Episode 6
FCG006 - Transcoding, Roll, and Stems (feat. Anthony Moreschi)
Changing our mindset and taking a slightly different look at things can totally change your viewpoint. Anthony and I discuss the use of Rolls and how they can help you when it comes to exporting individual stems at the end of a project. We also get into a bit of how to organize your FCPX Events and we both express our newfound love of the Timeline Index.
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Featuring
- Chris Fenwick
- Anthony Moreschi - @WrenchTYF
Transcription
00:01.120: Hello, hello.
00:02.000: Hey, thanks, thanks for tuning in.
00:03.680: This is Final Cut Grill episode 006.
00:08.240: You know, as a content producer, this is kind of a hard thing for me.
00:11.920: I just finished going through the interview that I'm going to share with you today.
00:16.240: And I'm realizing, you know, when you get too close to something, it's really hard to cut it down.
00:20.320: I try to be very respectful of your time.
00:23.520: I don't want things to ramble on and take forever.
00:26.080: And I think.
00:26.840: you know, three-hour podcasts are kind of a drag.
00:29.480: Uh this conversation with Anthony Mareschi uh went on for a little over an hour and I went through it and I
00:35.240: you know, I liked most of it.
00:36.520: I'm gonna I'm I've cleaned it up a little bit, but by and large it's a it's probably about ten minutes longer than I normally like to make these be.
00:44.500: Anthony is a content producer and an editor, and he works, I believe he's in like the Boston area.
00:51.460: And he does some broadcast stuff for a fishing show.
00:55.140: I didn't get too much into that.
00:56.940: But it's interesting, you know, he's a guy who works in a multi-user workgroup, I'll say.
01:02.940: It's a loosely based work group.
01:05.019: where people are sharing things back and forth.
01:08.860: And so we get into some of the particulars of that.
01:12.219: He's chosen to use Final Hit 10, and some of the other people he works with are using Avid.
01:17.300: But I think you're going to enjoy this conversation.
01:19.620: I sure did.
01:20.660: And we get into a lot of different things.
01:23.860: I want to remind you that you can always check the show notes.
01:26.420: And the show notes for Final Cut Grill are on the Digital Cinema Cafe site.
01:30.660: So if you want to go follow along and see what we're talking about there, there's also going to be a few product uh rec recommendations, I think, that you're going to find in there.
01:38.420: So uh let's go to uh our little chat I had with Anthony Mareshi a couple days ago.
01:45.740: Can you hear me okay?
01:46.860: I hear you great Anthony.
01:47.980: You sound awesome.
01:49.180: So I think the first time I really like Anthony Mareshi really jumped up on my radar was
01:55.939: when you sent uh an AR drone video to us at uh DCP.
02:00.180: I don't know if you remember doing that.
02:01.780: I I do like digital convergence.
02:04.100: Yeah, it was funny.
02:04.740: It was like this
02:05.560: Well, I I can't remember we were talking about it on the show and you're like, Oh, yeah, I got one and you like sent this a link and it's like flying around your living room with the basketball um uh basketball hoop and stuff.
02:16.200: Speaker 2: Yep, yep.
02:17.000: Speaker 2: I still to this day have no idea how to fly that thing.
02:21.560: Speaker 2: I've had it for almost a year and I still
02:24.640: Speaker 2: I haven't had the time to just sit down and really figure it out.
02:27.360: So anyway, we're going to talk about Final Cut 10.
02:29.760: First of all, why don't you tell us what does your company do?
02:33.200: What kind of work do you do?
02:34.959: Speaker 2: Let's see.
02:35.840: Speaker 2: I do any type of video work basically that will pay me at this point.
02:40.959: That's a good criteria.
02:42.560: Yeah.
02:44.620: Speaker 2: I do a lot of work.
02:47.580: Speaker 2: Let's see.
02:48.300: Speaker 2: I do a lot of work for a guy named Charlie Moore, who is in New England.
02:53.180: Speaker 2: He's pretty well known as the Mad Fisherman.
02:56.940: Speaker 2: And he has a local show.
02:58.540: Speaker 2: It's been on for a long time.
03:00.460: Speaker 2: I think it's been on for about 18 years, but I just started doing work from a couple years ago.
03:08.280: Speaker 2: I edit a lot of his shows, and he also has a show that's on NBC Sports.
03:12.680: Speaker 2: I edit some of his shows there.
03:14.360: Speaker 2: He has another editor who has actually just switched to Premiere Pro.
03:19.760: A little bit of a rivalry there, huh?
03:22.000: Speaker 2: Yeah, well, we kind of go back and forth.
03:24.239: Speaker 2: He's starting to warm up, I think.
03:27.140: Speaker 2: The final cut.
03:28.420: Speaker 2: And then I also do a lot of educational work.
03:32.019: Speaker 2: It's kind of a strange mix.
03:34.819: Speaker 2: I have a pretty good client that gives me a lot of educational work.
03:38.780: Speaker 2: And, you know, I shoot.
03:41.180: Speaker 2: I'm kind of a one-man band.
03:43.100: I've always been impressed with people that can do both ends of the scale.
03:49.300: Pretty bad with a camera.
03:51.460: And luckily, I learned that very early on in my career.
03:54.660: And that's why I sit around behind an edit system all the time.
03:57.540: Speaker 2: It is a different skill, and it takes
04:00.840: Speaker 2: It helps.
04:01.480: Speaker 2: I find it helps my my filming.
04:05.160: Speaker 2: I think editing helps knowing what I need to get helps me a lot.
04:09.319: Oh, absolutely.
04:10.440: Yeah.
04:10.760: And as a matter of fact, I've said many times, I think publicly, that
04:14.820: all editors should be forced to go out and shoot one story a year, and all shooters should be forced to come inside and edit one story a year.
04:22.340: And I think it makes you know, having
04:24.260: a multidisciplinary framework of what this business is all about really helps you quite a bit.
04:32.020: So you said something a few minutes ago about how
04:35.440: I think you said he's sort of coming around to Final Cut.
04:39.120: Was it the producer who's coming around to it or the other editor?
04:42.800: Speaker 2: Oh, the other editor.
04:43.920: Oh, interesting.
04:45.200: Speaker 2: Yeah.
04:47.020: Speaker 2: I really don't think they care what we use as long as we get it done.
04:50.460: Yeah, that's what I wanted to talk to you about.
04:52.460: You know, I think, I think.
04:55.100: you know, there is certainly pressure in this business to I like to call the the Premier Pro people.
05:01.420: They're in my world, they're kind of the cool kids.
05:04.240: you know, like, well, all the cool kids are using Premiere Pro or, you know, Avid, but certainly there's such a stigma for coming out publicly and saying, oh no, I use Final Cut 10 and then to actually, you know, have the balls to say, and actually I really like it.
05:19.120: You know, and you you kind of get looked down upon when you say that.
05:22.879: And that's kind of the purpose of having these conversations is to
05:26.820: Hear from other people that are using the application and actually really enjoying it, and more importantly, making a living with it.
05:34.100: Speaker 2: I completely agree.
05:35.140: Speaker 2: I mean, um
05:36.900: Speaker 2: It is kind of a you say it and people kind of look at you funny and like, really?
05:42.180: Speaker 2: How's that working?
05:43.140: Speaker 2: I thought that doesn't work.
05:45.140: Speaker 2: Right.
05:45.620: Speaker 2: No, I mean.
05:46.740: Speaker 2: And I find it works amazingly well.
05:49.380: Speaker 2: I mean, there's, I'm not going to lie, I have my moments, and I'll admit this when I'm talking to Andy, when I have my moments where I want to put my head through the wall, I say, why can't I just do this?
05:58.980: You know?
05:59.660: Let's get to that in a second.
06:00.780: Let me ask you this.
06:01.500: So, when did you first look at it?
06:04.780: What was your first response?
06:07.020: And then, how did that evolve over time?
06:09.820: Speaker 2: I guess I first looked at it.
06:13.599: Speaker 2: Day one.
06:14.400: Speaker 2: I mean, I've been using Final Cut 7.
06:17.120: Speaker 2: I mean, Final Well, Final Cut Classic, I guess you'll say.
06:19.680: That's what I like to call it, yeah.
06:21.500: Speaker 2: Since, you know, I think 98 when it came out or 99, I can't remember.
06:27.420: I think it was 99, but it could have been as early as I think they may have shown it at NAB, like in a sneak preview in 98.
06:34.440: But I think 1999 is what it's n normally referred to as.
06:38.120: Speaker 2: Right, right.
06:38.840: Speaker 2: And at the time I was on Media 100.
06:41.720: Me too.
06:42.940: Me too.
06:43.740: Speaker 2: And and I never really touched an ab it.
06:46.780: Speaker 2: I couldn't even get one on get on one at the school that I was going to.
06:51.199: Speaker 2: Um so I was on Media 100, I really liked that, but I couldn't stand the fact that I think you only had two video tracks.
06:58.639: Speaker 2: 'Cause I I had used Premiere and you could do more.
07:02.240: Speaker 2: Right.
07:02.880: But it was really sketchy at that time.
07:05.360: Yeah, that that would be the old Premiere, like version 4, maybe 4.
07:10.720: 2, version 5 possibly.
07:12.620: Speaker 2: Yeah, I mean, as soon as that blue and white G3 came out with Firewire, I grabbed it and got Premiere and started playing with it.
07:20.940: Speaker 2: But anyway, so I got on Final Cut 10 as soon as it came out.
07:26.900: What was your first take of it?
07:28.580: Awesome!
07:29.780: Or, oh my God.
07:32.100: Speaker 2: It was definitely, oh my God.
07:35.060: Speaker 2: What is this?
07:35.780: Speaker 2: I don't really know what to do with this.
07:38.780: Speaker 2: And I had remembered, well, I think me, like, I think, like a lot of other people, I headed over to
07:46.060: Speaker 2: I either closed it or I had closed it or you headed over to Ripple Training to try to figure the thing out.
07:53.180: That's exactly what I did.
07:54.699: Day one, I bought the 20-part series that
07:59.300: Mark and Steve had made at Ripple Training.
08:02.340: Yes.
08:02.900: Speaker 2: Exactly.
08:03.460: Speaker 2: Exactly.
08:04.020: Speaker 2: And I think, like, I don't know, maybe.
08:06.840: Speaker 2: Four or five hours into it, or I don't remember how many hours it was, but it wasn't even halfway into it, and I already felt like I could start doing something.
08:15.560: Speaker 2: And it there was seemed like there was a lot of cool stuff there.
08:19.240: Speaker 2: And it if it worked and if they improved it, like you know, if they made some small improvements.
08:28.760: Speaker 2: Or actually very big improvements.
08:30.840: Speaker 2: They didn't you know, they seemed like obvious things that should be in there, but they didn't.
08:35.640: Speaker 2: There were certain things like
08:37.240: Speaker 2: there's no audio crossfade like transition.
08:40.919: Speaker 2: What I that still baffles me.
08:44.920: Right.
08:45.400: Yeah, it's a little tricky to do a audio crossfade without doing a crossfade on the on the video.
08:50.520: True.
08:51.680: Speaker 2: Right.
08:52.080: Speaker 2: Well, right.
08:52.800: Speaker 2: You can do I mean, I think I got a free plug-in or a free from Alex4D, I think had one that I use.
09:02.680: Speaker 2: All the time, and it'll do that just like in the old final cut.
09:07.960: Speaker 2: But in the way that they have their
09:10.540: Speaker 2: The way they have it so the audio comes down, I mean, that's pretty cool, but not having that built-in audio crossfade was one of those things that
09:18.920: Speaker 2: Kind of made me stop and think, like, what am I getting into?
09:22.120: Speaker 2: That's a pretty basic thing that they don't have.
09:27.000: Speaker 2: But so my, so that, I mean, my first impressions were like, really cool, or this could be really cool, but
09:33.540: Speaker 2: It's not final cut shouldn't really be final cut 10.
09:37.620: Speaker 2: It should be something else, beta.
09:41.060: Right.
09:42.320: Right.
09:43.120: So when you and I started this conversation about doing this little chat tonight, you said, oh, yeah, I'd love to talk about it.
09:49.840: I'd love Final Cut 10.
09:51.040: So you went from
09:52.459: How come I can't do an audio crossfade to loving it?
09:55.100: What was like the aha moment where you went, Okay, I like this now?
10:03.860: Or was it an evolution?
10:06.980: Speaker 2: Well, I liked it right I liked it right away, but I
10:10.880: Speaker 2: I just started doing, I didn't switch off of seven like totally, and I actually still haven't because I still have anytime I have to run anything out to tape.
10:22.120: Speaker 2: I basically run out like ProRes master files and bring it into seven and then run out to tape from there, which is a pain in the butt.
10:32.740: Speaker 2: I don't know if I had an aha moment.
10:34.420: Speaker 2: It was more probably around 10.
10:36.980: Speaker 2: 6 when they added or 10.
10:40.820: Speaker 2: 0.
10:41.300: Speaker 2: 6 when they added
10:43.260: Speaker 2: The multi-cam and all the other stuff.
10:47.500: The multi-cam was a pretty spectacular addition, wasn't it?
10:51.660: Speaker 2: Yeah, it was pretty good.
10:52.540: Speaker 2: It was pretty good.
10:54.140: Do you use it much in the work that you do?
10:56.820: I use it all the time.
10:58.340: Really?
10:59.140: Tell me about how you use it.
11:01.300: Speaker 2: I mostly use it for interviews.
11:06.020: Speaker 2: If I'm doing a two camera interview, sometimes I can use it
11:11.660: Speaker 2: On longer shots, on this show, there's a lot of fishing and there's usually two cameras running, but sometimes the second camera isn't running the entire, you know.
11:24.040: Speaker 2: Three hours.
11:25.080: Oh, geez.
11:25.800: Speaker 2: So it makes, yeah, it's it makes it kind of tricky to sync that way because it's usually not in range audio-wise.
11:34.440: Speaker 2: Right.
11:37.459: Speaker 2: And that's a whole nother thing that we should probably work out on our end.
11:42.740: Speaker 2: So I use it mostly for interviews, I guess, but I use it a lot.
11:48.260: Yeah, I do the same thing.
11:50.019: I think in today's day and age, with cameras being much more inexpensive, in our business, we
11:56.700: almost never shoot an interview with one camera anymore.
12:00.060: We always have, you know, the slightly off axis or maybe the hard profile.
12:04.720: And it's just standard fare to bring the two camera angles, to bring, you know, the second track audio in, line those babies up, let let it, you know, synchronize it.
12:18.100: And it just becomes so second nature, you know.
12:23.060: I think the way it syncs stuff is brilliant, you know.
12:26.820: Speaker 2: Right, right.
12:27.460: Speaker 2: Oh, so that actually reminds me.
12:30.100: Speaker 2: The biggest thing and the biggest reason that I was excited about it was that I could just drop my 7D footage in and not transcode.
12:38.579: Yeah, let me go to town on it.
12:39.860: So let me ask you about that.
12:42.019: So if somebody is not familiar, the way Final Cut 10 is designed to work is it will create
12:50.280: Transcoded versions of files sort of magically in the background.
12:54.120: And when you drop in your H.
12:55.720: 264 and you start cutting
12:58.320: It's meanwhile churning in the background, and when it has the transcoded version of that H.
13:04.480: 264 file, it'll just sort of magically swap it out without you even knowing it.
13:10.420: However, about a year and a half ago, I did a big giant job where I didn't have time to do any of the transcoding.
13:16.420: And I did some experiments and I actually turned off the transcoding feature because I thought it was interesting
13:21.420: that that feature was even there.
13:23.420: You know, if transcoding is so important, why can't I turn it off?
13:27.180: And so I said, hmm, I'm going to give this a go, turned it off, did a couple of
13:31.560: And you know, did like a day of work, and I was like, you know what?
13:33.960: I don't miss it at all.
13:35.400: And so I ended up doing a two-week job where I never even transcoded a stitch.
13:39.880: And from then on, I've never turned that switch back on.
13:43.279: Speaker 2: No, I I agree.
13:44.560: Speaker 2: I actually one of the first things I did was turn that off and I turned off the background rendering.
13:50.000: Speaker 2: I've never because I wanted you know, one of my my biggest the biggest um
13:57.560: Speaker 2: thing that attracted me to it was the fact that I wouldn't have to transcode and I could save the hard drive space.
14:03.800: Speaker 2: And I didn't I like you, I didn't notice any difference in quality or performance.
14:09.000: Speaker 2: So I said, why am I making my files
14:11.640: Speaker 2: Three, four, five, six times the size.
14:14.440: Speaker 2: Exactly.
14:16.840: Speaker 2: So I just I just bring everything in native.
14:20.680: Speaker 2: Final cut, as long as they have decent audio, it'll sync it great.
14:23.960: Speaker 2: I'll bring in two
14:26.300: Speaker 2: I'll shoot with two 7Ds and a zoom, and it syncs them all up great.
14:31.500: Speaker 2: And when on the off chance at final cut
14:34.120: Speaker 2: Can't do it, I just run it through pluralize three, and that usually will do anything.
14:39.240: Right, right.
14:40.760: So, did you have any, like, what were some of the stumbling blocks when you were first starting working with it?
14:47.720: that kind you you said earlier, you said there was a couple of times I wanted to put my head through the wall.
14:52.920: What were the things that made you want to put your head through the wall?
14:57.720: Speaker 2: Okay, so the the first time I just wanted to lay down an audio and and cut b-roll over top of it.
15:06.660: Speaker 2: It just it seemed completely am I can I swear on here?
15:12.340: Speaker 2: You can say what if you want it just seemed completely ass backwards the way it
15:17.440: Speaker 2: I mean, I I really like the magnetic time line like 95% of the time.
15:24.160: Speaker 2: And then that other 5%, it's just like, what?
15:27.400: What the hell?
15:28.200: Speaker 2: What the hell, dude?
15:29.160: Speaker 2: What are you doing to me?
15:30.680: Speaker 2: Stop it.
15:31.800: Speaker 2: And even and that the P key is magical to a certain point.
15:36.320: And then it because what you're talking about there is the letter P will change you into the position mode.
15:43.280: And in the position mode, when I grab a clip
15:46.040: and I just drag it down to the end of the timeline, it will what Final Cut does is it magically inserts a slug between where it was and where it is
15:56.240: And the magnetic nature of the time line still works, but it will make the slugs to leave things where you actually left it.
16:07.520: So I just wanted to clarify that.
16:09.440: Speaker 2: Right.
16:10.080: Speaker 2: And I just wish there was a way that they could somehow combine
16:15.920: Speaker 2: The like, like, maybe just truly turn it off, yeah, for you know, and then truly turn it back on, so not have to have that slug.
16:25.839: Speaker 2: 'Cause I I think just visually it it just bothers me.
16:28.800: Well let me ask you this.
16:29.759: Let me ask you this about that.
16:31.120: When when you when you were cutting to music, 'cause I've heard this uh I had a discussion with Jason Wingrove, who's on uh the the the R C
16:39.820: And he was that's one of the things he said.
16:41.500: He's like, Ah, you know, crap, crap, crap, it's a horrible editor, blah, blah, blah And so, um uh
16:47.440: I said, I don't know, Jason, it's not that hard, really.
16:50.640: So let me ask you.
16:52.480: So, most people who are listening, and if you're
16:56.120: you know, thinking of adopting Final Cut 10.
16:58.360: That's good stuff here.
16:59.720: The primary stor storyline, which is what most people would call Video Track One.
17:05.780: You can put anything in there.
17:07.060: You can put an audio-only file in there.
17:09.220: So when you were cutting to music, did you put your music into the primary storyline?
17:14.660: Or did you?
17:17.920: How did you do it or what do you do now?
17:20.640: Have you come around with some workarounds?
17:22.960: Speaker 2: Well, now I just
17:25.579: Speaker 2: I just start the edit with a slug.
17:28.620: Speaker 2: Right.
17:29.020: Speaker 2: So I just I just connect it to the, you know, and I put it underneath just because visually I want my audio clips underneath.
17:35.660: Speaker 2: Yeah.
17:37.980: Speaker 2: And then I just drop my clips down on top as if they're B-roll on a secondary storyline.
17:44.300: Right.
17:45.100: I think that's a really smart way to go about it.
17:52.340: Maybe I'm misunderstanding you.
17:53.620: So what I do is I start with a slug and then I put the yeah, I think you just said this now the music underneath I call that the equator underneath the primary storyline with the connected bridge.
18:07.100: Connecting to the slug.
18:09.980: Yes.
18:10.779: And then at that point, what that does is it retains
18:15.460: The primary storyline as the very simple place where you can use all the keyboard shortcuts to like, like, for example, if I'm just cutting, you know, B-roll.
18:24.860: I'll like, you know, go into the event browser and, you know, jkl, jkl, i, o, e, and then the letter E will put that clip at the end of my current
18:35.720: Storyline.
18:36.280: It's like, okay, that shot's good.
18:37.480: Let's go find another shot.
18:38.600: JKL, JKL, IOE, you know, that sort of thing.
18:41.800: So I end up doing most of what I'm doing right off the keyboard.
18:46.260: Speaker 2: Right, and that was the other thing I liked about 10 is for some reason, and maybe this is just me, and seven
18:53.519: Speaker 2: I was learning.
18:55.039: Speaker 2: I just the first probably five years I used it, I was more of a mouse kind of guy around.
19:00.720: Speaker 2: Yeah, and I just tried
19:02.860: Speaker 2: You know, after you edit for so long, you're like, How do I speed this process up?
19:06.620: Speaker 2: So, I tried learning more of those keyboard shortcuts.
19:10.139: Speaker 2: There's so many of them.
19:11.260: Speaker 2: I mean, I knew all my basics.
19:13.140: Speaker 2: But there's yeah, it seemed like I would learn them all the time.
19:15.540: Speaker 2: But with ten, it didn't seem like there were as many.
19:17.780: Speaker 2: So it it just seemed like it was a little quicker and easier to learn them all.
19:22.500: Speaker 2: Do you think you edit faster in ten than you did in seven?
19:26.120: Speaker 2: I definitely think I do.
19:27.960: Speaker 2: I think I do really like that magnetic timeline.
19:31.400: Speaker 2: I wish, and I'm not an engineer or anything, but there's got to be a way.
19:37.440: Speaker 2: That you could still have your tracks.
19:39.440: Like an expert mode or something.
19:41.840: Speaker 2: Yeah, and keep a magnetic timeline because it's just.
19:45.620: Speaker 2: the organization just visually sometimes.
19:48.260: Speaker 2: And it and I just want a simple way to maybe just turn off track three, you know, just turn off all my audio.
19:54.900: Speaker 2: or just turn off all my sound effects.
19:57.220: Speaker 2: I like to keep things arranged on the same like in seven, all my sound effects would be like so I would have like my first two tracks would be like my
20:07.620: Speaker 2: my primary audio, like voiceover or you know, maybe interview audio or something or n nat nat sound.
20:15.620: Speaker 2: And then I would have my
20:17.220: Speaker 2: Music, probably on the next two tracks, trying to remember, and then sound effects on their own set.
20:23.140: Speaker 2: So you can turn them all on and off.
20:25.140: Speaker 2: Right.
20:26.000: You can't really have you ever considered it have you ever toyed with using the roles feature?
20:32.799: Speaker 2: You know, I try I
20:36.160: I might be speaking out of place here, but I'm pretty sure that you can globally mute one whole role at a time.
20:44.800: So the roles feature allows you
20:46.640: To kind of assign, it's almost a keyword, but it's not really.
20:49.760: You assign a category, let's call it, to each type of clip.
20:53.520: So if you bring in a sound effect and you go up into the menu and say, by the way, that's a sound effect.
20:58.740: So now it's associated with all the sound effects, regardless of where it physically is on the screen.
21:04.900: And then when you open up the I think it's called the project browser, the
21:11.040: The little chi the little notepad.
21:14.400: The timeline index, though.
21:15.520: Yeah, timeline index.
21:16.480: Thank you very much.
21:17.120: I think that is what it's called.
21:18.480: And then in there is a thing for roles, and you can like globally mute all your sound effects.
21:23.919: Speaker 2: Yes, and I've done that.
21:25.840: Speaker 2: Yeah.
21:26.720: Speaker 2: But here's the problem.
21:27.919: Speaker 2: When you go like I said previously, when I'm running stuff out of the tape, I have to export my ProRes file.
21:34.640: Yep.
21:36.000: Speaker 2: If I wanted to run out or or sometimes I just want to run out like all my audio
21:44.640: Speaker 2: Without sound effects or music.
21:47.760: Speaker 2: Say, if I just want to send that out to kind of to play with it.
21:55.160: Speaker 2: You can't see, I tried for some reason, it seems like when you turn them off, it plays with them off, it mutes them, it disables them basically.
22:03.240: Speaker 2: But when you export, when I was exporting my file, they were still there.
22:07.060: Speaker 2: So I'd export NAA AIFF file and I thought I was just getting
22:15.440: Speaker 2: My interview in like voice over mix without the music or anything else.
22:22.640: Speaker 2: But it was when I bring that back in
22:25.679: Speaker 2: It was still there.
22:27.919: This is kind of like the blind leading the blind.
22:29.919: I don't normally use it.
22:31.760: The kind of work I do doesn't necessarily require it.
22:36.960: However, I think
22:40.160: That there is a functionality in the export settings window where you can say
22:50.300: format nope not under format look at this we're all learning learning together here uh it you can okay so it's in
22:59.440: export roles as tracks roles as multi-track QuickTime movie, roles as separate files.
23:07.900: Right.
23:08.380: Roles as only separate files, video roles as separate files, audio roles as separate files.
23:14.460: Right.
23:14.780: I wonder if one of those features might be able to help you out.
23:17.620: Speaker 2: I think so.
23:18.900: Speaker 2: But the pro it does seem much more complicated than it should be.
23:24.340: Yeah, I kind of think, this is sort of a common theme that I'm running across where
23:29.519: Because I know that I dealt with the same thing.
23:31.919: And I have many times even in the past, where you run into something and you're like, well, why doesn't this do this?
23:41.160: Like this, and it's not so much that it doesn't do it, it just doesn't do it exactly the way you used to do it, and sometimes it's just like
23:49.620: Oh, okay.
23:50.340: I got it now.
23:52.100: And after that, it's like, okay, I'm not thinking about it.
23:54.260: Of course, the argument is: you know, why do you have to put the gas pedal and the brake pedal on different sides in the foot well?
24:02.240: Why couldn't you just have left well enough alone?
24:05.440: Speaker 2: Right, right, right.
24:06.240: Speaker 2: No, I and I totally agree.
24:07.920: Speaker 2: And a lot of times the new way
24:10.620: Speaker 2: Is actually better, which is why I love Final Cutscene.
24:14.460: I think that's another thing that I hear people say a lot.
24:17.820: It's like
24:18.740: I hated it.
24:19.460: I hated it.
24:20.100: Oh, wait.
24:20.900: I love it.
24:23.380: And it's really just, it's more a matter of like changing our mindset.
24:28.020: And yes.
24:31.120: Jason Wingrove.
24:32.320: Maybe we shouldn't have to change our mindset, but I'm fi I continually find things where I'm just like
24:41.900: Wow, I was totally thinking of that a different way, and this actually is better.
24:46.940: Speaker 2: Right.
24:47.420: Speaker 2: And I think part of my issue with what I was doing was
24:52.780: Speaker 2: I was halfway through a pretty big project.
24:55.980: Speaker 2: So and I hadn't been using roles until I realized, well, that's the way you do it.
25:01.820: Speaker 2: So I went back and tried to
25:04.019: Speaker 2: You know, sign the roles to everything.
25:05.700: Speaker 2: And by the time I did all that, you know, if I would have done it up front, wouldn't have been a big deal.
25:11.779: Speaker 2: Like, there's a lot of things if you, if you, like, anything, like, any
25:16.620: Speaker 2: Any NLE you're working in, if you set it up properly, it's and you have your workflow down, it just it just flows.
25:24.620: Right.
25:25.020: Yeah.
25:25.420: And you know, and workflow is really
25:27.900: really what it's all about.
25:29.100: I think the thing that it's sort of been my observation that I'm actually I think Final Cut 10 actually makes me a better editor.
25:38.220: You know, my timelines are neater.
25:42.019: Things flow better.
25:43.620: I I I hate to say that because it sounds like you know I was just some sort of a hack before, but
25:51.620: I work faster.
25:52.980: I work more efficiently.
25:55.460: It's quite astonishing to me.
25:58.740: Speaker 2: I think so, too.
25:59.620: Speaker 2: I mean, I definitely think I work faster.
26:02.580: Speaker 2: And I could try different things for sure.
26:06.740: Speaker 2: I do notice, I don't know about my timeline being cleaner.
26:11.059: Speaker 2: I think that's one of my biggest, my biggest.
26:15.060: Speaker 2: Issues with it and why I wish they could put the tracks back in somehow.
26:21.460: I think one thing that bothers me is like when you have to put something into a
26:28.140: a storyline, a substoryline, it makes it slightly taller than a normal clip.
26:33.340: And I think that would be one beef that I have.
26:35.900: And that's just a part of the graphical nature of how they try to represent things, I think.
26:41.419: Speaker 2: No, and I I agree in that the whole secondary storyline, the fact that you can't I still don't understand why you can't put transitions
26:51.300: Speaker 2: On clips without them being in a storyline.
26:55.460: Yeah, that's interesting.
26:56.820: I think.
26:58.500: Hmm.
26:59.820: Yeah, I don't understand.
27:01.740: I think it's a good pointer to you know when you're dealing with new people, you know, and it's certainly it's the thing you got to do
27:09.940: Although it is nice that it I think even in in version one, you if you tried to No, I think you have to put it in the storyline first.
27:20.519: And then Command T and it'll put your dissolves in.
27:24.519: I will say that some of the stuff it does, like, you know, putting in
27:28.880: twenty dissolves across a bunch of clips goes really fast.
27:32.400: It wasn't it didn't seem to be quite as easy in Final Cut 7 to do stuff like that.
27:36.320: Speaker 2: No.
27:36.880: Speaker 2: Yeah, that was one of the things about 7 that and I could be wrong, when I could never find like in Media 100,
27:44.920: Speaker 2: There was a a command.
27:47.240: Speaker 2: You could apply.
27:48.280: Speaker 2: It was apply transition to range.
27:50.280: Speaker 2: So you could select the range.
27:52.240: Speaker 2: And just cross-dissolve everything.
27:54.160: Yeah, Final Cut 7 actually does do it.
27:58.000: I never found it.
27:59.200: Actually, it's pretty simple.
28:00.400: If you just drag across 10 clips and hit Command, I believe it is Command T still.
28:06.220: Yes, it is because I have on many occasions or on multiple occasions I'd rather say when I'm trying to hit Command R to render
28:15.679: I reach too far and hit Command T and I look down at my timeline.
28:19.279: It's like, why does everything have a transition on it now?
28:23.800: Speaker 2: I'm surprised I never did that by accident.
28:26.760: So let's talk about graphic design and lower thirds and the type of graphic things that you add to your videos.
28:35.640: Do you find yourself using
28:38.680: motion or the internal stuff?
28:41.240: Or do you go out to Adobe products for that?
28:45.640: Speaker 2: Honestly, I I
28:48.460: Speaker 2: Most of the lower thirds, like for the the broadcast stuff that I'm doing, I already created and I'm just changing the text.
28:55.980: Speaker 2: Okay.
28:56.780: Speaker 2: Someone else creates those, I believe, in After Effects.
28:59.620: Okay.
29:00.500: Speaker 2: The stuff that I do myself is usually pretty simple and I just w normally do it within Final Cut Ten.
29:08.740: Speaker 2: I used to always do it
29:11.080: Speaker 2: in Photoshop, but now the the tools in in ten seem better to me than in um than in seven.
29:19.640: Speaker 2: Uh-huh.
29:20.679: I I would totally agree.
29:23.680: Yeah.
29:24.880: So you find yourself using, yeah, to me, there's some people that are really just, I call them cutters, and like they can sit down and they can cut a story or they can cut a narrative or whatever.
29:36.840: And then you ask them to drop a lower third over somebody and like their head explodes.
29:42.440: And then there are people who you ask them to cut a simple
29:47.100: A simple thing, and they it's like they start in after effects.
29:51.260: Well, I'm going to put my clips in here, and then I'm going to put a little push on everything and a whip pan on this.
29:55.740: And you know, they tend to be more like motion graphics people, and then
30:00.520: The center of that bell curve is the people that cut and use the tools within their edit system.
30:07.240: So you'd say that you're using
30:10.120: the graphic assistant tools that are built into Final Cut, correct?
30:15.240: Speaker 2: Yes, yeah.
30:16.360: And do you do anything with motion?
30:19.140: Speaker 2: Um the m not the the thing that I've done with motion a few times is just basically made myself a template that
30:29.220: Speaker 2: to use in Final Cut?
30:31.380: Speaker 2: If that makes sense, I'm not using the right no, actually, that's exactly right.
30:35.060: Yeah, you can open up motion, and when you open up the new motion, you know, motion is more than just a
30:43.280: You know, a motion graphics tool.
30:44.720: It's like a filter generating tool.
30:48.160: Right, a plug-in filter.
30:49.680: Yeah, almost.
30:50.240: Yeah, exactly.
30:50.960: And so I've actually done that too, where I've built a few.
30:54.040: Lower thirds for a couple of our clients that are recurring, and then you're done.
30:59.240: You know, you just drag that thing over from the bin
31:01.840: and go to town.
31:02.559: And if you know how to do it and you need to in a multi-machine environment, you can copy those templates between machines and everybody has access to them.
31:10.880: Speaker 2: Right, right.
31:11.440: Speaker 2: So what I've done actually is because the
31:14.260: Speaker 2: What they provide, I'm provided lower thirds and different graphics that have text that will change on them for show to show.
31:25.860: Speaker 2: But it's just the back it's basically the background.
31:28.420: Speaker 2: So and it's been built in After Effects and rendered out as like an animation file.
31:33.300: Speaker 2: If I bring that into motion
31:35.060: Speaker 2: And then I I forget exactly how I did it, but I set it up so that it had editable text within and then send that to Final Cut.
31:43.140: Speaker 2: And then every time it's like a generally good workflow.
31:47.940: Yeah, exactly.
31:48.980: Yeah, so it is very cool that one of the things that you can bring into motion is a fully keyable
31:56.640: animation codec or ProRes four four four four file.
32:00.880: And then you basically what you di had done is you generated uh little text fields
32:06.040: And put those above it, and then you save it out as a template, and it shows up in your little character generator browser thing, whatever that thing is called over there.
32:17.679: And you have access to it on all your machi on whatever project you're in.
32:23.760: Speaker 2: Right, right.
32:24.880: Speaker 2: It's the
32:26.320: Speaker 2: So that's the inspector window.
32:27.760: Speaker 2: So so so one other not to change the subject, but I did have a question for you.
32:32.320: Speaker 2: Do you notice do you notice when you're working any performance hit if you have like the inspector window open?
32:43.020: I haven't noticed that at all.
32:44.860: No.
32:46.140: And you're talking about the in the time line, the lower half of the screen, lower right-hand corner, like the the title browser, the media browser, all those guys?
32:55.500: Speaker 2: No, no, no.
32:56.460: Speaker 2: So it's I think it's the inspector.
32:58.700: Speaker 2: It's Apple IV opens and closes it.
33:02.140: So yes, that is the inspector.
33:06.380: Yes.
33:06.780: No, I haven't noticed that.
33:08.800: Speaker 2: So when it runs, when you're playing back your timeline, if you notice wherever you're wherever the playhead is over, it it changes the information in the window according to what clip it's over.
33:21.280: Oh, so that would
33:23.000: Speaker 2: Potentially tax the machine.
33:26.840: So so w what kind of machine do you have?
33:29.160: Do you have a a current machine, a slightly older machine?
33:31.480: What do you what do you have?
33:33.500: Speaker 2: I have a Retina MacBook Pro Retina.
33:37.660: Speaker 2: It's about a year old.
33:38.860: Speaker 2: Yep, that's the one I have.
33:40.539: Speaker 2: Sixteen gigs.
33:41.900: Speaker 2: Yeah.
33:43.260: Speaker 2: I like that machine.
33:44.720: Speaker 2: It's a nice machine.
33:46.080: Speaker 2: I have it set.
33:46.880: Speaker 2: I just I just rep you know, basically pulled out my Mac Pro from that's like six years old.
33:53.360: Is this crazy?
33:54.320: Complicated crazy.
33:55.520: You're just like, yep, out with that.
33:57.040: Drop in this little
33:58.820: This little laptop.
34:00.500: Speaker 2: Right, right.
34:01.300: Speaker 2: And it does, and it could be maybe because I'm editing mostly off of either Firewire 800 or USB 3 as opposed to Thunderbolt.
34:10.820: Right.
34:12.760: I will tell you, I have gotten to the point where I can't I almost can't tolerate working with Firewire 800 anymore.
34:21.940: And it shocks me that I used to do everything on Firewire 400.
34:26.020: Speaker 2: No, I agree.
34:27.460: Speaker 2: I agree.
34:28.020: Speaker 2: I try to do everything USB 3, but I can't find
34:32.840: Speaker 2: I have so much legacy FireWire 800 stuff and I need to be able to take it.
34:39.000: Speaker 2: I can't figure out a way
34:41.700: Speaker 2: I I d the u the the Thunderbolt drives are usually only Thunderbolt or USB three, I believe.
34:47.860: Speaker 2: They don't usually have Firewire eight hundred.
34:50.100: Speaker 2: And a lot of the systems I will have to bring the drives to are USB two.
34:56.220: Speaker 2: Or FireWire.
34:58.859: Okay, so so you're doing work on your system and have to hand it off to somebody else?
35:03.819: Is that what you're saying?
35:05.400: Speaker 2: Occasionally, or or I have to bring it so I'll do it on my system and then when I want to run it out to tape, I don't have the I don't have that
35:16.560: Right.
35:17.040: Speaker 2: I don't have the um the DVC Pro deck on my system, so I'll go over to the other office.
35:25.280: Speaker 2: and run out from there.
35:27.920: Speaker 2: So it just it just makes bringing drives back and forth a little tricky.
35:32.480: Speaker 2: I haven't quite figured out
35:34.520: I'll tell you something that I do, and it's not for the faint of heart, but it works quite well if you know what you're doing.
35:41.400: I do a lot of work off of bare drives.
35:45.799: sometimes they're referred to as OEM drives, and you can buy them off of Amazon.
35:49.720: And it's basically just a bare drive with a circuit board on the bottom of it.
35:55.160: And again, not for the faint of heart.
35:57.079: You have to have a proper box to store it in.
36:00.120: But on all of the systems that we have in our office, we have these really great little USB 3 trays.
36:06.680: And it's an open thing, it's got a power switch on it.
36:10.559: USB three into the back of the computer and then you slide the the bare drive into that thing, fire it up, and you have a USB three drive.
36:19.500: Now, there are also similar type devices that are FireWire 800 trays.
36:28.339: So, what I do with one of my clients is we keep an 800 drive tray at his office, and I just walk in with the drive, drop it in, slide it in, fire it up.
36:40.099: Same data.
36:41.520: Just different technology.
36:44.000: Speaker 2: Right, that's probably a good idea.
36:46.400: It's not a bad way to do it because I have found that
36:49.400: USB 3, I'm surprised how much I like it and how much I use it.
36:53.960: We also have ThunderTube RAIDs on all the machines.
36:58.760: And if I have the
37:00.840: The choice, I'm obviously going to go for that because it's, you know, to RAID 5 and it's fast and it's protected and blah blah blah blah blah.
37:08.540: But yeah, we do a lot of work off those USB three trays.
37:12.380: I'll have to send you if I remember to do it, I will put a link for it in the show notes of this episode.
37:19.020: But yeah.
37:21.940: It's a good way to do it.
37:22.820: And frankly, the tray was like $45 or $50 or something.
37:28.180: Right.
37:29.140: So and we probably have like 130 of these bare drives laying around the office.
37:36.420: I mean, they're not laying around the office, they're in boxes and stored, but that's how we archive stuff all the time.
37:43.420: And actually, I think there's a tutorial on my website.
37:46.300: If you go to chrisfenwick.
37:47.660: com and search for cheap, just search for the word cheap, you'll find an article about how to store data cheap.
37:56.720: And yeah, I kind of outline all the bits and bobs that I bought in order to be able to do that and store data.
38:03.520: And then most importantly, how to scan it so that it's all searchable even though it's offline.
38:09.780: You know, because that's the real trick.
38:11.860: It's like, where is that thing?
38:13.140: I don't know.
38:13.780: Was it on the purple drive or the blue drive?
38:15.860: Or was it on, you know, the one labeled Garfield or the one labeled Homer?
38:20.820: You know?
38:23.100: Speaker 2: Right, right.
38:23.580: Speaker 2: Is there a a program?
38:24.780: Speaker 2: Is it Disk Tracker?
38:27.420: Yes, exactly right.
38:28.380: Disk Tracker is what I use.
38:29.820: It's like twenty bucks.
38:31.180: It's the best twenty bucks you'll ever spend.
38:33.740: and you open up the DiskTracker database and you take the image off your desktop, drag it over, drop it into the database, and in literally a matter of seconds, it scans the directory tree off the drive, and you're done.
38:47.520: And now you can take that drive off offline and search for any file name.
38:53.040: And it'll pop up and it says, oh, that's on drive 17.
38:56.300: So, you go to the shelf and you pull out Drive 17, you slide it into your little USB tray, and you're good to go.
39:02.700: Speaker 2: Yes, I need that.
39:03.900: Speaker 2: I'm sitting at the moment, I'm sitting.
39:05.900: Speaker 2: Yes, I need that.
39:07.180: Speaker 2: I must have that.
39:08.960: Speaker 2: I'm sitting like I feel like you know when you're a little kid and you you make like a fort out of you know you you stack up well maybe you don't 'cause you're in California, but
39:18.160: Speaker 2: You you'd make those like snow cubes, like the bricks.
39:21.920: Dude, I I avoid snow like pile but but yeah, we use sofa cushions.
39:27.820: Speaker 2: Well, I've got, you know, I've got like G-Raids stacked up around me at the moment.
39:32.380: Speaker 2: Like, I'm making an igloo out of G-Raids, and every time I need to find something, like, oh, God.
39:38.240: Yeah, trust me, you want Disc Tracker.
39:41.360: It's a great tool, and I wish I made even a dollar for every copy of it I've sold to people, but you'll love it.
39:50.720: It works fast.
39:52.319: You know, label your drives well when you create the um the disk tracker uh um
40:00.920: database, I believe it even takes the name of the drive off that it's called on your desktop, and it saves that name as part of the database.
40:11.940: So when you search for the name of something, you get yeah, I mean, you got it, you're done.
40:16.099: Five minutes later, you you have that you know drive mounted and
40:20.020: Data found.
40:21.140: Done deal.
40:21.940: Speaker 2: Yeah, that that sounds really, really cool.
40:24.339: Speaker 2: I do have so my other question that I wanted to ask you, which was very hard to do over Twitter.
40:31.300: When you 140 characters at a time.
40:34.340: Here comes my question.
40:36.020: It will arrive to you in seven parts.
40:37.860: Part one.
40:39.540: Speaker 2: When you set up your project, so I remember the way you would set up your
40:43.740: Speaker 2: I used I basically used your template that you had back in Final Cut 7.
40:48.860: Speaker 2: Yes.
40:49.580: Speaker 2: And when I first started using Final Cut 10, I stuck with that and I just.
40:55.240: Speaker 2: I just used the I didn't import the media into the event folder.
40:59.640: Speaker 2: I just pointed to it.
41:01.480: Speaker 2: Yep.
41:02.360: Speaker 2: And I didn't it seemed to work okay.
41:05.160: Speaker 2: And then if somewhere along the line, I just said, you know what?
41:08.560: Speaker 2: Screw it.
41:09.600: Speaker 2: Final Cut 10 does a great job of keeping track of it.
41:13.600: Speaker 2: And I just, for archiving's sake and everything else, just to make things simpler.
41:18.340: Speaker 2: I just started importing everything and letting it dump it all into that one big folder, which is ugly to look at and it kind of pains me to even think about that it's doing that underneath everything.
41:30.660: Speaker 2: But
41:32.700: Speaker 2: I was just curious to how you're doing it.
41:36.140: So, what you're talking about is the way Final Cut wants is trying to help you by helping you manage things.
41:44.540: I want to just say as a disclaimer, I'm not sure when I'm going to actually start this podcast because right now we're recording things with no date in mind.
41:55.620: But I believe that we're on the verge of obviously, ten point one is going to come out soon or has recently.
42:04.420: And it very well may be that a lot of this stuff changes.
42:09.339: My gut level feeling, and I have no insider knowledge at all, is that Apple is rethinking the way that the library and the project and the media management works a little bit.
42:22.760: That being said, there is a lot to be said for surrendering to the system.
42:29.320: Whatever you want me to do, I will do it.
42:32.059: and leave everything in default settings.
42:34.299: And I think you're right, it does simplify the backup to a certain degree.
42:41.060: That being said, I'm a rebel by nature, and I turn off all those automated things, and I say, leave my media where I want it.
42:51.060: And I keep putting it.
42:53.560: In essentially, almost exactly the same folder structure that I have outlined on my website for several years now.
43:02.120: The difference being is that my
43:05.299: keyword collections that I use inside of 10 are a it is a modified version of what my bin design used to be.
43:14.620: And essentially what I do, and I think I have a tutorial on my website about this, is I create a template event on the home drive of my computer.
43:25.520: And basically I have four folders.
43:27.760: One is called zero zero sequences, zero one media, zero two graphics.
43:33.940: 03 noise.
43:35.700: And then in each one of those, I pre-build a handful of keyword collections.
43:40.260: So like in noise, there's
43:41.740: music and sound effects and VO.
43:43.420: And in graphics there's um anim renders, which is kind of a holdover.
43:47.980: You might recognize that from my
43:50.300: other tutorials.
43:51.420: And then I have a graphic keyword collection called PNG for any si sort of static still
43:57.960: You know, photo and I could put a JPEG in there, but basically I put that.
44:01.800: And I might make additional keyword collections if I want to say that, you know, these are the photos for this event or whatever.
44:08.120: And then in my media I have, you know, card and camera and card number, so like A1, A2, B1, B2.
44:15.480: And then in sequences, I'm actually using the
44:18.940: the compound clip technique.
44:20.780: Speaker 2: I don't know if you've I heard I heard you and Ron Dawson talking about it.
44:25.740: Right.
44:25.980: So that to me is like that has
44:29.480: that really was a godsend to me.
44:32.680: Like, yes, this feels like home now.
44:35.720: Right.
44:36.280: And uh I think I personally think that that's one of the things that Apple's going to kind of do away with.
44:41.080: But again, I don't know.
44:42.280: I could be wrong.
44:43.160: They might
44:43.680: Dig in their heels, but the fact that I can work in a compound clip, which is basically like a timeline, almost exactly the same as a timeline, it works really well.
44:54.240: And then what I do in there is I have a
44:57.120: I have a couple of um uh what do I call them uh uh smart collections smart collections yeah and so I have one called um
45:06.740: All, so all, and I make that look for all compound clips.
45:10.820: And then I have one called multicam clips, so all my multicam clips always show up there.
45:17.100: So there's things that you can do to help organize in that way.
45:20.060: Now, all of that lives again in the template event on the home directory.
45:24.860: So when I start a new event on one of my work drives,
45:27.840: I say here is my new event and then I drag those four folders.
45:32.400: Boom onto the new event done.
45:35.540: I'm good to go.
45:36.580: So all my stuff is pre-built and everything has uniformity.
45:40.980: I've said this many times.
45:42.960: eas days when I easily will work on four or five different projects in one day.
45:47.680: And if they're not organized in a uniform way, I would I'd be pulling my even, you know, the rest of my hair out.
45:54.120: Speaker 2: Right.
45:54.520: Speaker 2: No, I completely agree.
45:55.960: Speaker 2: I do almost the same thing, and what I should be doing it that way.
46:00.440: Speaker 2: But because I haven't had to, I basically, when I start a new project, I just pull all my
46:07.160: Speaker 2: I just pull the structure in from my last project into my new event.
46:14.920: I think doing it from a template event means that it's clean and you won't have any like missing links and stuff like that.
46:21.880: Speaker 2: Right.
46:22.200: Speaker 2: Well, it doesn't, it doesn't.
46:23.720: Speaker 2: Let's see if I'm explaining this right.
46:25.640: Speaker 2: So when you it'll bring like the keyword collections, you know, all the keywording.
46:33.299: Speaker 2: Trying to see this in my head.
46:35.220: Speaker 2: But it doesn't.
46:36.500: It doesn't bring any media or anything.
46:38.579: No, actually, you know what?
46:40.260: That kind of makes sense.
46:41.619: That actually makes sense.
46:43.700: It's pretty much the same.
46:47.380: In my mind, it feels safer to do it from a template event.
46:50.740: But yeah, it is a good technique to do it that way.
46:54.359: Definitely.
46:54.920: Speaker 2: But um no, you you're right, and I I do need to do that.
46:57.320: Speaker 2: The funny thing I just remembered the before I actually I think even went over to Ripple Training
47:03.440: Speaker 2: I think the first thing I did was go and say, now, how do I set this up like seven?
47:08.720: Speaker 2: How and how would Fenwick do this?
47:11.040: Speaker 2: You know, that was pretty much.
47:12.079: Speaker 2: And so, and I remember I was like, okay, so the keywords are the bins.
47:16.700: Speaker 2: You know, how do I make this same straight?
47:19.420: That was my aha moment when I realized that if I just treated those keyword collections as a bin.
47:27.640: It basically worked the same.
47:29.400: The only difference being when I dragged a clip in from the finder, I couldn't drop it into
47:35.040: the event viewer, I had to drop it onto the keyword collection, the little name there.
47:43.280: And it would light up and I was like, oh, it's going to go in here, isn't it?
47:47.280: Boom, it would drop right in.
47:49.640: And now when I search for NM renders or PNGs or music or whatever, it would show up there.
47:57.720: Speaker 2: Right.
47:58.279: Speaker 2: And I think
48:00.300: Speaker 2: What I would like one thing I would like to see, because the way so the keyword collections are like your bins.
48:06.540: Speaker 2: But if you so if you think of it as a finder window as opposed to having your folder
48:11.720: Speaker 2: Your list view, where you can turn down the little arrow and see everything in your folder.
48:15.640: Speaker 2: There's that next one over, which I don't know what it's called, but it's basically turns your folders into like keyword collections.
48:23.500: Speaker 2: So, you can't see.
48:24.780: Speaker 2: Do you know what I mean?
48:25.660: Speaker 2: So, you see everything to the right of it in the next column.
48:28.460: Speaker 2: Oh, they call that pains, I believe.
48:31.100: Speaker 2: Right, the paints, the paints.
48:32.780: Speaker 2: So, but you have in the finder, you have a choice of how you want to view that.
48:36.940: Speaker 2: I kind of wish you had a choice in ten.
48:40.300: Speaker 2: It doesn't bother me that much.
48:41.340: Speaker 2: It's kind of wigging my list.
48:42.700: I mean, you do a little bit if you think of it.
48:45.180: I mean, you can
48:47.120: Down below, you can search for things you can look at things in a list mode or in an icon mode.
48:52.720: It's kind of the same thing.
48:54.720: Speaker 2: Right, right.
48:57.220: Speaker 2: And I guess the old the other thing we haven't touched on was the whole sparse disk image.
49:02.420: Speaker 2: I think we talked at one point about
49:05.260: Speaker 2: The bundle versus the regular sparse.
49:08.300: Speaker 2: Are you using either of those techniques?
49:11.020: Speaker 2: I am using the sparse disk image.
49:13.980: Speaker 2: I did.
49:15.280: Speaker 2: Try the bundle at one point, and it had something to do with.
49:19.920: Speaker 2: I wanted to use, I was trying to figure out a way to use Super Duper to automatically.
49:26.839: To backup stuff?
49:28.119: Speaker 2: Yeah, to do the smart backup.
49:29.800: Speaker 2: So I didn't have to just copy the entire disk image away.
49:33.880: Yeah, the word you're looking for is the it's called an incremental backup.
49:38.280: Speaker 2: Right, right.
49:39.800: Speaker 2: And did that work for you?
49:41.880: Speaker 2: It didn't.
49:42.680: Speaker 2: I never really got it to work.
49:44.040: Speaker 2: And then when I went here, my other issue was when I tried to back up that sparse bundle onto an LTO tape.
49:52.120: Speaker 2: It would not take it no matter what I did.
49:54.360: Speaker 2: Interesting.
49:55.400: Speaker 2: All the other sparse images, as long as they were under 400 gigs, which was another issue I ran into.
50:04.700: Speaker 2: It would take.
50:06.140: Speaker 2: Although the LTO drive itself is just flaky and only works about half the time, and I hate it.
50:11.420: So do you own the LTO?
50:13.260: Do you use that all the time?
50:14.920: Speaker 2: It's I use it to back up all the the projects for the two of the shows that I work on.
50:22.760: Speaker 2: It's not I don't own it
50:24.540: But I'm it's their it's it's sort of their system.
50:26.940: They want it exactly.
50:28.220: Speaker 2: It's their system, it's the way they want it done.
50:32.720: Speaker 2: So the other issue is if I'm when I make a sparse if I do the sparse disk method that goes over 400 gigs, that's hard to back up on a 400 gig tape.
50:42.299: Yeah, I think the trick to trick I think the thing I would do is I'd make three hundred and eighty gig sparse discs.
50:47.980: Right.
50:48.460: And when it gets full, say, I've got to start another one.
50:50.859: This is my
50:52.140: you know, fishing show one and fishing show one a right.
50:56.539: Speaker 2: And I th that's pretty much that's pretty much what I ended up doing.
51:02.840: Speaker 2: Yeah, the ones that I had already made before I figured that out.
51:07.960: Speaker 2: Exactly.
51:09.000: Oops.
51:10.280: Yeah, the sparse, the whole topic of the sparse disc and the sparse bundle is
51:15.520: It's probably best explained and somewhere where you have pictures involved as well.
51:21.760: But essentially, what you're doing is you're making a little virtual hard drive to
51:26.700: To put the entire contents of a job on it.
51:30.220: And what it does is it makes it much easier to back that up or archive it or
51:36.920: you know, deliver it to somebody else because I now know that if I l take this one file and it's and it could be a very big file.
51:45.400: I mean, I routinely make one terabyte sparse disks.
51:49.640: That one file, it's a container, it's a fancy little bucket, digital bucket, if you will, where everything I need to open up and work on this job is in there.
52:02.779: And that's the way we work all the time.
52:07.020: I think most of my raids around the office, you open them up and it's just a big list of sparse disks.
52:14.220: Speaker 2: Right, right, right.
52:15.260: Speaker 2: And I really, I really like that workflow.
52:17.900: Speaker 2: It just seems neater to me.
52:19.580: Speaker 2: And like you said, it's easier to back up.
52:21.660: It also allows you to not launch every project you're working on.
52:26.220: I mean, Philip Hodgetts has the tool called Event Manager X.
52:31.240: Yes.
52:31.640: Which allows you to tink off ones that you don't want to have open.
52:35.720: Like if you well, besides just the performance issues of the application taking a long time to boot.
52:42.840: There there's times when you have sensitive information that, you know I mean, I I've I think I've talked about it publicly in in the past where I've had
52:50.820: you know, client A in the office on Monday and client B in the office on Tuesday, and they're both competitors and competing against each other.
53:03.320: Both hiring me to help them, which is nice for me.
53:09.960: So yeah, but there's plenty of tutorials.
53:13.000: I think Ron Dawson has something on his side about the sparse discs.
53:17.140: I've spoken about them on my website, and they're definitely things to look into.
53:22.740: Speaker 2: Right, right.
53:23.380: Speaker 2: I really like that.
53:24.180: Speaker 2: And then the other thing that I like
53:26.960: Speaker 2: About I mean, I guess this this fact doesn't matter too much, but I think when you use the compound clip method, it's easier to share
53:39.060: Speaker 2: Your event like if you weren't keeping all your media in your event folder, you were doing it the way like that you were explaining, then you would have a pretty small event.
53:50.020: Speaker 2: And as long as the other person had the media
53:52.980: Speaker 2: You could share that much the same way you would Final Cut 7.
53:58.420: Speaker 2: Like if you wanted to whereas if you had to share those Final Cut 10 projects as well.
54:06.200: Speaker 2: It's messy.
54:07.400: Speaker 2: It's messy.
54:08.440: Speaker 2: I think you can zip them and do some there's a workaround, but it just seems a lot messier.
54:14.120: I think my ultimate dream would be
54:18.420: That in 10.
54:20.660: 1, we see Apple evolving the idea of the visual database.
54:29.540: databases have been around for decades that allow multiple users to hook into them and deal with the data.
54:36.920: And I would like to see 10.
54:39.560: 1 with the ability to have multiple users work off the same data structure.
54:45.540: and the same data.
54:47.300: And then in addition to that, the ability to push files around and share them r with remote people.
54:55.060: Or the other thing that I'm dreaming of is the ability
54:58.599: for like a producer to be able to take that contents of his timeline index, like his markers, and mail me his markers.
55:08.900: Yes.
55:09.380: Or his to-do markers.
55:11.460: Here, take care of these things for me tomorrow.
55:13.780: Okay.
55:14.820: That would be great.
55:15.780: Yeah, that would be cool stuff.
55:17.620: Speaker 2: Yeah, I really like that timeline index.
55:20.100: Yeah, I use it all the time.
55:21.780: All the time.
55:23.300: I'm with you 100% on that.
55:25.380: Speaker 2: Basically, that's how I log.
55:28.460: Speaker 2: for like if I have like an hour long interview, I'll go through and that's I just mark and log my clips.
55:35.260: Speaker 2: Like I log it out there, so I can go back and look through the index.
55:40.299: Speaker 2: I drop my markers and I label what it is, like a brief description, and I go back and I look through the index, and then I can see always talking about this there, this there, and I just pull it from there.
55:52.040: Speaker 2: I guess in either a compound clipped or a project, however you want to do it.
55:55.400: Speaker 2: Does that make sense to you?
55:56.360: Speaker 2: Do you know what I mean?
55:58.680: Speaker 2: One more time.
55:59.700: Speaker 2: Tell me that one more time.
56:00.980: Speaker 2: So, if I have an interview, and maybe this is obvious, but when I figured this workflow out, it just kind of sold me on the whole idea of final content again.
56:13.020: Speaker 2: You you lay so I'll take like a multi-multi-cam clip.
56:16.220: Speaker 2: I've got my two angles and my audio, and I'll put that like in a compound clip.
56:21.220: Speaker 2: And then I go through and I'll I'll watch it and I'll just drop marker a marker any time they say anything
56:29.780: That I want to you know so basically you're making a transcript of a not a verbatim transcript
56:38.340: But notes and highlights and great quotes and key points.
56:42.580: Speaker 2: Yes.
56:42.900: Speaker 2: So instead of sitting there and just, you know, writing it out or doing it.
56:45.940: Speaker 2: Some other way, I just do it right in the top.
56:47.780: Speaker 2: So it just I have a list of it in my index.
56:50.099: Yep, exactly.
56:51.060: Speaker 2: And I can go through and just grab it, and I can visually see.
56:56.080: Speaker 2: Everything that the highlights of everything that's being said, and almost edited in my head from there.
57:02.080: Yeah, the timeline index is an extremely powerful tool.
57:06.160: And when you get used to using it,
57:09.420: And you like, oh my goodness, how did I deal without this?
57:13.420: It's really cool.
57:15.100: Speaker 2: Right.
57:15.340: Speaker 2: I don't even know how I used to do it.
57:18.740: Plus you can use all the search tools in there.
57:21.780: You can narrow the search to look at the clips or the tags or the roles.
57:26.740: You know, you can turn on and off the rolls there.
57:29.060: That's where you do that.
57:30.740: And you can search for things.
57:32.180: Like, where is clip 517?
57:33.940: Oh, there it is.
57:34.740: And then you click on it and your playhead jumps there.
57:37.460: Right, right.
57:38.580: Yeah, I love that thing.
57:43.720: Speaker 2: There was something I wanted to ask you, but I can't remember what it was.
57:49.099: Speaker 2: TikTok now.
57:51.260: Speaker 2: No, no, no.
57:52.380: Speaker 2: I wouldn't wait.
57:53.180: Speaker 2: It may never come.
57:58.040: So needless to say, you're enjoying the tool, you're getting work done, you're working efficiently, you're working faster.
58:05.560: Have you ever had an experience where you were able to
58:09.359: Sit down with another editor and have them go, hmm, yeah, maybe I'll take a look at it.
58:14.560: Speaker 2: I did actually, I had um
58:17.800: Speaker 2: I had brought a guy in to help me with some work, and he had never used it, and he just heard that it was horrible and this and that.
58:26.040: Speaker 2: And I said, just I actually paid him to sit down for a couple of days and go through the the ripple training.
58:32.800: Speaker 2: And after he went through, he's like, This is actually really cool.
58:37.360: Speaker 2: And he liked it, and he's been using it.
58:40.640: Speaker 2: Good grief.
58:41.920: You may not want to make that publicly
58:45.300: known that you're willing to pay people to learn how to use Final Cut 10.
58:49.140: Speaker 2: Well, well to me, it was worth it because I didn't have to go back and work on him.
58:57.860: Speaker 2: Work
58:58.760: Speaker 2: On a seven project just to have him help me out.
59:01.880: Right.
59:02.360: Exactly.
59:05.640: The times when I have to open up seven anymore, I just I frankly just get angry.
59:11.620: Speaker 2: Well, there's certain things that I still so here's one thing, and you can maybe tell me in 10 if it exists.
59:19.940: Speaker 2: There was a command
59:22.000: Speaker 2: It had to do with audio.
59:23.120: Speaker 2: There was a command in seven.
59:24.720: Speaker 2: It would find your peaks.
59:28.320: Speaker 2: It would mark all your peaks.
59:30.340: Speaker 2: Anything like that in 10?
59:31.940: Speaker 2: I don't think so.
59:32.900: I will say this, though, that one of the things that I really dig about 10 is that it has access to all
59:40.920: The audio plugins that you might use for other stuff.
59:45.000: Yeah, so you can buy like end-of-the-world bomber kick-ass
59:48.820: You know, rock and roll limiters and compressors and things like that.
59:52.580: And those, you know, that you might buy.
59:54.740: Like, for example, on the first episode, I spoke with Carl Olson from Digital Convergence.
And we were talking, and I mentioned this, and he was clicking on his user interface while we were chatting. 01:00:00.220 And he's like, All my plug-ins are here. 01:00:05.180 And I'm like, Yes, they are. 01:00:09.180 And it was like this giant aha moment. 01:00:10.700 'cause he had spent a couple of hundred dollars on some plugins and he was like, I can't believe all of those are in my video editor 'cause he bought them for Logic Pro. 01:00:13.580 Speaker 2: Right, right. 01:00:22.099 Speaker 2: Yeah, the I gotta say, just even the built-in limiter is pretty amazing. 01:00:23.220 Speaker 2: It saved me hours when it comes down time to 01:00:27.540 Speaker 2: Do my audio, my final audio. 01:00:33.099 Yeah, I have it I I you know, I only started using that, you know, sniff and mark tool in seven where it found all the peaks. 01:00:34.940 I'd only used it a couple of times before I started switching over. 01:00:43.799 But yeah, I will admit that is a good tool. 01:00:49.319 And maybe we'll see it in 10. 01:00:51.799 1. 01:00:53.400 Speaker 2: Right, right. 01:00:53.720 Speaker 2: I admit I found it about a year. 01:00:54.520 Speaker 2: Before I left. 01:00:56.799 You and I were on the same track, dude. 01:00:58.559 Speaker 2: How did I miss that one? 01:01:00.319 Speaker 2: Well, the thing is, in seven, I had those every time it was still, I still think it's an amazing program. 01:01:01.359 Speaker 2: Every time I would use it, 01:01:08.400 Speaker 2: Almost every time I felt like I would find something new, like a new little trick. 01:01:10.280 Speaker 2: So which was, I think, one of the reasons it made it so painful, or it still makes it painful for people to 01:01:16.600 Speaker 2: To jump into something completely new? 01:01:23.000 I think there's a mindset that has to happen, and it has to do with understanding that 01:01:26.120 you know, things do indeed change. 01:01:33.320 I think, you know, for over a decade we had a tool that was really prominent and really popular. 01:01:35.640 And 01:01:41.640 you know, you know, I mean, you did the Premiere and the Media One Hundred and you know, I mean, that's two edit systems in the nineties alone. 01:01:42.240 That you mentioned, there might be some others that you worked on. 01:01:50.940 That's two edit systems alone in the 90s. 01:01:54.780 You went through the entire first decade of the 21st century using one tool. 01:01:58.220 Right. 01:02:04.599 That's unprecedented. 01:02:05.160 And I think that we may never see something that is that solid for so long. 01:02:07.400 And but that being said, I mean, I look at this tool that I've been using now for almost two years. 01:02:14.760 And I'm like, wow, it really does keep getting better and better and better. 01:02:22.640 And it's like, this is awesome. 01:02:26.960 I'm thoroughly impressed with it. 01:02:29.039 And I think the performance is great. 01:02:30.880 And the whole reason I'm having this conversation with you and others is so that other people kind of say, well, either, yeah, I'll give it a go, or if nothing else, other Final Cut 10 users will go 01:02:33.120 Ah, few. 01:02:45.720 I'm not alone. 01:02:46.680 Speaker 2: No, I agree. 01:02:48.760 Speaker 2: I mean, um you know, it's funny because I remember 01:02:50.359 Speaker 2: A couple weeks ago, thinking, you know, I've been trying to think of ideas because I was interested in maybe doing a podcast. 01:02:56.660 Speaker 2: I was like, well, maybe a Final Cut 10 podcast. 01:03:04.500 Speaker 2: I was like, 01:03:06.980 Speaker 2: And then you you when you when you put your tweet on, I was like, okay, I don't need to do it now. 01:03:10.040 Speaker 2: Someone else gotta do it. 01:03:15.720 Speaker 2: Done. 01:03:17.000 Speaker 2: Because I just wanna learn because every I I I love the podcasts you do. 01:03:18.040 Speaker 2: But sometimes I just want to hear more geeking out about Final Cut or the the other tools. 01:03:22.720 Speaker 2: But Final Cut specifically right now, just because I feel like 01:03:28.799 Speaker 2: There's so much going on with it and changing, and I'm still like the roles tool. 01:03:32.520 Speaker 2: Like, I knew it was there, but I don't really even 01:03:37.079 Speaker 2: Know how to use it correctly, or I might sort of now, but I didn't until a few days ago. 01:03:40.680 Speaker 2: Right. 01:03:47.640 So I do think the roles might actually be the solution to what you were talking about. 01:03:48.599 Right. 01:03:53.960 Hey, Anthony, let's wrap this up. 01:03:54.740 Thank you so much. 01:03:56.980 I appreciate your time. 01:03:57.940 How can people find you if they're interested in what Anthony Mareschi is doing in Boston? 01:03:59.140 Speaker 2: You can go to my website. 01:04:03.740 Speaker 2: It's anthonymareski. 01:04:05.100 Speaker 2: com, or you can go to my business website, which is supremevisuals. 01:04:07.500 Speaker 2: com. 01:04:12.300 Speaker 2: They need to be updated desperately, so don't judge me by those. 01:04:13.040 Okay. 01:04:17.520 Supreme Visuals. 01:04:18.560 Hey, thanks for your time and look forward to catching up again sometime. 01:04:20.480 Yeah, thank you. 01:04:26.720 Thanks, Anthony. 01:04:28.000 Speaker 2: All right, thanks a lot. 01:04:29.119 So that's Anthony Moreschi. 01:04:31.520 Hope you enjoyed that. 01:04:33.440 You know, again, we talked about a lot of things in there, you know, some of the keyboard shortcuts and training resources and plug-ins and whatnot. 01:04:35.160 So you can find all of those at Digital Cinema Cafe and search for the Final Click Grill episodes. 01:04:43.540 You'll find those show notes there. 01:04:49.860 I also want to thank some of the reviews I've been seeing crop up on iTunes. 01:04:52.540 Now, I'm recording this little outro here on November 29th. 01:04:57.660 Black Friday. 01:05:02.780 And but I w you know, want to thank some of these people. 01:05:04.060 Well, there's there's Mike Carroll. 01:05:08.460 I'm always I always a pleasure to hear from Mike. 01:05:10.540 Saying some nice things about the show, referring to some of the three-quarter-inch machines from days gone by. 01:05:13.720 Also, I want to say thank you to Mike222. 01:05:19.720 Jay Davidberg and Eric Tello. 01:05:25.020 So thanks for those great comments and the stars. 01:05:28.060 I really appreciate that. 01:05:30.780 So that's it for this episode of Funnel Cut Grill. 01:05:32.460 If you know of an editor who's doing something interesting in Final Cut 10, or perhaps you are, feel free to give me a jingle. 01:05:35.520 Best way to find me is on Twitter at Chris Fenwick. 01:05:43.839 Send me a note, or you can actually do it to the show Twitter account, which is FCPX Grill. 01:05:47.460 Send me a note, and who knows, you may end up on the show. 01:05:55.740 You wouldn't be the first. 01:05:59.580 So, thanks for listening, and we'll see you next time. 01:06:01.260