very cool.
00:02.160: It depends on the technical nature of whatever the topic is that we're talking about.
00:02.160: You know, that was my first live performance ever.
00:02.160: And I didn't want to be aware of my surroundings.
00:02.160: And then I back up everything to two.
00:02.160: You know, you can certainly use the mouse.
00:02.160: So I can pick that up.
00:02.240: So he said, yeah, why don't you go do that thing?
00:02.240: I think we came across that once on one of the Convergence episodes where somebody, oh no, I was doing something with Barry Anderson.
00:02.240: Yeah.
00:02.240: Is it really going?
00:02.240: Yeah, I mean, it's kind of like when you go to downtown Atlanta and you go to the parking garage, you got to be aware of your surroundings.
00:02.240: But see, I'm in a controlled setting.
00:02.240: I still have a lot to learn.
00:02.240: I think this is going to be a weekly thing.
00:02.240: I wish I had something like really cool, some little outro thing, but yeah, I got none of that.
00:02.320: Welcome to the first episode of the new show, and I am calling it Final Cut 10 Grill.
00:02.320: I mean, you can.
00:02.320: So do you do you feel compelled to have that piece of media stay where it was, or do you just cop make a copy of it and try to get it?
00:02.400: Oh no, this will be easy.
00:02.400: No, I haven't quite got there yet.
00:02.400: Because I subscribe and I get all the back catalog.
00:02.400: And you know what?
00:02.400: See, you can be in parody with the lowest common denominator, or you could be out there taking the lead.
00:02.400: But but I mean, it was fast because it was partially as fast because I was working in 10 and using some new tricks that I've posted recently on my website.
00:02.400: But anyway, I I thought, wow, this is great.
00:02.400: But you know, you'd set up a look in Final Cut Pro 7 and then you'd copy and paste the attributes.
00:02.400: But one thing I learned that I could do is part of my speeding up process.
00:02.400: You know, I just noticed that all my Valhalla DSP plug-ins show up in Final Cut Pro 10.
00:02.400: Alright, I'm gonna go glue these parts together.
00:02.480: And you really want to be able to do it.
00:02.480: You really have to think about it a little bit.
00:02.560: I don't know.
00:02.560: Yeah, I scratch my head and say, oh, dang it.
00:02.560: I opened up one of my projects and I read, yep, that's exactly what I do.
00:02.560: Because of course, not that that was even easy in Final Cut Pro seven.
00:02.640: Is it a hobby?
00:02.640: Okay, one display or two.
00:02.640: Yeah, Ida I have not spoken with anybody who who actually uses that feature.
00:02.640: And it's a one where you can go in and to your smart collection or some collections.
00:02.720: Is there one of those gerbil tubes connecting you to the building you have to go to?
00:02.720: It's a musician's tool.
00:02.720: And that's the beauty of the age that we live in, is we have a lot of great tools, you know, granted.
00:02.800: I use a combination of both.
00:02.800: Well, one of the, you know, I would go in and do a correction with a three-way color corrector in Final Cut Pro 7, then more recently started using Colorista.
00:02.800: It was medium rare.
00:02.880: And I said, Scratch it.
00:02.880: Well, it's it, what's you know what I love about it is it's hyper-focused.
00:02.880: I was doing experimental projects.
00:02.880: Chris Finlick.
00:02.880: Well, we bashed it pretty hard on the bottom.
00:02.880: I watched Gravity a few weeks ago, and I was blown away by the sound design of that movie.
00:02.960: Yes.
00:02.960: Were you doing more than we were doing more than.
00:02.960: Well, you know you're never going to do that.
00:02.960: Yeah, I'll go back to the archives and get some B-roll where the theory is being explained.
00:02.960: So, this is it.
00:03.040: That's what we intend to be.
00:03.040: You're actually doing this for a living.
00:03.040: Like, it is my observation that most of the cool kids are going to Premiere.
00:03.040: I can grab a bunch of things in a lot of drawing applications and group and ungroup.
00:03.040: You know, I think it's got a standard list like bleach bypass and all the which I don't use any of those, but I can create my own
00:03.040: If you allow it to analyze the clip that you currently have selected and then just click it on, it usually does a really good job.
00:03.120: So that allows me to sell a product that costs $2,195 for the first year and $1,597
00:03.120: And right now, we have about a ninety percent retention rate, and we're working on our third round of renewals for many of our customers.
00:03.120: It was a Final Cut Pro 7 plug-in.
00:03.120: Yeah, you have to know.
00:03.120: And and I had that pretty much figured out in Final Cut Pro 7.
00:03.120: I have some dialogue, a little bit of occasionally B-roll and a brief music track or something like that.
00:03.120: Sweet.
00:03.120: You can find Final Cut Ten Grill, F C P X Grill, on the Twitter.
00:03.200: And I find it frustrating that everywhere I go, people look at me down their nose and they say, oh, really?
00:03.200: Anyway, the long the the concept of the long tail is that in an Internet distribution model you can create a piece of content that lives for uh potentially forever.
00:03.200: There you go.
00:03.200: Maybe there was a way to save that, I don't know.
00:03.200: So you can turn on and off the or you can open up the Equalizer panel and equalize something.
00:03.200: I'm going to do Final Katen Grill or the Grill on the side.
00:03.280: Let me set a level.
00:03.280: Yeah, so when they become a new customer, it's $2,195 and then they renew at $15.
00:03.280: But it's an affected relief with Carl Olson.
00:03.360: The first thing I want to have you tell people about is the type of work that you are actually doing right now.
00:03.360: Because I want others to do this.
00:03.360: Yeah.
00:03.360: Are you editing off of the drone?
00:03.360: So you just take little baby dips and then you start easing in and getting used to it.
00:03.440: Is it a profession?
00:03.440: Who was it that introduced the concept of the long tail?
00:03.440: But it's also important to remember that basically all the editors are 64-bit now, and all of them address all the memory.
00:03.440: Okay, so what Oh man, you still have to be aware of your surroundings, don't you?
00:03.440: You are the fast guy.
00:03.440: Yeah, it's gotta be.
00:03.440: So you're doing a lot of footage.
00:03.440: Oh, I have used this.
00:03.440: But that's what I want to that's my next frontier, if you will, is I want to be the guy.
00:03.440: Now and I have a MacBook Air that I use when I you know, for day-to-day productivity type things.
00:03.520: I'm checking it right now.
00:03.520: So that's why I resisted doing that.
00:03.520: I have had conversations with people that work at Apple who have told me that one of the
00:03.520: I don't know if you remember the whole story, but when Final Cut 10 first came out
00:03.520: It was basically my notebook.
00:03.600: I do.
00:03.600: So how many episodes do I get for a year's subscription?
00:03.600: Now you had mentioned that you are rebranding your site and you're rebranding the look and feel of the videos.
00:03.600: It was just a different way of thinking.
00:03.680: I think in these conversations, everybody is going to learn a little bit more.
00:03.680: I'm really shocked that, given your long relationship with those guys, you couldn't just say, Hey, make this for me.
00:03.680: I just wanted things to work.
00:03.680: You are more than welcome.
00:03.680: So my variations are very minimal between white balance and things like that.
00:03.680: It's all I always do a kernel panic once a month or so.
00:03.760: I think you can group things in.
00:03.760: Yeah, W E D Q.
00:03.760: What was your oh, your aha moment was QWNE.
00:03.760: Now, you know, a guy that's doing corporate videos or working in multiple environments, that may not be the smart thing to do.
00:03.840: I haven't tried it yet.
00:03.840: Well, I love the creative process too.
00:03.840: I know, yeah.
00:03.840: Other things that helped improve productivity to me
00:03.840: And um what your aha moment was.
00:03.840: You know, at Chris Fenwick, the thing, yeah, I'd said at.
00:03.920: I hit record and then I call.
00:03.920: Well, I think you have all the right tools to pull it off.
00:03.920: And I I I've I'll tell you a quick story and then we'll wrap this up.
00:04.000: He goes, Oh.
00:04.000: I'm like, that's a discussion I want to have.
00:04.000: This 32-bit app.
00:04.000: I was ready for something new anyway.
00:04.000: If you're going to pick up one thing, you have to know just instinctively what is related to it.
00:04.000: And I think that's what a lot of guys do.
00:04.000: He had a great resource, ChrisFinwick.
00:04.080: You know, it's a thing that actually happens.
00:04.080: Q is the overlay button, and it's
00:04.080: I'm not going to commit to that right away, but I'm pretty sure we're going to go for one a week.
00:04.160: You should buy our car, is kind of silly when they're all round.
00:04.160: Oh my word.
00:04.160: Because I have my roots in music and composition and Logic Pro 10 when that came out just a few months ago.
00:04.160: I call for that in the water restoration video.
00:04.240: And you know, he's going to do I think he has ideas of what he wants to do too.
00:04.240: Because I'm a beginner with this stuff, you know, it's a whole new territory.
00:04.240: You know, I'm working on other things.
00:04.240: For the most part, it's self contained, but there are times where we'll go back and say, we want to show this
00:04.240: This is what I wanted to get across in Final Cut 10 Grill.
00:04.240: I don't want this to go too long.
00:04.320: I put an extension cord on my mic and
00:04.320: Maybe we'll do a something saloon and a you know, food truck or something like that at some other date.
00:04.320: So I create training videos for the water damage restoration industry.
00:04.320: These are things of course, sometimes I feel rather macabre because this is a business model that's based on waiting for something bad to happen.
00:04.320: Okay.
00:04.320: So the promise is my primary work drive.
00:04.320: And I think that's still kind of a stumbling block to me that I've got to work through.
00:04.320: This is going to take a while for this to launch.
00:04.400: Yeah, let me make sure.
00:04.400: Oh, really, really hard.
00:04.400: Now, is it a sound designer's tool for video?
00:04.400: Okay, that's our first our first what is it called a review
00:04.480: Yeah.
00:04.480: Which is interesting because from a drawing standpoint, I've always thought, you know, I can grab five things in.
00:04.480: So I think I was able to share the aha moment, your aha moment with him.
00:04.560: So I'm going to roll the interview that I did earlier today with Carl Olson.
00:04.560: Showdown.
00:04.560: Yeah, um, yeah, it's been a while, huh?
00:04.560: It's not a hobby.
00:04.560: When I shoot, I have a set which we call a floodhouse.
00:04.640: And there's this big hunk of silence.
00:04.640: Do you find yourself accessing old projects in your current projects?
00:04.640: I mean, because you know, basically, those commands exist in Final Cut 7, they're just different commands.
00:04.640: But yeah, you know, I just had a phone call from a client, one of my clients.
00:04.640: Okay.
00:04.640: So I'm going to assume that that may be your answer to the next question.
00:04.720: And you know, people don't realize I think a lot of people don't realize that that code was written in the nineties.
00:04.720: You know?
00:04.720: Very quickly.
00:04.800: I didn't get it a while ago.
00:04.800: Yeah.
00:04.800: That's interesting that you are very upfront about talking about the
00:04.800: Was it?
00:04.800: Does it ever bother you?
00:04.800: And then I got comfortable, you know, I got more comfortable with it.
00:04.800: You're doing a lot of your media management and organization before
00:04.800: And it was very much like a service repairman would carry these things around.
00:04.880: Okay.
00:04.880: Yeah, and you know what?
00:04.880: He was looking over my shoulder.
00:04.960: Or was it really just that plug in?
00:04.960: As a matter of fact, we have three edit suites at Slice and all the suites are now have parody.
00:04.960: And I want to say to you, thanks for listening.
00:05.040: I've been.
00:05.040: Oh, that is so cool.
00:05.040: I love everything just works good.
00:05.040: Depends.
00:05.040: And it's uh something that I've been weak on.
00:05.120: So, what I wanted to do is, I wanted to have those conversations, record them.
00:05.120: So let's go to that interview.
00:05.120: It only addressed, what, 4 gig of memory.
00:05.120: Okay, so this is really good.
00:05.120: I make two copies on just bare metal hard drives, and then one is stored in a vault off site.
00:05.120: The cool kids already have their dresses.
00:05.200: This, I have just learned something.
00:05.200: I'm going to have all the guests on the show pay me to be here.
00:05.200: You know, and I consider myself a fast editor.
00:05.280: Yeah, so we're not going to do that.
00:05.280: Because our audience likes good old rock and roll.
00:05.280: Yes, you get the whole back catalog and then we release two videos a month.
00:05.280: There's a little thing, and it's under like
00:05.280: Right.
00:05.280: Likewise.
00:05.360: And we can go into fire restoration, mold remediation, and all of those other areas with
00:05.360: Sure.
00:05.360: Yeah.
00:05.360: Right.
00:05.360: Yeah, just bring it in and go.
00:05.360: No, right.
00:05.360: You're not the lowest common denominator.
00:05.360: I wonder they can be transported across
00:05.440: Okay.
00:05.440: Just one.
00:05.440: I marked my in and the out, but it's so tiny, I can't drag it down to the timeline.
00:05.520: And I think that
00:05.520: It was good.
00:05.520: You know, you look at this strange beast and you say, okay, I want to tip my.
00:05.520: Yeah, I remember that.
00:05.520: Like, for example, have you ever gotten into the loudness control in Final Cut 10?
00:05.520: Yeah.
00:05.520: Later.
00:05.600: But it took a while for me to realize.
00:05.600: I mean, I can clearly point out bugs that are in Final Cut 7 that were there in Final Cut 1.
00:05.600: I mean, disk space is finite.
00:05.600: I can look quickly.
00:05.600: He goes, So, so what do you got done so far?
00:05.680: I've just recently started working with Walter Piscardi.
00:05.680: That's right.
00:05.680: Mindset.
00:05.680: I didn't mean for that to sound sad.
00:05.680: And at the end of the night, I just I back up what I'm currently working on onto the um LACs.
00:05.680: Depends.
00:05.680: But in Final Cut Pro 10, it's very easy to create a basic color correction that'll fit, say, the kitchen in the floodhouse.
00:05.680: Play with the loudness control.
00:05.760: And I described it on Digital Cinema Cafe with Alex McLean.
00:05.760: He's like, Whoa, whoa, whoa, whoa.
00:05.760: You know, just yeah, whatever.
00:05.760: It's organized just by changing a word.
00:05.760: But anyway, but no, this is what you know.
00:05.760: But I want to make sure that everybody understands that this is not the end of the cafe.
00:05.840: How does it sound to you right now?
00:05.840: So there was a cautionary thing.
00:05.840: But it may not.
00:05.840: I mean, you live in the Final Cut Pro 7 user interface and you feel like you're driving a
00:05.920: But I'm not saying it's the right way, but it works for me.
00:05.920: What did you get?
00:06.000: Do you need a backup?
00:06.000: Let's face it.
00:06.000: You can reach me at Chris at Digital Cinema Cafe.
00:06.080: Of course.
00:06.080: Yeah, I think it's a good idea.
00:06.080: And then you have to sit there for hours as it comes back to yeah, exactly.
00:06.080: Absolutely not.
00:06.080: Okay.
00:06.080: Okay, so you click your little audio guy.
00:06.160: Do you ever think, ah, ah, like, for example, I will mention that
00:06.160: I guess it's the event browser.
00:06.160: But you know, there was a lot of pros that sneered at that.
00:06.160: I don't want to rely on the presets on one machine if I may not be cutting on it tomorrow.
00:06.160: Right.
00:06.160: I'm sure you'll get there.
00:06.240: And I'm like, Scratch the left speaker of your laptop.
00:06.240: I like it.
00:06.240: You're mentioning very specifically the concept of the connected clip, which is a which is sort of a, I think.
00:06.240: That's exactly what I do.
00:06.240: And I started messing with it, and I realized
00:06.240: But since you're an audio professional and you record your own clips, you probably don't ever need that.
00:06.320: Are you kidding me?
00:06.320: I think it's a wide open market.
00:06.320: So if you're going to do an information product, obviously you got to.
00:06.320: I wanted to get things done faster.
00:06.320: But there were still, I felt like if I could just nudge this up just a fraction.
00:06.320: Oh, yeah.
00:06.320: And those are the sort of price.
00:06.320: And we just sat around like you know, the apes in the beginning of two thousand one, bashing on the black
00:06.320: Just one display.
00:06.320: This is Final Cut 10 Grill.
00:06.400: See now we're able to scale back the pace, which allows us to concentrate.
00:06.400: Okay, I didn't know.
00:06.400: I did not know that.
00:06.400: com, that I learned from.
00:06.400: And I even did, I don't know if you remember, I did like almost a three-hour live U stream.
00:06.400: Literally just yesterday, I had a the client who has decided to adopt my workflow.
00:06.480: Yeah, you might.
00:06.560: And I loved it.
00:06.640: I want to talk to somebody who's just recently made the switch over.
00:06.640: Right.
00:06.640: It's cool that you are
00:06.720: A little voiceover.
00:06.720: Yeah.
00:06.720: So one of the things I want to do is work as little as possible and make the maximize my profit.
00:06.720: And I love
00:06.720: So I didn't really want to outsource it because I like
00:06.720: What was the
00:06.720: Right.
00:06.720: Yeah.
00:06.800: I mean, that's but actually it so
00:06.800: That's a it's a hideous machine to edit off of.
00:06.800: But uh I so I had a heads up.
00:06.800: To go in there and dump 200 gallons of water.
00:06.800: And if I don't have a way of moving those and making those presets portable, and I don't know that there is or is not, I just haven't looked into it.
00:06.800: And it's I call footage because I know there's footage I will never go back and use.
00:06.880: Yeah.
00:06.880: Right.
00:06.880: It is hyper-focused.
00:06.880: At least, not since 1979 when I was in a rock room.
00:06.880: And I think that's that's important.
00:06.880: You know?
00:06.880: Yeah, it's a thing that has to be addressed.
00:06.960: With you recorded on your.
00:06.960: Absolutely not, unless you know the gurgling of a
00:07.040: I started using it maybe about six months after the announcement.
00:07.040: Love it, Chris.
00:07.040: Yeah, cool though.
00:07.040: Okay.
00:07.040: Just not as much.
00:07.040: You can reach over there in your event library and
00:07.040: But the audio loudness control allows you to okay, now I have it open.
00:07.120: And apparently, it's two of these seven to fifteen minute long videos.
00:07.120: A good trick that I do is I always begin every piece.
00:07.120: What'd you just do?
00:07.120: W will will well wedge it right down into your time line and ripple everything down from where your playhead is.
00:07.120: Very good.
00:07.120: So this is uh
00:07.200: It actually sounds pretty good.
00:07.200: If you subscribe today, you will get 130 episodes.
00:07.200: Yeah, well, I have made that mistake.
00:07.200: Command option click?
00:07.200: There's a free tip for you here on the Final Cut 10 grill.
00:07.200: Right.
00:07.200: But I had I had an inside lead, somebody that I would listen to.
00:07.200: And I said.
00:07.200: Um and you know, where is uh D V D Studio Pro and where is color and stuff like that.
00:07.200: It was a compressor that I use.
00:07.200: You know, I I do the basics and I do them okay, but I really want to have audio that just you know, just
00:07.280: And so
00:07.280: No, I'm fine.
00:07.280: Each segment is anywhere from seven minutes
00:07.280: If you attach your music to the slug.
00:07.280: I have to be careful with that.
00:07.280: Those are my friends on the keyboard.
00:07.280: And was that was that like the moment where you went, okay, this is a lot easier now because I've learned this.
00:07.280: And then when I do the import,
00:07.360: Yeah, but I think that your take on this is fine.
00:07.360: Well, I had a home a few minutes ago, and I hadn't.
00:07.360: There was a was that Chris Anderson?
00:07.360: You're like the.
00:07.360: I know that I mean, I've had conversations.
00:07.360: I mean, they're all driving the Ferrari while I'm still in the Saturn.
00:07.360: Okay.
00:07.360: And then the other thing is, you can always find my tutorials and stuff at chrisfenwick.
00:07.440: Um, welcome to the show.
00:07.440: And then you have this you're I'm thinking, well
00:07.440: Probably not quite there yet.
00:07.440: I think that it blows me away daily.
00:07.440: Well, see, I carry my iPad as my number one
00:07.520: Oh, man, I just ruined your show.
00:07.520: No, that's not what you were looking for.
00:07.520: For current promise.
00:07.520: But I like being able to see the thumbnails.
00:07.520: Yours was it's okay to learn a few new keyboards shortcuts.
00:07.600: Oh, there we go.
00:07.600: And then
00:07.600: I loved using it.
00:07.600: You've got to know what.
00:07.600: See what I'm saying?
00:07.600: What's it going to be?
00:07.600: The E puts the current selection down at the end of the timeline.
00:07.600: And one of my clients has actually said to me, He goes, Whatever you go to, I'm following because I want to be.
00:07.600: But at any rate, you were an early adopter of this.
00:07.600: It's a good start.
00:07.600: Thanks for joining being a part of the conversation as a listener.
00:07.680: So the point of this is to talk with people that are using Final Cut 10.
00:07.680: Yeah, yeah.
00:07.680: So like you don't always have to connect something at the first frame of it.
00:07.680: I've tried hard to come up with a good mnemonic.
00:07.680: Yeah.
00:07.760: So, what I decided that I wanted to do
00:07.760: And you said something about using Final Cut 10.
00:07.760: Yeah.
00:07.760: I just couldn't pay him enough money.
00:07.760: The biggest oh, you mean going I had a hard time wrapping my head around how I would do
00:07.760: You know, it's pretty hard to misplace it.
00:07.760: It's always going to import into your
00:07.760: You can't just keep adding it to that one disk.
00:07.760: I totally edit off as a game.
00:07.760: And I said, Well, I've done this, this, and I've done this, I've created these, I've synced these.
00:07.840: So you've tried that?
00:07.840: Oh, wait a minute.
00:07.840: It's a full size house
00:07.840: So that wasn't so bad.
00:07.920: And so
00:08.000: Welcome to Final Cut 10 Grill.
00:08.000: Yeah, unless you're initially, unless you're actually in the ambulance business.
00:08.000: Basically, it was a plug-in if you were using it for your lower thirds.
00:08.000: You still had to be careful there.
00:08.000: Of course they do.
00:08.000: Or under Audio Analysis, click that little arrow just like you're going into the color board.
00:08.080: And it's such a it's kind of a breath of fresh air to sit with somebody who
00:08.080: I mean, you had to be careful with
00:08.080: And if you have, if you know of people.
00:08.160: 97.
00:08.160: So, what I want to do is, I want to get to
00:08.160: And you know, there's another great little tip.
00:08.160: And it really didn't take a long time.
00:08.240: Just scratch it, make I I always ask people to scratch it to make sure it's they're actually using yep, that's the mic.
00:08.240: And it's hyper-focus
00:08.240: And here I have this
00:08.240: So I may go back.
00:08.240: How do you normally use the user interface?
00:08.240: It's a good start to it.
00:08.320: You've been doing a great job.
00:08.320: Oh, my goodness.
00:08.320: So when you grab the lower clip and move it, its associated B-roll goes with it.
00:08.320: It's pretty cool.
00:08.400: So I took it off.
00:08.400: You're good.
00:08.400: How come you didn't choose Premiere?
00:08.400: Yeah.
00:08.400: I hope it was useful and interesting for you too, Carl.
00:08.480: And after doing one episode, he emailed me and he said, Hey, that was really fun.
00:08.480: If you don't know what I'm talking about, go listen to Digital Convergence Episode 121.
00:08.480: You have the R4, I believe?
00:08.480: Now, was it.
00:08.480: I'm talking to Chris Finwick here.
00:08.480: Smart collections are a whole nother thing, and they're very cool.
00:08.560: It's important to remember that with Final Cut 10, you don't have to wipe your hard drive clean.
00:08.560: Right.
00:08.640: It's a pretty simple agenda here.
00:08.640: Oh, wow.
00:08.640: Because that was one of my big frustrations in Final Cut Pro 7.
00:08.640: So you say, oh, here's a better shot for my opening, and you drag that over, and all of a sudden it's like
00:08.720: Yeah, it works fine with Mavericks.
00:08.720: Yeah.
00:08.720: And I said, Oh, I want to do this.
00:08.720: I had
00:08.800: I mean, the bottom line is the reason media management has a title
00:08.800: And I think that
00:08.880: All right.
00:08.880: Yeah, I mean, and it's a good product.
00:08.880: Yeah, so you might want to save that and say, oh, I'm going to get back to that.
00:08.960: Right.
00:08.960: Yeah, so you hold down command and option and then click on the clip.
00:09.040: And how do you deal with something like that?
00:09.040: Yeah, but I don't have a sponsorship with exactly.
00:09.040: Your event browser, do you use it in the little icon mode?
00:09.040: Like I could skim it was easy to skim through my footage.
00:09.040: I don't know.
00:09.040: The website for the for the Grill is going to be the same as Digital Cinema Cafe.
00:09.120: Hola.
00:09.120: It was cool.
00:09.120: The event library.
00:09.200: In the water restoration training field.
00:09.200: This is how we're monetizing this podcast.
00:09.200: We've talked in the past about passion projects.
00:09.280: I'm getting rid of call recorder over this thing.
00:09.280: Okay.
00:09.280: So I did a number of small projects.
00:09.280: Have you ever gotten stuck where you realized that
00:09.360: And I happen to know why, but why don't you tell us what
00:09.360: Or is a new is the project that you shoot and create this month
00:09.360: And so we're recapping that or something like that.
00:09.440: So
00:09.440: And I just had a little trouble figuring out: okay, what am I going to do?
00:09.440: Very, very, I totally agree.
00:09.440: First episode done.
00:09.520: So what kept what what
00:09.520: I wanted to find out what kind of work somebody's doing.
00:09.520: And I really do think that they're
00:09.600: Well, you know, it's like you call the ambulance.
00:09.600: I need it.
00:09.600: You can group things in Illustrator.
00:09.600: It's a little bit of a compressor, it's a little bit of a gain.
00:09.680: Yep.
00:09.680: But yeah, it's an awesome the tools that we have.
00:09.760: Uh Funnel Cut 10 Grill is an experiment of mine.
00:09.760: And a lot of the key, I mean, you know, like
00:09.760: See, keywording's huge in Final Cut Pro 10.
00:09.840: I was like, wait a second.
00:09.840: But it was in part because part of it was my attitude.
00:09.840: You need to be able to pick those things up together.
00:09.840: So as I'm I'm soaking this in, I'm I'm in the misery of Final Cut Pro 7, knowing
00:09.840: You've been grilled.
00:09.920: Well, thank you.
00:09.920: So actually that's a very good question that I should probably be asking you.
00:09.920: But anyway, but it's a controlled environment.
00:09.920: Well, one of the things that I've been
00:09.920: And I realized one day, oh,
00:10.000: No, you didn't.
00:10.080: I don't know enough about it.
00:10.080: And I think about
00:10.160: I was showing this to
00:10.160: You've got to think about: okay, where am I going to put this project?
00:10.240: Right.
00:10.320: He goes, How's my mic sound?
00:10.320: Okay.
00:10.320: But anyway, it's I'm able to produce less now
00:10.320: I lobbied hard for it, but that's funny.
00:10.320: Right.
00:10.320: Because
00:10.320: Event browser or library.
00:10.400: I have to think about whether or not I can share this.
00:10.400: Yeah, the R4.
00:10.400: So I didn't want to go my whole thing was to to go fast.
00:10.480: So you have to take all of that into consideration.
00:10.480: I think the
00:10.560: I want to have the skill that
00:10.640: Are you kidding me?
00:10.640: Let me see.
00:10.640: Right, right, right.
00:10.720: Well, see, that's the beauty of doing this.
00:10.720: But at least for me, it speeds things up.
00:10.800: Good.
00:10.880: Okay, good.
00:10.880: I learned from the best.
00:10.880: It might work great with
00:11.040: So that means our lifetime customer value
00:11.040: The final question is
00:11.040: Easy peasy.
00:11.120: I'm going to try that command option.
00:11.200: They each have a Promise RAID to work off of.
00:11.280: You were kind of a holdout.
00:11.280: And so
00:11.360: And I said, basically, I have more I want to say.
00:11.360: I go, God, it.
00:11.360: How many people I've had recorded today?
00:11.360: They're very, very smart.
00:11.440: See right now I'm working on a two derivation of the website.
00:11.440: That's how I'm monetizing it.
00:11.440: Right.
00:11.440: I want to do the.
00:11.520: But I
00:11.520: So, this is mine.
00:11.600: I don't do that often.
00:11.680: Minimizing Skype so I can talk to you in good
00:11.840: Yeah.
00:11.920: Yeah.
00:11.920: And he's like, What, whoa, whoa, whoa, what,
00:11.920: I think part of my reason why I've never.
00:12.080: How would you like to be on the show on a regular basis?
00:12.080: com.
00:12.160: And I think that's it.
00:12.240: I know where how every room is lit.
00:12.320: When we first started, though, we were really
00:12.400: We now know what Carl does.
00:12.400: You know, this is what I want to do.
00:12.480: You can keep your old Final Cut 7.
00:12.560: Thank you.
00:12.560: He says
00:12.640: Right, yeah.
00:12.880: My name is Chris Fenwick.
00:12.880: But
00:13.120: You use that?
00:13.680: But there's other.
00:13.680: But ah
00:14.400: Yep.