Episode 101
FCG101 - Photographers & FCPX (feat. Frederick Van Johnson)
Even Photographers are trying to figure out what video editing program they want to use. My friend Frederick Van Johnson of This Week in Photo contacted me recently to ask the question, “FCPX or Premiere Pro”… wanna guess what I told him. This conversation is a result of a handful of eMails one day and discusses some beginners questions regarding FCPX. The “TWiP Roster of Shows” thisweekinphoto.com/subscribe
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Featuring
- Chris Fenwick
- Frederick Van Johnson - @frederickvan
Transcription
00:00.001: So what you want to do is go into the crop functionality.
00:00.080: Record, and we'll just record two shows simultaneously.
00:00.080: Is from a mere pro.
00:00.160: I don't know.
00:00.160: Hmm, Frederick, sounds like you're taking over my show here.
00:00.160: Crap that frankly isn't even true.
00:00.160: So go check out PremiumBeat.
00:00.160: It's like drone photography.
00:00.160: Uh I'm gonna if you wanna hit record, we could do that, but I think we should probably we might want to just do another episode for uh for Twip.
00:00.160: So we yeah, we first met um in I think 2010 uh out of Joshua Tree.
00:00.160: Yeah.
00:00.160: Already using every photoshop.
00:00.160: And final cut is horrible and they got rid of the timeline and all this other stuff.
00:00.160: And I just looked at him and I had I had my epiphany, my sort of breakthrough moment, and I said, Dude, you have no idea what the hell you're talking about You should close your mouth because you just get dumber to me with every sentence that comes out of your head.
00:00.160: And oh yeah, it's gigantic.
00:00.160: Final Cut Pro 10 Essential Training, blah, blah, blah, whatever.
00:00.160: And you can actually see, oh, you're changing the contrast and the gain and the saturation.
00:00.160: Power that's in Final Cut 10 that a lot of times people don't acknowledge or realize or even know that it's there.
00:00.160: Frederick.
00:00.160: If I just leave it on copy library to storage location, and I'm just going to go, oh, I want to get that picture of Timmy getting a goal, drag it in, drop it into the thing, drop a piece of music from my iTunes library, you know, like
00:00.160: Except for to say, yeah, we totally screwed that, and this is a better way of doing it.
00:00.160: So when you select the Ken Burns option, you're going to see two squares, a green square and a red square.
00:00.160: So I love the way you're taking over my show.
00:00.160: From your iOS device, you're just basically bouncing it off of the iMovie on the desktop and sending it to it's okay.
00:00.160: I would have lo m missed out on a century of driving cars, which would be kinda cool.
00:00.160: The universe caught fire, so let's just let them go, right?
00:00.160: ScreenFlow is the first app that I know of that was built on AV Foundation at the core level.
00:00.160: That sounds a little bit like, oh, you want to buy your gasoline with Techron in it because it's somehow better than gas without Techron.
00:00.160: So, yeah, definitely check it out.
00:00.160: And if you go to thisweekinphoto.
00:00.160: Frederick Vann on Facebook, on Twitter, on Google Plus, et cetera, et cetera.
00:00.160: Final Cut 10.
00:00.160: And I wanted to make sure that this got across.
00:00.160: And that's the other thing that I wanted to mention, that over my career, I've worked on a dozen different editing platforms.
00:00.240: and we did the live record thing and it was great having everybody on and it was it was a lot of fun.
00:00.240: Twip apparel.
00:00.240: I have a hundred hours of interviews telling you why.
00:00.240: So this started an email back and forth with me and Frederick the other day.
00:00.240: So anyway, and then last week was Thanksgiving week and I kind of took that off.
00:00.240: If you had a gun to your head, which NLE would you choose?
00:00.240: Why don't we just record an episode of the show?
00:00.240: That actually is something good to listen to if you have a friend or somebody you know that wants to like sort of get started.
00:00.240: So, anyway, today we're going to talk to Frederick, and he sort of interviews me, and I'm talking to him, but I think you're going to like it.
00:00.240: You know, the deal is I encourage you to use their site.
00:00.240: Hello.
00:00.240: Superpowers now, awesome.
00:00.240: Like I was saying in that barrage of emails I sent you, you recently, increasingly so, folks have been asking about video and, you know, it's coming up.
00:00.240: Yeah.
00:00.240: Misconceptions.
00:00.240: And I will also say that in the last twelve months, there have been gigantic improvements to the software.
00:00.240: was that the change that happened with ten point one point two was even bigger than the change f from ten point zero anything to ten point one.
00:00.240: I bought Final Cut back in 2011, and then, you know, just to have it.
00:00.240: which they did.
00:00.240: To final cut, something's like, okay, I must be missing something here.
00:00.240: One of my biggest beefs, and I have documented this and done the lectures about it at San Francisco Cutters here in California.
00:00.240: Okay?
00:00.240: But they don't call the project a timeline is evidence enough that they screwed up by calling it a project.
00:00.240: that popped up were, okay, the one thing that turned me off to Final Cut Pro 10 originally was my brain, though I'm not, you know, I don't have Chris Fenwick powers in editing.
00:00.240: Now I will say and I and I was a very um I you know I mean you know I mean I do this
00:00.240: All day, every day.
00:00.240: because Final Cut 10 is what I call relationally based instead of time based.
00:00.240: to something else in the timeline.
00:00.240: Just don't take it out of first gear and it goes about as fast as a horse.
00:00.240: Right.
00:00.240: If you wanted to use it, you can.
00:00.240: is to look at what they're giving us because that's our sort of Ouija board, if you will, of what they're thinking.
00:00.240: Oh, wow.
00:00.240: But in the Audio Inspector tab, there is a thing for um uh ta t t uh audio not analysis, but
00:00.240: But I'm telling you, they will do ninety five percent of what you need to do.
00:00.240: You're not editing at the sample level, but you're editing at a sub-frame level.
00:00.240: is that you can make much more accurate edits, especially cutting music, like to the beat.
00:00.240: You don't have to go out to soundtrack.
00:00.240: Absolutely.
00:00.240: The other thing that's interesting is that you can place things in space vertically wherever you need to.
00:00.240: What about motion?
00:00.240: making this rebound back into the Final Cut Pro 10 world, I should probably take another look at motion, right?
00:00.240: You don't ha you're not tied to one thing.
00:00.240: But I have a tutorial that I call Poor Man's Round Tripping.
00:00.240: And so like I tab over to After Effects and I go, okay, click, click, click, let me just do this.
00:00.240: All I have to do is pause in the Finder and do one quick thing, and then when I tab over to Final Cut Pro, my change is already there.
00:00.240: Making if you're designing a website in Photoshop and you're going to then take all those elements and put them into tables and whatnot in your HTML world,
00:00.240: Yep.
00:00.240: And you're like, hmm, that's weird.
00:00.240: You're like, oh, that's interesting.
00:00.240: The way I would do that, I'd throw those all into one document in different layers because I'm going to want to toggle the layers on and off and see how they juxtapose against each other, right?
00:00.240: What it's going to do is right next to your Photoshop document in the Finder, it's going to put a folder that's going to be called Frederick's document name-assets
00:00.240: Are you serious?
00:00.240: And there's a selector at the top of the list that says files, copy to library storage location or leave in place.
00:00.240: If you have it set to copy to library storage location, so it's okay, a professional, somebody who does this for a living, you're going to want to learn what's happening behind the scenes.
00:00.240: What scares me is the portability, and that's on my list as well to talk to you about.
00:00.240: I feel like all hell is going to break loose when I, you know, and I'm going to get question marks and smoke coming out of my machine.
00:00.240: You want to talk?
00:00.240: Final Cut references.
00:00.240: So now you have that library and that media on that external drive.
00:00.240: Yeah.
00:00.240: Four terabyte monsters.
00:00.240: And what we do is we have work drives and then we have archive drives.
00:00.240: A folder for every video that you make.
00:00.240: Yep, with all the other folders that have the raw files, et cetera, in it.
00:00.240: And the media folder are sitting next to each other inside the job folder.
00:00.240: I'm a pro leave in place mode, everything will just create spider links to that media information that's in that media folder next to the library in the finder.
00:00.240: Make sense?
00:00.240: And one of the things, the woman that was leading it, I think her name is because I have her book here.
00:00.240: Uh oh.
00:00.240: was to compartmentalize them not on a separate hard drive, which would get cumbersome and messy on your desk, it's to it would be to put them into a sparse bundle.
00:00.240: Yeah.
00:00.240: And one of them is, you know, the whole Ken Burns stuff and bringing in my still photos and doing cool stuff with them.
00:00.240: Golner, who lives in England.
00:00.240: With the little pushes and zooms and stuff like that, it is far and away the quickest way to do it.
00:00.240: This week in photo.
00:00.240: And then I said, Oh, yeah, it's just like a final cut.
00:00.240: Then you go send event to Funnel Cut Pro, and I believe it generates a Funnel Cut library for you.
00:00.240: I believe 12 or 13 different editing platforms.
00:00.240: Yeah.
00:00.240: you know, Apple seems to be moving more and more consumer.
00:00.240: And somebody said, Hey, Henry Ford's got this new thing.
00:00.240: Where nobody goes in, nobody comes out, but allegedly there's a bunch of Oopaloombas in there making software.
00:00.240: Awesome work and this is the tool for me.
00:00.240: And now with the 10.
00:00.240: Funal Katen is built on AV Foundation.
00:00.240: And QuickTime is twenty plus years old.
00:00.240: that Apple has made throughout history that have allowed us to propel forward.
00:00.240: And they're like, oh, you know, Apple's dumping ProRes.
00:00.240: So here's the thing, and this and again, this is for the listeners.
00:00.240: There was so much media.
00:00.240: I had so much media, there were not enough hours in the day to transcode it all, right?
00:00.240: Pull the H.
00:00.240: I'm just telling you flat out, you don't need it.
00:00.240: Like Jared pointed out, man, I wish I had had my training thing when I was learning, and that's why he made his training video.
00:00.240: time trials or anything.
00:00.240: And we've kind of done that here at DCC.
00:00.240: Okay, now true, a lot of people still don't believe that, but they'll come around, I think.
00:00.240: I appreciate the fact that everybody didn't unsubscribe just because I didn't do two shows last week.
00:00.320: I was like, really?
00:00.320: Is on YouTube.
00:00.320: Basically, it's kind of funny because Frederick is a podcaster, and so it's very hard for him to get out of the, hey, let me run this interview mode tone in his voice.
00:00.320: 10-1-2, but it is post-10-1, so most of it is very, very relevant stuff.
00:00.320: Awesome.
00:00.320: you know, awesome video and you know, so there's these superpowers I feel like my gear has and and a lot of people have this, but video is
00:00.320: It will be.
00:00.320: Creative Cloud a swindle.
00:00.320: Fullest disclosure, I'm in the middle of a telephone tech support with India call.
00:00.320: Yeah, that's the thing.
00:00.320: Yeah.
00:00.320: Between filter and mouth hole, there's no filter.
00:00.320: Okay, and the improvements have just gotten it, you know, made it better and better and better.
00:00.320: get to the point where you feel comfortable.
00:00.320: My brain works on a timeline.
00:00.320: Back in the past.
00:00.320: in a project, forget it.
00:00.320: And that is the addition of the feature that they call the magnetic timeline.
00:00.320: Hey, are you able to create a folder of all the images we oh no, that's too hard.
00:00.320: Metaphor is that when you place something in the space of the screen that we will call the timeline, that it will go where you left it.
00:00.320: A couple of inches, which depending on where your scale is set on your not timeline, it could be a couple of seconds or a couple of minutes down in time.
00:00.320: Okay.
00:00.320: When you have a final timeline and things have to flow successively from point one to point two to point three to point four.
00:00.320: What Final Cut X does for you is it gives you that power by default.
00:00.320: 425.
00:00.320: Down shifts from advanced to eh mode, and it makes it puts it into the position mode.
00:00.320: I know a lot of people that, oh yeah, just hit the letter P and it now it works just like Final Cut 7.
00:00.320: Now, going through the tutorials on Final Cut Pro 10, I didn't see anything like that.
00:00.320: trying to reconcile in this move from a Premier centric editing world into Final Cut Pro 10 is
00:00.320: The audio sweetening.
00:00.320: And then it round trips out of Premiere back into or out of so you go out of Premiere, take the timeline out, edit it, and then it will drop your edit back into the original timeline in the video editor.
00:00.320: People out there that are doing tutorials about how to do things like that.
00:00.320: Is that when you look at the tools that are in, actually in Final Cut 10, you begin to realize, oh, I don't need to go anywhere.
00:00.320: I believe it's 60 increments in a frame.
00:00.320: A shot that is overlaid over a wide shot.
00:00.320: Audio files, I call it the equator.
00:00.320: It's just an area for you to relate various pieces of media to each other, whether it's audio or video.
00:00.320: It's not, it's a lot different than like I choose to buy a Nikon or a Canon, so I have to get the L-series lenses or whatever the Nikon calls them.
00:00.320: So one of the things that you can do in Photoshop is that you can generate a layer or a layer group, which is one of those little folders in Photoshop.
00:00.320: Now, get this.
00:00.320: And now you're editing, editing, and then you get to the point where you go, uh, you know what?
00:00.320: Command tab over to Photoshop.
00:00.320: Toggle command tab back to Final Cut, and because Final Cut is referencing that piece of media in the finder.
00:00.320: What this does is, this is what I call the soccer dad mode.
00:00.320: It will take that PNG or that JPEG or that MP4 or that MOV or whatever, and it will take it from that location in the finder.
00:00.320: And I think that what Apple was trying to do was to make it easier for people that could not imagine that this Photoshop or this Final Cut project file, and I'm talking about old Final Cut 7, that this little red and white icon.
00:00.320: is a virtual spider web to dozens of files all over your hard drive.
00:00.320: You know what you're doing, but you can forget it easily.
00:00.320: Okay, so you can work on your internal hard drive and you can do a lot of work and you can be completely pro.
00:00.320: Okay.
00:00.320: In other words, it knows what drive, what folder, what library, what blah, blah, blah.
00:00.320: Open up the f the the drive icon, double click on the library, done deal.
00:00.320: Right.
00:00.320: Let's say he's going to do, you know, the Barcelona video and the Madrid video and the Washington DC video for SEAL.
00:00.320: Lives in a job folder where there is a library file and all of the associated media.
00:00.320: So what you had to do with a sparse bundle, then, because of 10.
00:00.320: The sparse bundle workflow of a 10.
00:00.320: In a sparse bundle world, like 60% of your training and tutorial was teaching people find your tricks and that.
00:00.320: soccer dad mentality, Apple just wanted it to say, look, here's a hard drive, it's got video on it, just go for it.
00:00.320: the fundamental difference of adding the library structure in the ten point one era.
00:00.320: It was a really big deal because there's really no way to interpret that coarse correction in this software development as a, yeah, we totally screwed that up and here's the fix for it.
00:00.320: Again, so this is from the standpoint of a still photographer that's looking at all these powerful tools and all the cool things I can do now and that I want to do now.
00:00.320: Third-party apps like Photo Magico and things like that to do to do that kind of thing.
00:00.320: It's very much simplified, very easy to do.
00:00.320: What I aspire to have one day.
00:00.320: When we start doing more video on that thing, oh, yeah, we'll do that.
00:00.320: at how quickly you can do a dissolved sequence with a bunch of stills.
00:00.320: I love it.
00:00.320: Okay.
00:00.320: A shelf death, as it were, with aperture.
00:00.320: When I know for reasonably sure that Premiere and Adobe, since this is all they do with software, is going to be around for a while.
00:00.320: No, there's a couple of things I would say.
00:00.320: All that being said, here's the secret thing that I'm probably not even supposed to talk about very much, but I don't care.
00:00.320: you know, secret information from them, okay?
00:00.320: Except for occasionally on a keynote when they go, Oh, here's the new watch.
00:00.320: I don't know that Apple really cares what the Final Gut people are doing because they're making money.
00:00.320: And we have four edit suites and we share things between rooms all the time.
00:00.320: We open libraries remotely across the network and the media stays on a drive that's on another machine down the hall.
00:00.320: All right.
00:00.320: where Final Cut deals with video files.
00:00.320: the the the 6800 processors to the PowerPC processors to the IBM processors from Mac OS 9 to Mac OS 10.
00:00.320: It is doing a whole manner of various types of conversions for you behind the scenes.
00:00.320: With some of the various iterations of ProRes.
00:00.320: It's what Final Cut wants to eat, right?
00:00.320: Ingest all your footage and have it like bake overnight to convert it into ProRes so that you can then edit it.
00:00.320: But it had an H.
00:00.320: And meanwhile, Apple's the you know, the oompa lumpas over at Apple are frantically coding Final Cut 10.
00:00.320: And I had five camera people giving me media, and every day I was responsible for producing at a minimum of two video deliverables per day while I drove down
00:00.320: The road in a tour bus, okay?
00:00.320: I kind of I sort of would have been screwed.
00:00.320: while it is optimizing it or transcoding it in the background.
00:00.320: Prior to the transcode, it worked great.
00:00.320: And it was working fine when it was a two hundred megabyte file.
00:00.320: It was interesting, you know, I I was watching your uh interview with Jared Poland uh on your site and it it's interesting, you know, there's there's a lot to learn
00:00.320: Post-production and editorial is part of it, but I will say a bigger part of it, and I think this is something that may get photographers
00:00.320: And just managing all that media can be daunting.
00:00.320: And uh I would love to come and maybe do an episode of your show.
00:00.320: Do you share your own Twitter of people in the NCAA?
00:00.320: Okay.
00:00.320: We decided that this coming Wednesday I'm going to record an interview on his site, on his show, rather.
00:00.320: And I don't know when that airs.
00:00.320: Anyway, that'll be a lot of fun.
00:00.320: So Apple has already apertured Final Cut seven, and the end result is we have a better tool.
00:00.320: That possibly their entire career they only used one platform.
00:00.320: And so for them, their whole career has been, well, wait, man, I took the time, I learned how to do this thing.
00:00.320: And I think that, that era in our history, that decade, was unusual.
00:00.400: So I recorded Bill Davis' face for like the last 10 minutes of it.
00:00.400: Wow, hundred hours, where do I start?
00:00.400: I I s um busted out my little I think I was still shooting on a 7D then, and I shot a little video for you guys and played it the next morning and you're like
00:00.400: the um you know, there have been some serious issues with the authentication servers going down.
00:00.400: So so they're trying to help, but you know, I think that the cloud is awesome.
00:00.400: Yeah.
00:00.400: Erupted like between the two of us.
00:00.400: Before you pick something up, just hit the letter P on your keyboard.
00:00.400: very advanced keyboard shortcuts that would allow you to lift and ripple something out of the time line.
00:00.400: You know, sliding it down the timeline, it will just release it right where you left it.
00:00.400: Because there's actually a little bit of compression built into that.
00:00.400: Some of these controls, they have a lot of power behind them.
00:00.400: Okay, because this one slider is actually going to do a lot of things for you.
00:00.400: is that when you are editing an audio only file in Final Cut X, you're actually editing at the subframe level.
00:00.400: Right?
00:00.400: Okay, so I had the green screen cut, and I brought in my image that I wanted to put behind it, and I think I accidentally let go of it when
00:00.400: You know, it's like, oh, okay, yeah, just kick it out of After Effects, drop it into your timeline.
00:00.400: After effects iterations and having those iterations automatically flow into my timeline or anti-timeline or project.
00:00.400: In the newest Photoshop?
00:00.400: an image that is a JPEG or a PNG of that portion of that element of that thing that was in your Photoshop document.
00:00.400: on my Air 13 inch, and then I want to get that project and continue it or finish it on my iMac at home.
00:00.400: Okay.
00:00.400: that that little guy, that little pull down, there are three options: transform, crop, and distort.
00:00.400: Let's say you lay out a bunch of stills.
00:00.400: So then you go, okay, I want to do some Ken Burns work on this because I want to be like Ken Burns.
00:00.400: the Ken Burns move starts.
00:00.400: Does is it is there interoperability between iMovie iOS or iMovie on the Mac and Final Cut?
00:00.400: But I have done it to um prove that it can be done.
00:00.400: Okay?
00:00.400: You know, by and large, it works well, but Premier is having a lot of trouble dealing with some of the
00:00.400: Is what it will do is it will allow you to kind of, you know, again, giant air quotes, hobble along using the H.
00:00.400: If that's so important and so necessary, why is there the option to turn it off?
00:00.400: You know, kind of like surprise you.
00:00.480: One day worth of lynda.
00:00.480: So I can get up to speed.
00:00.480: So and what we're gonna do is we're like starting it almost ground one.
00:00.480: What's up, Frederick?
00:00.480: Awesome.
00:00.480: If you're selling software, it's awesome if you're buying software, but using the software sometimes can be a real pain in the ass.
00:00.480: So I went to launch and it was gone.
00:00.480: Basically, everything is still there, but Apple in their infinite we want to be different wisdom, and I'm using giant air quotes there, decided to rename everything.
00:00.480: Now that can be a little bit disconcerting if you're not an advanced editor.
00:00.480: Let's say you have five shots: one, two, three, four, and five.
00:00.480: Um uh let me describe it like this.
00:00.480: or click down one frame there.
00:00.480: Really?
00:00.480: Yeah, I can place that piece of audio right at the very top of my image stack, right next to the gunshot.
00:00.480: Wow.
00:00.480: And then I was thinking, okay, well now I have to put the background in because I hadn't done the keying yet.
00:00.480: All right, Chris.
00:00.480: That new version of that file automatically there.
00:00.480: You just saved me like a month of work just with that one sentence.
00:00.480: Leave in place is a very powerful kind of pro workflow tip.
00:00.480: Just a repository of all your media.
00:00.480: So if you do all your work on your little portable L C drive or whatever it is that you leave down by your feet with a little six foot Thunderbolt cable up to your laptop while you're sitting there back there in coach with the thing on your belly
00:00.480: Yeah.
00:00.480: The relink function is actually very powerful.
00:00.480: Diana Winand.
00:00.480: But all you got to do now is just have a job folder.
00:00.480: That iMovie and the fact that it looks similar to Final Cut was probably one of the main or part of the main reason why I never jumped into Final Cut because I saw iMovie on the phone
00:00.480: I I I it there is it used to be a little bit easier.
00:00.480: In iMovie, let me see.
00:00.480: Or whatever else in the Apple graveyard, and then I gotta go learn something else.
00:00.480: on fire, just amazingly creative people.
00:00.480: What Apple tried to do with not tried, but what Apple has done with AV Foundation is they needed a new tool that was compatible with both the Mac OS and the iOS.
00:00.480: With any type of video file.
00:00.480: Of Final Cut 10 that says create optimized media.
00:00.480: Okay.
00:00.480: Are you nervous?
00:00.480: And we'll find something really cool to talk about later, later.
00:00.560: So, without any further ado, let's connect up here with Frederick Van Johnson from This Weekend Photo.
00:00.560: And today we're talking about Final Cut 10.
00:00.560: And that's, you know, here we are, 100 and you're now episode 101.
00:00.560: What's that?
00:00.560: So there is a timeline.
00:00.560: Type audio editing and 3D waveforms and all this stuff, so you can take out a bird chirping in a crowd and all that kind of stuff.
00:00.560: Although you can separate the audio from the video if you needed to or you were just lazy, you could put that video clip down below all of your
00:00.560: The other thing, and you'll love this, being a Photoshop user, have you ever used the generate assets tool in
00:00.560: Graphic artists that work in the web world are constantly taking portions of a Photoshop document and kicking it out as either like a PNG or a JPEG, and the PNG may or may not have an alpha channel, blah, blah, blah, blah, blah.
00:00.560: Import those MOVs from that media folder, which is in a job folder called Seal Tour 2014.
00:00.560: and they are some of the most committed people I've ever met in my career.
00:00.560: What's Premier using?
00:00.560: In olden times, yes, that was the case because the video that came out of your DSLR was an MP4 or no, it was an MOV container.
00:00.560: I sat down and I just said, okay, I got to figure this out.
00:00.560: I've never turned it on since that job two years ago.
00:00.640: I get an email the other day from my friend Frederick Van Johnson.
00:00.640: It was a time where I had a cast cancel on me and I thought, well, I don't want to not have a show.
00:00.640: They're just doing a bang up job.
00:00.640: new feature on thepremiumbeat.
00:00.640: Dude, I didn't know you were totally cracking into the DSLR world of shooting video.
00:00.640: About a year actually, a little over a year ago, I was really noticing that every time I got to sit down with somebody who was using Final Cut 10, like the conversation just
00:00.640: That's a good question.
00:00.640: And these three tools work very well.
00:00.640: Below the primary storyline, down where you would think the audio goes, and it went, Oh, look at that.
00:00.640: So I put my background element there, and it saved like so much time because I didn't have to take those clips and push them up a level and then slide the thing under NVIDIA one.
00:00.640: I wish you'd listen to the show.
00:00.640: It is a very powerful tool.
00:00.640: And you can all you have to do is add an extension to the name of that layer or layer group, like.
00:00.640: The amount of money that Apple that Final Cut brings in is minuscule.
00:00.640: I don't know when we'll do your show, but we'll figure it out, okay?
00:00.640: Between the year 2000, kind of 99, but really the year 2000 and 2011, for an 11-year period, almost 12.
00:00.640: You're gonna things change.
00:00.720: He's probably got a trillion downloads a week.
00:00.720: Hello, hello, good morning and welcome to another episode of the Final Cut Grill episode one zero one.
00:00.720: But the the editing tools within Final Cut look to be pretty robust on their own.
00:00.720: Yeah, that's what I was thinking.
00:00.720: If a tree falls in the forest, Chris.
00:00.720: And so then you play with all of your layers, and you could do them as layer groups, and then just put a.
00:00.720: An image sequence, and you want to doctor and liquefy and make her look more sexy, whatever, and you got to do this to like 10 or 8 different images.
00:00.720: And then it will reference it into the Final Cut library.
00:00.720: Now when you move a funnel cut library from drive number one to drive number two, because that drive has a different name, you will indeed break all of those references.
00:00.720: But it's not a big deal.
00:00.720: There's no way to spin it and actually it's probably good that Apple doesn't have a public voice because there's no way that they could spin it.
00:00.720: Luckily away from the computer.
00:00.720: So mobile.
00:00.720: iMovie Project.
00:00.720: Very powerful, very functional, very flexible, very extensible, but also very old.
00:00.720: their version of AV Foundation.
00:00.720: We're everywhere.
00:00.720: And frankly, I don't know that it had.
00:00.800: So that's the whole point, is just to to have the conversation and to sort of smear away a lot of the kind of negative press, and a lot of it has been
00:00.800: It's files.
00:00.800: What is it called?
00:00.800: Okay.
00:00.800: All right.
00:00.800: They just do.
00:00.800: then it would not be the last time that I have moved from one piece of software or one platform to another.
00:00.800: were more normal.
00:00.880: About ten minutes before the end of it, I accidentally clicked on something.
00:00.880: I was swindled, if you want it for lack of a better word, into getting the Creative Cloud because I need some of the other tools in there.
00:00.880: My birthday was yesterday, so as a birthday to gif gift to myself, I purchased a Lynda.
00:00.880: So I finally got the software, launched it.
00:00.880: There's still a timeline.
00:00.880: you can get a really good, powerful, full sound of what you're trying to boost.
00:00.880: First of all, I will tell you that when it comes I mean, photogra you photographers and your little files are cute.
00:00.880: Celebrating your birthday for this.
00:00.880: Yeah, old you're dealing with old information.
00:00.880: So when you put a dissolve on a clip that you've already done your keyframing on, it's a pain because now what's going to happen is halfway through the dissolve
00:00.880: Oh, send event to Final Cut Pro.
00:00.880: Well, you know, if it's good enough for Chris Fenwick, it's good enough for me.
00:00.880: And then it allows you to cut it and do all the stuff.
00:00.880: Thanks a lot.
00:00.960: Okay.
00:00.960: you get into a pretty powerful section.
00:00.960: Just audio, just straight audio.
00:00.960: There are some consumer aspects to the way Final Cut Pro works, but it doesn't mean it can't be used by professionals because if you click on that leave in place, you're in Power User Pro mode.
00:00.960: Right.
00:00.960: And one of which would be my media folder, and that's where I would put all of my MOVs.
00:00.960: And it will do it over the course and the length of the clip.
00:00.960: Final Cut 10, the m the reason Final Cut 10 is so much more powerful than Final Cut 7 is that Final Cut 7 was built on QuickTime framework.
00:00.960: And frankly, they've done it very well, and you don't even realize that all the tools that you're using now are using A V Foundation.
00:00.960: two six four out of the way and slip in the MOV, the ProRes file version, and everything will be hunky dory.
00:00.960: There was a whole strata of us video editor guys that just went, Yeah, Final Cut's awesome.
00:01.040: And the problem is, my schedule is such that it doesn't align with every time they call and they go, Hey, do you want to keep working on this?
00:01.040: See, you have the outer monologue.
00:01.040: Okay, so in Premiere, when I move my when I'm trying to edit a piece of audio, I can put my cursor here.
00:01.040: And as a matter of fact, I know a friend of mine, Ben Consoli, who does a podcast called Go Creative.
00:01.040: On right there with the gun.
00:01.040: What scares me about the leave-in place, and that what you said is amazing.
00:01.040: And then in there, I would import all my media.
00:01.040: You're coming on Twip and you're going to blow everybody's mind.
00:01.120: Okay, good.
00:01.120: You know how to party on your birthday.
00:01.120: It's kind of like cutting a birthday cake with a chainsaw.
00:01.120: Okay.
00:01.120: So no, we we talked a little bit about the inability of round tripping out of Final Cut versus Premiere Pro.
00:01.120: This is where it gets really cool.
00:01.120: Let's talk about some of the multi-terabyte files that I generate, okay?
00:01.120: That makes total sense.
00:01.120: When you launch it.
00:01.120: So in the viewer, okay, and in the lower left-hand corner of the viewer is a little drop-down tool.
00:01.120: I'll take that kind of hate any day, man.
00:01.120: like any software company, and arguably Apple is no longer just a software company.
00:01.120: I have friends that work at Apple and I have spoken with them and they have never broken any sort of rules or they never say, Hey, guess what?
00:01.200: What?
00:01.200: I noticed last year at NAB, or actually this year at 2014 at NAB, I was having a conversation with somebody once at some meetup, and he was like giving me a hard time about Final Cut.
00:01.200: Now that makes sense in a collage sort of fashion.
00:01.200: So, I am a professional video editor.
00:01.200: A good example of where this and this is how I first realized this.
00:01.200: Now, even on a plane, I would recommend working on an external hard drive.
00:01.200: Just throw all of that knowledge out.
00:01.200: I'm going to try that.
00:01.200: So the way the iOS devices deal with video is now exactly the same as the way the macOS deals with video.
00:01.200: And here's the story I'll tell you.
00:01.200: And what we got out of it was a better tool that's much more advanced and much more robust.
00:01.280: And those responsibilities come storage and a robust computer to manage it and how do you edit it?
00:01.280: I got him.
00:01.280: Is there a profit to this thing that I'm doing?
00:01.280: So I'm looking at Final Cut.
00:01.280: And so when you're editing at the subframe level, you can get amazing accuracy right there in the timeline.
00:01.280: Final Cut calls the primary storyline.
00:01.280: Then, or I don't know, you're Frederick Van Johnson.
00:01.280: So as long as I work off of that, in my case, I'm going to be working from one of those Western digital MyPassport Pro Thunderbolt
00:01.280: In my world, and I've done giant tutorials about this, we're dealing with many, many, many terabytes of data here at our office.
00:01.280: And I'm going to I've recommended this many times, but go get the Alex Golner Alex 4D Grow Shrink plugin.
00:01.280: I think another thing that I didn't mention to Frederick, which is kind of important, is that in essence, Apple already had apertured Final Cut 7.
00:01.280: I at least got to use a better tool for a while.
00:01.360: You're asking me that question?
00:01.360: Frederick, how are you doing today?
00:01.360: And so you think, hmm, okay.
00:01.360: I say, I don't care.
00:01.360: 1 and like I mentioned, 10.
00:01.360: 264 codec inside it.
00:01.360: I was just like, basically they fired one guy and flew me in, you know, and like I just got thrown in hot seat kind of action.
00:01.440: Anyway, um, and their website is awesome.
00:01.440: So I'm going to kind of let you drive this discussion.
00:01.440: What?
00:01.440: Oh, I didn't know you guys were taking over like that.
00:01.520: It will be from still to motion to still or from motion to still to motion or something.
00:01.520: Okay, I know I'm kind of freaking out here.
00:01.520: How does motion work into the equation?
00:01.520: Is he using the same thing?
00:01.600: Well, I'm glad I didn't say anything controversial.
00:01.600: And so, you know, that was the it seemed like the path of least resistance for a photographer, right?
00:01.600: Yeah, that makes kind of sense, but I want to be able to go 60 miles an hour and not just 12.
00:01.600: Hold on, it's booting here.
00:01.600: Now, there's basically what they are doing for you, regardless of what video format you're bringing into Premiere.
00:01.600: I gathered 1.
00:01.600: So this week in Photo or TWIP, TWIP, thisweekinphoto.
00:01.600: We'll talk later.
00:01.680: I mean, I understand the point where you point the glass at the people, but the rest I'm kind of foggy on.
00:01.680: I just have to hit the little download button.
00:01.680: What does that do for me?
00:01.680: You twirl it down, and for every layer that you put.
00:01.680: Darn deal.
00:01.760: I think the payment structure is a swindle, and I'm not happy with that at all.
00:01.760: It's like, oh my goodness, you know, you realize you're buying hard drives a lot faster.
00:01.840: So at any rate, I about ten, five minutes ago, I said, what are your questions?
00:01.840: No, I just found out about it today, man.
00:01.840: So now get this.
00:01.840: He has a website called alex4d.
00:01.840: So iPad, iPhone, I've got iMovie on there, which is our you know, I'll tell you 100% honesty, transparency here.
00:01.840: I haven't launched iMovie on this machine.
00:01.840: com slash subscribe, you'll see all of the shows that we've recently deployed along with This Week in Photo, The Master Show.
00:01.920: I'm sure you can find it.
00:01.920: com.
00:01.920: If you look at the audio inspector tab, and you know, hold on, let me just launch the software here so I'm not using fake words.
00:01.920: So you can put audio at the top of the stack or down below.
00:01.920: I need to watch that.
00:01.920: com, and it's I'm I hate you.
00:01.920: All right, here's the last question.
00:02.000: So it's multifaceted.
00:02.000: One, you know, I've been doing this for three decades.
00:02.000: I think a few days later.
00:02.080: Oh wait, I think it's this other email one second because it was kind of a funny response.
00:02.080: How'd that happen?
00:02.080: It's just called a project.
00:02.080: Now, Chris, I was watching back to that lynda.
00:02.080: Yep.
00:02.080: This is awesome.
00:02.160: And that's kind of why, you know, I mentioned in one of my emails, that's why I started this conversation in this podcast because
00:02.160: So in a premiere world, you have audition, which does all this major, you know, amazing
00:02.160: A Final Cut library system references files by what I call an absolute file path.
00:02.160: That man is everywhere.
00:02.160: Bye.
00:02.240: The new website is live and running.
00:02.240: In Final Cut 7 and also in Premiere, the
00:02.240: Go to that layer group.
00:02.240: Easy.
00:02.240: Oh, yeah.
00:02.320: I keep seeing people tweeting like, Oh, I love the new user interface.
00:02.320: And it was so reaffirming.
00:02.320: That usually happens on my inner monologue.
00:02.320: So when I looked at it again, I kind of had those pangs again.
00:02.400: What do you say?
00:02.400: The more I resist, the more it keeps coming.
00:02.400: It is, it is motion, but with great, great power comes great responsibility.
00:02.400: You know, it's like, okay, you want a clip here, you want a clip there, and you put a transition between them, you move on.
00:02.400: It's just called a project.
00:02.400: There is no send to anything in Final Cut.
00:02.400: You don't have to go out to audition.
00:02.400: She's a family pro trading service.
00:02.400: Now, if I was if you know, if I was born when my grandfather was born and I grew up riding a horse.
00:02.400: It's called a a car and it goes faster and you can carry more groceries in it and all this.
00:02.480: So you, about, I don't know, what, like an hour ago, I started getting this barrage of emails.
00:02.480: And it has to do with the way you can highly customize the way your library behaves and where it stores
00:02.480: Yeah.
00:02.480: I really like it.
00:02.480: And I'm like, I'm not using that.
00:02.560: What's it called, Poor Man's Roundtrip?
00:02.560: So those JPEGs.
00:02.560: Yeah, celebrating the day after my birthday.
00:02.560: So, in the question, are you nervous that Apple will just kill Final Cut Pro?
00:02.640: And I'm thinking, you know, as a podcaster, you know, there's audition in there.
00:02.640: So I went through some of the trainings, but some of the some questions came up, and I have yet to even try to edit a project in it.
00:02.640: I'm like, okay, this is foreign.
00:02.640: So what it's going to do is it's going to put a little slug between your last clip and the one that you dropped at the end of the timeline.
00:02.640: It's been around for 20 years.
00:02.640: No, I haven't.
00:02.640: You take those generated assets and you drop them into a keyword collection in Final Cut 10.
00:02.640: Okay?
00:02.640: So we have Digital Cinema Cafe, we have Final Cut 10 Grill, and we have other things in the works as well.
00:02.720: Well, although there are ways to do it, there is an XML output, and you can go XML in and out, and there's multiple
00:02.720: Easy peasy.
00:02.720: Okay?
00:02.720: Yeah, the and I also want to say this: that when Apple made
00:02.720: And it looks funky and crap.
00:02.720: What if one day they decide that, you know, this is going to go it's going to go sit next to Soundtrack?
00:02.720: They decided they needed to deal with video files in a completely different way.
00:02.720: Yeah, I'm just Frederick Vann everywhere.
00:02.800: It's not on my machine.
00:02.800: Well, if you invoke the generate assets command, which is under the file menu, all right, if you turn that thing on,
00:02.800: One to the bunch of stills, and you kind of do the beat of the music, and you're like, you know, about two seconds apiece.
00:02.800: It was written, I believe, in 89.
00:02.800: I go, Apple's not dumping ProRes.
00:02.800: They just change.
00:02.800: So frankly, it just doesn't bother me.
00:02.880: com tutorials into learning Final Cut 10, and he had some questions.
00:02.880: That's awesome.
00:02.880: I also want to say, you know, there was a comment that I made there at the end where he was asking me the question about are you afraid that Apple will quote unquote aperture
00:02.880: You know, I said I used the analogy of the car moving from horse to car, and my point was
00:02.960: I'm totally jealous and I hate him in many, many ways.
00:02.960: And I said, real that's a really good question.
00:02.960: Wait, are we recording now or are we going to start in a minute?
00:02.960: So what I did, so the process or the point in the process where I am right now is education, which was the impetus of those emails to you.
00:02.960: I'm like, okay, this doesn't have a timeline.
00:02.960: A lot of advancements have been made and in its current iteration, Final Cut, which is at the time of this recording, is 10.
00:02.960: And so, and the reason for that, I'll go into it briefly, is that, again, in sort of the
00:02.960: And they've changed the language behind that.
00:02.960: But when I look at it, in the old days, I used to I think it may have been you that told me this, that you had to like
00:03.040: We should.
00:03.040: We can do some of that.
00:03.040: Yeah, no, it's great.
00:03.040: I really don't care.
00:03.040: 2 terabytes of H.
00:03.040: Yeah, we'll figure it out.
00:03.040: But anyway, so I'm going to be on Twip, you know, talking about video editing.
00:03.120: That was a great workflow.
00:03.120: You go, uh, one, two, three, four, five, six, seven, eight, ten.
00:03.120: Right.
00:03.120: All right, done.
00:03.200: Because if you have the setting set to copy to library storage location, anything that you put into that you import into Final Cut
00:03.200: Right.
00:03.200: I don't know how to say this, but I just think it's a stupid comment.
00:03.280: So here's my response back: SCPX.
00:03.280: com.
00:03.280: And there's nobody there to podcast it.
00:03.280: Okay.
00:03.360: I already have it.
00:03.360: So, Premier uses what they call the Mercury playback engine.
00:03.360: People have been listening to the show, you've heard me tell the story a bunch of times.
00:03.440: You lift two out and you move it down between four and five, and everything is still flowing together.
00:03.440: There's a loudness control, a background noise removal and a hum removal.
00:03.440: Okay, so check this out.
00:03.440: If that's what you're going to work on, all you got to do is move it from machine to machine, no problems whatsoever.
00:03.440: And when you do, across the bottom of the screen are going to be three buttons: trim, crop, and oh my goodness, Ken Burns.
00:03.440: AV Foundation is way more powerful than QuickTime.
00:03.440: Basically, what we're talking about is the layer below the OS, or not below the OS, but below the finder.
00:03.440: A couple of summers ago, I went on a two-week bus tour with BMW.
00:03.440: And it was pandemonium, it was very little sleep, and it was a pain in the butt.
00:03.440: And I just want to say, I don't think I don't see that in the cards.
00:03.440: Anyway, I should wrap this up.
00:03.520: Okay, so generate assets is underneath the file menu.
00:03.520: She's that tutorial is based on Final Cut 10.
00:03.520: That man is everywhere.
00:03.520: It's awesome.
00:03.520: Yeah, the Digital Cinema Cafe website.
00:03.520: 12, we're currently at 10.
00:03.520: Okay?
00:03.520: And I don't know why that is, but I know for a fact that there's some confusion inside the company, at least some of the people that I've talked to.
00:03.600: So go check them out.
00:03.600: Audio tab, it says audio enhancements.
00:03.600: So we've seen the demos of Apple's new Photos app, okay?
00:03.600: You're probably up in business class, whatever.
00:03.600: So when we're done working on a project, we'll copy media off of one of our big RAIDs onto archive drives that we then scan and put away for future reference.
00:03.600: 0 era.
00:03.600: From iMovie on the desktop.
00:03.600: All right.
00:03.680: And then, of course, the sound file I put in the normal podcast feed.
00:03.680: So thank you for being patient with me and allowing me to spend some time with my mom.
00:03.680: Are you available right now?
00:03.680: This is all I do.
00:03.680: This sometimes would be a good video podcast.
00:03.680: But in Final Cut 10, the resolution between those two frames
00:03.680: Okay.
00:03.680: Or like every let's say you're doing like our friend Joseph, he did a couple of years ago.
00:03.680: I'm going to, you know, so I want to be.
00:03.680: Maybe we could talk about more stuff.
00:03.760: And then there's a link to the podcast.
00:03.760: We could totally do that.
00:03.760: Yeah, I'd never seen that kind of lightning post-production before.
00:03.760: Hey, as I get older, it's like the formula that I base everything on is.
00:03.760: I'm like, okay, let me go launch iTunes and redownload it.
00:03.760: The other thing that's really interesting about Final Cut and the project or the anti-timeline or whatever the hell you want to call it.
00:03.760: Video files are very universal, especially in a ProRes era that we're living in, where everything makes ProRes.
00:03.760: Twirl it down, diddle, diddle, fiddle, fiddle.
00:03.760: So one of the scary things about even considering moving to Final Cut Pro 10 is that it will get apertured.
00:03.760: But I know these people and they are passionate
00:03.840: I didn't realize that in the way Google Plus works, like whatever I'm looking at is what actually records.
00:03.840: Now, the other thing that's actually kind of interesting, and I've talked about this before on the show, is that
00:03.840: Raw files, your photos, you might have sound recordings, whatever.
00:03.840: Does it actually look at iCloud?
00:03.840: So, at any rate, I know these people, I'm confident that they are doing
00:03.840: It's an amazing tool.
00:03.840: Okay?
00:03.840: Hey, man, I owe you.
00:03.840: And then the last thing that I'll say about this, and I'll let it rest, is this point.
00:03.920: If you don't know Frederick, he hosts a show called This Week in Photo.
00:03.920: You wouldn't be the first one.
00:03.920: Okay?
00:03.920: Yeah, it was uh it was on document like editing a documentary um using Final Cut Pro 10.
00:03.920: But it's very doable.
00:04.000: I said it would be like me saying, Hey, Frederick, I just got this Canon camera for Christmas and I don't know how to use it.
00:04.000: So I'm like, okay, yeah, okay, we'll use Premiere.
00:04.000: Exactly.
00:04.000: Because that's another one that I'm thinking, okay, there's I've got After Effects on my hard drive, but now if I'm considering
00:04.080: I'm doing fine, Chris Fenwick.
00:04.080: I know you've been playing around with Final Cut 10, but um
00:04.080: There you have it.
00:04.160: And I use it all the time.
00:04.160: Eight hours or so of it.
00:04.160: Or is it taking out of my bank account?
00:04.160: It works exactly like an old time line with one major difference.
00:04.160: That kind of accuracy is right there in your timeline.
00:04.160: I'm going to try that out as soon as we get off this call.
00:04.160: And the best way to do it is to select the light because here's what will happen.
00:04.160: com stuff, right?
00:04.160: Okay, so, okay, so here, here's another.
00:04.160: And this is a scary one, right?
00:04.160: Because one, I'm going to learn more tools.
00:04.160: So here was the logic that went through my head.
00:04.240: But it was great.
00:04.240: Oh, geez.
00:04.240: Yeah.
00:04.240: This is, I'm using you.
00:04.240: I'm going to say it platforms because some of those platforms were prior to using computers at all.
00:04.320: So that was my main question.
00:04.320: The letter P on your keyboard kind of
00:04.320: Yes, Soundtrack Pro is no longer a product.
00:04.320: You've been hiding it.
00:04.320: I'll put it in the show notes.
00:04.320: Okay?
00:04.320: Yeah.
00:04.320: Like I said, good enough for Fenwick.
00:04.400: Yeah.
00:04.400: It's polished.
00:04.400: Look at man, I'm teaching you some Photoshop stuff.
00:04.400: com.
00:04.400: Hm.
00:04.400: We are moving in the direction of Leo in terms of splitting things out into a network of shows.
00:04.480: And anyway, he emails me the other day and he says, Hey man, long time no communicate.
00:04.480: I need some training.
00:04.480: Simple.
00:04.480: I'm not liking what I did to that image.
00:04.480: Oh, that is so cool.
00:04.480: Or no, in that folder, I would create a library.
00:04.480: So that's what I mean by a job folder.
00:04.480: F-R-E-D-E-R-I-C-K V-A-N.
00:04.560: Yeah, yeah, because clearly everyone's saying it's better than Final Cut.
00:04.560: And using the uniformity slider under loudness.
00:04.560: The one thing that you do want to do in Final Cut, however, is you want to open up the Preferences and you want to go to the Import tab.
00:04.560: Because here's something that was a total pain in Final Cut VII and also in Premiere.
00:04.560: No, you're going to put all this in the show notes for this episode, right?
00:04.560: It was released in 90.
00:04.560: But this is one of those transitions, like going from, you know,
00:04.560: And what Final Cut does is if you choose to use that, and there's many people that do
00:04.640: So I just sat down and walked people through, like just starting a project.
00:04.640: And when you really know, or when you really knew, Final Cut 7, you knew
00:04.640: And it shows you the workflow that I use in terms of making
00:04.640: Sorry, we thought they're like Caesar, they don't have to admit mistakes, you just go do something different and move on.
00:04.640: In Final Cut 7, everything was built on QuickTime.
00:04.640: That's Frederick Van Johnson.
00:04.720: For me, do that as a favor for me because they're supporting what we're doing and
00:04.720: And I just got so much benefit and confidence from it that I was like, God, I love these conversations.
00:04.720: And I know Apple had soundtrack and they killed it.
00:04.720: But I think that a more important bellwether is to I don't know if I want to use bellwether, but a more important indicator rather
00:04.720: Are they the best in class?
00:04.720: So like the what what Premier calls video one
00:04.720: So I was watching a tutorial earlier today.
00:04.720: Thank you.
00:04.720: I don't care.
00:04.720: What are you talking about?
00:04.720: 264 files, okay, over the course of that two weeks.
00:04.720: I did a couple of tests.
00:04.800: And he emails me.
00:04.800: There used to be a thing under the import menu where it said import
00:04.800: Uh let's see.
00:04.800: 1.
00:04.800: That being said,
00:04.800: So another benefit for your DSLR people that don't want to like chew up all their hard drive space, turn that damn thing off.
00:04.880: Anyway, client getting calling in.
00:04.880: Let me just double check because I don't want to say this wrong.
00:04.880: So you can put audio or video clips above or below the primary storyline.
00:04.880: And it's important to understand a few basic elements about the way the library works.
00:04.880: From iMovie on the desktop.
00:04.960: Basically, I just offered up myself to him.
00:04.960: And I think at that time, they may have been selling Motion with it or something, but I have Motion and Final Cut.
00:04.960: png or.
00:04.960: If I have a need to, say, I'm working on a project on a plane on my MacBook
00:04.960: And if you change the duration of it, it's just going to do it slower or faster if you've made it longer or shorter.
00:04.960: And Alex is a little bit crazy because he has dozens of really cool Final Cut 10 plugins that he just gives away.
00:04.960: 3.
00:04.960: Whatever.
00:04.960: I have a page of random crazy man notes here I need to go digest.
00:04.960: This is going to be a long show.
00:05.040: And he's like, Oh, that'd be awesome.
00:05.040: Yeah, the more people start asking for it.
00:05.040: And frankly, the most important improvement I think, and this gets kind of deep, and you may not have to deal with it as a photographer, although you might.
00:05.040: Does he get paid for that?
00:05.040: And in my career, I have used, I think that last count, there was three
00:05.040: And one of the downsides of Apple's kind of I call it the Willy Wonka mentality
00:05.040: Cool.
00:05.120: We want to do that?
00:05.120: You know?
00:05.120: Okay, yeah, that works.
00:05.120: And Premiere was the first to say, Hey, we don't care.
00:05.200: So, yeah, I was doing two a week for the last year.
00:05.200: Okay, so the fact that they call the feature magnetic timeline
00:05.200: And what that allows you to do, it's a couple of things that if you're into editing music or audio, you'll notice right away.
00:05.200: Thank you.
00:05.200: Everything is perfectly fine because everything is referent Final Cut knows to look for something on Frederick's Portable Shuttle 7.
00:05.200: What would you say to that?
00:05.280: I could have that number wrong.
00:05.280: So that's how you organize your stuff.
00:05.280: So she one of the things that she suggests is to create a sparse bundle using disk.
00:05.280: And well, it wasn't the great workflow, but it was the best workflow in a pre-Final Cut 10 1 world.
00:05.280: And broken.
00:05.280: Done, done, let's do it.
00:05.360: And I tell ya, I've been using the playlist and share playlist trick all the time.
00:05.360: So I kind of feel, I understand the metaphor.
00:05.360: It's like, well, yeah, but that's almost like saying that somebody who who gets in a car for the first time.
00:05.360: You know, and as a matter of fact, there's a if you're doing a lot of After Effects, and anybody who doesn't know this by now, you have not been listening to the show.
00:05.360: So, in the sort of soccer dad mode
00:05.360: And then you decide, you know, I should probably put some dissolves in there.
00:05.360: So why am I transcoding anyway?
00:05.360: Well, hey, Frederick, thanks for doing this at the last minute.
00:05.440: And finally, I just said I said something to him.
00:05.440: I start recording when I hit dial.
00:05.440: Yeah.
00:05.440: It's lightning fast.
00:05.440: Thank you.
00:05.440: And I don't know what the logic is.
00:05.440: Okay.
00:05.440: Why am I transcoding anyway?
00:05.520: Well, I'll tell you what.
00:05.520: And you're doing all of that once when I grab the slider that says make it look better, right?
00:05.520: And as a matter of fact, let's say you had a video shot of a different gun, but it has a better sound.
00:05.520: It's powerful.
00:05.520: It's amazingly flexible.
00:05.600: And the loudness is an interesting thi one and probably really good to look at because loudness is more than volume.
00:05.600: Now, in photos, you can twirl it down or open it up or reveal it or whatever.
00:05.600: By the way, the keying in Final Cut 10 is really amazing.
00:05.600: Exactly.
00:05.600: Oh, it's 35 megabytes.
00:05.600: And here's one thing that's actually really it's it's both very cool if it works for you.
00:05.600: Her book is the official professional video editing with Final Cut Pro 10.
00:05.600: They're consumer electronics now, right?
00:05.600: So that's it for this week.
00:05.680: Hands down, no questions, ever.
00:05.680: And that's one part of the audio
00:05.680: Unplug that thing from your laptop, go home, plug it into your iMac.
00:05.680: Thank you.
00:05.680: Very stale information that you've been watching.
00:05.760: So they're digging that.
00:05.760: How am I ever going to figure out where I am spatially?
00:05.760: But in my research, I keep seeing all these articles from people switching back from Premiere Pro
00:05.760: We're working on it.
00:05.760: This is free consultation, man.
00:05.760: Yeah.
00:05.760: And if they don't, then, you know, whatever.
00:05.840: png at the end of the layer group, turn on generate asset, boom, they're already there.
00:05.840: 1, you now just can say, here's my job folder.
00:05.840: You know, so but I know these people personally
00:05.840: And so Apple, in the grand scheme of things, when you look at the quarterly reports,
00:05.840: You can tune out now if you want.
00:05.920: So it has to relate it that thing that you dropped down at the other end of the time line.
00:05.920: And it's a close-up of the gun, and the guy pulls the trigger, and then you have this little sound effect that you want to put
00:05.920: It has a lot of support.
00:05.920: Yeah.
00:05.920: So can I do that in Final Cut?
00:05.920: And Final Cut 1, 2, 3, 4, 5, 6, and 7 are all built on QuickTime.
00:05.920: Good enough for me.
00:06.000: It's been downloaded a lot on the the video portion.
00:06.000: com subscription and went through some of the
00:06.000: And you know how to ride a horse, so these cars can be confusing.
00:06.000: Then I would use the leave in place function.
00:06.000: Yes.
00:06.000: No, remember, you're talking to a photographer here.
00:06.000: Hey, so Frederick, we should wrap this up.
00:06.080: Oh, he emails me and he goes, Hey, so um
00:06.080: I don't care.
00:06.080: So I went to Linda and I started looking through things, but some of the questions to answer your question
00:06.080: I cut together an interview that was all green screen.
00:06.080: I don't know that I actually label it that, but in my mind, that's what I call it.
00:06.080: You know, all you have to do is click off of that layer group.
00:06.080: Automatically there.
00:06.080: Thank you.
00:06.080: So I hope you're sitting down.
00:06.080: I just turned off that optimized thing and I'm like, hmm, this is working.
00:06.080: And I might be rambling about this, but I think it's I want to make sure that my point gets across.
00:06.160: He's like, dude, what were you thinking?
00:06.160: Your Desert Island NLE, Final Cut Pro ten or Premier Pro CC twenty fourteen, or neither, Frederick.
00:06.160: Like, how do you reconcile that timeline or lack thereof with this non-timeline metaphor?
00:06.160: Right.
00:06.160: jpg after, it will automatically make.
00:06.160: I know you got to go soon, but I'm going to squeeze these last two questions in.
00:06.160: We do stuff over gigabit Ethernet.
00:06.160: This is a very forward thinking move to go from the QuickTime Foundation to AV Foundation.
00:06.240: All the time.
00:06.240: I am.
00:06.240: So, here's where I am, right?
00:06.240: That's actually a really good way to be.
00:06.240: What do you think?
00:06.240: I want to know.
00:06.240: I hope you enjoyed that.
00:06.320: And it's kind of designed for web nerds.
00:06.320: And broken.
00:06.320: So that said, now that I'm looking in the other direction.
00:06.320: I mean, you're the one who introduced me to Screenflow.
00:06.400: So I yeah, I
00:06.400: It might be 100.
00:06.400: Breaking the link from the original, of course.
00:06.400: Oh, I'm going to try that.
00:06.480: How are you?
00:06.480: Yeah, I'm going to need about eight minutes because I have to watch the Fronos photo demo video on your site.
00:06.480: Okay.
00:06.480: I was wondering if you were going to understand that, but it's okay.
00:06.480: Well, hopefully, it'll get better with your help.
00:06.480: Okay.
00:06.480: Is that still the same way?
00:06.480: Although there is a tool inside or a checkbox inside the import tool.
00:06.480: Yeah.
00:06.560: They also just started.
00:06.560: Sure.
00:06.560: Yeah, I know what you mean.
00:06.560: Because when you're cutting music to the beat in Final Cut VII,
00:06.560: Well, this is really interesting.
00:06.640: It wasn't in my list.
00:06.640: But the
00:06.640: We're doing some.
00:06.640: Is that we don't get to meet those people.
00:06.640: Yeah.
00:06.640: And I said, Well, no, I'm not, because even if they did.
00:06.640: So if you're going to do this long term
00:06.640: Thanks for listening.
00:06.720: Yeah, we could like toggle back and forth.
00:06.720: But anyway, um
00:06.720: So there is no send to even Logic Pro X
00:06.720: Now when you say copy media to the library location
00:06.720: Well, the smoke might come out of your ears much more, much more likely than coming out of the machine.
00:06.720: But let's face it, when you're dealing with a giant library or a big job with thousands of images, you're going to be working on an external hard drive.
00:06.720: And so the best way to compartmentalize various jobs and clients
00:06.720: I'll get it today.
00:06.720: I'm jealous and I hate you.
00:06.720: In the iMovie you say share
00:06.720: So even if, even if Final Cut was gonna die in two or ten or five years or whatever
00:06.720: It's fast
00:06.720: com is where the show is.
00:06.720: And again, if they did.
00:06.800: So, anyway, I actually did look into it, and you know, there was episode 69, and
00:06.800: I love cutting to their music.
00:06.800: Like, I'm just going to move this over here and put this here, and yeah, what do I want to do?
00:06.800: But the easiest way to get around it is to just
00:06.800: Okay, now what it's going to do, because
00:06.800: And I will also say that these are
00:06.800: And at our office, we have thousands of job folders.
00:06.800: Does he get paid?
00:06.800: I'd say, yeah, you know, I hadn't thought of that.
00:06.800: I got news for you.
00:06.880: Let me see.
00:06.880: Damn, marketing sucks.
00:06.880: So the Ken Burns tool that's built into Final Cut 10 is highly simplifies that.
00:06.880: So if you can get your iMovie from your iOS device
00:06.880: And two, it's a better tool.
00:06.880: Leave them alone, you know, especially because their user base is so vocal.
00:06.880: It's reading sort of that raw data, if you will, and it's like, okay, well, this I'm going to make video out of this.
00:06.880: There's a lot of resources out there.
00:06.960: Exclamation, exclamation, exclamation.
00:06.960: And, you know, he had asked me another time.
00:06.960: But a pro, somebody who really knew what they're doing, would know the commands for lift and ripple and paste and ripple.
00:06.960: I think now
00:06.960: Now, I will say that the Mercury playback engine is kind of a little bit sort of like
00:06.960: To be able to begin editing.
00:07.040: So we got on the horn and
00:07.040: I can't tell whose show we're on.
00:07.040: Yeah, you're going to cut it, but you're going to make a mess of it.
00:07.040: Okay, I talk about this all the time.
00:07.120: And it's sort of a beginning primer.
00:07.120: What do you say about that?
00:07.120: Now I'll tell you.
00:07.120: Now you get that.
00:07.120: Okay, well, explain that a little bit, because a little bit that to someone that's not initiated.
00:07.120: 264 media.
00:07.120: Right.
00:07.200: It's a podcast.
00:07.200: Okay.
00:07.200: Okay.
00:07.200: In your library, once you launch that library, by using the
00:07.200: Yeah, you know what?
00:07.200: And not only that, I was noticing that when I was dealing with the H.
00:07.200: I really had a great time talking to him.
00:07.200: Now you're telling me I got to change?
00:07.280: I'm you know, I'm putting like one toe in the water at a time, but you know, I can't
00:07.280: So I need to, maybe I'll just use that.
00:07.280: So where are you?
00:07.280: Ah, okay.
00:07.280: Render it out.
00:07.280: And the green square is your starting position, and the red square is your ending position.
00:07.280: Come on.
00:07.280: All right.
00:07.280: Apparently, those photo boys are catching up.
00:07.280: I don't.
00:07.280: I think that, that decade has been not standard.
00:07.360: Big deal.
00:07.360: In Premiere, it was a little bit of a pain to do like a pan and zoom on there, so much so that I started looking at
00:07.360: I just spilled my drink on the table.
00:07.360: What does that mean?
00:07.360: So
00:07.360: I'm just going to be working faster than they are.
00:07.440: He was.
00:07.440: The podcast is not a tutorial as much as it is a community of like minded people that are sick and tired of the premier bullies saying
00:07.440: I still have a computer that I cannot for the life of me get my license to work on.
00:07.440: So the default way of working is the more advanced way of working.
00:07.440: You could then click, click, click, click down a few shots and then paste and ripple.
00:07.440: Probably not.
00:07.440: So, then, could you use Final Cut as an audio editor if it's got that level of reference?
00:07.440: That's crazy.
00:07.440: You're like, look at me working on my internal hard drive.
00:07.440: I mean, it remembers the name of the drive.
00:07.440: I believe it was um
00:07.440: So I see.
00:07.440: So on the first day of this BMW tour, which I got thrown into, I had no opportunity to pre do any preproduction or testing or
00:07.520: So I spent like an hour, two hours on the phone with Apple trying to get them to re-enable my purchase.
00:07.520: It's lightning fast, and you will be blown away.
00:07.520: We're trying to learn some of that WordPress eat crap.
00:07.520: In the grand scheme of things.
00:07.520: So, anyway, yeah, I mean
00:07.600: And I was like, obviously, I wasn't.
00:07.600: So, anyway.
00:07.600: Hey, question.
00:07.600: You're like a Ferengi, right?
00:07.600: And I think that the best way to understand what Apple is thinking is to look because they don't have a public voice anymore.
00:07.600: I can't remember.
00:07.600: It's amazingly powerful, and it's I'm telling you, it's the tool you want to use.
00:07.600: No, not at all.
00:07.680: And I want to apologize.
00:07.680: I also think that
00:07.680: There's a great community around it.
00:07.680: There's no indication that I have whatsoever that Apple's going to get tired of doing Funnel Cut.
00:07.680: We will be back next week with another episode of The Grill.
00:07.760: I need to work on removing layers of filter.
00:07.760: How do people find your show, your podcast, you on the Twitter and everything like that?
00:07.760: And there's a lot of younger people, say in their thirties or so.
00:07.840: I also want to thank, before we get into that, I also want to thank the people from Premium Beat.
00:07.840: And
00:07.840: And the other question was, okay, I have
00:07.840: I don't think it looks at iCloud.
00:07.840: And they made the Mercury playback engine.
00:07.840: I never use it.
00:07.920: Sure.
00:07.920: Like, if let's say you have.
00:07.920: Okay?
00:07.920: I don't have all the bitching staff that you have and the awesome.
00:07.920: I like those things.
00:07.920: The layer inside the OS was QuickTime.
00:07.920: But
00:07.920: So you're like, okay, well, that's a very cool workflow.
00:08.000: It's wildly successful.
00:08.000: And by picking up a clip and
00:08.000: So, what I would do is I would have a folder that says, you know, SEAL Tour 2014.
00:08.000: 0 anything.
00:08.000: Yeah, yeah, yeah.
00:08.000: I can import an H.
00:08.080: Hey, so this week this week's episode is great.
00:08.080: Yep.
00:08.080: Last I talked to him, I believe he said he does all of the editing for his podcast just in Final Cut.
00:08.080: That makes that makes perfect sense.
00:08.080: All I'm doing is I'm taking a 200-megabyte file and making an 800-megabyte file out of it.
00:08.080: And
00:08.080: It was fun.
00:08.080: The other thing that I want to mention, and I talked a little bit about it, about how
00:08.160: Done deal, Fenn.
00:08.160: Yeah, well, that's kind of what we do.
00:08.160: Breaking the link from the original.
00:08.160: How to use disk utility, right?
00:08.160: But like any software company, software has a shelf life or
00:08.160: And I looked at it and I go, Yeah, but you know what?
00:08.240: So
00:08.240: Yeah.
00:08.240: And then from there, you drop them into your timeline.
00:08.240: So I know that ProRes is a video codec, and it's what.
00:08.240: And while it's doing that transcoding in the background, it will magically just
00:08.320: And I think that that was before
00:08.320: I mean, we are all digging that.
00:08.320: You know, kind of the screen flow thing that you introduced me to.
00:08.320: Now, if you go into audio enhancements and hit the little arrow to the right.
00:08.320: And they have these like kind of pow I call them power sliders.
00:08.320: png.
00:08.320: Now it when you pull down
00:08.320: In other words, can I create a project on my phone and then bring it into Final Cut and make it awesome?
00:08.320: Looking at Final Cut, I'm thinking
00:08.320: These are fundamental differences.
00:08.400: Hey, quick question.
00:08.400: I can put video below the primary storyline
00:08.400: So like if you're
00:08.400: And then I would have a bunch of folders.
00:08.400: I would want some money.
00:08.400: Not at all.
00:08.400: So and then how about your own per
00:08.480: And what are the stumbling blocks for somebody brand new trying to like
00:08.480: Now these are three things that people are always asking for.
00:08.480: Okay, so I'm.
00:08.480: And I agree, you know, there's a lot of things that you wish you knew, but
00:08.560: Maybe you should hit
00:08.560: So, um, hold on, I'm getting a
00:08.560: Right, right.
00:08.560: At any rate, it's not.
00:08.560: That was all your fault.
00:08.560: And had I been trying to do this job in Final Flat 7,
00:08.640: But the library
00:08.640: And then the sparse bundle acts like a hard drive.
00:08.640: Easy.
00:08.640: Oh, okay.
00:08.640: Called in the big guns.
00:08.640: We talk about it a lot on this show.
00:08.640: I really appreciate you taking the time, and we'll do this.
00:08.720: It'll be the crossover episode.
00:08.720: And then the other thing that's really important, and I've talked about this multiple times on the show.
00:08.720: And again, thanks for letting me take last week off.
00:08.800: I go, hey,
00:08.800: Because you're already using Lightroom.
00:08.800: I was going to it's on my list to ask you.
00:08.800: So I use After Effects every single day.
00:08.800: Yes, easy.
00:08.880: Hey, I took a week off.
00:08.880: And uh
00:08.880: And that's why Screenflow is so powerful and so fast.
00:08.960: I totally screwed up.
00:08.960: But as a result, I wouldn't call
00:08.960: One of my biggest beefs is that
00:08.960: I should probably learn Premiere.
00:08.960: And actually, after we finished that interview,
00:09.040: Hey, I got a few questions.
00:09.040: I launched Final Cut, which is another thing entirely, because I bought it.
00:09.040: So let's say you have.
00:09.040: Awesome.
00:09.040: But there's a plus side to that, too.
00:09.040: No problem at all.
00:09.040: 264 file and I can begin editing immediately.
00:09.120: If you move a library and a job folder, and I highly recommend that you have
00:09.200: It's always in the top ten.
00:09.200: To your desktop
00:09.280: And of course, the obvious choice, if we're going to start doing video.
00:09.280: I don't know how I got through that.
00:09.280: Exactly.
00:09.280: Just leave it in first gear.
00:09.280: He toured with Seal.
00:09.280: And the job folder replaces
00:09.280: Okay?
00:09.360: Hey, what about?
00:09.360: It's not like that.
00:09.360: Okay.
00:09.440: I'm like, Dude, I have a client sitting over my shoulder, can't talk now.
00:09.440: So I know that it's actually there with the gunshot.
00:09.440: It will duplicate it into the library package contents.
00:09.520: But even before the improvements, I was sold.
00:09.520: I can't remember what it was.
00:09.520: Yeah.
00:09.600: Hope all is well with you and yours.
00:09.600: Yeah, and because one of the other things that got me that I'm trying to
00:09.600: And I use After Effects with Final Cut 10 every single day.
00:09.600: And that's why generate image assets doesn't work.
00:09.600: Really?
00:09.680: And you'll hear it.
00:09.680: Now I will also say this, and it's good to know because
00:09.680: Exactly.
00:09.680: Because if you just want to do a series of stills
00:09.680: So if you're going to do this for a long period of time, I got news for you.
00:09.680: Yep.
00:09.680: All right, man.
00:09.760: Anyway, um
00:09.840: Let me see if I can find this one.
00:09.840: I have a j I have a Panasonic GH four which shoots 4K and a GH three which shoots
00:09.840: Screenflow is a great tool.
00:09.920: Where is no profit in it?
00:09.920: We got this great thing coming.
00:09.920: This is a fundamental difference.
00:10.000: And I gotta say, that was all done in Final Cut 7, obviously.
00:10.000: And it's just no, just put it down there.
00:10.000: Exactly, yeah, yeah.
00:10.000: No.
00:10.080: Yep, I'm just gonna say it.
00:10.080: Building blocks, right?
00:10.080: So the library can be
00:10.080: Every video we ever do
00:10.080: Whatever.
00:10.160: And it was an absolute pain in the butt.
00:10.240: Which episode of Twip should I listen to?
00:10.240: It seems to be liberating.
00:10.240: We don't know how long we're going to have oil and gas.
00:10.240: I never use it.
00:10.320: You're always using.
00:10.320: You'll be fine.
00:10.320: The new PNG is automagically created.
00:10.320: So I'm back in coach.
00:10.320: 1.
00:10.320: It was, and I'll tell you
00:10.320: But no, your site is sweet.
00:10.400: Now for somebody who's just getting started,
00:10.400: I call it the anti timeline is that
00:10.400: That's awesome, good.
00:10.400: A little bummer, Frederick.
00:10.480: And I said, dude, let's just record this and we'll do the whole thing.
00:10.480: I don't know.
00:10.560: I'm going to just start recording them.
00:10.560: And when you release your mouse, it will stay there.
00:10.560: Okay, so AV Foundation.
00:10.640: You'll hear it.
00:10.640: And if it doesn't work for you, it's like ugh.
00:10.640: 264s
00:10.720: I barely did, but.
00:10.720: Okay?
00:10.720: You don't have to transcode to ProRes.
00:10.720: So
00:10.800: 3.
00:10.800: Last time we changed this thing.
00:10.880: One, three.
00:10.880: And so
00:10.960: You should.
00:11.040: But it doesn't make sense
00:11.040: And, you know, here's the other thing that's really interesting.
00:11.120: Your little raw files.
00:11.120: I've never gotten
00:11.120: But it dawned on me, why is there a checkbox?
00:11.200: It's kind of funny.
00:11.200: So, all right, so here's another question, Chris.
00:11.280: And so
00:11.520: Probably 95% of the time, that's all I use.
00:11.520: I know I didn't ask permission, but.
00:11.600: I can pick it up and move it down.
00:11.600: Yeah.
00:11.680: Now I also want to say a very good friend of mine, Alex
00:11.680: You know, I got to say, dude, your website is what
00:11.680: Thank you for bringing me down.
00:11.760: You know, we did episode one hundred two weeks ago.
00:11.760: So, anyway, um
00:11.760: And it changes all software that deals
00:11.760: I think the way things were in the eighties and the nineties
00:11.840: It's my it's probably my favorite.
00:11.920: It's like
00:11.920: Hello, hello.
00:11.920: It doesn't matter.
00:12.080: Let's fix something here.
00:12.240: Okay, so can you just no, I'm kidding.
00:12.240: Now and and and in the
00:12.480: So.
00:12.720: Absolutely.
00:12.800: Yeah, your tiny little raw files.
00:12.880: So I'm just going to stick with my horse.
00:12.880: Okay, so that's just
00:12.960: But
00:13.040: And you're like.
00:13.040: So like you pull
00:13.120: Guess what?
00:13.120: Downer.
00:13.120: Yep.
00:13.200: You don't need it.
00:13.280: Just drop it in.
00:13.600: Things change.
00:13.680: So
00:14.160: Yes.