Episode 10
FCG010 - FCPX Not for Everyone? (feat. Art Guglielmo)
Never say we’re biased on FCPX Grill. Art found the show on the iTunes and has been listening since the beginning. He had some points he wanted to share with me and one day via twitter, we got into a discussion that was very interesting. He was commenting that we got a little to snarky (my word, not his) about other systems and wanted to point out the “other side of the story”. So, trying to be fair and balanced (not like those guys), I decided to have him on the show. Within hours I had him on the Skyper and this was the discussion we had. We also discussed, long form project and “heavy timelines”.
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Featuring
- Chris Fenwick
- Art Guglielmo - @artgug
Transcription
00:00.001: Before we get started, I just want to let you know that this particular episode of the Final Cut Grill, episode 010, was recorded prior
00:00.001: If you know the history of Randy Eubelis, the guy who wrote Premiere and later went on to write Final Cut Pro, that was the reason why he left Adobe.
00:00.001: But there's one thing I definitely don't have as an allegiance to any piece of software.
00:00.080: No, no, no, no.
00:00.080: Because they because of the AB.
00:00.080: Final Cut Pro 7, quite frankly, when things got heavy, got pretty ugly too.
00:00.080: Philip Hodgett's the Event.
00:00.080: 20 a day.
00:00.160: Which is what it was going to be called before we inserted a show in the playlist.
00:00.160: to be able to talk openly and freely.
00:00.160: Yeah, I know.
00:00.160: Are you not thinking about the, I'll say politically correct, and that's too strong, but you're not thinking about the, well, let's not go there.
00:00.160: I didn't specifically, I mean, I was kind of part of the decision, but that was just the one that fit our situation the best.
00:00.160: An MLB network.
00:00.160: How about those A's?
00:00.160: The Adobe apps on the system.
00:00.160: Oh, you're going to turn on the Chiron?
00:00.160: I just got to make a clean plate for something.
00:00.160: we were finally getting Photoshop.
00:00.160: And slow.
00:00.160: the old premiere like when it was still in eight point zero something like that I was even b I think I even started before him because I think five point zero was the first one to add the single track
00:00.160: Foreign eyes, I couldn't visualize what was happening.
00:00.160: bring it into I we can't run them on our systems at work, so I actually brought my laptop in, media managed all but see I'm the only one that could kind of do this 'cause everybody else at our place has to have like the current like
00:00.160: Was given the task of saying, Hey, build out two timelines that look the same.
00:00.160: It wasn't the snappy, slippery File Cut 10 that we know when we're doing five minute actions.
00:00.160: Well, Final Cut 10 has a habit of wanting to ki like it wants to cache a lot of things.
00:00.160: Yeah, so what I do is at the beginning of a project.
00:00.160: So I can open it and close it, mount it or unmount it, and then at the end of the job, like you're saying, I can also archive it to our archival system.
00:00.160: Yeah, you should trim that down.
00:00.160: And then mana like, and we can also have like between all the editors up to you know over a hundred projects, quote projects live at any one time also.
00:00.160: 14 years when Final, or no, not 14.
00:00.160: But we keep online I think about a month to two months worth of stuff.
00:00.160: Themed open, and we just looked at them and said, You can't afford that footage.
00:00.160: You know, the footage a lot of times is their business.
00:00.160: Intelligence assistance?
00:00.160: feel pretty strongly in that I have to be up to date on what I consider the four major ones.
00:00.160: So I got a job doing uh they they needed like 16 little mini training videos, commercials, and stuff that was going to end up on a home shopping network.
00:00.160: I know that they get that too much, and I have always said to my friends at work there, Don't worry, I'm not trying to figure anything out.
00:00.160: He goes, Yeah, it would be awesome.
00:00.160: And there's probably not a whole lot of major league baseballs either.
00:00.160: you're not one guy at your place.
00:00.160: you know, when I have to have the outgoing graphic hitting at a very specific time frame and I know that going in, you s you start to put together these
00:00.160: So if you were to do that in Final Cut 7, would you promote it up to a higher track and then lock that track?
00:00.160: Just put a frame on one and lock it.
00:00.160: He charged like $1,000 a day for him and this precursor to a scan converter, which was basically a bunch of duct tape and bailing wire.
00:00.160: That wasn't that long ago either.
00:00.240: But I thought it would be really a good idea to have uh another viewpoint.
00:00.240: Agreeing to do this.
00:00.240: any of those other ones.
00:00.240: a positive side on the X side, that it was almost being it felt like it was crossing that line of being unfair to the other ones the same way that
00:00.240: PPA being unfair to Final Cup Pro X and both totally.
00:00.240: And people are like lining up like yourself, like, hey, you know, and actually, I asked you, but you know, yeah, let's do this.
00:00.240: Right.
00:00.240: Avid and Premier.
00:00.240: Yeah, let's move on.
00:00.240: It's kind of like a title
00:00.240: is really just a baseball game though, right?
00:00.240: believe it or not.
00:00.240: Yeah, so and it's a it's been known to be a dangerous place, but he was uh wrong place, wrong time.
00:00.240: I can't believe that you're you know you're giving me an edit system with it.
00:00.240: So, Art, how long have you been making television and film production types of what's your history that got you here?
00:00.240: If you want to edit, we're going to use three machines, X, Y, and Z.
00:00.240: You know, everybody always thinks, oh my God, you're at Major League Baseball.
00:00.240: The stratosphere and then well actually the cube came first, then the stratosphere.
00:00.240: that they were just installing the Sphere.
00:00.240: I guess that was the first like professional uh nonlinear editor that I use on a day-to-day basis.
00:00.240: we went into New York City and had like one of those old fashioned system builders build us a uh discrete edit machine, which was
00:00.240: That goes down in hist in nonlinear editing history as one of the big mistakes.
00:00.240: Talking about Final Cut 10.
00:00.240: Of people telling me that I'm old-fashioned and I don't want to change.
00:00.240: You come up with the the Fenwick NLE that's better than anything else out there.
00:00.240: Over well, when did it come out now?
00:00.240: I want to say.
00:00.240: Yeah, it was a curious little device, but it was I think the only reason I launched it in those first few months was to find something else to bitch about.
00:00.240: The magnetic timeline looked really cool.
00:00.240: get my hands on it.
00:00.240: I get it.
00:00.240: on on Randy or the product manager or whoever's part to say, we want this to look safe and familiar.
00:00.240: footage that's on that we bring in every day where I can take because I'm working on a project over a course of a couple months I can kind of bring all my media locally and try and edit it.
00:00.240: I think anybody who edits all day, every day, they know exactly what you mean.
00:00.240: final color grading and finishing for you know movies and commercial slots and uh indies and things like that.
00:00.240: But once we get some kind of a handle on like how we're how the story is breaking down, I will I mean, this is my workflow in seven because
00:00.240: Yeah, eventually I would actually literally finish each segment to time and have them all time out to what we need.
00:00.240: And then I would just throw each one of them onto we got a lay like our final layoff has to be with like 10 seconds of black between each segment.
00:00.240: You know, I eventually hit a wall and I had to take the laptop home.
00:00.240: Where in X you gotta move back out of it, load the next one.
00:00.240: 35-minute piece.
00:00.240: you know, the shorter things I do.
00:00.240: But basically, it is a virtual hard drive that lives on a real hard drive.
00:00.240: Now, it is small until you put stuff in it, and it's basically like a rubber balloon.
00:00.240: That's astonishing numbers.
00:00.240: and stuff like it, it just it becomes like a non-starter at that point.
00:00.240: I don't know.
00:00.240: February, January, December, you know, we will know as soon as they tell us.
00:00.240: You know, a half-hour hour, and then we have offline, which is somebody's got to go in a tape room and find the tape
00:00.240: That's awesome.
00:00.240: like six or seven feeds taping for twelve hours a day, and that's all coming.
00:00.240: spots in all the stadiums.
00:00.240: Army of little joystick kids in the basement of your building that are like deciding what to point those things at?
00:00.240: The leaked footage of Kanye proposing to Kim Kardashian got out one of your cameras.
00:00.240: aggressive in getting things taken down.
00:00.240: Translating did you do like X to seven and then seven to into Premiere?
00:00.240: Well, but after that, though, I actually did run a job over the summer.
00:00.240: I think it has a lot to do with the fact that although this is a vocation, it is also a passion.
00:00.240: Hey, could you do yeah, okay, uh right.
00:00.240: Rather than going and playing video games when I have some downtime, I'll take my iPad and I'll fire up some Ripple training and listen to the
00:00.240: They have these in New York City here, they have these high-end, they call them blow-dry bars.
00:00.240: Final Cut Pro X because I just had total control.
00:00.240: No, now you're art, because I know your voice, and we're buddies, we're pals, we've been through the trenches together.
00:00.240: And so, but it was interesting, and you know, I'll be the first to admit, there are things that Fanal Katen absolutely can't do
00:00.240: I just have a strong suspicion that Apple is not going to do some of the things that I want, because I don't think the things that I'm
00:00.240: People that work there.
00:00.240: This guy, I was asking him to make a feature or product actually that I really wanted.
00:00.240: I think sometimes some people take this as insulting, thinking like I'm s that you're saying it's not a pro thing, but they're they're more looking for the combination, the photographer that's now doing video, the um
00:00.240: I mean, I totally understand where Apple went.
00:00.240: As much as I'm you know, I do this in my day job and this is my life, I've never actually sat down and and taught them how to edit and work on this stuff, but that they sit home and can teach themselves Final Cut Pro X.
00:00.240: I think I mean, to be more specific about it, I think the simple idea of just being able to lock a clip in time would go a long way to.
00:00.240: Right.
00:00.240: In the mid-80s, I was working on a television show called The Computer Chronicles.
00:00.240: you can most a lot of the episodes.
00:00.240: In those days, before Chris Fenwick owned a computer, for me to take and make a full-page graphic that had a bunch of words on it, I had to use a production switcher and the Chirun character generator.
00:00.240: Like, oh my goodness, that change would have taken me hours, and I have hundreds of thousands of dollars a gear upstairs.
00:00.240: electronic package, whatever.
00:00.240: I digressed on my digression.
00:00.240: I got to the point where I realized there is I have now figured out how to use Final Cut 10, but I don't know
00:00.240: And then I'll butt those up against each other just by virtue of the fact that it's the playhead is in the right place.
00:00.240: All right, we should wrap this up.
00:00.240: Who was that?
00:00.240: He still admitted he sees it for what it is and thinks that there's quite possibly a future in it.
00:00.240: Or you can use the show hashtag, or not hashtag, but the at sign, you know, at fcpxgrill.
00:00.240: You can find the show there.
00:00.240: say that my little profile face on my icon, they like kind of laugh at it, but they go, Yep, totally recognizable.
00:00.240: Art's not solving those problems with Premiere or Avid either.
00:00.240: But that's not really the point.
00:00.320: I got into this discussion between a guy named Art, and I'm going to Art, I'm probably going to spell your pronounce your name wrong, but Guglielmo, I believe.
00:00.320: And I think you'll understand why.
00:00.320: But I understand a lot of you folks are because I hear your comments on the Twitter.
00:00.320: This is, we are recording this on November 24th, and I have so many episodes in the can already.
00:00.320: Wasn't coming across.
00:00.320: But this discussion really isn't about, okay, let's get to the nitty-gritty about the XML.
00:00.320: You know, let's not bash the other guy.
00:00.320: Are capable of doing?
00:00.320: 15 of us and my little I'm I'm like in a mini department of where I work where I'm making the switch over to to Premiere not me
00:00.320: Vignette of a player, or all the way up to like a three-hour documentary.
00:00.320: borderline not related to baseball.
00:00.320: No, no.
00:00.320: You know, over lunch, say, Yeah, we should get that.
00:00.320: So I basically did a media manage in old Final Cut Pro 7, put everything onto a Thunderbolt drive, brought it over to my laptop.
00:00.320: March of this year when I was starting up a so it was going to be a an hour long, one of our hour long documentaries.
00:00.320: the wall that I ended up hitting wi with with X in that is that once the timeline was getting real heavy and I I I in the most recent version um episode
00:00.320: it doesn't start you don't start to see it, but then certain things that you do.
00:00.320: Um in now I've never done one-hour TV programs, but are they typically done in a one-hour timeline?
00:00.320: No.
00:00.320: Uh, usually our shows are six or seven segments if per hour.
00:00.320: at one point or another has heard that one system or another doesn't do well it with big long sequences, with the possible exception of Avid.
00:00.320: So I've always wondered like, you know, do I really need a one-hour or a 90-minute market?
00:00.320: Right.
00:00.320: Yeah, so that that project just got too heavy and just had to had to move it out.
00:00.320: Yeah, so it's not the it's not the fastest Mac available right now, but it's not slow either.
00:00.320: on board.
00:00.320: Seven or ten Final Cut X was just getting just a little bit just too heavy.
00:00.320: I know from working between machines that have 16 gigs of RAM and machines that have 32 gigs of RAM, I immediately feel the difference in the way it responds.
00:00.320: And I can't imagine using Funnel Cut Pro X without that.
00:00.320: And I say, I am so glad you're telling me that.
00:00.320: Um so I I think we figured out the math was like we were doing like twenty terabytes a day.
00:00.320: 220 terabytes of data a week, and you go yet and now.
00:00.320: Yes, we have so we have like online, which is I gotta find I can update you like through Twitter on the exact same thing.
00:00.320: systems where there's like a robot with like eight arms and it'll go out and pick the yeah, yeah.
00:00.320: Good night.
00:00.320: get it out of the project and go you took it back to seven, is that correct?
00:00.320: Okay.
00:00.320: I was editing it, I was producing it, I was writing it.
00:00.320: And uh this is again one of the problems with Twitter is that I don't necessarily read people's names, but I go, Oh, it's that guy with the blue icon again, you know?
00:00.320: the issues or the problems that I have is I don't I mean you you sound like you have more of an into Apple than than I only because I know
00:00.320: asking for are the audience that they're trying to reach?
00:00.320: like where I I make my living day to day, paying my mortgage, edit editing twenty four hours a day practically.
00:00.320: there's something to be said for that.
00:00.320: If I know that a certain clip has to fall at 35 seconds and that's where it's going to be, rather than having to tie it to the first frame of the timeline, which is your kind of workaround that people are using.
00:00.320: nitpicky or anal, but if you stop and really think about what that can do to your workflow, because I do like the idea that the magnetic time line can be helpful.
00:00.320: But there has to be a way that I can manage it.
00:00.320: Yeah, and I think when I first realized that there was no way to do that, that's when I wanted to put my head through a wall.
00:00.320: That is a very I guess that would make sense if you have to like hit a commercial spot at a certain point.
00:00.320: like templates and beds that you start fitting your your work into.
00:00.320: You know, we should wrap this up, but I want to tell a little story.
00:00.320: Of the slides that he had in a slide stack were changed.
00:00.320: One day, and he was showing an application from a company called Aldus.
00:00.320: Keynote, but it predated it by 15 years at least.
00:00.320: A total of 100 frames of video.
00:00.320: But I caught something that I was like, whoa, what did he say?
00:00.320: And he changes the font of the header, the color of the body text, and maybe the size of it.
00:00.320: And I knew I could never do television with it, but I realized I need to learn this computer thing because I think it's got legs.
00:00.320: you kind of lose the ability to edit via the keyboard because you can't edit into secondary story.
00:00.320: I can't even tell you how big of a proponent I am of keyboard editing and i it's it's like in Final Cut Pro X that that primary storyline is like gold and once you give that up you you take
00:00.320: is and because I'm y you ask around, everybody will tell you I'm a keyboard guy, is I use the letter Q to
00:00.320: To drop my stuff on as an overlay, and then I package it as a storyline later.
00:00.320: All right, I'll see you later.
00:00.320: gang.
00:00.320: But you know, it was it was a good conversation, and I'm really glad Art came and uh joined us on the show.
00:00.320: My name is Chris Fenelick, and thanks for listening to Funnel Cut Grill.
00:00.400: to Final Cut 10.
00:00.400: Welcome to the show.
00:00.400: it does not come across well.
00:00.400: real baseball tie it has is that he he played in the major leagues and he was one of the first like um multi-million dollar players, but it was an hour long show based on
00:00.400: you know, th th we'll find interesting human stories about people and and make uh and have documentaries about them.
00:00.400: So um so anyway, y you have like 15 you said about 15 stations, 15 edit rooms or 15 people.
00:00.400: Uh we have thirty-five edit rooms, but fifteen of them have Final Cut stations in them.
00:00.400: slash Adobe rooms 'cause they all have the Adobe suite in them also.
00:00.400: they they had like a Morning Drive radio show that they simulcast, kind of very like a a Howard Stern type thing.
00:00.400: And I think that those two slides well, I I will say this, I know that those two slides were done on purpose because somebody
00:00.400: That one of the things that Final Cut 10 does, which is not a advertised feature, but when you drop the playhead in the timeline,
00:00.400: It sort of immediately begins to cache either direction, thinking you might scan one way or the other.
00:00.400: But we're very careful in the way we you know check something in and out of the server use it and put it back
00:00.400: Change the maximum limit of a sparse disk, and I would never try to explain that in an audio podcast.
00:00.400: And they run, I think, 12 hours a day.
00:00.400: And again, that's that's another plug-in by Intell uh, you know, Intelligent Assistant.
00:00.400: Absolutely can't do.
00:00.400: And I'm not gonna, you know, I am not saying, hey, let's use it for everything, throw your other editor out.
00:00.400: is I, as a faux journalist, whatever you want to call a podcaster, I think it's good to rein those people in on occasion.
00:00.400: You know, I think it's.
00:00.400: You know what you want.
00:00.400: I think they saw an episode of that on YouTube, don't they?
00:00.400: Okay.
00:00.400: And then I would take and I would composite all these things together and freeze them in the Atta still store, which was a stupid computer with a hard drive the size of a dishwasher that could hold
00:00.400: Well, I remember.
00:00.400: And that's the thing that excites me.
00:00.400: And so that's a little bit hard for me to grasp.
00:00.480: And he works in, I believe it's New Jersey.
00:00.480: So it's still very positive as well.
00:00.480: I had heard from the producer, because I I had never worked there before, that they don't they didn't have
00:00.480: Uh well, I once I got out of college in 93, I s went to work for Comcast did a little um
00:00.480: Era?
00:00.480: My disdain for certain decisions that Apple had made?
00:00.480: I actually made it work.
00:00.480: Is that the word DPX?
00:00.480: Well, that's the way I use the sparse d the sparse disk sparse yeah, it's a sparse I use that like when when I when I'm done with the project and I'll put them away like that.
00:00.480: So when you create a new job I'm going to say a job.
00:00.480: get to do one edit in Final Cut Pro X, just the management between multiple people and projects that are live and media that needs to be live.
00:00.480: So like literally s throughout the stadiums in in in the country there's uh six or seven ballpark hams at different
00:00.480: So, you were about to tell me about something that you did cut in 10.
00:00.480: Oh, definitely interesting.
00:00.480: Just like me, let me choose what's part of the magnetic timeline.
00:00.480: thing that happens when when we make our computers smarter to help us, more often we get into arguments with them.
00:00.480: And I remember this guy showing Aldous Persuasion as a demo on our show.
00:00.480: This is going to absolutely change what I do for a living.
00:00.480: We sh well, yeah, the Commodore Amiga and the Video Toaster came out.
00:00.480: my business.
00:00.480: How it I have I have yet to unleash the true power behind the things that I see.
00:00.480: Complaint, and I think that it's one that I've never heard anybody bring up, but I think about it all the time.
00:00.560: and he's Art Goog on the Twitter.
00:00.560: This probably won't air for several weeks, but it brings up a really good point.
00:00.560: In the excitement of having a venue where I can talk with people that are genuinely enthusiastic about an application that I have definitely taken a shine to.
00:00.560: Is he born in Gary, Indiana?
00:00.560: Run their new HD, you know, final cut system through the paces to make sure everything was good to go.
00:00.560: I think a lot of that harkens back to like, you know, the eighties sort of line item editorial process where you say
00:00.560: And then quickly moved into the advertising world where I started to learn how to edit on originally I was editing on three-quarter inch deck to deck.
00:00.560: Editing where everything was right.
00:00.560: played with it early on.
00:00.560: I know you were talking with who was who was your guest on episode two?
00:00.560: grinding to a halt.
00:00.560: What is it like the non-retina?
00:00.560: And that's how we manage what opens and what doesn't open.
00:00.560: I have found that I basically make them one terabyte on the RAID.
00:00.560: That maybe it will simplify the task of using a centralized storage system.
00:00.560: And to make a pretty background, I would take a photograph of something that I had shot with my 35mm film camera while on vacation, and I would put that photograph on an ESIL and point a $100,000 camera at it.
00:00.560: What was that thing you said about changing the fonts?
00:00.560: A-R-T-G-U-G, at Art Goog.
00:00.560: Clearly, I had some issues with Final Cut 10, and you know, I don't work in an environment where I'm bringing in 4,000 hours a week or 20 terabytes a day.
00:00.640: I'm totally wrong about a few things.
00:00.640: No, the rest are a Grass Valley system called Aurora.
00:00.640: When we were getting ready, but when we first came in, like my first question is, where's Photoshop?
00:00.640: most of my editing early skills.
00:00.640: Alex McLean, who I do the Digital Cinema Cafe podcast with.
00:00.640: Like in Final Cut 7, I would have a bin with seven sequences in it, and just popping forth, literally back and forth between them.
00:00.640: This is clearly not a tool for Major League Baseball.
00:00.640: And I was going to be in pretty much this this project was totally like within 100% within my own control.
00:00.640: To keep things locked into place.
00:00.720: I don't mean this in an antagonistic way, but it was an honest complaint that this show was too apologetic.
00:00.720: It's uh you know, when when Twitter first came out, I was like, really?
00:00.720: MLB Networks or MLB's greatest games.
00:00.720: Yeah, that they eventually moved and furnished all the final cut rooms with entire Adobe Suites.
00:00.720: But the funny thing was, though, when I went to discrete edit, though, and I started, and you had the ability in discrete edit to choose one or the other.
00:00.720: They showed a timeline in Final Cut 7, and it was built out, and you looked at it and you go, Yeah, somebody's been working here.
00:00.720: A lot of media.
00:00.720: It's got like sixteen gigs of RAM.
00:00.720: Probably a slightly nicer way basically told me I was an idiot for doing that.
00:00.720: See, and that definitely works.
00:00.720: Just delivered the last piece like a month ago.
00:00.720: We worked.
00:00.720: It's silly little things like that that I guess people might hear something like that and think that that's kind of a little
00:00.720: I guess when you're working on a feature where length is irrelevant I mean, not irrelevant, but you're not trying to hit a specific mark all the time, it's not quite as critical, but when you're hitting
00:00.720: And persuasion predated PowerPoint by several years, but it was much better than PowerPoint ever was or probably even is today.
00:00.720: I'm always looking for people that are doing interesting stuff.
00:00.800: they'll take care of like the game highlights and that day-to-day television stuff that you see.
00:00.800: So I uh you know, I I was one of those guys that was clicking the buy button before it was even out, waiting, you know, started, you know, downloaded it.
00:00.800: It's just more flavor of the day.
00:00.800: Yeah.
00:00.800: But those so a job folder, which has the kind of Chris Fenwick way of thinking, which is all over my personal blog, and then the event folder and the project folder all live on that one sparse disk.
00:00.800: We're bringing in approximately, I think the last I heard about 4,000 hours of video a week.
00:00.800: At any rate, I'm glad we had that conversation.
00:00.880: At the risk of maybe sounding like a fanboy.
00:00.880: Well, I guess when CC came out, which was late June.
00:00.880: Yeah, it is.
00:00.880: And then we those are the days.
00:00.880: This is going to be easy.
00:00.880: There was this subliminal message that was put up there, and nobody said it, but it was a very strong, subliminal message that said.
00:00.880: What's your experience with it perf well?
00:00.880: Do I really want?
00:00.880: So I have you know, mine's obviously switched to stay on the the good graphics card all the time.
00:00.880: I've noticed that, and it's definitely something that I would advise to anybody buying a machine who wants to work in tan, is that
00:00.880: We call it the robot, but it's literally like I have control of a machine where like I can pick a tape and have it automatically put in.
00:00.880: We'll call it a documentary.
00:00.880: It's like, yeah, I want you to be smart, but I don't want you to be that smart.
00:00.880: The secondary storyline is not an equal partner.
00:00.880: That's awesome!
00:00.880: You know, it's not that's not the point.
00:00.960: Yeah, that was when it was in the AB, like where you had to put one video on A, and then if you want the dissolve to it, you had to put it on B and put the dissolve between the two.
00:00.960: And even with but with Final Cut X, I didn't even have the chance to get to the point where I was going to start segmenting and got you.
00:00.960: But I have chosen for a completely other reason.
00:00.960: 20 terabytes a day.
00:00.960: Yeah.
00:00.960: I have my issues with the magnetic timeline, but I don't think my issues are uncurable.
00:01.040: I mean in my day job we have a Final Cut Pro editing staff of I guess there's about
00:01.040: No, it was a wasn't like he was shaving points or whatever for no wrong place, wrong time, driving with much more interesting
00:01.040: I need to do this.
00:01.040: Okay, I'm sorry.
00:01.040: And frankly, by the time this I I pushed this interview out on the thesis.
00:01.040: The NFL has gotten a little bit better.
00:01.040: So I took a I think we a lot of us do that.
00:01.040: So it it I figured that was a better chance for me to really work with Infinal Caprox.
00:01.040: I live in the area and I know people.
00:01.120: So when it when I first started using it, there was just like such a level of disappointment it when I just saw you know there's there's something I want to mention about the demo that I've never really said publicly, but um
00:01.120: You know, hitting very specific.
00:01.120: You got to be careful what you what you see on those things actually because they run in during commercial breaks and stuff too.
00:01.120: And again, to set this in the context of history, there was no way to get the output of a Macintosh into a television broadcast.
00:01.200: It's just Twitter.
00:01.200: He was actually in a little town called Gary, Indiana, right outside of Chicago.
00:01.200: It's funny what you're saying that because when I first started I literally started there before we are we didn't go on air until 2009, so it's a and I've been there since beforehand.
00:01.200: I mean, I you know, I could change I guess you could have changed your approach, but even there's there's that issue of even the way that you got to move in and out, like there is no
00:01.200: You will definitely experience the joy of more RAM.
00:01.200: That sounds crazy.
00:01.200: But that's manageable.
00:01.200: What year was that about?
00:01.280: Oh, thanks for having me.
00:01.280: So, this is what has happened with me.
00:01.280: Wow.
00:01.280: The process of making a film and teach them the concept of reels and making an individual timeline per reel and things like that.
00:01.360: Thanks for tuning in.
00:01.360: It's not so much that you're wrong, that it's more of a, it was almost coming at it from such a
00:01.360: comparing the two and finding which one works in your situation, but also having an understanding of what the other three
00:01.360: Well, you for you know, I think a lot of people forget, you know, even though I work for a big company and major league baseball is huge, the one thing big companies don't do is change quickly.
00:01.360: But then that virtual hard drive, I put all of the media, all of the Photoshop documents, all of the scripts, all of the PDFs, all of the Illustrator files.
00:01.360: But the current the current stuff that's online, there's just so much media.
00:01.440: It's really hard to have an educated conversation 140 characters at a time.
00:01.440: Yeah, I didn't know what I mean.
00:01.440: So, yeah, I'm forgetting about that.
00:01.440: I put a Final Cut event folder on it.
00:01.520: I mean, all four of them have major problems in different areas.
00:01.520: I mean, anything.
00:01.520: Okay, and by features, you're obviously not talking about feature films.
00:01.520: And then he advances his slide and he shows the same timeline, but built out in Final Cut 10.
00:01.520: Starts to die off.
00:01.520: That's amazing.
00:01.520: That would probably be the job I would talk more specifically about, like what I like and don't like about the day-to-day stuff.
00:01.520: And I think that once I got over the initial I'm pissed at Apple about changing where the gas pedal was.
00:01.520: Thank you so much.
00:01.600: I'm surprised though that yeah, I thought they would be smarter than that and know that they would come off as disingenuous once the reality came out.
00:01.600: Intelligence or intelligence?
00:01.600: And if I know that this clip has to happen at 35 seconds, it's got to happen there.
00:01.680: It was just a lot of media, a lot of footage, and it was mostly all pro-res.
00:01.680: Yeah, it's.
00:01.680: Yeah, he he's not like oh wa now, I wish it it was better memory.
00:01.680: The point is to have conversations with people that are using the application and enjoying it.
00:01.760: And I thought about that and I thought, yeah, you know, I don't want it to be that way.
00:01.760: It just seems to be the place where things have worked out really well.
00:01.760: They gave into Photoshop fairly early and then a couple couple of us had After Effects.
00:01.760: Yeah, he was very upfront and said, Yep, I made a big mistake, and I got to rewrite everything from the ground up.
00:01.760: What made you?
00:01.760: It was just the trying to move around the time line, trying to zoom into specific points.
00:01.760: I believe it is.
00:01.760: There are two schools of thought about that.
00:01.760: Well, I might have said something alluding to.
00:01.760: It might be an interesting choice of words, but it's a different sentiment.
00:01.840: They would do that.
00:01.840: I don't think it would ever be our well, I can't say never, because if you would ask me two years ago if Premiere would ever be one of our main animals.
00:01.840: Now are the are the cameras in the locations where the broadcast cameras go?
00:01.920: Agreed.
00:01.920: Okay.
00:02.000: his life and and the murder of him.
00:02.000: I was trying to figure out the timeline.
00:02.000: And handling 20 terabytes of data a day on a giant, you know, yeah, that unfortunately, it just technically can't do it.
00:02.000: I don't remember who that was.
00:02.000: Take care.
00:02.080: Okay.
00:02.080: And you know, we we had those fights and early on they were trying the old eventually we did about six months in and we
00:02.080: And I really appreciate that part of it.
00:02.160: It's just like Final Cut 7.
00:02.160: Yeah, I was just curious about that because I've heard, and let's face it, everybody.
00:02.160: And again, I'm a five-minute guy.
00:02.160: And it actually it just dawned on me.
00:02.160: So like right now I'm we're working on a proposal of a of a company that wants you know a rah-rah cool bitchin' sports
00:02.160: I mean, I want Final Cut Pro X to get to that point, though.
00:02.160: people that are doing jobs on their own that I think its biggest strength is when you have control of it sounds like at your place you're not
00:02.240: Well, and it's not even that you that like every single one will qualify, I guess, the four major ones: Final Cut Pro 7, Final Cut Pro X.
00:02.240: Good night.
00:02.320: Thanks for being a part of this discussion.
00:02.320: He's got what a lot of people would consider to be kind of a dream job.
00:02.320: And so I think that a lot of edit houses that, you know, had a longer history.
00:02.320: I mean, I knew I was going down a path that could cost me if it worked.
00:02.320: I guess it's not.
00:02.320: Who else could you put into this category?
00:02.320: And I understand all that, but that's too much of a workaround.
00:02.400: I'm like, how is that an edit system without Photoshop and Illustrator and After Effects?
00:02.400: Those first few versions, I would say what, through like August or September, were pretty much unusable.
00:02.400: But you are out on what I would call the lunatic fringe of the bell curve.
00:02.400: If people tell people what your Twitter handle is because it's older than mine and much more impressive.
00:02.480: Totally agree.
00:02.480: But more more than what I do.
00:02.480: And once the thing started getting heavy and I was hitting like that's a good that's actually a really good descriptor of a timeline because
00:02.480: Yeah.
00:02.480: That's what they that's their you know, that's part of their property.
00:02.480: That would be.
00:02.560: 1 being released.
00:02.560: And they'd say, nope, if you're going to do graphics, you have to go down the hall to the graphics department.
00:02.560: Yeah, uh-huh.
00:02.560: So I started learning that.
00:02.560: That's a huge commitment, a huge jump.
00:02.560: How much storage do you guys.
00:02.560: It is manageable.
00:02.560: Let me just right-click on it and say lock and just stay there.
00:02.560: There's little bits on YouTube, yeah.
00:02.640: But the funny thing is, this kind of ties to Final Cut Pro X because when Final Cut Pro X first came out, I was very vocal on.
00:02.640: I get bored quickly too, so I like to jump between them all just because out of boredom, I guess, more than anything.
00:02.640: Yes.
00:02.640: I sort of sidetracked.
00:02.640: .
00:02.640: Let's be fair.
00:02.640: They usually start them about noon and they run until after the games are over, which is usually 12, 1 o'clock at night.
00:02.640: But you couldn't get the output of a Macintosh onto television.
00:02.720: I never paid attention to five.
00:02.720: It's got the NVIDIA card, which I have set to always stay because it's got that switching where it can switch back and forth between the
00:02.720: So Art, why don't you um w what in the in your failed experiment with the with the long form
00:02.720: There's something to be said for when I could come home and my daughters who
00:02.720: I don't want it to think I don't want Final Cut Act the biggest problem I guess I have with Final Cut X is I think it tries to think too much for you.
00:02.720: The point being was that I saw that and I realized this is going to change.
00:02.720: Quite frankly, you've probably found the show from there.
00:02.800: And so it turns into a little bit of a bash session.
00:02.800: But in reality, people are doing that.
00:02.800: I I'll do more documentary thi like uh over the summer I recently did a documentary on a um California Angels outfielder who was murdered in 1978.
00:02.800: In that demo, I believe it was Randy Eubelos who was demoing it.
00:02.800: Yeah, actually that's an interesting workflow.
00:02.800: Well, I bought my first Mac in November of 1989.
00:02.800: Gustave Fring.
00:02.880: I think yesterday when we were back and forth on the Twitter, I don't know if you were like misunderstanding a little bit of some of the stuff that I was writing.
00:02.880: Either David Letterman or the Jackson 5.
00:02.880: And like, I've I was like, wow, this is really neat.
00:02.960: Let me ask you about that.
00:02.960: So like we had no way that like with the way that Final Cut wants to see the events all online and so on and so forth at the same time, we just hadn't
00:02.960: It's a pretty neat.
00:03.040: Yeah.
00:03.040: Like they're a little more open to things being put up on YouTube.
00:03.040: I'm sorry.
00:03.040: I know exactly what you mean.
00:03.120: But that's actually a very simple piece.
00:03.200: Okay.
00:03.200: Yeah, and then we used to go over to a production company and they had a SciTech Stratosphere.
00:03.200: Oh, okay, on a single line.
00:03.200: Maybe it is, maybe it isn't.
00:03.280: When I saw that demo, the one where they did at NAB, I mean, I was floored.
00:03.280: The non-retina late 2012.
00:03.280: Let's go two years after.
00:03.360: I decided I wanted to have these conversations about Final Cut 10.
00:03.360: Yeah, I find it kind of funny, actually, that we're even still talking about Final Cut 7.
00:03.360: But where, like, let's take my day job, for example.
00:03.360: We have four suites.
00:03.440: I totally agree.
00:03.440: And we order it on Amazon, and tomorrow it's here.
00:03.440: I think that's the final cut X thing that's an issue.
00:03.520: It would be July 2011.
00:03.520: Sorry, fellas.
00:03.520: There's a lot good in it.
00:03.520: And I went down to the stage floor when he was done with his segment, and I said to him
00:03.600: You're going to hear me reference episode 009.
00:03.600: So he was saying that one of the problems that they have is it's difficult to take somebody who's new to the
00:03.600: It's what I I mean, as silly as it sounds, my my wife laughs at me, but like it's my enjoyment.
00:03.600: And the thing is about those conversations, and I think I've said this before in the past.
00:03.600: And he goes, Oh, yeah, look.
00:03.600: I'll have to live with somebody that I was following.
00:03.680: One of the things I do on a monthly basis is a what is that?
00:03.680: Most of the projects were going to be anywhere from a minute to five minutes long
00:03.680: That's quite possible.
00:03.680: Because they're definitely onto something.
00:03.680: And he's the guy with the blue icon, as I mentioned earlier.
00:03.680: I'm sure you'll hear some of that.
00:03.760: And I want to talk about that with you.
00:03.760: What is your day job?
00:03.760: And we basically it was an like you'd take we'd take different games and break them down over the course of like so many hours.
00:03.760: Are you a baseball fan at all?
00:03.760: We'll do it initially I might lay it out like as because when we're just feeling it out what's going where.
00:03.840: And a few other people got involved.
00:03.840: Go to Autodesk, go to Premiere, go to 10.
00:03.840: And then at home, I started writing running a Premiere back in the you know
00:03.840: And here I am thinking, I was like, wait, I've edited on the most arcane things throughout.
00:03.840: And so somebody had to build out those two slides, and that was an intentional thing.
00:03.840: More recently?
00:03.840: Right, right, right.
00:03.840: Yeah, I did a so it was a project for they have these, I don't know if they have the mountains there.
00:03.840: I gave it a try and it didn't work in our workflow.
00:03.840: And that becomes now, you know, I'm sure somebody's going to listen to this and then Twitter's going to tell me, you dummy, you just
00:03.920: You get to a point where you
00:03.920: No, but well, we did a whole series of uh a couple of years ago.
00:03.920: No, I mean, I think there's one.
00:04.000: This is stupid and I've just I really like Twitter.
00:04.000: You must have like unlimited budgets, and it's anything but.
00:04.000: I'll drop Adobe or That would be a disaster, by the way.
00:04.000: I mean, I'll I I just need to get you know, I I I wouldn't call myself an evangelist for any of them.
00:04.000: And to get to an hour long show, a lot of times my time line is hovering in the one hour and a half, one hour, forty minutes as we're cutting it down.
00:04.000: So I would break it down into segments.
00:04.000: Listen, as good as Apple is, I mean, you're still smarter than your computer, I think.
00:04.080: So ignore all that.
00:04.080: And that's really what I'm saying.
00:04.080: Just as was I, very much so.
00:04.080: And we keep about three or four months online at the current moment.
00:04.080: That's why my internet's so slow, by the way.
00:04.080: And I will say a lot of that management falls on my shoulders.
00:04.080: W we showed that on our TV show in the 1990.
00:04.080: And again, I don't want this to be a bash session.
00:04.160: A body.
00:04.160: Agreed.
00:04.160: I was just and I'm working on a um let's see, it's not the it's not the Mac Pros that the MacBook Pros that just came out, so it's the previous generation, the two thousand
00:04.160: You cannot, yeah.
00:04.160: No, actually I took it I took that one to premiere.
00:04.160: Sorry, the Philips.
00:04.160: I can't remember who it was, but I remember I would have been referring to my day job with.
00:04.160: And I don't know if you remember that company, but Aldis.
00:04.240: True baseball fans.
00:04.240: Just open up your projects.
00:04.240: Oh, you mean that like popping between the tabs?
00:04.240: 20 a day.
00:04.320: My part where I come in, I'm gonna a three-hour documentary about baseball.
00:04.320: I had used it in the three, you know, version three and version
00:04.320: I have a question if I may, about long form pieces.
00:04.320: They're like high-end hair salons.
00:04.320: The only thing I wasn't doing was starring in it.
00:04.320: Couldn't play them back in real time, but it could hold them.
00:04.320: So there you have it.
00:04.400: But anyway, he's going to explain how you can chew through 20 terabytes of data a day.
00:04.400: So it's and I'll do a lot of we'll do a lot of projects like that where it's you know, it's got to have that baseball hook to air on our air.
00:04.400: Yeah, actually when I was just started working there, they had the cube.
00:04.400: And, you know, Alex does at their place, ColorFlow, they do, you know.
00:04.400: Yeah.
00:04.400: Yeah, no, absolutely.
00:04.400: Now, are you?
00:04.400: But that was a lot more successful, but it still brought up some of the issues that I do have with Funo Capro X.
00:04.400: Computer Chronicles is all over the place.
00:04.400: Fring.
00:04.400: He's using a dedicated Grass Valley broadcast system to do the lion's share of what they're doing.
00:04.480: In our office, we use the sparse disk method, where we create a sparse disk for each project.
00:04.480: If you went back to 2001, two years after Final Cut was first released, and said, Yeah, we're going to do
00:04.480: So thank you so much again for listening.
00:04.560: Okay, that's what that's my bread and butter.
00:04.560: Then we then we have a near line which is like on tapes within the
00:04.560: I know exactly what you mean.
00:04.640: Yeah.
00:04.640: That was Sam Mestman.
00:04.640: I haven't seen it.
00:04.640: I wish I would just use that.
00:04.640: That's all coming.
00:04.640: With their long form presentation.
00:04.640: There's a phrase that I heard many years ago, and I've used it a lot.
00:04.640: So I can use the magnetic timeline for the benefits that'll give me, but I don't have to suffer the downfalls.
00:04.720: A couple of weeks ago, I was on Twitter and
00:04.720: Yeah.
00:04.720: And he looked at me and he said, Chris, I can't do that.
00:04.720: We have half a dozen freelancers that come and go in and out.
00:04.720: My workaround for that, and yes, it is a workaround, is what I tend to do when I'm getting into a B-roll phase.
00:04.800: And I was thinking about why it ends up being that way.
00:04.800: I think there there is a background that begets that sort of mentality, and it is the
00:04.800: This timeline feels heavy.
00:04.800: So Event Manager X is what Philip Hodgett's company wrote very early.
00:04.880: Oh, yeah, okay.
00:04.880: And then, oh, you turned on the ADO for two hours to reposition a couple shots.
00:04.880: Now, in long, long Twitter chats back and forth with Philip, he has in
00:04.880: Yeah, I'm wondering if with the advent of the project library and again, I will say this is purely speculation.
00:04.880: Dropped it.
00:04.960: You're talking about where you feature a team or a player or some sort of charity event or that.
00:04.960: I'm I remember doing a job many years ago in a it was in kind of the dawn of H D, if you will, and it was a facility here in San Francisco and they hired me to come in and sort of
00:04.960: Right, exactly.
00:05.040: This is 010.
00:05.040: What do you do on a day-to-day basis?
00:05.040: Do you eventually off stuff to like LTO?
00:05.040: And he opens up his slide stack and he goes to the slide master.
00:05.040: But to be fair, if you were listening,
00:05.120: So at any rate, Art is going to tell you what it's like being an editor for Major League Baseball.
00:05.120: Not in the slightest.
00:05.120: Just open up your projects and go, and it just looks prettier.
00:05.120: I mean, we have live cameras in all thirty ballparks around the country.
00:05.200: And I'm glad we're having this conversation because there was definitely a point when we were chatting yesterday where I said
00:05.200: Like it all your events when it's that's why like you have to do you use the um
00:05.200: Yeah, there's actually a department of guys that, you know, different guys take it each night and they'll monitor.
00:05.200: So, um, so what did you enjoy for the period of time that you were in it?
00:05.200: Like, it's got the potential is there, and I like what I see.
00:05.200: So, um in by the by the nineties I started directing the show, but in the eighties I was just the T D.
00:05.200: Maybe close to a lot.
00:05.200: Yeah.
00:05.280: Well, yeah, I guess so, yeah.
00:05.280: So you played with it in the beginning.
00:05.280: So uh, you know, a two hour show would have like twelve segments and all that.
00:05.280: I've yet to speak to somebody that does that, but it actually makes perfect sense.
00:05.280: And when you double-click on it, it is as though you had plugged it into the computer and all of a sudden it mounts.
00:05.280: Well, actually, Final Cut does it.
00:05.280: Oh, geez.
00:05.280: I guess it's just that need to you know what it is?
00:05.280: Why do I care that final cup of the sky?
00:05.280: And I worked on that show for four years before I even owned a computer.
00:05.360: So let's catch everybody else up on our com our Twitter our Twitter banter from yesterday.
00:05.360: It's usually one clip with a bunch of graphics on top of it.
00:05.360: So I'll bounce back and forth between the four of them and do different jobs when I can in any one of them.
00:05.440: And you know, Art had um had told me that he had used some Final Cut 10 and enjoyed it, but had some serious misgivings about it.
00:05.440: But you know, I get decent performance out of it.
00:05.440: So we call that near line so I could get that stuff back online like within
00:05.440: Yeah.
00:05.440: Right, especially coming like it's not quite as
00:05.440: There's the other point of view.
00:05.520: A guy basically shot at his ex-wife through the window of a car and hit him.
00:05.520: And that was something that, you know
00:05.520: That's like fiber across the country back to your headquarters.
00:05.520: Anyway.
00:05.600: And essentially, what I was being called out about
00:05.600: I always say uh Philip Hodges 'cause I can never remember the name of his company.
00:05.600: My mind was blown.
00:05.600: What's the character on Breaking Bad who had half of his face blown off?
00:05.680: So I don't even know.
00:05.680: So I don't I don't think there's a matter of bashing any one of them because they all deserve it on some level.
00:05.680: Michael Jackson.
00:05.680: July 2011.
00:05.680: And I'm not also not a very big effects guy.
00:05.680: You know, because most of the time you really don't.
00:05.680: And a sparse disk, if people don't know, and I would imagine people listening to the show might.
00:05.680: Is this how the the footage, the
00:05.760: On a single line, I couldn't understand it because we are getting so nerdy, history deep rat hole.
00:05.760: It couldn't work very poorly.
00:05.760: Right.
00:05.760: I still think that there's a lot bad in it also.
00:05.840: Well, I've done the first thing that I attempted to do was like, all right, I'm really going to push this really hard.
00:05.840: Yeah, just before.
00:05.840: That is a totally different beast, you know, and uh
00:05.840: I think that would be totally cool.
00:05.920: He edits stuff about baseball all the time.
00:05.920: Yeah, but actually the stuff, believe it or not, most of that that was unusual.
00:05.920: And then we now because we used to leave our little advertising agency at Govertuous Production Company.
00:05.920: It was like, I can't believe that they would do that.
00:05.920: So and let me know.
00:05.920: See it all over.
00:06.000: Gary, Indiana, isn't that where David Letterman's from?
00:06.000: And I was excited to
00:06.000: That's not that big of a deal.
00:06.000: One thing that I've learned um through conversations I've had with people that don't want me to repeat who they were.
00:06.000: Maybe I'm skating on thin ice.
00:06.000: I'm sorry.
00:06.000: And it was soon after that that I actually bought my first computer and I bought a Mac SE, and it was only because that's what I could afford.
00:06.000: I know we've heard some of that.
00:06.080: It's just when you do it very publicly.
00:06.080: Right.
00:06.080: Thanks to you.
00:06.080: It may be.
00:06.080: But I do it intentionally because, you know, I'm a few years removed from being a freelancer in the world, but I also.
00:06.160: I'm like, you know what?
00:06.160: Right.
00:06.160: And if you can afford it.
00:06.160: The other way to do it is the way I do it, where I don't use it.
00:06.160: Um so
00:06.160: So I went out over the course of a few months, got all the footage that we needed, and it just seemed like a perfect job to go into.
00:06.160: No, um uh and and somebody said it, it may have been you.
00:06.160: And he had did something during the demo.
00:06.240: But for the most part, our entire crew is still editing on Final Cut Pro 7 40, 50 hours a week.
00:06.240: Right, right, right, right.
00:06.240: Like, I'm looking around the machine and there was no Photoshop, so I wasn't even getting into After Effects yet.
00:06.240: And I don't know.
00:06.240: People that people that don't have to interface with 20 other editors.
00:06.240: It's a nice idea to have an override on something like that.
00:06.240: And quite often I get a lot of crap for telling too many old man stories.
00:06.320: Enjoy the episode.
00:06.320: What does and doesn't work?
00:06.320: Wow, that seems so archaic.
00:06.320: Very, very much so.
00:06.320: I got you.
00:06.320: Yeah, yeah, yeah.
00:06.320: I've thought about changing it, but then I think you get to be, like you kind of just said, you kind of get to be known by your.
00:06.400: And I've thought about this a lot since we agreed to do this, and I sent you on a goose chase to go find a microphone.
00:06.400: And we got into the discussion because I'm not familiar with it about doing a a feature film and going out to DPX packages.
00:06.400: Right.
00:06.400: I mean, the NFL, where I came from prior to MLB and NMLB, they
00:06.400: So I spent it's on a Friday uh at work.
00:06.480: Well, he was actually born in the hospital that Lyman Boston.
00:06.480: You know, I mean, thank you, one click.
00:06.480: Why?
00:06.480: Yeah, it's workarounds.
00:06.480: I used to use one when I worked at the Comcast.
00:06.480: Anyway, Art, thanks a lot.
00:06.560: Was the murder at all related to baseball?
00:06.560: That's common in like news.
00:06.640: So each commercial break, like an eight to ten minute segment?
00:06.640: I think what we're going to be hearing is that it's going to be called a library with 10.
00:06.720: And I think it's I think it has a lot to do with my attention span.
00:06.720: And a Final Cut project folder, if indeed I use projects, and I don't tend to use those anymore.
00:06.720: And then we have all sorts of tape, you mean an LTO tape.
00:06.800: And you know, I don't want it to be that.
00:06.800: I mean, there's many solutions, but we I mean, people, you have to let that one go.
00:06.800: Where do you work?
00:06.800: I would rather put bamboo shoots under my fingernails than do the work that you're doing, to be honest.
00:06.800: And I started back then do using the uh video toaster you to do uh weather graphics for them.
00:06.800: Yeah, towards the end, you guys were talking about where he was saying the the performance of the timeline starts to
00:06.800: And frankly, a lot of stuff I do is 90 seconds.
00:06.800: I think it's going to go places.
00:06.880: Yeah, yeah.
00:06.880: I'm just going to do this.
00:06.880: Is it Art the Early Adopter Guy?
00:06.880: And it was j it just wasn't
00:06.880: Yeah, popping.
00:06.880: It will keep getting bigger and bigger until it's reaches its maximum limit.
00:06.880: But I'm wondering if, with the advent of the Project Library,
00:06.880: It may very well be.
00:06.880: And they steal baseball footage, people.
00:06.880: So I was shooting it
00:06.880: If I say how was work, all I'm saying is how was work.
00:06.880: But I remember thinking, this is the future.
00:06.880: So once again, if you know somebody who's doing something interesting with Final Cut 10, please let me know.
00:06.960: You could either do A, B or you could do the single.
00:06.960: Besides my day job, I also will do jobs on the side.
00:06.960: So that's actually what I did all summer.
00:06.960: Please feel free to go and leave the good comments on the iTunes.
00:07.040: And it's nice to get Final Cut 10 users together.
00:07.040: I think what I took away from our chat yesterday was that
00:07.040: Okay, I simplified the X project as much as I could and then started doing the X to seven route to get it
00:07.040: Okay.
00:07.040: I never try and soak them for information.
00:07.040: As do I feel like.
00:07.040: I mean, I've heard numbers.
00:07.040: I like what you said about you see enough of in it in it that you saw enough in it that it interests you.
00:07.120: Right.
00:07.120: And that's pretty much where I got my
00:07.120: And
00:07.120: I know nothing.
00:07.120: I completely agree.
00:07.120: Right.
00:07.120: Yeah, I think I I remember somebody, I forget who it was, said something I guess they met you in person once and said he finally got to see the other side of your face.
00:07.200: So this is.
00:07.200: Yeah, so.
00:07.200: Eventually, you had to.
00:07.280: All right, and the rest are Avid?
00:07.280: And I realize that some guests have said that.
00:07.280: There's not enough of you to make this profitable.
00:07.280: And even with all the stuff that Art had to say that was negative about the application.
00:07.360: Yeah, but we seem to all have a habit of trying to do it anyway.
00:07.360: It's not so much that, you know, that's.
00:07.360: And I did a one-week job there.
00:07.360: The graphics company?
00:07.360: And I remember.
00:07.360: And then I'll package those up and clean up my timeline a little later.
00:07.440: I don't care.
00:07.440: And I took an extreme amount of heat on Twitter, I mean, losing followers, having people span because
00:07.440: Yeah, just before the retina.
00:07.440: No
00:07.440: The part, yeah, some of them are, some of them are in the camera.
00:07.440: So they're very protective of the footage.
00:07.520: And it's been really fun.
00:07.520: Because he says, he says, once a week, at least, I hear of somebody losing a project to a sparse disk.
00:07.520: Baseball is a little stricter at the moment.
00:07.520: I said, Why not?
00:07.520: Yeah, so that and that was around when the Amigas were out, too, right?
00:07.520: He's not sure if Apple's going to make the features that he needs.
00:07.600: That's exactly what I was told.
00:07.600: Um me and a and a couple of other guys that were doing some more of the long form stuff got After Effects, but it wasn't until
00:07.600: And I actually really like working for a small company where we can literally.
00:07.600: And this was this must have been
00:07.600: You know, shuttle, shuttle.
00:07.680: Let's do this in Final Ca Pro X.
00:07.680: Yeah.
00:07.680: I'd be very curious.
00:07.680: You can find it on archive.
00:07.680: Kind of like that guy 25 years ago with Aldous Persuasion when he showed me how he could change all of his fonts immediately.
00:07.680: How do you feel about the single track and like the fact that like once you use your primary track that
00:07.680: Art.
00:07.760: And then the bigger stuff moves into the final cut.
00:07.760: That's.
00:07.760: It was sitting in the closet and it was still like doing like little things in the background, but the
00:07.760: I mean, an editor looks at it and goes, Yep, that's a day of work.
00:07.760: And we like what we do.
00:07.760: Well, that's like I'm a
00:07.840: I'm a lead features producer and editor for Major League Baseball at their
00:07.840: And they said, No.
00:07.840: I mean, it's just
00:07.840: And he closes the SlideMaster, and now all 20 or 30 or whatever number you want.
00:07.920: It's about a
00:07.920: You know what I think it is?
00:07.920: So it's not the end of the, you know, I get it.
00:07.920: You've been grilled.
00:08.000: I'll do them at the end if I'm doing any color corrections.
00:08.000: And it does that to improve performance and stuff.
00:08.000: Yeah, yeah, it's they they I think they even won an Emmy for this, or it was nominated for an Emmy.
00:08.000: Yeah, you know, I read a Twitter comment recently.
00:08.000: I've always thought that would be a cool idea.
00:08.000: And in a brand new NLE, I don't believe you should be doing anything that's a workaround.
00:08.080: I almost feel like giving away my computer because I don't need to record any for a while.
00:08.080: They were called um
00:08.080: I don't know if you ever remember.
00:08.080: Yeah, that was that was a
00:08.080: Exactly.
00:08.080: Really?
00:08.080: And I remember thinking about that, thinking.
00:08.160: They showed two timelines.
00:08.160: It'd be awesome.
00:08.160: Yeah, exactly.
00:08.320: Nothing would work.
00:08.320: And I think you would probably agree with that.
00:08.320: And in a way that it did, because
00:08.320: I was having this discussion with
00:08.320: But you know, final cut ha
00:08.320: I might make a tutorial about it.
00:08.320: You just said, I want it to get there.
00:08.400: So what experience do you have using Final Cut 10 then?
00:08.400: So, um.
00:08.400: Didn't they do like Aldis made an application called Persuasion?
00:08.400: No.
00:08.400: I mean, there was one guy in the San Francisco Bay Area, his name was Woody Lawrence.
00:08.480: Which is when it was sold.
00:08.480: NLEs are my like
00:08.560: That's for like real quick turnaround stuff.
00:08.560: And he says, Okay, bye.
00:08.560: It's amazing.
00:08.560: But again, I digress.
00:08.560: I don't want Final Cut Grill to just be the we hate avid
00:08.640: I'm not a big baseball fan.
00:08.640: Um but that the the target for X and then
00:08.720: I think I started it in April and
00:08.720: I think Phillips brought it out.
00:08.800: Oh, yeah.
00:08.800: So the.
00:08.880: I was like, well, what if I got to do a font?
00:08.880: Yeah, that's a good idea.
00:08.880: Feed me their names.
00:08.960: I mean, I'll change in a New York Minute, I'll change to anything.
00:08.960: You gotta be careful.
00:08.960: What's going on?
00:09.120: I really don't care.
00:09.120: I mean, at what point do we say
00:09.120: An LTO tape.
00:09.120: And somewhere in there, somewhere deep within his bowels, was a hit kit.
00:09.120: Yep, that's it.
00:09.200: Most of the stuff that I do is actually
00:09.200: Of course.
00:09.200: I would hope.
00:09.280: I think it's natural that it's going to be that.
00:09.280: Yeah.
00:09.280: I was like, with the auditions and the
00:09.280: Yeah, it's got a strange name.
00:09.360: And then eventually once you got your picture locked down, you take those segments and build them up into a a single comp?
00:09.360: So, um.
00:09.360: So and they're little robot heads.
00:09.440: Yeah, just to see if I can do it.
00:09.440: So even just before you even
00:09.440: You'll get caught.
00:09.440: And again, I'm sitting in the control room paying attention to, you know, because I'm a broadcaster and those stupid computers, what do they know?
00:09.520: Okay, here we go.
00:09.520: And I have nothing against Philip.
00:09.520: How using that, how are you mana?
00:09.520: I spent the Friday getting everything that I needed onto a drive and then I spent the rest of the weekend just
00:09.520: And somebody says,
00:09.520: Come on, tell me, tell me, tell me.
00:09.520: That is an extremely good
00:09.600: Yeah.
00:09.600: Yeah.
00:09.600: But yeah, Intelligent Assistant.
00:09.600: I agree, a lot of us do do it.
00:09.600: I'm not trying to, you know.
00:09.680: And when I first started doing the same, it made no sense to me.
00:09.680: That would be correct.
00:09.760: They don't, they, yeah, exactly.
00:09.760: Well, we don't know.
00:09.760: Yeah, where but there's we have like a like one of those
00:09.760: The point being
00:09.840: Final Cut 10 is perfect.
00:09.840: Yeah, like usually.
00:09.840: Understood.
00:09.920: It was announced at NAB 2011.
00:09.920: And Final Cut 10 really likes me some RAM, you know?
00:09.920: Like, if you if you
00:09.920: I hope so.
00:09.920: Have them contact me.
00:10.000: You know, let's not.
00:10.000: We've done it a couple of times.
00:10.000: And frankly, I thought all the people that were on the TV show.
00:10.000: Okay.
00:10.160: But I do think that in
00:10.160: And I think the thing that I took away most from our conversation
00:10.160: But, you know, in the
00:10.320: Okay.
00:10.320: Yeah, there's definitely an interesting
00:10.320: Yep, queue that on.
00:10.320: That helps the show get noticed by more people because that's really all we want to do.
00:10.400: So it wasn't like it was being hung up by that.
00:10.400: Again, even in
00:10.400: I'd be more than willing if it'll work, pushing it.
00:10.400: Understood.
00:10.400: It can't do it yet.
00:10.400: org.
00:10.480: Okay, not at all.
00:10.480: Well, that's $350 an hour.
00:10.560: Okay.
00:10.560: What if I got to do a
00:10.560: They call them the blow-dry bars, but
00:10.560: Where they were starting.
00:10.640: And immediately there was this un
00:10.640: Who knows?
00:10.640: So in essence, persuasion was the precursor to
00:10.720: And it keeps everything together in one tidy little package.
00:10.800: It could be all, it's all different levels of things.
00:10.800: Maybe they change.
00:10.880: Okay.
00:10.880: What things piqued your interest?
00:10.880: That's interesting, Art.
00:10.960: Final Cut Grill 009.
00:10.960: 1.
00:11.040: Okay.
00:11.040: So you're putting your events in sparse disks also?
00:11.120: Yeah, I knew I had heard Gary Indiana from somewhere.
00:11.120: Little robot heads that we can control from our from our studios.
00:11.200: So I think you're going to enjoy this conversation.
00:11.200: I I love it.
00:11.200: I'm just
00:11.200: I think he's a genius.
00:11.200: Yeah, I totally agree.
00:11.280: It's just a matter of
00:11.280: And it just really was
00:11.280: Oh, I was big into the Amiga thing, too.
00:11.360: It's like doing a U-turn in a tankership, exactly.
00:11.360: Then they wanted to bring production in house, so we built a
00:11.360: You're in the San Francisco area, right?
00:11.360: Because I see enough in it that it can work.
00:11.440: Just to prove that I can do it.
00:11.440: Right.
00:11.440: And I remember a guy coming in
00:11.520: But when I start a new job, I begin a sparse disk.
00:11.520: Actually, you know what?
00:11.520: You can reach me on Twitter at at Chris Fenwick.
00:11.600: And again, queue is the overlay key.
00:11.600: I've had people.
00:11.680: I get a little, I feel a little dodgy doing it.
00:11.680: So is that what I am, the guy with the blue icon now?
00:11.840: Let's change the subject.
00:11.920: That was right.
00:11.920: Why do you say you want it to?
00:11.920: You know.
00:12.080: Like I you know, I don't really use Facebook or
00:12.080: Like, people are going, hey, I thought we were.
00:12.080: And I've always wondered, it's like, you know,
00:12.080: Right.
00:12.080: It's interesting.
00:12.240: And I tried to
00:12.320: They're a little more
00:12.320: They said, um
00:12.400: It was like the most
00:12.480: I've never really thought about that.
00:12.560: Boredom.
00:12.560: No, it was just.
00:12.640: That was June.
00:12.640: It's they call Ballpark Cam.
00:12.720: Um
00:12.800: I mean, it could be something as simple as a little one-minute.
00:12.800: Yeah.
00:12.880: Now, there is a way to.
00:12.960: Wow.
00:13.200: Sure.
00:13.200: I did it.
00:13.280: Yeah.
00:13.600: What do you care?
00:13.680: I mean, so the only
00:14.480: Thanks for watching.