Episode 4
FCG004 - Episode 4 (feat. Ben Consoli)
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00:00.001: When you start asking around on a crew, you say, So whoever who here plays an instrument?
00:00.001: Let me go to it real fast.
00:00.080: Funnel Cut 10 Grill, you know.
00:00.160: For a couple of years there, I was way more into the music industry and only dabbled into video when I needed some cash, which was pretty much all the time when you're in the music industry.
00:00.160: You know, are they using it with other tools?
00:00.160: You're going to get beat up.
00:00.160: I waited until a project came around that was very simple, that had no real time constraint, that I could just try it.
00:00.160: for the clients that I continue to work with.
00:00.160: You know, if I did four or five small videos and I knew another five were coming the next year, I just moved the whole thing over to 10.
00:00.160: And it's not the case.
00:00.160: After Effects makes great animated MOVs that accept that bring a transparency signal.
00:00.160: In the Final Cut 10 line, which is astonishing because in the olden times, you know, back in ye old days of Final Cut Classic, you'd drop those things and you go, oh, I've got to render this.
00:00.160: You know, I I just finished rendering it in After Effects and now I have to render it into my timeline here as well.
00:00.160: I'm just a little nervous about that.
00:00.160: Awesome tip, and uh, I dig that very cool.
00:00.160: I use that quite a bit because that's from the company where everything looks like it's on corrugated cardboard.
00:00.160: That looks really nice.
00:00.160: Those sort of light, leaky look that everybody was into a little while ago.
00:00.160: Finish the job, and that's when you that's when the colorist job actually starts.
00:00.160: Because it's $50 and why not?
00:00.160: I'll make one multicam of all 20 takes and then mark favorites.
00:00.160: In audition.
00:00.160: Or the hands on the steering wheel, or the POV looking out the front windshield, or something.
00:00.160: and the actor does it slightly different.
00:00.160: Like for example, uh here's a good experiment, if you don't believe me.
00:00.160: iShot Fabio, uh sound uh watermark.
00:00.160: You're able to go back to the source audio and replace just the source clip, and then all of the cuts that you made will be looking at the source clip.
00:00.160: It's the tutorial you did for Premium Beat was really good.
00:00.160: But I'll mute I'll mute the ones that I don't want to use at any given time.
00:00.160: you know, from like five twelve to a two K or something like that, depending on the person's voice.
00:00.160: is it's called go yeah it's called go creative show and it's um it's more just about creativity in
00:00.160: Hi, this is Ben Consoli, being creative.
00:00.160: It's a free show, and there's a lot of great information here, and it takes time to do it.
00:00.160: Tell your friends.
00:00.160: Premiere Pro.
00:00.240: People that are using Funnel Cut 10 to hear how they use it and why they've chosen this tool over others, or
00:00.240: And once I left, I began doing freelance production assistant work and kind of continued down that path.
00:00.240: primarily in the kind of stuff you do and how you ended up using Final Cut 10.
00:00.240: But then right after that kind of fizzled away, I started doing it more full-time.
00:00.240: 2008, that time is when it when video production really became my main thing.
00:00.240: Go creative show, which you can find all over the iTunes.
00:00.240: It finded a classic, yeah.
00:00.240: An environment where 10 is going to work for me.
00:00.240: But the biggest issue for me was no compatibility with Final Cut 7 was a disgrace.
00:00.240: So what from a user interface standpoint, what were your stumbling blocks in the beginning?
00:00.240: When you first looked at it and the whole world was saying, iMovie Pro, this is crap.
00:00.240: or whatnot, correct?
00:00.240: Up and running, and everybody had great tutorials with Ripple Training and Larry Jordan, and you.
00:00.240: It wasn't that I was looking for a feature.
00:00.240: They became my guinea pig.
00:00.240: So I did those.
00:00.240: And then if I can't get what I want in motion, then I'll send it out to a graphics person.
00:00.240: It makes an AF.
00:00.240: Okay.
00:00.240: Through X2 Pro and works on it and sends it back to me.
00:00.240: But I do feel really good about using Magic Bullet Looks within Final Cut 10.
00:00.240: I'll work with somebody to do color.
00:00.240: Have you um are you one of the cool kids this year who's adopted the I'm going to edit in a compound clip philosophy?
00:00.240: I'm afraid that the way that they work may change, and that could be stupid.
00:00.240: If you look at the history of Final Cut 10 and the way it treated compound clips, there was a big change, and I believe it happened in 1003 also.
00:00.240: But now when you change it anywhere, it ripples through every instance of it.
00:00.240: the fundamentals are going to be the same.
00:00.240: In the next, I'll call it the major release of Tenwan.
00:00.240: Let me actually look really fast because to be fair, I just did a really gigantic about face.
00:00.240: Final Cut Events folder or the Final Cut projects folder.
00:00.240: So I'll make sure that both of us have the event on our hard drives.
00:00.240: When I use Magical It Looks, I'm still able to manipulate the actual clips.
00:00.240: Quote unquote, picture lock only happens as they play it to the audience.
00:00.240: you know, hold down the control key or something and it changed resolutions on the screen.
00:00.240: It's very strange.
00:00.240: And you can make your own on/off switch for color, and it's awesome.
00:00.240: Customize, and then you probably search for a color, apply color correction from previous edit.
00:00.240: You have to be able to toggle your correction on and off.
00:00.240: Very cool.
00:00.240: I think you might be right.
00:00.240: I had someone from Imagineer Systems on my podcast, co-creative show, a couple of weeks ago, and he gave me a demo license for Split I'm sorry, SliceX, which is Mocha's
00:00.240: Natris has a plug-in that I use all the time for color grading.
00:00.240: What's really interesting, like you said that the color the colorists you deal with are having a hard time adopting uh a a 10 workflow.
00:00.240: Obviously, you know, working with Alex on Digital Cinema Cafe, our other show, I have learned I have had a crash course in the color world just by working with him.
00:00.240: indie projects and stuff like that.
00:00.240: Now, I'm not saying you turn it off, although some people will turn it off and then start from scratch and they can, like, you know, A, B, compare.
00:00.240: I never liked any of the C300 LUTs that were available.
00:00.240: I actually I see the picture better in levels than I do in curves.
00:00.240: It's 50 bucks and wine.
00:00.240: Titles and all the generati the generator stuff that that it does.
00:00.240: And the way that it worked was so great because he sent me one file that I opened in ten.
00:00.240: and it allowed me to manipulate the text and the color and the way things moved within Final Cut 10.
00:00.240: But it was made in motion, and it was a really powerful way to work with the two programs together.
00:00.240: stack a alternate angles or alternate ideas on top of the other one and and either make those other angles um inactive.
00:00.240: the actual clip that I'm using because maybe I somehow I magically took the stairway to heaven and now I'm cutting on track four for some reason.
00:00.240: But the way it works with the audition is you when you click on the little when you see the little spotlight icon, you click on that and up pops this little motion flow window.
00:00.240: And then pull it back down.
00:00.240: To always be its current duration.
00:00.240: There are times when you want it to be different, if it's dialogue and it needs to push things, but there's a lot of times I find in my work.
00:00.240: that I want it to stay exactly the same duration.
00:00.240: I think it you know, the what it comes down to and the the thing that I am seeing as the app develops, you know, there was a lot of
00:00.240: People are so mad at it.
00:00.240: You know, if you go to LA, you're going to have to be on Avid.
00:00.240: I'm with you.
00:00.240: Close more closely together now than they ever did.
00:00.240: I don't know if this is something that I would change, but the audio in Final Cut X is unique.
00:00.240: You know, I do a lot less.
00:00.240: You could one track could be cut up 15 different ways.
00:00.240: Regular tracks are the same length.
00:00.240: There's two reasons why I did it using Premium Beat.
00:00.240: I will put the various cuts of music that I may or may not want to use or want to audition for my client when they get in.
00:00.240: So, what I actually do is I cut the music bed compound clip at the point where I want to duck the music.
00:00.240: So I'm cross-fading from one level down to another level and then cross-fade back up to the full music version later when I need it to be there.
00:00.240: I apply a different audio equalizer to the lower audio so that it doesn't fight with the vocals as much.
00:00.240: And when you do, you know, it sounds like if you go back and listen to what I just said about nesting stuff inside, it's like, what the hell is Fenwick talking about?
00:00.240: And that is gocreative show.
00:00.240: Oh, brilliant, Fenwick.
00:00.240: I like the idea.
00:00.240: Anyway, Ben, thanks so much.
00:00.240: If I overdid it, if you got too much Fenwick, sorry, you can always scan through that stuff.
00:00.240: That's my little apology to you, and we're trying to make it be as unbiased as possible.
00:00.320: So Ben, I've seen your stuff on YouTube and on Twitter and stuff.
00:00.320: No, not a problem at all.
00:00.320: I have been doing this since, well, right when I got out of college was in 2002.
00:00.320: I'd say my first one was maybe two or three months after it came out.
00:00.320: Because it was so drastically different, and I didn't want to risk running into a problem somewhere in the middle and not being able to complete the job.
00:00.320: It the magnetic timeline, getting my head around that.
00:00.320: Yes, stuff for clients that I continued to work with, I would bring it into 10 and then like because I work with a lot of schools and a lot of clients that have multiple videos coming out as part of a series.
00:00.320: So you had mentioned you you kind of held off.
00:00.320: You know what I mean?
00:00.320: But that was I don't think I was I wasn't waiting for a specific feature.
00:00.320: Gotcha.
00:00.320: And that was my experience of throwing myself into the fire because I was gonna it was gonna happen.
00:00.320: You just can't deny how fabulously the multicam has been designed.
00:00.320: Premiere update.
00:00.320: is probably going to be better experience for you, but there is a lot that you can do in there.
00:00.320: However, at some point the compound clip changed behavior, and I have yet to talk to anybody at Apple to explain why they did this.
00:00.320: where it used to be that and I'm gonna I think I got this right that if you had a compound clip and you brought it into your time line and you changed it in your time line, the original in the bin stayed the same.
00:00.320: um project file and you have to kind of know where that is.
00:00.320: Send that through Dropbox.
00:00.320: Put all the Magic Bullet Looks files, Magic Bullet Looks plug-in on whatever clip he's working on.
00:00.320: And work with it like that.
00:00.320: And then I will take the folder.
00:00.320: who I do cafe with would you know throw something at the back of my head for saying that but but I um I I find I do
00:00.320: Color, uh, go to colorboard.
00:00.320: I do wish that when you were in the colorboard, there was a way to audition what you've done on it and off, on it and off.
00:00.320: remember it and I still didn't remember it but why for grade oh grade look at you okay see I guess it could be C which is a little closer but it w it was just what was available I and I got you I got you no that's that's an
00:00.320: I needed to be able to, wow, I just got totally sidetracked.
00:00.320: Yeah, so I like that.
00:00.320: But it's just one of those things.
00:00.320: I made command shift T for track.
00:00.320: Split X, or no, it's Splice X.
00:00.320: The LUTs from, I don't know the name of the, there's a company that has a whole package of LUTs, and they'll have some for Alexa and C300 and whatever.
00:00.320: It's a file, it's a look, well, it's a lookup table that allows you to bring the footage to your starting point.
00:00.320: Like, this is where we go, and boom, this is what the Alexa footage should look like.
00:00.320: Yeah, I think, you know, the whole LUT thing, and I'm going to probably say something wrong here, so I apologize, Alex McLean.
00:00.320: And again, Alex, if you're listening, and I got this wrong, I apologize.
00:00.320: his default is to go to the Curves.
00:00.320: Oh, yeah.
00:00.320: Mark Spencer called it a $50 plug-in generation tool.
00:00.320: for motion graphics ever.
00:00.320: The way that they work together is unique, and it's not like it ever was in seven.
00:00.320: You can't use multicam clips in auditions.
00:00.320: and you can very easily switch between them.
00:00.320: From elsewhere in the timeline and throw it into that audition.
00:00.320: Yeah, I completely agree.
00:00.320: there was a lot of accusations in the first four months that Apple had lost its mind, turned its back on professionals, and this is a toy and
00:00.320: we should all go by Avid now.
00:00.320: I just had dinner with some people the other night and I mentioned Final Cut 10 and I got the typical eyes rolling, leaning back in the chair, arms crossed, body language, I don't like you now that you just said you like Final Cut 10.
00:00.320: You know, in the advent of component video, in other words, Beta Chem SP, which is something you've probably never had to use.
00:00.320: Areas, some regions of the country went to BetaCam SP, and Atlanta, interestingly enough, went to Panasonic M2 format.
00:00.320: Um, but it's kind of the same thing.
00:00.320: you know, the cool kids moving over to Premiere at the death of Final Cut 7.
00:00.320: Just as well as it collaborates with motion.
00:00.320: As I get deeper into it, the audio tools are quite powerful.
00:00.320: When I mark out beats on an audio clip and I try to pull a verse and a chorus out or loop a two-measure riff
00:00.320: is subframe editing.
00:00.320: and try and make an edit exactly on one of those beats, you w you almost you probably won't be able to because those markers are at a different frame resolution than the
00:00.320: And it was funny.
00:00.320: They're markedly better than they used to be in Final Cut 7, and I think it has to do with the resolution that it's dropping those marks at.
00:00.320: Well, yeah, when you get a temp track from one of these stock music sites, you want to use the temp track.
00:00.320: At the very least, you know, if eight out of ten times it works, you've saved yourself quite a bit of work.
00:00.320: So it it fades in and it fades out.
00:00.320: Now, when I open up that, I might have three or four different cuts of music.
00:00.320: I virtually never use the little dots.
00:00.320: Is there, but it's different music inside it.
00:00.320: Oh, we have to take a sound bite out because that guy got fired from the company, which I've had to do.
00:00.320: You can very easily create a workflow that incorporates compound clips so much.
00:00.320: We are talking about Final Cut 10, but you know, Final Cut 7 had nested clips and Adobe had something I can't remember what they call it, but yeah, so
00:00.320: But knowing that premium beat music is always made from the same file, they are actually that's my favorite audio source right now.
00:00.320: Anyway, so I love them.
00:00.320: And then you can keep your low end and high end full and present.
00:00.320: Yes.
00:00.320: Television, movies, film, editing, all that stuff.
00:00.320: Overpowering, yes.
00:00.320: people saying, oh, you know, it's too fanboy and we're t you know, I'm trying to be um uh
00:00.320: What's the word I'm looking for?
00:00.320: And I am not gonna I think it's best if we don't sit here and tell you that something else is bad.
00:00.400: I learned Premiere and Avid in school.
00:00.400: Realizing that I'm not going to be able to go to seven.
00:00.400: Yeah, I think the multi-cam is one feature that is undeniable.
00:00.400: I wouldn't it makes no sense for me to put the time into After Effects.
00:00.400: And I have to push them their job.
00:00.400: But to be honest with you, a lot of the color that I'm doing in 10 is, I don't mind the colorboard.
00:00.400: No, because given the opportunity, jump on point.
00:00.400: A ProRes 422 that's been color graded and finished, and I can't ch I can't play with it.
00:00.400: Exactly.
00:00.400: almost all my work inside the colorboard inside Final Fat 10 now.
00:00.400: Colorboard nudge puck up and down.
00:00.400: And you can set it to whatever you want.
00:00.400: Yes, in another life I will be done with that.
00:00.400: And I just it for me, I mean, I don't know.
00:00.400: I mean, Gabe from Crump has been a very vocal advocate, and I think he was on your show too, talking about.
00:00.400: I think Crumple Pop's stuff is great.
00:00.400: This guy found five people, ten people, twenty people that actually use Final Cut 10.
00:00.400: And I think Atlanta was the only area that used Panasonic M2.
00:00.400: Video resolution.
00:00.400: And I said to them, I said, are you using some technology from Logic?
00:00.400: Wow, that's way easier than what I've been doing.
00:00.400: And it's worked for me because the files in the project are not looking for the whole song.
00:00.400: I did a tutorial.
00:00.400: Compound clip is where I will do all of my audio ducks.
00:00.400: And so if you change your clips, and to be fair, this show is called Final Caten Grill, but you can do this in any editor.
00:00.400: Oh, yeah, this is totally great.
00:00.400: And um I do release Final Cut Pro 10 tutorials here and there.
00:00.480: Hi, welcome to Final Cut 10 Grill, episode 004.
00:00.480: It's true.
00:00.480: Okay, so so the it was really kind of that comfort level.
00:00.480: That, or I don't know that they think it because, let's face it, it makes perfect sense.
00:00.480: Do people give you crap?
00:00.480: And they let's talk about that for a second.
00:00.480: It's actually something I got from Ripple Training, and I don't remember the exact key command at this second, but you can change your keyboards in Final Cut 10.
00:00.480: Mocha.
00:00.480: In addition to selling a $300 app, they have sold whatever it is, a $50, essentially, what I think
00:00.480: that there is an economy of scale.
00:00.480: you can sell them for twenty nine and forty nine dollars like you see most Final Cut plugins, Final Cut 10.
00:00.480: Really using projects and templates made in motion and using them in Final Cuten.
00:00.480: But you're thinking maybe it would look good with a wide shot too.
00:00.480: And then it swaps out.
00:00.480: I don't get it.
00:00.480: Application that is changing around me all the time in a good way.
00:00.480: using swapping out premium beat temp tracks.
00:00.480: I can't.
00:00.560: Maybe 10.
00:00.560: Virtually everything we do graphically is done in an Adobe app, whether it's After Effects or Photoshop.
00:00.560: So back in those days, the compound clip worked really well as a like a starter template for every monthly show.
00:00.560: I think we're going to see a totally different working of the projects versus the events in the next
00:00.560: And I think that we're going to have yet another, dare I say, paradigm shift based on the stuff I'm reading from Alex 4D.
00:00.560: In Fonaco 10, I will duplicate the project that I'm working on.
00:00.560: He, I showed him that Lutz thing, and he goes, Oh, yeah, cool, cool, because he's a big red guy.
00:00.560: And um their their shop, Colorflow in Berkeley, they do you know very high end you know, features and commercials and shorts and
00:00.560: in in in the eyes of the D P.
00:00.560: And I that to me has been an amazing change.
00:00.560: What do you secretly hope for seeing in 10.
00:00.560: You can't use sections of multi-clips in auditions.
00:00.560: Or 80s and 90s.
00:00.560: anymore.
00:00.560: or a frame or a couple of frames off, that means all of your edits will now be slightly off, too.
00:00.560: I think one fear that I have is if the audio company is careless in the way they make their temp files and the first downbeat is a fraction of a frame off,
00:00.560: Very cool.
00:00.640: So basically 2002-ish, 2006, what what edit systems have you used throughout your career?
00:00.640: And I started using it prior to that also.
00:00.640: And it better work, you know.
00:00.640: And I'm getting a lot more confident in my motion graphics within Final Cut 10.
00:00.640: My the the guy that does all my sound, Matt Russell at Gainstructure Sound, takes those A takes the AAF that I make
00:00.640: Trevor Burrus, Jr.
00:00.640: Really, kind of taking a shine to the colorboard.
00:00.640: you know, more pic more millimeters on my trackpad and and less uh pixels on the screen as I'm making adjustments.
00:00.640: I should probably look because somebody's going to say, Fenwick's an idiot.
00:00.640: I'm really I don't know where my skill set lies, but one of the things I have never been good at is motion tracking.
00:00.640: Activating the audition within the clip, I guess is the only way to say it.
00:00.640: Yeah, I mean, maybe there's a way to use that on and off to bypass the timing.
00:00.640: So you mentioned some of the things that you'd like to see.
00:00.640: This show.
00:00.640: The more I use Final Cut 10, the more I realize I don't need to go to other applications.
00:00.640: The videos that we shoot are either 23.
00:00.640: I find that 95% of the time my audio edits working in that workflow, mark, mark, mark, okay, count eight beats, you know, blade, blade, make a copy, ripple it down.
00:00.640: There's so many ways the compound clips alone are something that it's one of those things where it seems like, okay, whatever, you can combine clips and nest them.
00:00.640: To swap out the temp audio with the actual audio.
00:00.720: It became clear that I wanted my entire studio to be 10, and I wanted assistant editors to be working on 10.
00:00.720: I'm hiring somebody to do After Effects.
00:00.720: There's a lot of opportunity to collaborate in 10.
00:00.720: I have no problem at all.
00:00.720: But I do believe that and I don't know when this episode will air, but in the coming weeks, I believe we're two to three weeks away from seeing Final Cut 10.
00:00.720: I think a lot of people are shocked that Final Cut it's even in Final Cut 10.
00:00.720: Yeah, and that's I brought that up a lot with people that are saying, oh, no one's using 10.
00:00.720: Send it over to Final Cut 10.
00:00.720: I mean, I'd use it for obviously multi-cam live events and concerts and stuff.
00:00.720: A compound clip that I call music bed.
00:00.720: I usually zoom out and I take a look at the waveform.
00:00.800: That was important for me because I can't be working on a system and having everybody else working on something else.
00:00.800: Oh, in in audition.
00:00.800: I'm going to have to do that on all the machines around here.
00:00.800: I am using, let me see here.
00:00.800: Yeah, I I'm looking at the one that I played with.
00:00.800: Carl Olson show, and I think he was a guest with us there.
00:00.800: So, I'm not sure why you can't use it.
00:00.800: We should have gone for about forty five minutes.
00:00.800: The purpose of this show is to talk about this solution in a way that people get to hear what people actually are doing.
00:00.880: I started feeling like I could bring assistant editors on and feel confident that once they go through a training, they'd be able to work with it.
00:00.880: Let's talk about graphic support, lower thirds, full screens, anything with text.
00:00.880: Honestly, I try to do as much as I can inside.
00:00.880: Yeah.
00:00.880: No, but that's where I have it set.
00:00.880: They could that bypass I think it's the tilde button that sort of bypasses things within the ripple the what am I saying magnetic timeline the connected clip trick
00:00.960: To actually cut an actual job in it?
00:00.960: About the program or about the about the program, yeah.
00:00.960: : So now back to your colorist thing.
00:00.960: I should look into that.
00:00.960: You know, it's like, oh, I feel bad.
00:00.960: If the lengths are different, you'll get an error message.
00:00.960: But I just didn't.
00:00.960: Well, my production company is BC Media Productions.
00:01.040: I really like the color correction inside of Fana Catena.
00:01.040: Oh, that's kind of awkward.
00:01.040: He goes, Uh no.
00:01.040: What else do I want to say?
00:01.120: Careful.
00:01.120: And there is such an amazing wealth of both plugins and templates.
00:01.120: replace existing clips with other clips, but it doesn't take away the existing clip.
00:01.120: And you can motion is a cover flow, a little cover flow window.
00:01.120: Okay, so in the advent but back when those things were being invented, when I was working, some some
00:01.120: So you drop it in with a watermark.
00:01.120: And who's gained the listeners?
00:01.120: And then I pull the audio down where I want the music ducked, and then I put a crossfade there.
00:01.120: It's the longest plug in history.
00:01.200: Yeah, you know, I think most of the tutorials that I have created are exactly so I can hand it off to the people in our office and say, here, this is how you do this.
00:01.200: In its purest form, and again, disclaimer, I might have this wrong, but in its purest form, a LUT is a
00:01.200: I'm hoping that Final Cut is able to take advantage of some of the new features that Logic Pro 10 has and collaborate with that.
00:01.200: There's clearly a lot of people using Avid.
00:01.280: Yeah.
00:01.280: So yeah, I think one of the things that has been amazing to me is to watch the plug-in community adopt Final Cut 10.
00:01.280: So, as you look at the program and as you watch it develop, actually, let me ask you one other thing, and I haven't asked most people this.
00:01.280: And I just looked at him.
00:01.280: The art of editing, the business of editing, you have to learn some of these techniques, you have to learn some of these procedures.
00:01.360: AAF.
00:01.360: I see this tool as a very powerful tool.
00:01.360: I find that like literally 95% of the time my audio edits are spot on perfect the first try.
00:01.360: I think the first time I did a tutorial for it was back in 2000 or something like that.
00:01.440: I got it.
00:01.440: Or sometimes if it was a more complex thing, I would slip them underneath.
00:01.440: When the timeline plays across that crossfade, not only will the level change, but if you so desire, and I do this a lot too.
00:01.440: Hey, so we should wrap this up.
00:01.520: It's just that we sort of think that's the way it is.
00:01.520: And the reason I like to do it with looks is because even though you have picture lock, the clients will always find a way to make changes.
00:01.520: I do wish that when you engage the color board, you know, so you hit that little circle with the arrow, or you do, I think it's like command shift six or something like that.
00:01.520: Like a left turn, and he's like, Oh, that's totally wrong.
00:01.520: It could be.
00:01.520: Well, that was my first time ever talking with Ben, and I really enjoyed him.
00:01.600: It's very funny.
00:01.600: Have them download it.
00:01.680: Okay.
00:01.680: Philip Hodgetts has written two plugins, X to 7 and 7 to X, which allows you to XML in and out.
00:01.680: I only do about three jobs a year for them and it was early that year.
00:01.680: And it's a much smaller file than if you included the render files, and also if you send it with an event.
00:01.680: Yes, yes, their motion tracker.
00:01.680: The other thing I'd like to be able to do is I'd like to be able to somehow, and I don't know what the metaphor is, I want the auditioned clip.
00:01.680: I'm trying to be unbiased, but it's a little hard because I actually am very biased.
00:01.760: And so that's where I started and learned that.
00:01.760: I know.
00:01.760: And doing the color in 10.
00:01.760: I always think of them as the company where everything is on corrugated cardboard.
00:01.760: I also like from that same company, I got organic light leaks from them for
00:01.840: And sound, too, using that X2 Pro program.
00:01.840: Which means I can leave my music louder and just kind of I call it digging a hole in your EQ.
00:01.920: That's always possible too.
00:01.920: The people I know who use Premiere are saying, Yeah, no, it's awesome in Premiere now, too.
00:01.920: It's so weird.
00:01.920: Well, let's just put a little four-frame dissolve.
00:01.920: What is the relinking?
00:01.920: Why didn't you come up with that yesterday?
00:02.000: Hello?
00:02.000: Yes.
00:02.000: I have it set to G, but colorboard toggle correction on option.
00:02.000: You know, they do really great work.
00:02.000: And it allows you to do all these stuff.
00:02.000: And one might be better, but the next thing is going to happen after the end of that line, regardless of how many frames it is.
00:02.000: I'm going to be using a combination of your trick and my compound clip for auditioning different versions.
00:02.000: You're really good at this, by the way.
00:02.000: Humble, I wouldn't say that.
00:02.000: And yes, anytime, give me a call and I'd love to be on your show.
00:02.080: So this is a you know, last night you were saying, what are we going to talk about?
00:02.080: Okay, so that that's uh is that uh compatible with uh the Pro Tools?
00:02.080: So I open up a project like, oh, yeah, Steve's been here as soon as I see a Curves plug in.
00:02.080: Well, it's like itch I know, seriously.
00:02.080: That shifting the timeline is annoying when you have, because your clips are never going to be the exact same.
00:02.080: Go to the iTunes, please.
00:02.160: And it did.
00:02.160: So I'm continuing to edit in projects.
00:02.160: You can just use it to you know manipulate plug-ins and do things like that.
00:02.160: I go, really?
00:02.240: I just wanted a comfort level so that I knew enough about it that I could help my assistants work through problems that they may run into.
00:02.240: But what I'm nervous about is things like compound clips not working the same way.
00:02.240: So within my Final Cut Projects folder, there's folders for each project.
00:02.240: It's cool.
00:02.240: And it was interesting because, as this is the old man story that Alex always hates, when you're talking about the kids today with their computers.
00:02.240: It's a it's a little bit the same thing with editors, although I will say with the Internet, the world is a much smaller community.
00:02.240: And then we would have done the seamless blend into your show.
00:02.320: And yeah, those plugins are huge, and everybody really needs to have those.
00:02.320: And I was I watched that tutorial.
00:02.320: And so I've been doing that, you know, compound clip music bed nest for a while now.
00:02.400: I love the, I like early adoption.
00:02.400: That's silly.
00:02.400: Maybe there's some cool things.
00:02.400: I haven't seen that happen.
00:02.400: I gotta say, I like the logo, I like the name, but it doesn't roll off the tongue very well.
00:02.480: I'm sure colours do their own thing.
00:02.480: And the way that the two of them work together, and really, I'm not the best place to talk about the way they work together, but
00:02.480: com.
00:02.560: One was kind of low key because there was nobody over my shoulder.
00:02.560: You can edit at the waveform level.
00:02.640: That was empty on my breward.
00:02.640: It's kind of it makes you feel bad that it's not harder sometimes
00:02.640: I apologize.
00:02.720: And that's a common story.
00:02.720: And I use those I use those a lot, or I used those a lot because once I became really comfortable with 10, I started transferring all my seven projects over into 10.
00:02.720: 0.
00:02.720: Which file do you send them?
00:02.720: It fades in or not not even fades in all the way in or out, but it just, you know, it ducks a few dB.
00:02.720: And of course, on iTunes, GoCreative Show.
00:02.800: But I get a lot done in motion and I get a lot done in Final Cut.
00:02.800: It's easy to use.
00:02.800: So if I put another shot in that's longer, just go ahead and truncate it for me because I don't want to change, I don't want to ripple anything in my timeline.
00:02.800: And we got into this discussion about how mo the the
00:02.800: I don't know if you've ever noticed that.
00:02.800: I don't want to take any more time, but I really appreciate you taking the time out of your day to have this talk.
00:02.800: We're really trying to make this be a level-headed discussion.
00:02.880: Hello, hello, Ben.
00:02.880: So, did you buy it right away, like day one?
00:02.880: And basically, I send them we both have all of the assets, the events on each of our hard drives.
00:02.880: Yeah, I'm horrible at motion tracking.
00:02.880: And it's well, Mark Spence, I know I'm going off track, but about motion in Final Cut 10, it's a must.
00:02.880: Why don't you explain what an audition is?
00:02.880: There is occasion where you'll get an error message.
00:02.880: But it's a hodgepodge of all sorts of things, but it's all based around the creative approach.
00:02.960: So let's say you have an edit, and the second shot is a close-up of a woman's face
00:02.960: I just want to try a close up of, you know, the the headlight
00:02.960: So you're going to be one of those guys.
00:03.040: I said, just stay away.
00:03.120: Yeah.
00:03.120: Because they're created from the exact same file.
00:03.200: I mean, eventually you could, but at that point, you could.
00:03.200: And it did.
00:03.200: The color I'd say the colorists are the most skeptical because they don't know that they can do it.
00:03.200: What do you think?
00:03.200: Oh, look at that left.
00:03.200: So you can add another wide shot on top, add it to the audition.
00:03.200: But at the same time, and yet you can't really do a true round tripping.
00:03.200: So actually, I have a question for you.
00:03.200: And then somebody else chimed in and they said, Yeah, but what if it's a different length?
00:03.280: 2, I think.
00:03.280: Hey, I had a it's just Command 6.
00:03.280: Very powerful tip, though, to remember that that command editor is there so that you can find extra stuff.
00:03.280: And I'm actually on their site now, so I'm noticing.
00:03.280: Splice X.
00:03.280: They have a beautiful facility with this amazing theater and blah, blah, blah.
00:03.280: And if you're writing a plugin that ten people will buy, you're probably going to have to sell it for a whole lot of money.
00:03.280: And you can make um what is it called?
00:03.280: And auditions is a big way that I work.
00:03.360: You take the file called currentproject.
00:03.360: But yeah, so but not everybody's using looks.
00:03.360: If you, you know, different, different, you know, because I used to do a lot of work in Atlanta back in the 80s.
00:03.360: Select your audio music track, listen to it and hit the letter M on the downbeat of every you know, every beat.
00:03.360: We're getting really nerdy specific deep, but if you've ever run into this, you know what we're talking about.
00:03.440: You know, a feature of audition, there's two features in audition I would like to see.
00:03.440: Client buys off on it.
00:03.440: Really good.
00:03.520: It seems like it's getting more and more.
00:03.520: It's called Palm Fort S Log 2 video because I have a Sony FS700 and I was testing it out.
00:03.520: And I think that that's really what I wanted to do with this show: just have these conversations and, like, really?
00:03.600: So, today, on this episode, we're going to talk with Ben Consoli.
00:03.600: What?
00:03.600: Yeah, I haven't used it yet, but I'm really excited to play with that.
00:03.600: 98 frames per second or 29.
00:03.600: I love that idea.
00:03.680: Relinking.
00:03.680: I don't know.
00:03.680: And I gotta say, I think there was a little bit too much of me in that interview.
00:03.680: It really helps the show.
00:03.760: It was really just getting used to how the program worked and
00:03.760: Well, I'm definitely not teaching them their job, but I'm teaching them that they can.
00:03.760: I needed to be able to select from my playhead everything to the end of the timeline because it does not have a magnetic timeline.
00:03.760: You should.
00:03.760: One, it was a tutorial for their site, so that made sense.
00:03.840: It did for me.
00:03.840: It's one of those things where it's like, you don't need to use it ever.
00:03.840: 1?
00:03.840: It'll be okay.
00:03.840: And then when I go back to my timeline, the same music bed that has all of the audio fades.
00:03.920: And then if I feel like I'm restricted, I'll go to motion.
00:03.920: Yes, and dumb.
00:03.920: I record this show using Adobe Audition and
00:03.920: And I mean, if you're like me and you have a lot of clients that'll send you screenshots or whatever, and they just want to be nicer, yeah.
00:03.920: And then you say, now we're going to
00:03.920: But I've been doing more recently, if you have a scene that has twenty takes or whatever, instead of making twenty synchronized clips
00:03.920: And if I think of it, I will put a link to that in the show notes for this.
00:04.000: That's a long stretch.
00:04.000: And that was basically the narrative that you heard in the production community.
00:04.000: Easily.
00:04.080: Yes.
00:04.080: But the lookup table is just to say, oh, okay, yeah, all right, that's what he wants.
00:04.080: Yeah.
00:04.080: But what I found is the workaround is instead of relinking in the event, I've been relinking in the project.
00:04.080: And then we should have done a seamless blend to say, okay, Ben, now start your show.
00:04.080: I think when it comes to your on air personality and your ability to converse and stuff, it's very comfortable for you, so you don't think about it.
00:04.160: I'll send the project folder over.
00:04.160: He doesn't even know how to get the color boom.
00:04.240: Why didn't you, you know, do a job that first day?
00:04.240: Okay.
00:04.240: It's not cool anymore?
00:04.240: I've heard people use Vegas Pro.
00:04.320: So I have no problems collaborating with other places, Adobe houses, Avid houses, Pro Tools houses.
00:04.320: Um I actually when I'm training people, I tell them under no uncertain terms should they go into the
00:04.320: Stay away.
00:04.320: Okay, so what about plugins?
00:04.320: It's called Curves.
00:04.320: And maybe it's just because I don't know how to use them correctly.
00:04.320: So instead of having hundreds and hundreds of clips in my event, I'll only have 10 or whatever.
00:04.320: I was like, oh, really?
00:04.320: And I've done it with other.
00:04.320: You will not be hurting my feelings.
00:04.400: You send them the now, actually, I'm going to back up a little bit more.
00:04.400: That's hardly a shortcut.
00:04.400: I love your logic there, Ben.
00:04.400: Yeah, you relink to the actual clip.
00:04.400: Yeah, it's premiumbeat.
00:04.480: But once 10 came out, I was I'm an early adopter type regardless.
00:04.480: But um but given the masking, both color masking and shape masking, the inside masking and outside masking.
00:04.480: Okay, here it is.
00:04.480: I'm excited to try it.
00:04.480: Yeah, it's interesting.
00:04.480: But I don't know which one, and the producer is going to tell me what he wants when he gets here.
00:04.480: Yeah, we used to be able to do that in seven.
00:04.480: They're more tips than tutorials 'cause I'm not really a trainer.
00:04.480: Thank you.
00:04.560: How are you doing?
00:04.560: But let's we'll get to that in just a second.
00:04.560: My name is Chris Fenwick, and I want to thank you for tuning in to listen to this.
00:04.560: Like, yeah, the money was easier here than music.
00:04.560: Yeah, it's a fair concern because if you, and we're going to get really nerdy, Final Cut 10 here for a little bit.
00:04.560: You know, I don't do that when I do audio edits.
00:04.560: Have you ever heard the uh the iStock audio?
00:04.560: So rather when you replace it, it's very difficult if you go piece by piece by piece.
00:04.640: It was, it was fine.
00:04.640: Like, well, I'm using Final Cut 10, so I have to use its character generator.
00:04.640: I agree.
00:04.640: Then I figure it's probably too late to make any changes.
00:04.640: It's really weird.
00:04.640: I like 3D perspective.
00:04.640: It drives me crazy because I use multi-clips for multicam clips for narrative work.
00:04.640: I see it as a living, breathing.
00:04.640: com.
00:04.640: You certainly get your money's worth here.
00:04.720: I will make sure that I don't include render files so that it's smaller.
00:04.720: So, definitely go pick, select colorboard toggle correction on off, put it on whatever key you want, and uh, enjoy.
00:04.720: Oh, yeah.
00:04.720: That was us, right?
00:04.720: And I audition them on and off, and I'm using audition with a lowercase A, not like the Apple feature.
00:04.800: Okay.
00:04.800: Well, one thing that really annoys me in 10 right now, 10.
00:04.800: You buy the actual track to swap it out.
00:04.800: You know, like I'm going to duck it at this sound bite, and I'm going to swell it back up at the end, you know, for this musical transition.
00:04.800: Isn't that cool?
00:04.800: Not totally full, but see what I'm saying?
00:04.880: So for me, going to 10 was a no-brainer.
00:04.880: That's the time frame that I started feeling a lot more confident.
00:04.880: What was the tipping point where you said, yeah, okay, I'm all in.
00:04.880: That's where my comfort level is with graphics.
00:04.880: And I don't have to worry about having
00:04.880: You're right about that.
00:04.880: Are you using some sort of beat detection?
00:04.960: I did.
00:04.960: Well, that's good advice.
00:04.960: Okay, let's go.
00:04.960: Is there anything else you can think of off the top of your head?
00:04.960: I talked about this a little bit with Carl Olson.
00:04.960: You can find me on Twitter at Ben Consoli, B-E-N-C-O-N-S-O-L-I.
00:04.960: You know what we should have done if we had planned ahead and had enough time is we should have started our discussion here.
00:05.040: So I'd say probably since maybe 2006
00:05.040: And plus, I mean, if you talk to anybody who creates plugins for a living, they will tell you that there is a
00:05.040: And it's worth exploring.
00:05.040: For people who don't know.
00:05.040: So you don't need to drag and drop and replace clips.
00:05.040: Yes.
00:05.040: Yes.
00:05.040: So, and that's why, you know, I actually called some friends of mine that work at Apple once, and I said, okay, explain to me this.
00:05.120: And we're going to hear about how Ben is using Final Cut 10.
00:05.120: I know a lot of people would say, oh, once Multicam came back, then I switched.
00:05.120: I mean, I work with colorists that are using Resolve.
00:05.120: And I'm saying, if no one was using them, why would the plugins be 50 bucks?
00:05.120: And I was like, Well, why are my edits I mean, literally, they're
00:05.200: It's no shift.
00:05.200: You know, I kind of divide people into two schools of thought: there's curves people and there's levels people.
00:05.200: I kind of get it, but um I tend to sort of avoid the curves, although one of the editors in our shop, uh Steve Steve Navrat,
00:05.200: I never even had to deal with motion at all, but it was made in motion.
00:05.200: And you dig a little hole where their voice is gonna live.
00:05.200: And there's just a lot there that people are hard to explain, and it's hard for people to understand until they really try it.
00:05.200: You're a humble guy, but I mean, geez, you're very humble.
00:05.200: I have to apologize.
00:05.280: But Final Cut was the only one that I could afford when I graduated.
00:05.280: And it was a command that was a latent command that was hiding in there without a keyboard shortcut to run it.
00:05.280: This is what the red footage should look like.
00:05.280: But his post, We Bet Everything on Final Cut 10 and Here's What Happened, was huge.
00:05.280: And I wouldn't be able to do that if I didn't have motion, but I didn't even open motion, it just all worked for me.
00:05.360: And it's like, oh, I play bass, I play drum.
00:05.360: It would be more expensive for me to put my time in than to just hire someone.
00:05.360: Colorboard toggle correction on/off.
00:05.360: Okay, yeah, I don't do that either.
00:05.360: Uh yeah, you can make your generators in motion and um
00:05.360: This is too easy.
00:05.360: And you can like, you know, swipe through them.
00:05.360: I'd kind of leave little detritus underneath the
00:05.360: I'm actually interested because at least in our you know, you know, you know, different markets around the country work differently.
00:05.360: One thing that most people don't realize is that, you know.
00:05.360: It's that easy?
00:05.360: And inside music bed
00:05.360: You know, dot, dot, pull it down.
00:05.360: But that's it for this episode.
00:05.440: I'm doing very well.
00:05.440: But sometimes, you know, using an application that is dedicated to motion graphics
00:05.440: I don't know who makes it, but it allows you to take XML.
00:05.440: It really does.
00:05.440: But, um, yeah, I I
00:05.520: Yes.
00:05.520: I'm like, What do you mean?
00:05.520: And so, but when you'd go back and forth, you'd go, like, oh, I got to get this dubbed across and stuff.
00:05.600: I mean, you had a lot of stuff out there, too.
00:05.600: And then, like, a month later, Multicam came out, and we did a music video with 20 camera angles.
00:05.600: Exactly.
00:05.600: I still think it's too sensitive.
00:05.600: I know Alex McLean, the
00:05.600: Whip pan and tilt bundle is something that I use quite a bit.
00:05.600: I haven't tried it yet, but I mean, I've been interested in it.
00:05.600: But the concept of LUTs
00:05.600: That's one thing I'd like to be able to do.
00:05.600: 97 frames per second.
00:05.600: And then we would have said, Now, when you're done listening to Ben's podcast, come back and we will answer how Ben does this thing in Final Cut 10.
00:05.680: Yeah, I'm always impressed when you
00:05.680: Can you do that with one hand?
00:05.680: There's even a plug-in to do that, you know?
00:05.680: So that's something that really is annoying.
00:05.760: I think a lot of people feel
00:05.760: Yeah.
00:05.760: Yeah.
00:05.760: It's only looking for a piece of it.
00:05.760: I've done it with Shockwave Sound.
00:05.760: File format doesn't match, or the length isn't the same.
00:05.760: That's a great idea.
00:05.760: com forward slash blog.
00:05.760: Posting the commentes type stuff, that really helps.
00:05.840: Yes.
00:05.840: What has Apple done?
00:05.840: You can't figure out the dissolve again.
00:05.840: I'm like, oh, okay, well, you know, that's fine.
00:05.840: So I think it's the way it's going to stay now.
00:05.840: He's been shooting with red since 2007.
00:05.840: You should have it.
00:06.000: Yeah, I don't.
00:06.000: So Command 6 is the colorboard.
00:06.000: And it's really basic, but I've found that that works better for me than using the
00:06.000: And sometimes you'll have to make loops with it.
00:06.080: I didn't trust it until
00:06.080: Do you tend to work inside the editor or do you use outside apps?
00:06.080: A little, you will.
00:06.160: Okay, still very, very early.
00:06.160: I I'm I don't want to bother looking it up, but yeah, I believe Multicam was 10.
00:06.160: And I actually don't go into I don't send him just the project file.
00:06.160: There are.
00:06.160: I just want to say that.
00:06.160: You recent you and I I think it was you and I I apologize if I'm wrong got into a little Twitter thing a few like I think it was last week about
00:06.160: Like the virtual podcast handoff.
00:06.240: And um
00:06.240: That type of stuff gets me scared.
00:06.240: You know, they just keep adding, like, oh, I'm so glad they have that now.
00:06.320: Yeah, so to be fair, since those days, that's like two years ago.
00:06.320: It's astonishing to me how well it takes outside things.
00:06.320: Ben had mentioned that in working with a colorist, he can send just the little
00:06.320: He will take it, make a duplicate for himself, call it the project's name CC for color grade, whatever.
00:06.320: Once you start using it and you get comfortable with it, it becomes so much faster and so much more intuitive.
00:06.400: That workflow has been really good for me because
00:06.400: I know.
00:06.400: Yeah, sorry about that.
00:06.480: Okay.
00:06.480: Anybody that has ill will towards Final Cut 10
00:06.480: I like it.
00:06.480: Okay, I felt stupid.
00:06.480: You know, in the editorial process, when I put the shows together, I.
00:06.560: How about yourself?
00:06.560: And then the other one was an on-site edit, you know, same-day edit type thing.
00:06.560: And it makes me I'm not nervous because I know that
00:06.560: So just the letter G?
00:06.560: So anyway, I showed him that thing.
00:06.640: And that is why I was so afraid.
00:06.640: So you you actually opted to take your old stuff and migrate it forward.
00:06.640: They may not change at all.
00:06.640: fcpx or whatever it's called.
00:06.640: There's got to be a way.
00:06.720: And believe me, this is a very low-key morning chat about work and the kind of stuff.
00:06.720: And all he has to do is send me a new project file back.
00:06.720: You'll get shit on for that.
00:06.720: Well, you kind of have to go, but okay.
00:06.720: Because, you know.
00:06.800: They've turned their back on us.
00:06.800: Yeah, I would be very interested in taking a look at that.
00:06.800: And what he was saying is, you know,
00:06.800: I hired Mark to do some work for me for a project, and it was my first experience
00:06.800: Bad one, Fenwick.
00:06.800: There's a lot of solutions out there.
00:06.880: And I had gone to school at Emerson College in Boston for video and film and all that kind of stuff.
00:06.880: Yep, yep.
00:06.880: But yeah, that
00:06.880: You can't use the nudging tools at a subframe edit, but
00:06.880: Yep.
00:06.960: So, you are an early adopter.
00:06.960: I seem to get more and more done in Final Cut every time I try it.
00:06.960: Honestly, what I've been doing, as insane as it sounds, is I've been using looks just for Cosmo, the skin softener.
00:06.960: Yes.
00:06.960: And of course, most of that has to do with the fact that
00:06.960: But I have a much better time using the curves from Natris.
00:06.960: It's a platform for creating plug-ins and looks and templates and stuff.
00:06.960: Yeah, yeah.
00:06.960: It's go time.
00:06.960: That was fun.
00:07.040: Now, Ben works out of the Boston area, I believe.
00:07.040: I think in the last.
00:07.040: No, well, I'll gladly say that I'm a cool kid.
00:07.040: So sometimes they do, and when they do, I do it that way.
00:07.040: And then let's say you have a medium shot as well.
00:07.040: Yeah, though.
00:07.040: And it's weird because motion and final cut work
00:07.040: So it defaults to try and make your audio edit smarter?
00:07.040: Yeah, I'm going to put
00:07.040: That really happens a lot.
00:07.040: We will see you next time at the Final Cut 10 Grill.
00:07.120: You can always put together a band with a crew of television.
00:07.120: And once I completed my first project in it, I felt a lot more comfortable.
00:07.120: It was gonna happen at the end of day three.
00:07.120: I'm going to see if I can pull it up because it's something that I use all the time, and I just can't remember the keycard.
00:07.120: Like I was saying earlier, I really like the colorboard.
00:07.200: But I think that a lot of people feel that once you're in that playground, like you can't leave it.
00:07.200: At the level that I work
00:07.200: Are you using many of the Final Cut 10 plugins?
00:07.200: I don't know.
00:07.200: And he wanted to do that workflow because he knew I had both programs.
00:07.200: You go, yep, yep, let's try it with this shot instead.
00:07.200: Yes.
00:07.200: And it was
00:07.200: And then the other thing that I do, and I've been doing this for many, many years.
00:07.280: Sorry, I'm late.
00:07.280: And I really wanted to make
00:07.280: So you're not like an After Effects kind of guy?
00:07.280: I think it's fcpeffects.
00:07.280: And I'm hoping that you can.
00:07.280: And the problem with those is that when you need to
00:07.360: So I ended up doing this.
00:07.360: And Photoshop makes great PNGs that key wonderfully and in real time.
00:07.360: Yeah.
00:07.360: It turns it into an audition, which is basically like a collection of all the clips that you think may work in that section.
00:07.360: I really do like it.
00:07.360: But then somebody else chimed, and I tried it.
00:07.360: But um they're little tips along the way.
00:07.440: I have one client that I
00:07.440: Yeah, true motion round tripping would be really great.
00:07.440: And you showed the trick of
00:07.440: So the real track is always going to be longer than the piece, and it ends up working.
00:07.440: So anyway, that's my little nerdy audio trick.
00:07.440: Thanks.
00:07.440: But, you know, we were getting into that audio stuff, and I get really passionate about that.
00:07.520: And frankly, most of those play in real time.
00:07.520: And the lookup table gets sent from the set so that the colorist knows where to start.
00:07.520: And you can use it to make
00:07.520: No, yeah, there is a way.
00:07.520: He was the guest on episode one of
00:07.600: In Fanuka 10, you're able to
00:07.600: As it stands now, you have to match frame back out to the clip in the event browser by hitting Shift F.
00:07.600: And if I make plug my own podcast, which I'd love to have you on.
00:07.680: People lose their mind over it, but I don't mind it.
00:07.680: And I'll only take the folder, I'll zip it.
00:07.680: What is that?
00:07.680: Yeah, we had him on.
00:07.680: Um, that's the problem with Twitter.
00:07.680: I've done it with Pond 5.
00:07.760: But after using it for a little while,
00:07.760: He's like, Oh, yeah, that's great And then we're watching the tutorial and all of a sudden the guy took
00:07.760: I know.
00:07.760: Yeah.
00:07.840: I know.
00:07.840: So one, the only difference is one is an MP3 and the other is an AIFF.
00:07.840: Humble is not a word that has ever been used.
00:07.840: All right.
00:07.920: I like it.
00:07.920: So your trick was you drop in the MP3 with the
00:08.000: I just haven't had the time.
00:08.000: So that would be huge.
00:08.000: It sounds like an iShot Fabio.
00:08.000: But two, yeah, I mean, their temp their temp tracks and their
00:08.000: It's a very cool thing.
00:08.000: You certainly will say that.
00:08.000: That's not the point.
00:08.080: It's go time.
00:08.080: I like that.
00:08.160: That's when I started feeling like I.
00:08.160: I can totally work in this?
00:08.160: I work with graphics people that are using Adobe products all the time.
00:08.160: How often do you run into that?
00:08.160: Take care.
00:08.160: So that's another episode of the Final Cut Grill.
00:08.240: Just getting my head around the new editing paradigm has been the word that's been tossed around.
00:08.240: And that's why I'm not using the compound clip technique to be you know to replace my projects.
00:08.240: I think it's just Final Cut Effects.
00:08.240: So I want to have some options for him.
00:08.240: It's amazing.
00:08.240: You just pull down about your 1K
00:08.320: I wanted something with G so that I could keep it
00:08.320: I've had a little pushback on the Twitter over the last couple of weeks.
00:08.400: Yeah, I bought it that first day.
00:08.400: I got my tool over here.
00:08.400: But the audio editing
00:08.400: You do a lot of stuff with it.
00:08.480: It's all encased in one clip form.
00:08.480: My timelines used to be a lot messier than they are now.
00:08.480: But you ha but it's unique, and I'm curious to see where it's going to go and how it's going to work with Logic 10.
00:08.640: And really, I think once the tutorials were
00:08.640: I have it set to no, not just a letter G, I have it set to Command Control Option G.
00:08.640: You know, I think it's cool.
00:08.720: Ooh, tell me.
00:08.720: Oh boy, that looks good.
00:08.720: You can use synchronized clips.
00:08.720: But sometimes it's very important.
00:08.720: We're going to talk content now.
00:08.720: And it doesn't happen on all of them.
00:08.800: It's part of their job.
00:08.800: Yeah, what I'll do is the one you would email.
00:08.800: You know, maybe if it was just a
00:08.800: com.
00:08.800: And anytime people are like, oh, can you blur that guy's t-shirt?
00:08.800: But the music bed
00:08.880: As you know, as you may know, the whole purpose of this show is to meet
00:08.880: All right, now, and now we go.
00:08.880: And I think.
00:08.960: How long have you been in the video and or film production business?
00:08.960: He's a self-professed early adopter.
00:08.960: I just got, I had
00:08.960: You can add that to the audition and very easily swap between the three of them just by
00:08.960: One, I would like to be able to bring a clip
00:08.960: But once you do it, once you go.
00:09.040: What were the things that bothered you then?
00:09.040: I think it makes an OMF, correct?
00:09.040: But at least you're warning us.
00:09.040: And if you will, it also makes it easier.
00:09.040: It would have been so cool.
00:09.040: So
00:09.120: Because I'm thinking, if I get stuck in the middle and I can't get out of this, what am I going to do?
00:09.120: I wish I could move my mouse
00:09.120: I I release them on Premium Beats blog, premiumbeat.
00:09.200: Gotcha.
00:09.200: Like, I mean, people have whole careers.
00:09.200: Interesting.
00:09.200: Cool.
00:09.200: There's so much power in those compound clips that
00:09.280: Final Cut, what I like to refer to as Final Cut Classic.
00:09.360: I just like using the curves better.
00:09.360: Click it.
00:09.360: It's wonderful for business, isn't it?
00:09.360: And where can people find more about Ben Consoli online?
00:09.440: If you're by writing a plugin that maybe a million people might buy,
00:09.440: So I'm crossfading from one level also to a different EQ setting.
00:09.520: Actually, one of the things I do quite a bit is I will make a
00:09.600: So I bring it down, I change the date in it, and I go.
00:09.600: Well, he was a sponsor of.
00:09.600: Yes.
00:09.680: But with relinking,
00:09.680: There's clearly a lot of people using
00:09.760: I know.
00:09.760: And, you know, like in our office,
00:09.760: And I really like that workflow, but
00:09.760: Sometimes it's just uh your hundred and forty character friend and you forget who you're talking to.
00:09.760: And the first time I tried it, it was like.
00:09.840: I feel uncomfortable with compound clips only because.
00:09.840: And it's and it's a lot faster for people to say, you know, and I always joke about
00:09.920: So I use the colorboard quite a bit.
00:09.920: I just watched uh a tutorial or a demo of that last night.
00:10.000: So that's interesting.
00:10.000: So at that point.
00:10.000: I b I think old ti uh Final Cut Classic was control b the letter B.
00:10.000: I can get a lot of work done in there.
00:10.160: And he also runs a podcast called, let me double-check, I want to get the name right.
00:10.160: And I send a project file through email, through Dropbox.
00:10.160: And I'm able to open it, to manipulate it.
00:10.160: I will say that.
00:10.160: 09, well, really all of them is that
00:10.160: It does happen on some.
00:10.160: You've been grilled.
00:10.320: I think it was.
00:10.320: What I'll do is
00:10.320: No, well, you know, because I showed it.
00:10.320: And
00:10.320: Yeah, back in olden times, quite often I would either.
00:10.320: Let's say it's a narrative, it's a delivery of a line.
00:10.320: I like that.
00:10.400: Like I got the iPad Air.
00:10.400: Now zoom way in and try to select your video clip.
00:10.400: Yeah.
00:10.480: You know, I got to agree with you in terms of color correction.
00:10.480: And so, um
00:10.560: How long did it take you?
00:10.560: You really should have it.
00:10.640: 03.
00:10.640: And frankly, there's nothing I would have wanted to do that in.
00:10.640: You certainly do get your money's worth.
00:10.720: I recently made one.
00:10.800: I think you are.
00:10.800: But you're very talented at it.
00:10.880: That's wonderful too.
00:10.880: I like little things like that.
00:10.960: So everything should be fixed.
00:11.200: But really, there should be a button.
00:11.280: Yeah, what I'll do is.
00:11.360: Okay, so under the Final Cut menu, under Commands, if you go to.
00:11.440: They're just not used to it.
00:11.440: Right.
00:11.440: And then you go back to your original way of doing it.
00:11.680: Yeah, and again, to be fair.
00:11.760: I was like, oh.
00:11.840: I'm always that type of person.
00:11.840: I have no problem working with them.
00:11.840: Arrogant, pushy.
00:11.920: So people listening appreciate what you got because it's
00:12.080: Give me more.
00:12.160: That's how I would like loop some audio.
00:12.240: 1.
00:12.240: But so those dots are very difficult to edit.
00:12.320: He'll tell you all about that.
00:12.320: I'm also starting to notice
00:12.400: Yeah.
00:12.480: I mean, this is ridiculous.
00:12.480: What do you
00:12.560: Now
00:12.560: I've been doing that one for a long time.
00:12.560: com forward slash bl uh I think it's the beat.
00:12.880: They're just not used to it.
00:13.120: I'm interested
00:13.280: And then
00:13.280: And
00:13.680: So let's go to the interview.
00:13.840: I was like, hmm, that's
00:13.920: I have.
00:13.920: That's one.
00:14.000: I know.