Episode 102
FCG102 - 4K for Instagram (feat. Joseph Linaschke)
Instagram and 4K don’t often get mentioned in the same breath so when Joseph Linaschke of thephotosexpert.com (formally Apeture Expert) told me he was shooting an Instagram promo video in 4K I had to hear more. Its a facinating exploration into resolution, and workflow and a whole lot of Mac stuff.
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Featuring
- Chris Fenwick
- Joseph Linaschke - @thephotosexpert
Transcription
00:00.160: Speaker 1: I have a little bit of a disclaimer to make here.
00:02.240: Speaker 1: I have a certain style, and some it usually serves the show well, and sometimes not so much.
00:09.340: Speaker 1: I like to hit the record button and then I call the people.
00:12.620: Speaker 1: And I just love the rough sort of feeling.
00:16.139: Speaker 1: Instead of like, okay, let's do the show now in three, two, one.
00:20.940: Speaker 1: However,
00:22.580: Speaker 1: So Joseph has Joseph is a very equality-minded person, and he actually has a very good microphone, and he has a whole computer setup, you'll hear about this, that he does all of his podcasting from.
00:37.320: Speaker 1: And I caught him by surprise because I didn't, we didn't tech anything.
00:42.199: Speaker 1: And he started talking.
00:43.800: Speaker 1: He's like, he sounds okay.
00:45.160: Speaker 1: And it didn't sound great, but he sounds okay.
00:47.000: Speaker 1: And, you know, and the bottom line is, it's, it's just a conversation.
00:50.360: Speaker 1: Well, about ten minutes into this this episode, you're going to hear we're going to have a little bit of a technical discovery.
00:59.740: Speaker 1: So I was gonna cut it out, but it's just uh whatever.
01:03.260: Speaker 1: It's just a show.
01:04.699: Speaker 1: Um enjoy the show.
01:07.720: Speaker 1: Hey, good morning, and welcome to another episode of Final Cut Grill.
01:11.960: Speaker 1: Today is episode 102, and I'm talking with my good friend Joseph Lanaszki.
01:17.259: Speaker 1: Joseph, now if you listened last week, it was Frederick Van Johnson.
01:20.939: Speaker 1: And I met Frederick through Joseph about four years ago, four and a half, coming up on five years ago.
01:27.640: Speaker 1: They did a thing down in Southern California where they did a this weekend photo Safari journey thing out to Joshua Tree.
01:35.880: Speaker 1: And that's when I met Frederick.
01:38.040: Speaker 1: He's a good guy.
01:39.320: Speaker 1: And the reason he called me last week with his questions about getting started in Final Ka 10 is that he had called Joseph first, and Joseph was like, Kaul Fenwick.
01:48.440: Speaker 1: And so.
01:49.340: Speaker 1: Anyway, I hooked up with Joseph again, or I chatted with Joseph again.
01:53.900: Speaker 1: I was like, so what are you working on?
01:55.500: Speaker 1: And he told me this really interesting story.
01:58.220: Speaker 1: And so that is.
02:00.700: Speaker 1: The journey or the conversation that we're going to have today.
02:04.060: Speaker 1: I'm not going to mention Premium Beat too much here because I do bring it up in the middle of the show.
02:09.519: Speaker 1: But you know, go check them out.
02:11.039: Speaker 1: I'm good friends of this show and very generous supporting us.
02:15.360: Speaker 1: So I'm not going to belabor this too too much, but let's go now to the interview with my good friend Joseph Lynn Ashkena.
02:25.400: Speaker 2: Greetings.
02:26.439: Speaker 1: Hello, Mr.
02:27.079: Speaker 1: Lanaski.
02:27.879: Speaker 1: How are you doing today?
02:29.159: Speaker 2: Hello, Mr.
02:29.720: Speaker 2: Fenwick.
02:30.280: Speaker 2: I'm doing quite well.
02:31.079: Speaker 2: And yourself?
02:32.040: Speaker 1: Uh, I'm good.
02:33.760: Speaker 1: And I'm excited to hear all about your your travels and your experiences with your new little project you're working on.
02:42.080: Speaker 2: A little Uddy Buddy project.
02:44.160: Speaker 2: It's little, because it's Instagram that makes it little.
02:47.780: Speaker 2: Cool.
02:49.700: Speaker 2: Cool again, cut.
02:52.180: Speaker 2: Am I overdue?
02:52.740: Speaker 2: I'm overdriving.
02:53.460: Speaker 2: Let me turn this down.
02:54.900: Speaker 1: Are you going to turn down there?
02:56.580: Speaker 2: Yeah, there we go.
02:57.460: Speaker 2: That's a little better.
02:58.340: Speaker 1: Okay.
02:59.299: Speaker 2: Cool.
02:59.780: Speaker 2: I think so.
03:00.180: Speaker 2: I'll keep an eye on things.
03:01.379: Speaker 1: So you um I don't know if you I think you know this.
03:04.180: Speaker 1: Uh last week I had um Frederick on and apparently according to what you said to me on the phone that he contacted me 'cause you said, Yeah, you should just contact Fenrick.
03:14.060: Speaker 2: Yeah, basically I said, Heck, I don't know what I'm talking about.
03:15.820: Speaker 2: Talk to Finland.
03:16.460: Speaker 2: He knows everything.
03:17.500: Speaker 1: Hardly.
03:18.700: Speaker 2: So I actually listened to that show.
03:20.620: Speaker 1: Yeah.
03:21.100: Speaker 2: I listened to that and I learned something totally new.
03:24.900: Speaker 2: That I kind of sort of put into place already, but something I definitely want to ask you about, too.
03:29.140: Speaker 2: So don't let me forget to ask you that question.
03:31.140: Speaker 1: Okay, do you want to do that now?
03:33.120: Speaker 1: Well, sure, why not?
03:34.320: Speaker 2: So you said on the show that you turned off that whole optimize media checkbox in Final Cut 10
03:42.379: Speaker 2: Then your logic was perfectly sound.
03:44.860: Speaker 2: And I thought, wow, that's probably completely would work for me too, except that the media I'm bringing in is 4K.
03:49.819: Speaker 2: So I didn't know how well that would actually work.
03:52.540: Speaker 2: And so I tried it.
03:54.320: Speaker 2: But albeit I tried it live doing a little demo, and I only had a couple of seconds of footage that I was importing and playing with, and it played back fine.
04:01.440: Speaker 2: Now this is off my MacBook Pro Retina, sending it with the SSD drive, so clearly that's a really good fast
04:06.940: Speaker 2: hard drive but yeah it was 4k footage off of the gh4 and from what i could see it was playing back fine again i only gave it a couple seconds but i wanted to know if you had done
04:15.900: Speaker 2: That with 4K footage.
04:17.739: Speaker 1: Okay, so let's rewind a little and back up.
04:21.260: Speaker 1: So Frederick was having, let me think if I can remember.
04:24.620: Speaker 1: Frederick was at a point where
04:27.340: Speaker 1: I think somebody along the way had said, Hey, Frederick, you should be looking at Final Cut 10 and so he wanted he had done like a day's worth of Lynda tutorials and then he had a few questions.
04:36.540: Speaker 1: So he said, I'm going to call Fenwick.
04:38.340: Speaker 1: And I basically essentially gave him like an hour of consulting, if you will.
04:42.260: Speaker 1: But it it made for a great conversation.
04:44.500: Speaker 2: I hope you sent him a bill.
04:46.660: Speaker 1: Yeah, I probably should.
04:49.800: Speaker 1: Hi, I want to be on my podcast.
04:51.160: Speaker 1: What's this bill for?
04:54.600: Speaker 1: Yeah, that's a great way to make enemies.
04:57.960: Speaker 1: Yeah, you talk to me.
04:59.160: Speaker 1: What?
05:01.220: Speaker 1: And so the topic came up about optimized media.
05:04.900: Speaker 1: And I've talked about that many times.
05:06.580: Speaker 1: And there are people that say I'm crazy for not doing that.
05:10.500: Speaker 1: But in my day-to-day operations, I do not have issues.
05:13.940: Speaker 1: I've done plenty of stuff.
05:16.180: Speaker 1: But there's people like Alex Lindsay, who absolutely swears.
05:20.099: Speaker 1: As a matter of fact, he won't even let Funnel Cut do the optimization.
05:24.819: Speaker 1: His rule of thumb at Pixel Core is that they
05:28.620: Speaker 1: Transcode all media to the final destination resolution and codec.
05:34.780: Speaker 1: Well, not final destination, but to the
05:38.880: Speaker 1: to the desired resolution and codec before they import.
05:43.759: Speaker 1: Wow.
05:44.479: Speaker 1: Yeah, and I thought that was a little draconian, a little severe, because
05:49.380: Speaker 1: It just means I don't get to cut as quick.
05:51.700: Speaker 1: And I used to work that way, but it's 2014, so I'd like to work a little faster.
05:56.900: Speaker 2: Yeah, that was what you would have had to have done.
05:59.260: Speaker 2: Final Code seven days.
06:00.780: Speaker 1: Exactly.
06:01.500: Speaker 1: So but that's the way he chooses to work.
06:05.500: Speaker 1: So your experience that now you contacted me and said, Hey, I'm working on this Instagram promo video.
06:12.220: Speaker 1: Which you know, who wouldn't thought that would be like a thing?
06:17.020: Speaker 2: Dude, it's a marketing engine.
06:18.060: Speaker 2: What do you think?
06:18.460: Speaker 1: No, no, no, no, I get it.
06:19.740: Speaker 1: I get it.
06:20.139: Speaker 1: It does make sense.
06:20.940: Speaker 1: It just feels weird saying it out loud.
06:24.300: Speaker 1: And so you're you've um
06:26.900: Speaker 1: Uh it's uh a clothing land, I believe?
06:29.860: Speaker 2: Right.
06:30.180: Speaker 2: Well it it's no, it's used clothing.
06:31.940: Speaker 2: It's like a vintage clothing um person seller.
06:35.220: Speaker 2: That's what she's got a little shop out of her out of her uh bedroom, out of her house, whatever.
06:40.160: Speaker 2: where she sells used clothes.
06:41.840: Speaker 1: Very interesting.
06:42.560: Speaker 1: Okay.
06:42.880: Speaker 1: So it's not Goodwill, it's uh Tammy's Will or whatever her name is.
06:46.720: Speaker 2: Right.
06:46.880: Speaker 2: And it's it's funny 'cause um a lot of the stuff that she gets, it's not
06:50.320: Speaker 2: necessarily used.
06:51.360: Speaker 2: A lot of it is vintage things that she's picked up.
06:53.920: Speaker 2: She scours every every couple of days she's shopping.
06:57.280: Speaker 2: And she goes to other cities to shop to just look for bargains, look for deals, look for things that she can resell.
07:01.840: Speaker 2: Some of it is actually new, but, you know, whatever it's all got, I guess, kind of a similar vintage look to it.
07:06.800: Speaker 1: Yeah.
07:07.200: Speaker 2: But yeah, the whole thing is that she sells
07:09.720: Speaker 2: Almost exclusively does her marketing on Instagram.
07:12.520: Speaker 2: She has a website too, but people don't really come to the website, I don't think that often.
07:15.800: Speaker 2: It's more Instagram.
07:17.080: Speaker 2: And she posts photos of the clothing.
07:20.139: Speaker 2: quite often it's just a picture of a item of clothing hanging on a hanger.
07:23.020: Speaker 2: And she's just shooting it probably with her iPhone, puts a whatever kind of an old effect filter on it, so it's got a little coolness to it, and posts that and says, you know, this blouse, fifteen dollars, whatever.
07:31.979: Speaker 2: And she's worked with photographers and had
07:34.720: Speaker 2: proper photo shoots done.
07:36.320: Speaker 2: Again, nothing really fancy just going out into going out in the woods or whatever and shooting some cool kind of fashiony shots and posted those.
07:44.020: Speaker 2: And so we talked about doing some video, and so that's what this was.
07:46.980: Speaker 2: So that's the premise of all this.
07:48.580: Speaker 2: That's what we're working on: is little videos for Instagram.
07:50.820: Speaker 1: Yeah, it's fascinating.
07:52.920: Speaker 1: The uh I I find that social media tends to be almost generational, you know?
07:59.400: Speaker 1: I mean n not entirely, but there are some like groups of people that just uh totally gravitate toward Instagram.
08:05.400: Speaker 1: I don't get it.
08:06.120: Speaker 1: I think Instagram
08:07.620: Speaker 1: My beef with Instagram is that especially on her for her situation, if she's trying to sell an item of clothing, I would like to be able to zoom in and look at the detail on that.
08:17.699: Speaker 1: And you can't zoom on Instagram.
08:19.720: Speaker 1: True.
08:20.280: Speaker 1: True.
08:20.840: Speaker 1: I think that's kind of bogus.
08:22.040: Speaker 1: I think she should move to Twitter.
08:23.320: Speaker 1: Let's move her over to Twitter.
08:24.520: Speaker 1: What do you say?
08:25.960: Speaker 1: I don't think so.
08:28.120: Speaker 1: It's not quite the same browsing experience.
08:30.440: Speaker 1: Yeah, I don't it it uh I just don't I don't know I think it's it's cheap enough items, right?
08:35.320: Speaker 2: It's like this blouse is 12 bucks or 10 bucks or maybe 20.
08:38.760: Speaker 2: I think it's probably the most expensive thing that you would have.
08:41.080: Speaker 2: And you see it, it looks cute.
08:42.760: Speaker 2: It's
08:44.160: Speaker 2: I don't know, almost exclusively or exclusively women's clothing.
08:48.160: Speaker 2: And it's more impulse, oh, that's really cute.
08:50.400: Speaker 2: And just the first person on there to say, I'll take it
08:53.240: Speaker 2: Gets it and then she does it over PayPal, whatever, and off they get off they go.
08:57.080: Speaker 1: Fascinating.
08:58.040: Speaker 1: I there's there's so many ways to make a living these days.
09:01.640: Speaker 2: Isn't that the truth?
09:02.520: Speaker 2: It's incredible.
09:03.480: Speaker 1: It's crazy.
09:04.120: Speaker 1: I mean, it's almost like she's
09:06.220: Speaker 1: It's almost like she has her own home shopping network.
09:10.380: Speaker 1: Oh, we only have one.
09:11.260: Speaker 1: Oh, we're sold out of that.
09:12.220: Speaker 1: Let's move on.
09:12.940: Speaker 2: Basically, oh, and that's exactly it because most things are one-off.
09:16.300: Speaker 2: There's not multiple sizes, there's not multiple copies, it's just one of them.
09:19.459: Speaker 1: And that's what there is.
09:20.580: Speaker 1: Wow.
09:21.459: Speaker 1: Who would think that in that that the technology would become so such a commodity that it's just like, yep, take a picture, post it, done.
09:31.300: Speaker 1: In, out, done.
09:32.339: Speaker 1: Sold it.
09:32.820: Speaker 1: Made my twenty bucks.
09:35.200: Speaker 1: She's selling it for fifteen or twenty bucks.
09:37.520: Speaker 1: I mean, what's her profit?
09:38.560: Speaker 1: She's paying like five or seven bucks for it.
09:40.880: Speaker 2: So she says she'll go to the dollar bins and find a lot of the stuff out of the dollar bins.
09:46.240: Speaker 1: Wow.
09:47.040: Speaker 2: So she makes quite a healthy profit.
09:48.820: Speaker 1: Wow, that's it's very interesting.
09:52.180: Speaker 1: But again, the technology, it's so drop dead simple for her to post this on Instagram, and she's got the finance part set up.
10:01.459: Speaker 1: I just think it's fascinating that it's a bi that like like that's a thing, that's a business.
10:06.740: Speaker 1: I don't know.
10:08.820: Speaker 1: He's still there.
10:10.339: Speaker 1: I think I lost him.
10:12.899: Speaker 1: Joseph?
10:15.320: Speaker 2: Here, hold on.
10:17.400: Speaker 2: I'm I think that you're not hearing me through the right mic.
10:20.760: Speaker 2: Do you hear me now?
10:21.720: Speaker 1: I do hear you.
10:22.840: Speaker 2: Hold on.
10:26.580: Speaker 2: Do you hear me?
10:27.540: Speaker 1: Is that Oh, that sounds a lot better.
10:30.420: Speaker 2: Yeah, okay.
10:31.060: Speaker 2: Hm.
10:31.620: Speaker 2: I've uh
10:32.740: Speaker 2: I thought I had this set up right.
10:33.780: Speaker 2: I've been having some issues with my mic set up.
10:36.180: Speaker 2: And apparently I was talking to you through a mic that was sitting in a box.
10:41.540: Speaker 1: Okay, so this is a great lesson for the new podcast that.
10:46.360: Speaker 1: Carl Olson and I are producing called The Podcaster's Guide.
10:49.720: Speaker 1: And this is quite interesting.
10:51.000: Speaker 1: Yes, most computer many computers have multiple ways to bring in an audio source, and this sounds much better.
10:58.540: Speaker 2: Well, that's good.
10:59.260: Speaker 2: See, you know, part of the problem is that you start recording the instant you call.
11:02.700: Speaker 2: So we don't get any preamble.
11:04.140: Speaker 2: Let's make sure everything's working.
11:05.500: Speaker 1: Don't blame it on me.
11:06.779: Speaker 2: I'm totally blaming it on you.
11:08.140: Speaker 2: I'm blaming it on you and my duet, which I've.
11:11.100: Speaker 2: Yet to apparently figure out.
11:14.620: Speaker 1: Okay, well, I apologize to the listeners for the last nine minutes of audio from Joseph, and it sounds much better now.
11:21.340: Speaker 1: So thanks for that.
11:23.140: Speaker 1: And am I hot enough?
11:23.940: Speaker 1: Yeah, it looks like it's not.
11:25.140: Speaker 1: I'll tell you.
11:25.700: Speaker 1: Yeah, yeah, actually, no, the level looks good here.
11:28.260: Speaker 1: You can bring it up if you want.
11:30.020: Speaker 1: And I will reference that at the beginning of the show.
11:33.140: Speaker 1: Okay.
11:33.940: Speaker 1: So what I was saying was, I think it's fascinating that this woman has made this into a business and that the technology is so accessible to her that it's not that big a deal.
11:44.540: Speaker 1: Because if we were to go back 10, 15, 20 years, and you said, I'm going to sell one blouse at a time by taking a photo, digitizing it.
11:55.420: Speaker 1: Posting it on the internet, asking people to, you know, it's like, really?
12:00.060: Speaker 1: That's not going to work for one for one shirt?
12:02.459: Speaker 1: No.
12:03.100: Speaker 2: Right, exactly.
12:04.220: Speaker 1: Okay.
12:05.440: Speaker 1: So you got involved not at the photographic level, but to do a promo video.
12:13.280: Speaker 2: Yeah, exactly.
12:14.320: Speaker 2: And to be totally honest about it, I don't think.
12:17.779: Speaker 2: this is a a viable long-term thing for her to do because it would be far too expensive for me to produce videos for her.
12:25.959: Speaker 2: I did this for her for free because I wanted to do some testing.
12:29.480: Speaker 2: I wanted to do some experimenting.
12:30.600: Speaker 2: I wanted to shoot with a new camera.
12:32.279: Speaker 2: I wanted something kind of an interesting project.
12:34.960: Speaker 2: To put together, and I had, I just demoed this project last night, so I needed something for demo content for something I was doing
12:42.620: Speaker 2: So that's why I did it.
12:46.380: Speaker 2: Again, what I would have to charge her to make this actually profitable, I don't think would be it would be too expensive for her.
12:52.300: Speaker 1: You have to sell a whole lot more glasses.
12:56.060: Speaker 1: I said she'd have to sell a whole lot more blouses.
12:59.100: Speaker 2: Yeah, basically.
13:00.780: Speaker 1: Okay, so let's kind of work this resolution problem backwards, because that's why you initially contacted me.
13:07.140: Speaker 1: Instagram, as I understand it, broadcasts all of its images at six forty by six forty?
13:12.580: Speaker 1: Correct.
13:13.300: Speaker 1: Okay.
13:13.860: Speaker 1: But you had decided that you were going to produce this video at
13:18.840: Speaker 1: 1280 by 1280, double the resolution.
13:21.800: Speaker 1: Why did you choose that?
13:23.640: Speaker 2: Because 640 by 640 is minuscule and if we want to put these somewhere other than Instagram, let's say we just want to put them on YouTube, maintain the same square format, why not?
13:33.480: Speaker 2: But put them somewhere else.
13:34.600: Speaker 1: I wanted to have the resolution to do that.
13:36.600: Speaker 1: Did you consider in the broadcast world, over as most people know.
13:42.160: Speaker 1: The last decade, 15 years, have been an absolute nightmare when it comes to aspect ratio in the television world.
13:47.600: Speaker 1: And still, to this day, if you watch something like
13:50.500: Speaker 1: you know, um, David Letterman or, you know, all the late night talk show guys, um, they tend, I believe they all and I I don't watch them that much anymore, except for what I see on YouTube.
14:03.000: Speaker 1: the typical production technique is to do what's called a center cut framing.
14:07.320: Speaker 1: So uh the camera guys in the studio have raticules inside their viewfinder that show where
14:15.720: Speaker 1: Things would be center cut.
14:17.160: Speaker 1: Now, again, I know that there's people that do a lot more broadcasts than I do because I don't do it anymore.
14:22.040: Speaker 1: And they're probably laughing at me, going, Yeah, Fenwick, that's what we used to do ten years ago.
14:26.319: Speaker 1: But um did you consider possibly just shooting the video and doing the whole thing um s at 16 by nine, but favoring the center framing?
14:40.040: Speaker 2: No.
14:40.600: Speaker 1: Okay, so you decided to just go all out.
14:43.480: Speaker 1: We're going to make a square video.
14:45.240: Speaker 2: Right, because keep in mind the size of the video that you're looking at, not just the 640 by 640, but the fact that you're looking at it on a small screen.
14:53.240: Speaker 2: An iPhone screen, iPhone or Android screen, cell screen screen, cell phone screen, excuse me.
14:57.399: Speaker 2: That's basically what you're looking at.
14:58.920: Speaker 2: So you can't really be watching this on a big screen TV projected or anything like that.
15:03.560: Speaker 2: You're looking at it small.
15:04.920: Speaker 2: So, I needed to be able to zoom into the elements that we're showing.
15:10.040: Speaker 2: So, if we're showing a girl dressed up in a blouse and a hat and jewelry and rings and all this.
15:15.300: Speaker 2: It's not just showing the big picture, it's being able to zoom in in the video to show not just even whole elements, but individual pieces of the elements.
15:23.860: Speaker 2: Like zoom into the collar, show this little button, show this detail.
15:26.940: Speaker 2: And like you had said, that you can't zoom in, you can't pinch to zoom in on Instagram on pictures.
15:31.580: Speaker 2: Well, I can do that in the video so that the viewer does get to see more than they would from a single picture.
15:36.640: Speaker 2: And so I knew that I'd be zooming in camera and pushing in on the shot, which I know is part of what we're going to talk about here.
15:44.560: Speaker 2: But knowing that
15:46.200: Speaker 2: I knew that I would be basically filling the frame wherever I wanted to with the square aspect ratio.
15:50.839: Speaker 2: So I just shot it how I wanted to shoot it, and I shot it 16 by 9.
15:54.040: Speaker 2: Um but yeah, I'm just pushing in and moving around however I want to fill the frame.
15:57.720: Speaker 1: Okay, so so by producing it at that smaller resolution, it gave you the ability to make those close-ups that I don't get to choose with my pinching on my device.
16:08.900: Speaker 2: Right, exactly.
16:09.780: Speaker 2: And so some of the close-ups are camera moves and camera zooming in, and some of them are pushing into the frame.
16:16.020: Speaker 1: Right.
16:16.459: Speaker 1: So this is a this brings up a really interesting problem.
16:19.260: Speaker 1: So if you're taking 640 by 640 and you want to create that at double resolution, you're now at 1280 by 1280, boom, you are a
16:29.300: Speaker 1: You have exceeded the vertical resolution of HD, and therefore you decide to shoot at 4K.
16:36.340: Speaker 1: You got it.
16:37.480: Speaker 1: Okay.
16:38.520: Speaker 1: It makes a lot more sense when you do the math and you look at the numbers and you go, what the hell?
16:43.560: Speaker 2: Right.
16:44.200: Speaker 2: Right.
16:44.520: Speaker 2: And you know, the 1280 by 1280, it's not.
16:47.339: Speaker 2: Totally arbitrary.
16:48.300: Speaker 2: It is obviously it's double what is on Instagram now.
16:51.259: Speaker 2: Will Instagram double their resolution?
16:53.420: Speaker 2: I you know, I doubt it, but they could.
16:56.640: Speaker 2: Right.
16:57.600: Speaker 2: People are getting the bandwidth, and we have retina screens, and there are cell phone screens out there that are 1280 tall, which is just ridiculous, but they're out there.
17:07.120: Speaker 2: So
17:07.740: Speaker 2: Why not?
17:08.380: Speaker 2: It could happen.
17:09.339: Speaker 2: And again, if I'm gonna size it to go up on YouTube, may as well.
17:13.020: Speaker 2: I've got something bigger and I can always scale it down, but
17:15.260: Speaker 2: Can't really scale up.
17:16.140: Speaker 1: So Yeah, you know, that's one of those things where, you know, I remember when YouTube was the only social video app or uh a site out there and um
17:26.839: Speaker 1: And then this new upstart comes up, Vimeo, and Vimeo would do HD.
17:31.240: Speaker 1: So everybody's like, Vimeo?
17:32.919: Speaker 1: You know, and they're turning their back on YouTube.
17:35.559: Speaker 1: And next thing you know, YouTube's doing HD.
17:37.400: Speaker 1: So it's almost like.
17:39.120: Speaker 1: you know, if it's a race for resolution at th on their part, you know, they probably do need to do something because I can't be the only person that thinks six forty by six forty and not being able to zoom in on it, even if it's just small crappy pixels.
17:53.740: Speaker 1: Right now, I can't be the only person.
17:55.100: Speaker 2: You know what's it's crazy though, is I the 640 by 640 for stills may not be correct, but I see that everywhere.
18:02.740: Speaker 2: But I'm looking at them on a retina screen iPhone and pictures look really good on there.
18:07.860: Speaker 2: I really don't think that those are all being pixel double doubled on the screen.
18:11.940: Speaker 2: It just doesn't seem like it is.
18:12.980: Speaker 2: They seem a lot sharper than that.
18:14.580: Speaker 2: So I don't know.
18:15.540: Speaker 2: I don't know what they're doing there.
18:17.120: Speaker 1: Well, it could be something that Apple's doing.
18:19.760: Speaker 1: You know, we just got a couple of these 5K iMacs I'm sitting at right now.
18:24.240: Speaker 2: Did you?
18:24.800: Speaker 2: I was supposed to, oh man, I was just in Portland.
18:27.240: Speaker 2: I had every intention of going by the Apple store until check that out, and I just ran out of time.
18:32.440: Speaker 1: Wait, hold on.
18:33.080: Speaker 1: I know I know you're not living in the geographic mecca, you know, ultra
18:40.520: Speaker 1: Not even a tiny mountain.
18:42.520: Speaker 1: So, how far away is the nearest Apple store?
18:44.760: Speaker 2: Portland, five hours.
18:46.040: Speaker 1: Jeez, oh my goodness, you poor guy.
18:48.680: Speaker 2: Tell me about it.
18:50.400: Speaker 2: I gotta wait for crap to come to Best Buy, man.
18:52.560: Speaker 1: Oh wow, that sucks.
18:53.600: Speaker 1: You know, I will tell you, when you do sit down at a 5K iMac, and I encourage everybody to do this.
19:01.040: Speaker 1: And now
19:02.200: Speaker 1: People I know at the Apple stores are like, Fenwick, shut up.
19:05.880: Speaker 1: Go to the system preferences.
19:08.520: Speaker 1: Go to the display control panel.
19:13.760: Speaker 1: And actually, you can do this on your Retina laptop too.
19:17.360: Speaker 1: Did you know that if you hold down the option key, when you click on the scaled
19:22.900: Speaker 1: Button.
19:23.780: Speaker 1: Right, you get the actual resolutions.
19:25.540: Speaker 1: Actual resolutions that are available, which is actually quite handy for somebody like yourself who goes around and does demos because you can see the resolutions that match your projection.
19:33.440: Speaker 2: Right, and you'll get additional resolutions that way.
19:36.080: Speaker 1: Yes, you will.
19:37.120: Speaker 1: So when you click on the scaled, option click on scaled in the control panels on a Retina 5K iMac.
19:45.900: Speaker 1: The top resolution is fifty-one twenty by twenty-eight hundred
19:55.000: Speaker 1: That's insane.
19:56.200: Speaker 1: Okay, so now I don't want to do this while I'm recording the show, but here's the thing.
20:00.760: Speaker 1: When you do that and then you do a screen grab of it, it's not even fifty one twenty, it's sixty four hundred
20:08.700: Speaker 1: By 3600.
20:10.220: Speaker 1: And I don't understand why that is.
20:12.140: Speaker 2: That's interesting.
20:12.860: Speaker 2: Email me one of the screenshots, would you?
20:14.620: Speaker 2: I will do that.
20:15.740: Speaker 2: You might use a Dropbox.
20:19.460: Speaker 2: It's insane.
20:20.420: Speaker 1: Yeah, I'll put it on a memory stick and FedEx it to you.
20:23.140: Speaker 1: It's too big to use on the internet.
20:27.019: Speaker 2: So I want one?
20:27.659: Speaker 2: Is that what you're telling me?
20:29.419: Speaker 1: It's a nice machine.
20:30.539: Speaker 1: You know, it's the future.
20:31.820: Speaker 1: It's the newest.
20:33.740: Speaker 1: Don't we always do that?
20:35.040: Speaker 2: Yeah.
20:35.360: Speaker 2: See, I'll and here, I know we're totally getting off topic here, but that's okay.
20:39.360: Speaker 2: It's your show.
20:39.920: Speaker 2: We can do whatever you want.
20:41.120: Speaker 2: I got a Retina MacBook Pro recently.
20:43.900: Speaker 2: And top spec, 15 inch, all kitted out.
20:46.700: Speaker 2: This is I bought this thing to be my primary machine for the next several years.
20:50.380: Speaker 2: Obviously, now I have to have a desktop display to go onto it.
20:53.620: Speaker 2: And that's the hard part.
20:54.900: Speaker 2: What desktop display do you put on this thing?
20:56.660: Speaker 2: Because you're looking at this ridiculously awesome Retina 15-inch MacBook Pro screen, and now I need something on my desktop that doesn't suck.
21:04.840: Speaker 2: I'll tell you the whole process of what I've gone through.
21:06.360: Speaker 2: I bought a Samsung 28-inch 4K display.
21:10.519: Speaker 2: It was only $600.
21:11.720: Speaker 2: So you kinda right there, you go, something's wrong with this thing.
21:13.960: Speaker 2: It gets too cheap, but I gotta try it.
21:15.720: Speaker 2: Another buddy of mine has one.
21:16.919: Speaker 2: He says he loves it.
21:17.639: Speaker 2: So, you know, why not?
21:18.440: Speaker 2: Give it a try.
21:19.320: Speaker 2: So, I plug this thing in.
21:21.000: Speaker 2: First thing, when you're running at 4K, at 28 inches, it's way too small.
21:25.480: Speaker 2: 28 inches is way too small physically to run 4K, unless you're 20 years old, right?
21:30.520: Speaker 2: I don't have 20-year-old eyes.
21:32.940: Speaker 2: That's just microscopic, so forget that.
21:34.780: Speaker 2: So that's out.
21:35.740: Speaker 2: So then it'll run at what is effectively retina.
21:39.180: Speaker 2: It does the looks like
21:41.240: Speaker 2: 1920 by 1080 and you everything is pixel doubled.
21:44.200: Speaker 2: The Mac recognizes it that way and it puts it as a retina screen.
21:48.200: Speaker 2: And it looks
21:49.140: Speaker 2: Fabulous, except that it's only in 1920 by 1080 workspace.
21:52.740: Speaker 2: That's a problem, isn't it?
21:53.620: Speaker 2: That's a problem.
21:54.180: Speaker 2: That's just way too small.
21:56.100: Speaker 2: Plus, there's this other kind of slightly annoying thing on that Samsung display where the pixels aren't actually square.
22:03.320: Speaker 1: What?
22:04.120: Speaker 2: Draw a square on screen.
22:05.720: Speaker 2: Take a ruler, put it on the screen.
22:07.320: Speaker 2: It's wider than it is tall.
22:10.039: Speaker 2: And there's no adjusting.
22:11.360: Speaker 2: I got on the phone with their tech support.
22:13.200: Speaker 2: They had me try different cables, different computers, verified, yeah, it's absolutely not right.
22:18.000: Speaker 2: Send it in for service.
22:18.880: Speaker 2: I said, absolutely not.
22:19.600: Speaker 2: I just bought this thing.
22:20.159: Speaker 2: I'm shipping it back to Amazon.
22:21.279: Speaker 2: It was okay.
22:22.060: Speaker 2: Now, so before I do this, I'm going to check with my buddy who's got one.
22:24.620: Speaker 2: He said, Hey, why don't you, Jeff?
22:25.900: Speaker 2: Why don't you get out a ruler and check your screen?
22:27.660: Speaker 2: He writes me back.
22:28.300: Speaker 2: He's like, I hate you.
22:30.780: Speaker 2: He hadn't noticed.
22:31.980: Speaker 2: How far off is it?
22:34.200: Speaker 2: 3%.
22:35.560: Speaker 1: Ah, which would mean if you draw a circle, it's going to be technically an oval.
22:39.640: Speaker 1: You get it.
22:40.280: Speaker 1: Oh, that's like going back to D V world where we're dealing with 720 by 480.
22:45.160: Speaker 2: Yeah, and you can't do that.
22:46.280: Speaker 2: I mean, you can't look at a screen that's not correct aspect ratio all day long.
22:49.800: Speaker 2: And 3% is not much, and that's probably why people aren't making a stink about it.
22:53.080: Speaker 2: Most people don't notice it.
22:54.260: Speaker 2: But I noticed it immediately, and I thought, okay, there's got to be a setting for it.
22:58.419: Speaker 2: I'll go back and change it later.
22:59.940: Speaker 2: And then I kind of forgot about it, and I got used to it
23:02.140: Speaker 2: And then my wife came in and she saw it.
23:03.420: Speaker 2: She goes, Why is the screen not straight?
23:04.700: Speaker 2: I'm like, damn it, that's right.
23:05.740: Speaker 2: Okay, I have to go fix this.
23:06.860: Speaker 2: And that's when I started digging into trying to fix it and realized I couldn't, and on and on.
23:10.780: Speaker 2: So forget it.
23:11.340: Speaker 2: So that thing went back.
23:13.020: Speaker 2: So.
23:13.840: Speaker 2: The next display that I got, and this is what's sitting on my desk now, is this LG 22x9 or 22x9 aspect ratio monitor.
23:22.440: Speaker 2: It's pretty awesome.
23:23.320: Speaker 2: You like it?
23:24.440: Speaker 2: I do like it.
23:25.960: Speaker 2: Especially working in Final Cut.
23:27.400: Speaker 2: It's crazy cool, right?
23:28.840: Speaker 2: This is really a nice thing.
23:30.440: Speaker 2: It's almost too wide in the sense that if I'm just doing things like email, I want to have my email on the left-hand side of the screen, and that's like arms reach away now.
23:38.039: Speaker 2: I kind of have to take three steps over to see it.
23:41.220: Speaker 2: So that the fact that it's so wide, as awesome as it is for doing stuff in Final Cut or even working on pictures, it's not ideal for day-to-day work.
23:49.220: Speaker 2: It's a little bit cumbersome.
23:50.840: Speaker 2: And of course it's not retina.
23:52.520: Speaker 2: The colors are very good.
23:53.880: Speaker 2: I think the screen does look very good.
23:55.960: Speaker 2: But it's not retina.
23:57.799: Speaker 2: And
23:58.900: Speaker 2: Every time I get used to it sitting in front of it, and then I look at my laptop screen, then I compacted this, and I go, Oh, what is this piece of crap?
24:05.620: Speaker 2: I don't want this.
24:06.180: Speaker 2: I want retina.
24:07.140: Speaker 2: So that's why I'm thinking the 5K iMac.
24:09.060: Speaker 2: But I don't want another computer, right?
24:11.220: Speaker 2: All I want is the display.
24:12.580: Speaker 2: But as I'm sure.
24:13.300: Speaker 1: So here's the problem, and I think you've probably, I would assume you've heard about this, and we've talked about this on the show.
24:19.740: Speaker 1: There's not a Mac on the planet that can support a 5K display except for the iMac because of the display port limitations.
24:25.340: Speaker 1: So we're at kind of one of those dirty periods in the Mac history where everything has to play catch-up now to the 5K display.
24:33.240: Speaker 1: Yeah.
24:33.800: Speaker 2: Even you know Dell has got what I'm assuming is the same 5K display that they're going to be selling starting December, apparently, I guess this month.
24:40.440: Speaker 2: And originally they were going to sell it for $2,500.
24:42.200: Speaker 2: The iMac came out of
24:42.880: Speaker 2: 2500 and they realize they can't sell a computer display for the same cost when there's no computer inside it.
24:48.560: Speaker 2: Right.
24:48.880: Speaker 2: Oops.
24:49.440: Speaker 2: So they say they're dropping the price to two grand, which really, at that point, if that's the retail value of a 5K display.
24:57.320: Speaker 2: The iMac is a bargain at $2,500 for the base model because you're getting a truly powerful computer for $500.
25:03.640: Speaker 1: And it is an amazing display.
25:05.160: Speaker 1: It does look good.
25:05.960: Speaker 1: You know, and I think the thing that I.
25:09.299: Speaker 1: Yeah, we're way off topic here.
25:10.980: Speaker 1: That's okay.
25:11.539: Speaker 1: I think the thing that I use the retina for a lot is I actually prefer it in the more space mode.
25:18.120: Speaker 1: Do you?
25:18.680: Speaker 1: And I do.
25:19.640: Speaker 1: And I am in very much in the habit of using okay, let me use the right words.
25:28.100: Speaker 1: the accessibility zoom controls.
25:31.220: Speaker 1: So if you turn on use scroll gesture with modifier keys
25:36.700: Speaker 1: In the accessibility zoom controls under the control panel.
25:39.740: Speaker 1: And the accessibility is the thing that looks like a handicap guy because it's made for old people.
25:45.019: Speaker 1: Basically, when I hold down the control key and I use my little scroll ball thing on my mouse, and I think you have one of those those
25:53.660: Speaker 1: mice the magic mouse or whatever.
25:55.340: Speaker 1: Right, magic mouse, yeah.
25:56.380: Speaker 1: Yeah.
25:56.620: Speaker 1: Um but when you do the zo the the zoom gesture, you zoom in on the display and you have amazing resolution when you zoom in.
26:05.260: Speaker 1: So I'm actually using the display
26:08.220: Speaker 1: As sort of a flexible viewing field, if you will, because I quite often zoom on the display.
26:15.180: Speaker 1: Interesting.
26:15.740: Speaker 1: And I do that on my MacBook Pro too.
26:17.580: Speaker 1: And I used to think that I was just cheating the fact that I
26:20.720: Speaker 1: probably should get some reading glasses, but I don't want to because I'm vain.
26:25.120: Speaker 1: But it du it makes sense because you can open up two totally separate web pages side by side and have them be proportionately about right.
26:34.620: Speaker 1: And you can zoom in and out, and you know, and the zoom thing is what you know, guys like us who do demos on occasion
26:41.340: Speaker 1: you know, you you more so, I believe, still.
26:43.740: Speaker 1: But you know, we do it all the time, so you can show people stuff on a projector screen when they're when they're not sitting in the front row.
26:51.060: Speaker 1: I would recommend I recommend to people all the time, learn how to use that zoom control because on these higher resolution displays, it's actually quite useful.
26:59.140: Speaker 1: Sure.
26:59.620: Speaker 1: And as a matter of fact, I believe on the Retinas
27:06.000: Speaker 1: No.
27:07.840: Speaker 1: Yes.
27:08.480: Speaker 1: On the retinas, if you double tap on a column, like say on a newsfeed.
27:14.900: Speaker 1: and you have the zoom control turned on, it will automatically zoom that column to fill your browser with.
27:22.580: Speaker 1: Just going tap tap.
27:24.040: Speaker 1: So, even though you're in a higher resolution, and even though you have text that's much, much smaller, and even though you're 50 plus years old, at least I am, and you can't read it.
27:33.320: Speaker 1: If I go tap tap, all of a sudden all that resolution gets, I get to take advantage of it, and it zooms it out and it looks fantastic.
27:41.120: Speaker 1: Right.
27:41.840: Speaker 1: So anyway, resolution.
27:43.600: Speaker 1: So now let's get back to your Instagram video.
27:46.160: Speaker 1: You opt to shoot in 4K because you have this new camera.
27:49.680: Speaker 1: So tell me about the camera you were shooting with.
27:52.040: Speaker 2: The camera I was shooting with was the new Lumix LX one hundred, which is a pocket size, looks like a point and shoot camera, but it's a I'd call it a prose point and shoot.
28:03.640: Speaker 2: It's a zoom lens, but a nonchangeable lens.
28:06.419: Speaker 2: and for 24 to 75-ish zoom range, 1.
28:10.900: Speaker 2: 7 to I think 2.
28:12.179: Speaker 2: 8 variable aperture.
28:14.940: Speaker 2: It's gorgeous.
28:16.059: Speaker 2: The image quality is fantastic, and it shoots four freaking K.
28:20.059: Speaker 1: So I thought I started this conversation talking with my friend Joseph Lanaschke.
28:25.840: Speaker 1: But you appear to be an alien from another planet talking about technology that I didn't know was exist existed.
28:32.400: Speaker 1: Is it th so it's a little tiny point point and shoot
28:35.840: Speaker 1: Does it like catch on fire when you record for too long?
28:40.480: Speaker 1: You can shoot 4K, but you just can't hold it in your hand.
28:46.980: Speaker 1: I'm going to look this up while you're talking about it.
28:49.059: Speaker 2: You said it's the LX100.
28:53.220: Speaker 1: LX100 Lumix.
28:57.100: Speaker 1: Oh, look at that.
28:59.740: Speaker 1: Interesting.
29:02.220: Speaker 1: So, and it shoots 4K, which is astonishing and a little bit frightening.
29:09.400: Speaker 1: What what's the file format that comes out of it?
29:12.040: Speaker 1: MPEG-4.
29:13.400: Speaker 1: So it's just an MPEG-4 in an MOV wrapper or an MP4?
29:19.840: Speaker 2: Let me, you know what?
29:21.200: Speaker 2: Here, pause recording.
29:22.080: Speaker 2: Let me go grab the camera and I will tell you exactly the settings that are on there because you can make some choices.
29:26.080: Speaker 1: You go get the camera, and I'm going to do it a commercial while you run, go get the camera.
29:29.860: Speaker 2: All right.
29:30.659: Speaker 1: I want to say to everybody, first of all, thanks for listening.
29:34.019: Speaker 1: And it's always great to talk to Joseph.
29:35.700: Speaker 1: I miss, you know, when he was local, we'd go and have lunch together, but he lives up in the boonies now.
29:41.240: Speaker 1: But anyway, go and check out Premium Beats.
29:43.960: Speaker 1: com Premium Beatrather.
29:46.200: Speaker 1: com.
29:47.160: Speaker 1: Again, the new website is very powerful.
29:50.179: Speaker 1: I'm currently posting a piece for it's like a memorial it's an additional memorial sort of tribute thing to my friend who passed away earlier this year, Gordon.
30:00.260: Speaker 1: And I knew right away I was going to get the music from Premium Beat.
30:04.140: Speaker 1: And I gotta say, I went to Premium Beat and my new favorite composer is Dan Philipson.
30:10.460: Speaker 1: And I searched for Dan Phillipson because the guy just has a really powerful emotional style.
30:16.620: Speaker 1: And being able to search by the composer and knowing who your composers are is really powerful.
30:22.300: Speaker 1: And literally, the third cut of music I listen to, it's like Slam Dunk, that's the one I'm using.
30:27.740: Speaker 1: I was able to purchase it.
30:28.780: Speaker 1: I bought the loops.
30:29.580: Speaker 1: I bought the the shorts.
30:30.700: Speaker 1: I'll probably just use the loops in the main cut.
30:34.060: Speaker 1: But premium beats solved my music problem in
30:38.200: Speaker 1: Probably about two minutes, and I was on to cutting the piece.
30:42.280: Speaker 1: So go check out Premium Beat, check out the new website, and
30:46.240: Speaker 1: If you find something you like, do me a favor, tweet that, tweet it, say, Hey, I was listening to Funka Grill and I found my music through Premium Beat, because those guys dig here and that.
30:55.060: Speaker 1: So, thank you, Francois.
30:56.180: Speaker 1: Thank you, Danny.
30:56.980: Speaker 1: And thank you, Premium B, for being so generous and supporting what we're doing.
30:59.860: Speaker 1: So, tell me about your camera, Joseph.
31:01.780: Speaker 2: All right, cool.
31:02.340: Speaker 2: So, I got this thing.
31:03.380: Speaker 2: So, you have two choices: you can record an ABC HD or MP4.
31:07.640: Speaker 2: So I'm not quite sure why you'd do anything in ABC H D.
31:10.520: Speaker 2: So we'll just skip that.
31:12.120: Speaker 2: And it goes straight to MP4.
31:13.800: Speaker 2: So those are the two choices that you have for recording format on this camera.
31:17.160: Speaker 2: On the GH4 you get a lot more options, but still I mean basically you're you know
31:21.660: Speaker 2: MP4 is where you're where you're going to go.
31:24.380: Speaker 2: And then you have recording quality settings.
31:28.140: Speaker 2: And you can choose MP4 at 4K, so 3840 by 2160, at 30P, 100 megabit per second.
31:36.400: Speaker 2: You can choose 100 megabit 4K at 24p.
31:40.080: Speaker 2: And then you can drop down into regular HD, 1920, 1080.
31:43.360: Speaker 2: You can do 60p, 30p.
31:45.720: Speaker 2: drops down to 10 megabit.
31:47.240: Speaker 2: See that?
31:47.560: Speaker 2: Oh, that was 28 megabit, then 20 and then 10, and you can hold it down to VGA.
31:51.480: Speaker 2: I don't know why you do that, but you can.
31:56.180: Speaker 2: I do wonder why there is a VGA option on here?
31:58.500: Speaker 2: 640 by 480.
31:59.780: Speaker 1: That's what happens when you let engineers design a camera.
32:02.420: Speaker 2: I think at this point, you could probably record about 16 years of footage.
32:05.860: Speaker 2: on a thirty two gig card?
32:07.700: Speaker 1: Maybe it's for surveillance.
32:09.700: Speaker 2: There you go.
32:10.580: Speaker 2: So yes, four K, 100 megabit, 30P.
32:13.539: Speaker 2: That's your top recording quality.
32:16.280: Speaker 2: And size and frame rate.
32:18.120: Speaker 1: Okay.
32:18.600: Speaker 2: And yeah, so that's okay, so that's your normal 4K shooting mode.
32:23.560: Speaker 2: And then this camera, if you've pulled it up, if you've pulled up a picture of it.
32:27.519: Speaker 2: that has a hardware switch on it that allows you to switch aspect ratios four to three, one to one, sixteen by nine, or three by two.
32:36.400: Speaker 2: If you're in if you don't turn on the what's called 4K photo mode, then you use that hardware switch, you change your aspect ratios, and that's for still still shooting.
32:45.460: Speaker 2: And as soon as you push the record button to record video, it switches over to 16 by 9 and starts shooting 16 by 9.
32:51.940: Speaker 2: If you enable the 4K photo mode, then what happens is whatever aspect ratio you're in,
32:58.240: Speaker 2: Okay, seriously, Siri, be quiet.
33:01.920: Speaker 1: Siri wants to be on a podcast.
33:04.160: Speaker 2: Siri, I'm busy.
33:05.360: Speaker 1: Yeah.
33:06.520: Speaker 2: If you're in the 4K photo mode, then whatever aspect ratio you've chosen on the camera is what it records the video at as well.
33:13.160: Speaker 2: So you have those choices of if you want to record square video, you can record square video at
33:19.740: Speaker 2: 4K, at least in one dimension.
33:23.180: Speaker 2: And yeah, off you go.
33:24.940: Speaker 1: Wow.
33:25.420: Speaker 1: So did but you recorded 16x9.
33:28.140: Speaker 2: I did.
33:28.540: Speaker 2: Yeah.
33:28.700: Speaker 2: I shot all this at 16x9 because I just wanted to have the most
33:31.919: Speaker 2: Room to move around in.
33:33.679: Speaker 2: I don't have the biggest size possible.
33:35.440: Speaker 1: Right.
33:35.760: Speaker 1: It makes sense.
33:36.960: Speaker 1: Okay.
33:37.440: Speaker 1: So this, so then what ended up happening is you were dropping these 4K clips.
33:43.700: Speaker 1: Into your 1280 by 1280 canvas, which you figured out how to make the canvas you wanted, right?
33:48.740: Speaker 1: Right.
33:49.620: Speaker 1: And you were dropping them in, and they were automatically letterboxing.
33:53.620: Speaker 1: And you're like, what the hell?
33:55.300: Speaker 1: What's going on?
33:56.420: Speaker 1: Correct.
33:57.700: Speaker 1: Yeah.
33:58.340: Speaker 1: So, um, that's when I called you.
34:01.060: Speaker 1: Yeah, and this is, and this is really the thing, and I think we've talked about it, but it's very important that you understand in Final Cut.
34:09.220: Speaker 1: 10, that you understand how the spatial conform menu works.
34:14.500: Speaker 1: It's not really a menu, it's a tab or it's a section of the
34:18.920: Speaker 1: The video inspector.
34:20.920: Speaker 1: But it is really the key to understanding
34:26.359: Speaker 1: I believe it's my understanding that spatial conform is one of the things that makes the proxy workflow work as well as it does.
34:34.040: Speaker 1: Because basically what it's going to do is it's going to take the media that you give it.
34:38.360: Speaker 1: Regardless of its actual resolution, and it is going to place it into the frame based on
34:47.520: Speaker 1: The rule that you choose.
34:49.119: Speaker 1: Now it defaults to fit, which means the entirety of the frame that you have shot
34:57.020: Speaker 1: Will fit into the canvas you have created.
35:00.220: Speaker 1: That's what fit means.
35:01.660: Speaker 1: And that's the default setting.
35:03.980: Speaker 1: The fill mode
35:05.900: Speaker 1: will do basically what you had emailed me about.
35:08.220: Speaker 1: He's usually like, can't I just make this thing go top to bottom?
35:11.660: Speaker 1: And that's the fill mode.
35:13.260: Speaker 1: Okay, so basically what it's going to do then is it's going to regardless of whether it is
35:20.500: Speaker 1: Too tall or too wide, it is going to fill the canvas.
35:23.860: Speaker 1: Now, the typical situation of where you'll see fill is if you were
35:28.840: Speaker 1: Editing something that is like four by three, and you put a sixteen by nine clip in it, it's just going to trim off, or like we mentioned earlier, center cut the frame and favoring the center of the frame.
35:42.880: Speaker 1: Now you could still go into transform mode and slide that left and right and kind of pan left and right and fix your framing a little bit if need be, but it's going to essentially trim that off for you.
35:55.180: Speaker 1: And then the third setting is the one that you really needed for your project.
35:59.500: Speaker 1: And when you it's also important to remember that both in fit
36:06.020: Speaker 1: Which is the smallest representation of your 4K footage in your 1280 by 1280 canvas, whether you are in fit or fill, which is going to fill it vertically.
36:19.960: Speaker 1: The scale command under the Transform tab still says 100%.
36:25.720: Speaker 1: Right.
36:26.359: Speaker 1: And that can make your head hurt.
36:28.880: Speaker 2: Okay.
36:30.559: Speaker 2: But that's exactly what I wanted.
36:32.079: Speaker 2: And that does make sense once you get your head around it.
36:35.039: Speaker 1: It does, but what in actuality, what you want is you want to go to the none command.
36:41.880: Speaker 1: And so that's what we determined would be your best workflow.
36:45.160: Speaker 1: So none is the third selection under spatial conform.
36:49.960: Speaker 1: And what that does is it treats
36:52.820: Speaker 1: The footage the same way Farchat 7 would have treated it, and it just says big giant clip in little tiny hole.
37:00.100: Speaker 1: And now you're going to see a little section of, like, you know
37:04.920: Speaker 1: somebody's chest or whatever filling your frame.
37:08.280: Speaker 1: Right.
37:09.800: Speaker 1: But then from there, you look at the Transform tab, it's still at 100.
37:15.780: Speaker 1: And now you can zoom it down and see more of your framing, or you can pan and scan, etc.
37:22.580: Speaker 1: , etc.
37:24.140: Speaker 2: Exactly.
37:25.580: Speaker 2: And that's what made perfect sense for this, because the whole point there that I wanted was to see that 100% number and have that actually mean that the clip is out 100% so that when I'm
37:35.359: Speaker 2: Pushing in and then pushing in on the clip, I don't push too far and push beyond the 100% mark.
37:40.079: Speaker 2: Right.
37:40.320: Speaker 2: Because I never wanted to be scaling the footage up.
37:42.960: Speaker 2: So that was the whole point of doing it that way.
37:45.119: Speaker 1: Right.
37:45.440: Speaker 1: You know, I
37:46.640: Speaker 1: I'm interested in your take on this.
37:49.039: Speaker 1: I know that in your photographic world, you guys are dealing with ultimate resolution all the time.
37:54.799: Speaker 1: I will say that in today's day and age, with high-quality HD cameras
37:59.380: Speaker 1: And the fact that we're dealing everything progressive these days and nobody's shooting interlace anymore.
38:05.460: Speaker 1: It's my experience that I can pretty routinely take footage
38:10.540: Speaker 1: And blow it up to 110, 120, maybe as much as 130%, and totally get away with it.
38:17.740: Speaker 2: Well, that's good to know.
38:18.940: Speaker 1: Yeah, I mean, I kind of feel bad admitting that.
38:21.260: Speaker 1: But, you know, if I don't offer it, the client's going to make me do it anyway.
38:24.780: Speaker 1: I don't understand.
38:25.500: Speaker 1: Just zoom in.
38:27.660: Speaker 1: Fine.
38:28.619: Speaker 1: You like that?
38:29.339: Speaker 1: Yeah, I love it.
38:30.060: Speaker 1: Okay.
38:30.300: Speaker 1: You like it?
38:30.859: Speaker 1: I love it.
38:31.200: Speaker 1: Let's move on.
38:32.720: Speaker 2: Yeah, I get it.
38:33.760: Speaker 2: Well, that's good to know.
38:35.040: Speaker 2: Yeah, in general, I just wanted to not go beyond that.
38:38.000: Speaker 2: And the funny thing is that since the destination is 640 by 640, I'm already double where I needed to be.
38:43.839: Speaker 2: Even at 100%.
38:45.119: Speaker 2: But hey, why not?
38:46.800: Speaker 2: Trying to keep the quality up.
38:48.400: Speaker 1: It would be really interesting to take the same edit
38:52.520: Speaker 1: Essentially replicate the edit at 640 by 640.
38:56.200: Speaker 1: Post that on Instagram too and see if you'd notice a quality difference.
39:00.539: Speaker 2: Well, that's easy enough to just to output.
39:02.779: Speaker 2: I'll put the 1280 file and then scale it down to 640 and push them both over.
39:07.020: Speaker 2: And
39:07.840: Speaker 2: Um I've done that on the phone and played them both back on the phone and they both look identical on the phone.
39:12.880: Speaker 2: So I'm confused.
39:16.780: Speaker 2: hasn't even gotten Instagram yet and I'm already confused.
39:19.820: Speaker 1: It is kind of ridiculous.
39:21.420: Speaker 1: Now, is it your understanding that Instagram will take whatever and just center cut it, make it square and
39:29.299: Speaker 1: And scale it down?
39:30.819: Speaker 2: Yeah, if you give it something that's not square to begin with, then yeah, it'll it'll center it.
39:35.140: Speaker 2: I think you can you might be able to pan.
39:41.140: Speaker 2: If you're bringing in a video that's not square, you might be able to pan it over.
39:44.579: Speaker 2: I'm not sure.
39:45.619: Speaker 2: Because it's really
39:47.600: Speaker 2: When they started doing video on Instagram, you could only record video in Instagram.
39:52.080: Speaker 2: And then they came out came give you the ability to import video from your
39:56.960: Speaker 2: From your phone.
39:58.160: Speaker 2: I'll just while we're talking about that.
39:59.600: Speaker 1: Well, now the the latest OS actually one of the features in the video mode is square mode.
40:05.700: Speaker 1: So you can actually shoot square video.
40:08.260: Speaker 2: You can, right.
40:09.220: Speaker 2: Wonderful.
40:11.780: Speaker 2: Hey, but you know what?
40:12.580: Speaker 2: It just takes a part of that problem out of the equation.
40:15.140: Speaker 2: If you know that you're going to be posting to Instagram, you know you're shooting video for Instagram.
40:19.559: Speaker 2: You're going to be pretty pissed off if you shoot it and then it doesn't all fit in the frame because you forgot that it wasn't good that it was going to go square.
40:25.720: Speaker 2: And let's face it, if you're shooting video on your iPhone, if there's no lines on there to tell you where the square edges are.
40:29.900: Speaker 2: How do you know what's square?
40:30.940: Speaker 1: How do you know where now the lines would be what we were discussing earlier about the broadcast guys with the center weighted radicule?
40:40.700: Speaker 2: But that's not on there, and it shouldn't have to be on there.
40:42.940: Speaker 2: People shouldn't have to think about that.
40:44.740: Speaker 2: If I'm shooting score video, that's what I'm doing.
40:47.300: Speaker 2: Let me shoot square video.
40:48.420: Speaker 2: And that's what it does, which is great.
40:50.100: Speaker 1: Yeah.
40:50.500: Speaker 2: Let you do it.
40:51.300: Speaker 1: Yeah.
40:52.500: Speaker 1: Hey, what do you use any
40:55.760: Speaker 1: Like third-party camera app on your iPhone?
40:58.800: Speaker 1: Or do you just use the iPhone application?
41:01.920: Speaker 2: I use the iPhone its own.
41:04.340: Speaker 2: camera app.
41:05.300: Speaker 2: I've got others, but I always just go back to that.
41:07.860: Speaker 2: It's just the fastest.
41:08.980: Speaker 2: It's the fastest one to get a picture with.
41:11.620: Speaker 2: Not only because you can swipe up from the lock screen and get to the camera
41:15.260: Speaker 2: But even if you're just two camera apps side by side, I just find that that one's always faster.
41:19.580: Speaker 2: I've tried quite a few others, but I always go back to it.
41:22.540: Speaker 1: Very interesting.
41:23.940: Speaker 1: Hey, so just curious, again, let's get off the subject for a second.
41:28.900: Speaker 1: And I've been meaning to ask you this.
41:31.220: Speaker 1: How is the photos expert transition going?
41:36.420: Speaker 1: Last we talked.
41:37.840: Speaker 1: It was when Aperture had been, to borrow Frederick's word, Apertured.
41:44.160: Speaker 1: It was Apertured.
41:46.240: Speaker 1: And you were in the process of rebranding the site.
41:49.920: Speaker 1: I noticed
41:50.740: Speaker 1: Today, when I went to Aperture Expert, you have a redirect to the Photos Expert.
41:55.460: Speaker 1: What's going on on that front?
41:57.380: Speaker 2: So it's going well.
41:58.980: Speaker 2: The whole thing right now is people are in a holding pattern, right?
42:01.860: Speaker 2: People have either decided to jump ship to Lightroom.
42:05.160: Speaker 2: Or they've decided to hold on, keep using Aperture until Photos come out.
42:09.400: Speaker 2: And so the Photos expert is still primarily talking about Aperture, just because that's what most people have and are using.
42:16.520: Speaker 2: Nobody's got Photos for OS X yet.
42:18.680: Speaker 2: But we are slowly putting in some photos for iOS and third party app iOS stuff in there.
42:26.359: Speaker 2: So we're making the transition, the content transition over.
42:29.640: Speaker 2: But I wanted to
42:31.680: Speaker 2: get on the new naming scheme right away, just because when photos for OSN does come out, I don't want to then be launching a new site.
42:39.839: Speaker 2: I want it to be all in place and ready to go.
42:41.740: Speaker 2: And I've got my pre-built audience, and most of them are coming with me.
42:45.740: Speaker 2: And you know, they're going to wait and see.
42:47.260: Speaker 2: That's what people are doing.
42:47.980: Speaker 2: They're waiting and seeing because Aperture.
42:49.840: Speaker 2: didn't stop working.
42:50.720: Speaker 2: It still works just fine.
42:52.080: Speaker 2: So there's no need to run off and go learn something else.
42:54.880: Speaker 2: If photos comes out and people like it, then they'll move to that or they'll move to it when it gets good enough.
43:01.040: Speaker 2: Or if they see it and decide that they really just don't want to wait around and they don't like it, then they'll make the change to Lightroom then, and that's fine.
43:06.480: Speaker 1: Yes, and it really is still kind of the similar thing.
43:09.040: Speaker 1: I mean, Frederick had asked me, am I afraid that Final Cut ten is going to be apertured?
43:14.160: Speaker 1: I'm like
43:14.720: Speaker 1: What do you mean?
43:15.200: Speaker 1: Final Cut VII already was.
43:17.200: Speaker 2: Right.
43:17.520: Speaker 2: And yeah, and I listened to your whole thing, and you brought that up at the end.
43:20.799: Speaker 2: It's too bad you didn't think to make that correlation during the interview just to make him realize it.
43:25.839: Speaker 2: Because that's exactly.
43:26.559: Speaker 2: And that's that.
43:27.640: Speaker 2: Core the Final Cut seven to Final Cut ten example is what I've been using to talk about this change.
43:34.839: Speaker 2: This isn't new, right?
43:35.880: Speaker 2: I'm telling people we've already gone through this.
43:38.039: Speaker 2: We did it with Final Cut.
43:39.160: Speaker 2: Final Cut ten, when it first came out, was not
43:41.940: Speaker 2: what everybody wanted.
43:42.900: Speaker 2: It was more like iMovie Pro.
43:44.579: Speaker 2: But then eventually it grew up and it is now the most powerful editor out there.
43:48.820: Speaker 2: That's exactly what's going to happen here.
43:50.260: Speaker 2: Photos 1.
43:50.980: Speaker 2: 0 is not going to be an apt replacement.
43:52.940: Speaker 2: I'm telling everybody that.
43:54.700: Speaker 2: I 100% believe that that is not going to be an apt replacement.
43:58.140: Speaker 2: It's going to be a glorified iPhoto.
44:00.700: Speaker 2: But.
44:01.420: Speaker 2: It will evolve and it will take time, but it will evolve and eventually it will supersede what aperture ever was.
44:06.220: Speaker 2: But it's a pain in the ass growing period.
44:08.060: Speaker 2: It's just like the thing with the 5K displays.
44:10.060: Speaker 2: It's just kind of a sucky time.
44:12.120: Speaker 1: Yeah, and I think that the bottom line is, and you and I have done this for a long enough time, we've seen these types of things happen before.
44:21.620: Speaker 1: Transitions happen.
44:24.500: Speaker 1: Sometimes you're stuck in the middle of them.
44:26.100: Speaker 1: Sometimes it's very exciting to be in the middle of it.
44:28.500: Speaker 1: You wanted to see what's coming and see what happens.
44:30.660: Speaker 1: And so
44:31.440: Speaker 1: You know, I don't I just I don't I don't mind.
44:34.640: Speaker 1: You know, it's like, oh yeah, okay, we're we're doing the like you said, it's one of those sucky times.
44:39.460: Speaker 1: And by referring to it as one of those, we're implying, yeah, been there, done that, got the T-shirt, we will get through it again, whatever.
44:48.140: Speaker 2: What has happened before will happen again.
44:50.220: Speaker 1: And the bottom line is: if you don't want to change, I mean, that's fine.
44:56.140: Speaker 2: Right, you don't have to.
44:57.099: Speaker 1: But the problem is, you will be that guy.
45:00.340: Speaker 1: who's still shooting on a 1986 Minolta 9000 or whatever I had back in the 80s.
45:08.260: Speaker 1: And, you know, that's no fun.
45:11.060: Speaker 1: Yeah.
45:11.540: Speaker 1: That's no fun.
45:12.820: Speaker 1: Like I said about the
45:15.300: Speaker 1: You know, the change on Frederick's episode, you know, you could be the guy who says, I'm going to stick with the horse because I don't know when they're going to run out of petrol fuel.
45:25.040: Speaker 1: Right.
45:25.520: Speaker 1: But the 20th century is going to be very slow for you.
45:30.560: Speaker 1: Yeah.
45:31.120: Speaker 1: Hey, where can I tie up my horse?
45:32.960: Speaker 1: Sir, you can't bring a horse to the airport.
45:38.020: Speaker 1: But I need to I need a feedback.
45:41.700: Speaker 1: No, no, you can't.
45:43.540: Speaker 1: Okay, so, um
45:45.640: Speaker 1: Do you want to talk a little bit about the editorial process and the reframing and some of the conversation that we had the other day?
45:51.559: Speaker 1: Yeah, sure.
45:52.520: Speaker 1: So this is and this is a little bit
45:56.820: Speaker 1: This is one of those things where until you have the conversation, everybody's perfectly happy with it, and then you say the words out loud, and everybody goes, Holy crap, what?
46:07.120: Speaker 1: But I never saw that.
46:09.600: Speaker 1: So you would sent me the edit, and you go, What do you think?
46:11.840: Speaker 1: And you were very self-deprecating and like, oh, it's horrible.
46:14.720: Speaker 1: I'm not an editor, or whatever.
46:16.320: Speaker 1: Shut up.
46:16.920: Speaker 1: So I watched it.
46:18.120: Speaker 1: Yeah, it's fine.
46:19.160: Speaker 1: And you said, so what do I think?
46:20.440: Speaker 1: I go, well, here's the thing I think, and it's a little weird, but it has to do with
46:28.119: Speaker 1: What happens when you use this technique of using a greater resolution
46:36.880: Speaker 1: In a smaller resolution canvas to derive multiple shots.
46:40.480: Speaker 1: Now, this is something we've been doing in our interview stuff for several years, like over a decade at least.
46:48.320: Speaker 1: Um I think when the first HDV cameras came out and we were shooting with those 'cause we were cheap.
46:55.120: Speaker 1: And um
46:56.040: Speaker 1: And we were delivering everything at standard deaf.
46:58.120: Speaker 1: As a matter of fact, when you and I used to do the Apple seminars at Apple, we shot those on HDV.
47:07.299: Speaker 1: And we were talking about this the other day.
47:10.020: Speaker 1: The large video file, the large file that we were delivering to Apple to post on the web
47:20.240: Speaker 1: The large one was three twenty by two forty.
47:23.920: Speaker 1: And that just sounds comical now.
47:26.160: Speaker 2: It really does.
47:26.800: Speaker 1: But but we were shooting in H D and delivering at three twenty by two forty.
47:30.640: Speaker 1: Now that gave us some some flexibility.
47:33.520: Speaker 1: And actually
47:35.200: Speaker 1: Let me take that back.
47:36.079: Speaker 1: No, the 320 by 240 we were shooting at standard death.
47:39.359: Speaker 1: When we went to shooting with HDV, that's when we upped the resolution up to 640
47:45.980: Speaker 1: by and if you recall, we were doing 640 by 400, which matches the aspect ratio of what then was every Macintosh screen, which was 16 by 10.
47:57.200: Speaker 1: And if this hurts your head, you can tune out for a little bit.
48:00.960: Speaker 1: But anyway, I was just thinking, was it already 1610 back then?
48:05.120: Speaker 2: I guess it was.
48:06.080: Speaker 1: Yeah, well, if you think about it, the.
48:09.020: Speaker 1: The cinema the 23-inch cinema display was 1920 by 1200.
48:16.300: Speaker 1: You know that.
48:17.500: Speaker 1: And that was 16 by 10.
48:18.619: Speaker 1: I remember you showed me that cool hack you had the engineers make you.
48:22.440: Speaker 1: That would dumb down the resolution to actually 1920 by 1080 when you hooked up to an HD projector.
48:28.040: Speaker 1: That was very cool that you had those friends.
48:30.920: Speaker 2: You could have some advantages being on the inside.
48:33.079: Speaker 1: I know, exactly.
48:34.820: Speaker 1: But that was a real issue because when we were scan converting the 1920 by 1200s, we had to go through a fulsome scan converter.
48:41.700: Speaker 1: Oh, good grief, I just lost the whole audience.
48:45.220: Speaker 1: And we had to
48:49.400: Speaker 1: Oh, what a nightmare all that stuff was.
48:51.480: Speaker 1: We had to change the EDID in the fulsome to say, just
48:55.359: Speaker 1: Pretend you're getting something that's 1920 by 1080, and then all of a sudden the Mac would go, Oh, look, there's a 1920 by 1080 display out there.
49:02.720: Speaker 1: Not really, but it would start out putting 1920 by 1080.
49:05.760: Speaker 1: Okay.
49:07.220: Speaker 1: Get off what a nightmare of numbers and resolutions all that stuff was.
49:11.140: Speaker 1: It was a but the bottom line is, and I said this earlier, the last decade has been a resolution nightmare.
49:19.099: Speaker 1: And I don't think we're really at the end of it because we're now dealing with greater resolutions.
49:24.859: Speaker 1: And when you look at things like 4K, true 4K, not ultra HD, we're still dealing with off.
49:31.040: Speaker 1: Aspect ratios.
49:32.000: Speaker 1: You know, 4K is not 16 by 9.
49:36.480: Speaker 1: It's whatever it is.
49:37.600: Speaker 1: I don't know what it is.
49:38.720: Speaker 2: Yeah, it's a little bit wider.
49:39.680: Speaker 2: Right.
49:40.240: Speaker 2: Yeah, but that's just going to get.
49:43.420: Speaker 2: worse, not better, in the sense getting by worse, I mean more complicated.
49:47.260: Speaker 2: And that's part of not to try and be an Apple spokesman about it, but that's part of what Apple, I think, is trying to fix
49:55.000: Speaker 2: fix and air quotes, but just make easier by taking all the numbers away.
49:59.320: Speaker 2: You don't like you said in the beginning of the show, you hold down the option queue and you click on the scaling.
50:04.520: Speaker 2: option on your iMac and then you can see the resolutions.
50:07.560: Speaker 2: But if you don't do that, you don't see those resolutions.
50:10.360: Speaker 2: You just see bigger and smaller.
50:12.120: Speaker 2: Because you shouldn't have
50:13.640: Speaker 2: to think about it.
50:14.599: Speaker 2: I mean, look at the phones right now, right?
50:16.520: Speaker 2: Your iPhone, whatever standard iPhone 5 resolution is, which was bigger than the iPhone 4 and everything before it.
50:23.340: Speaker 2: Right, it there was 16 by 9, and then the iPhone 6 comes out and it's a higher resolution, and the 6 plus is 1920 by 1080.
50:30.859: Speaker 2: And that's not even the biggest phone out there by far.
50:32.859: Speaker 2: There's phones out there that are 25, 60 pixels.
50:35.980: Speaker 2: Who the hell needs that on a phone?
50:37.579: Speaker 2: But then again, who the hell needs 1920 by 1080 on a phone either?
50:40.700: Speaker 2: It's insane.
50:42.140: Speaker 2: But there's all these different aspect ratios, these different resolutions, and at the end of the day, what consumers want to do is watch their YouTube videos.
50:50.340: Speaker 2: Watch Netflix, look at Instagram, look at Facebook.
50:52.660: Speaker 2: They shouldn't have to think about aspect ratio and resolution.
50:55.220: Speaker 2: It should just look good.
50:56.980: Speaker 2: And that's what Apple does, they just make it dumbed down in our quotes again because you shouldn't have to think about it.
51:02.900: Speaker 2: It just looks good.
51:03.960: Speaker 2: And it's up to the content providers to say, you know what, I choose to make this 16 by 9, or square, or 22 to 9, or whatever aspect ratio you want, and it will look good on a device, on any device, because
51:17.059: Speaker 2: No one cares anymore.
51:17.940: Speaker 2: Everybody's devices are different.
51:20.500: Speaker 1: Yeah, agreed.
51:21.619: Speaker 1: And I'll tell you, this is also one of the things, if you recall, in the Final Hat 7 era, when you started dialing in non-standard resolutions,
51:31.299: Speaker 1: In your timeline, in your sequence settings, it would totally change the performance capability of the timeline.
51:39.059: Speaker 1: And it was really designed and optimized and favored
51:43.260: Speaker 1: What I would refer to as standard resolutions, your 720, 480, 720, 486, 1280, 720, et cetera, et cetera.
51:51.579: Speaker 1: But you start doing off things, it's like, okay, well, I can make a canvas that's a weird shape.
51:57.360: Speaker 1: or weird aspect ratio.
51:59.040: Speaker 1: I can put media into it.
52:00.880: Speaker 1: And I'm going to get a little red bar and I'm going to have to render it, but it will play it back eventually.
52:04.960: Speaker 1: And that's part of the way you know, I remember when I pitched producing the Apple videos,
52:12.480: Speaker 1: To you guys at 16 by 10, I was met with like this blank stare: How are we going to do that?
52:18.640: Speaker 1: I go, Well, for starters, I'm going to use your software.
52:22.880: Speaker 1: But it allowed us to be able to shoot the desktop in its entirety with the dock and not have any pillars or letterbox or whatever or whatnot, that kind of nightmare.
52:33.660: Speaker 1: But in today's era, with now that we are pretty much successfully made this transition from the QuickTime framework
52:42.500: Speaker 1: base layer in the OS to the AV Foundation.
52:45.940: Speaker 1: I don't know what they're doing with AV Foundation, but it is way more powerful, it's way more robust, it's way more flexible.
52:51.940: Speaker 1: And I make resolutions all over the map now in Final Cut 10, and I cut them like butter.
52:58.500: Speaker 1: I mean, it's just amazing.
52:59.780: Speaker 1: The last one I did the last big one I did was
53:03.120: Speaker 1: 5900 by 1080, and I actually was making After Effects compositions with alpha channels
53:12.740: Speaker 1: That were there were like little splashy graphic things to put over the video that I was doing.
53:17.860: Speaker 1: And they I was rendering those out as ProRes 4x4s.
53:24.560: Speaker 1: With an alpha channel at 5900 by 1080, dropping them in over my timeline.
53:33.240: Speaker 1: and just hitting play.
53:34.920: Speaker 1: Yes, it wants to render, and it will render when I walk away from the mouse for five seconds, but it was playing in real time in a completely usable fashion.
53:45.120: Speaker 1: Right.
53:45.920: Speaker 1: And worked.
53:47.600: Speaker 1: Joseph, earlier you mentioned something about we were talking about the don't bother transcoding, and you were doing it in short bursts with your 4K footage.
53:58.720: Speaker 1: One of the things, and I'll just say this to you, and I think most people know about this, but it's always good to be reminded, in the viewer window,
54:07.240: Speaker 1: In the upper right hand corner, there's a little pull down menu, and one of the choices that you have is better performance or better quality.
54:13.720: Speaker 1: And I believe that by default, your setting is set to better quality.
54:19.340: Speaker 1: And if you are finding that things are laggy or jumpy or skippy, just change that thing down to better performance.
54:27.320: Speaker 1: And when you're playing, you will see a dropped resolution, but at least it will play smoothly.
54:33.160: Speaker 2: Right.
54:33.560: Speaker 2: Okay, cool.
54:34.200: Speaker 2: I will look for that.
54:35.160: Speaker 1: And a button, you know, you may not need to.
54:38.040: Speaker 1: I'm very interested.
54:38.840: Speaker 1: You know, let me know.
54:40.240: Speaker 1: how that footage, that codec, plays when you're doing a full resolution thing.
54:45.600: Speaker 1: And not sure.
54:46.480: Speaker 2: Yeah, I'll have to yeah, I will.
54:48.160: Speaker 2: I'll have to import some longer clips and not transcode them.
54:52.099: Speaker 2: And see how that goes.
54:53.780: Speaker 1: Yeah.
54:54.260: Speaker 1: And like I said, you know, I do a lot of 1920, 1080 H.
54:58.900: Speaker 1: 264 out of the Canon cameras, never, never, never transcode them.
55:04.099: Speaker 1: Not anymore.
55:05.300: Speaker 2: Right.
55:06.299: Speaker 1: Very cool.
55:07.500: Speaker 1: I don't want to keep you too late.
55:10.299: Speaker 1: Is there anything that we should talk about that we didn't think of that I didn't think of asking you?
55:14.940: Speaker 2: I don't think so.
55:16.220: Speaker 2: You mentioned, I heard in your ad when I picked it up, you were talking about for music.
55:20.859: Speaker 2: What was that website?
55:22.060: Speaker 2: I miss the app most of it.
55:22.940: Speaker 1: Premiumbeat.
55:23.820: Speaker 1: com.
55:24.220: Speaker 2: Premiumbeat.
55:24.940: Speaker 2: com.
55:25.099: Speaker 2: Okay, cool.
55:25.500: Speaker 2: I got to check them out because I needed music for this.
55:28.760: Speaker 2: And I found something somewhere else, but I'll definitely check that site up.
55:32.040: Speaker 2: You're licensing tracks for whatever type of use.
55:35.240: Speaker 1: Yeah.
55:35.400: Speaker 1: So basically this is a ad number two.
55:40.040: Speaker 1: Basically, you have the option of buying the full song.
55:42.840: Speaker 1: And then you can buy what's called a loop pack, and you can buy what are called shorts.
55:49.320: Speaker 1: Okay, so the shorts are a 15, a 30, and a 60 version of the full song.
55:53.920: Speaker 2: Oh, awesome.
55:56.480: Speaker 1: But the loop pack allows you, you know, I call them audio Legos, and it's basically different passages of the song that you can loop and say, oh, I need to extend this, I need to shorten this, I need to.
56:07.960: Speaker 1: you know, whatever.
56:08.680: Speaker 1: And it's actually very powerful because you can like extend, you know, an underscore portion of the song and then let it build right when somebody finishes or something like that.
56:19.240: Speaker 1: It's extremely powerful and very cost effective.
56:21.560: Speaker 1: I think what you're looking at, I believe it's $39.
56:24.120: Speaker 1: 95 for the song, and the shorts are an additional ten bucks.
56:28.120: Speaker 1: And I think you can buy just the shorts.
56:30.040: Speaker 1: If you just need the thirty or the sixty
56:32.620: Speaker 1: And you like the cut of it, then I believe let me just double-check here.
56:40.380: Speaker 1: We should.
56:41.100: Speaker 2: Yeah, because 15 is the maximum length for.
56:43.559: Speaker 2: Oh, for videos on Instagram.
56:45.480: Speaker 2: So that's perfect.
56:46.359: Speaker 1: Did not know that.
56:46.920: Speaker 1: Okay, so if I go to Premium Beat, now I was saying that one of the things that I did.
56:53.799: Speaker 1: One of my favorite composers there is a guy by the name of Dan Phillipson.
56:57.079: Speaker 1: And I know Dan Phillipson's style, and I'm doing something that's very emotional, so I wanted to do that.
57:03.780: Speaker 1: And when I searched by Dan Phillipson, the number third three song is called In Dreams.
57:10.340: Speaker 1: And if I click on the buy, which is thirty I put it in the cart for thirty nine ninety five
57:15.640: Speaker 1: And I uncheck the full track.
57:17.880: Speaker 1: Yes.
57:18.359: Speaker 1: So if you uncheck the full track, it now gives you the ability to choose any one of the others, whether it's the loop set or the shorts.
57:25.880: Speaker 1: So if I
57:27.500: Speaker 1: Select the shorts and say add to all I got to do is select that and it says, yep, it's $39.
57:34.140: Speaker 1: 95.
57:35.180: Speaker 1: And for Yucks, let me see, can I do this?
57:39.960: Speaker 1: I believe I can.
57:41.400: Speaker 1: If I go like this, and I will play you the 15-second version of In Dreams.
57:48.920: Speaker 1: Let me turn this up.
57:51.599: Speaker 1: Very high tech here, Fenwick.
57:54.799: Speaker 1: No, I hit the wrong thing.
57:55.920: Speaker 1: Here we go.
58:12.440: Speaker 1: So there you go.
58:13.460: Speaker 1: 15 seconds, and the full cut is beautiful.
58:16.740: Speaker 1: Anyway, I'm a huge Dan Phillipson fan, so go check out his music.
58:21.540: Speaker 1: He's very emotive, very emotional, very beautiful.
58:24.960: Speaker 1: So yeah, you should check that out.
58:26.720: Speaker 1: I will.
58:28.000: Speaker 1: That's it.
58:28.640: Speaker 1: So have you changed your Twitter handle?
58:30.799: Speaker 1: Are you still the Aperture expert?
58:32.740: Speaker 2: Oh, yeah, everything switched over to the photo the photos expert.
58:36.020: Speaker 2: Okay.
58:36.740: Speaker 2: Yeah, everything.
58:37.300: Speaker 2: So that transition, I gotta say, Pat Amo back, it actually went really well.
58:42.580: Speaker 2: I transitioned.
58:44.180: Speaker 2: Instagram.
58:44.660: Speaker 2: Oh no, sorry, not Instagram.
58:45.619: Speaker 2: I didn't use Instagram for that.
58:46.740: Speaker 2: I transitioned Twitter, the website itself, all at the same time.
58:52.100: Speaker 2: Everything was prepped in place, ready to go.
58:53.700: Speaker 2: The minute that iOS 8 was announced or photos was announced or started shipping, I guess it was when it was shipping, the day of shipping.
59:00.420: Speaker 2: I switched everything over.
59:01.380: Speaker 2: The website transitioned seamlessly.
59:03.140: Speaker 2: And the only one that was held up was Facebook.
59:06.360: Speaker 2: which to do a Facebook name change on a page, you have to get approval from Facebook and then they wait for three weeks while they notify your users that you're changing your name.
59:16.840: Speaker 2: Which I guess makes sense.
59:17.800: Speaker 2: So they don't follow
59:19.420: Speaker 2: You know, whatever bobs tires, and suddenly they wake up one morning and they're following a porn site.
59:23.660: Speaker 2: You know, that's I get it.
59:25.740: Speaker 2: But it was kind of annoying to have to sit around and wait for that.
59:27.580: Speaker 2: But that was the only thing that had that was held up.
59:29.340: Speaker 2: But no, everything else changed just very seamlessly.
59:32.640: Speaker 1: So and it's the Photos plural expert.
59:35.440: Speaker 2: Yep.
59:35.920: Speaker 2: Right, because Photos is the name of the app on iOS and what it will be on iOS X.
59:40.640: Speaker 1: Very cool.
59:41.920: Speaker 2: Sadly, it does put a three-letter word SEX right in the middle of my URL.
59:46.319: Speaker 2: But hey, I figure maybe I'll get some organic traffic that way.
59:48.960: Speaker 2: I don't know.
59:50.800: Speaker 1: Very good.
59:52.000: Speaker 1: Okay, well, thanks again for doing this.
59:54.640: Speaker 1: And if you ever, you know, by all means, if you ever have any more questions, let me know.
Speaker 1: Hearing people like really smart people, and I think I said this back, you know, you were on episode 62. 01:00:01.140 Speaker 1: I think I told the whole story. 01:00:07.059 Speaker 1: I mean, when I first met you, I thought you were like this 01:00:08.339 Speaker 1: This hardcore broadcast television editor because you were demoing Final Cut, and I was like, oh, wow, this guy really knows his stuff. 01:00:11.540 Speaker 1: And then I find out later, no, you're just the demo guy. 01:00:18.900 Speaker 1: And I'm like, good grief, you're so. 01:00:21.620 Speaker 1: You were so good that you had me completely fooled. 01:00:23.740 Speaker 1: But when really smart people come across things that that are challenging 01:00:26.940 Speaker 1: Hearing them work through it and working through it with them is always enlightening. 01:00:35.299 Speaker 1: So, I think this is a great conversation, and by all means, if you ever have. 01:00:39.700 Speaker 1: Other questions, by all means, call me and we'll figure it out. 01:00:43.140 Speaker 2: I certainly will. 01:00:46.420 Speaker 1: But you'll probably end up making another episode. 01:00:47.140 Speaker 2: Yeah, it's a good way to do it. 01:00:50.020 Speaker 2: It's a good way to fill your content. 01:00:51.380 Speaker 2: So, for the listeners out there, the Instagram stuff, since the Photos Expert isn't Instagram, PhotoJoseph is my normal, that's my photography stuff. 01:00:53.099 Speaker 2: That's my Instagram handle, my Twitter handle, and all that for the photography side of things. 01:01:01.980 Speaker 2: And to see the videos that I'm talking about, those will go up on Harley's closet. 01:01:05.559 Speaker 2: That's H-A-R-L-E-E-S closet. 01:01:09.559 Speaker 2: That's the Instagram handle for her, so that's where you'll see those. 01:01:12.839 Speaker 2: I'm sure I'll put some of them on mine as well, but that's where they're all going to go. 01:01:15.319 Speaker 2: So, Harlea's closet to see the cool Instagram videos for the clothing line. 01:01:18.680 Speaker 1: Very, very cool. 01:01:22.520 Speaker 1: All right, Joseph, thanks for doing this, and we'll be in touch. 01:01:23.240 Speaker 2: That we will. 01:01:27.240 Speaker 2: Take care, my friend. 01:01:27.960 Speaker 1: Well, there you have it. 01:01:29.940 Speaker 1: That is the story of how you end up shooting 4K video when you're doing an Instagram video. 01:01:30.980 Speaker 1: Joseph, thanks for taking the time and coming and sharing. 01:01:35.780 Speaker 1: Hey, something that came up during that interview, it dawned on me that everybody sets up their edits suite. 01:01:38.520 Speaker 1: Separately, differently. 01:01:46.040 Speaker 1: And I'm constantly curious to see how people work. 01:01:47.720 Speaker 1: So if you want to send me pictures, you can email them to Chris at Digital Cinema Cafe. 01:01:51.000 Speaker 1: Just 01:01:57.240 Speaker 1: Pull out your phone, take a snapshot of your work area. 01:01:57.760 Speaker 1: I think it's interesting to see how people work. 01:02:00.800 Speaker 1: And it's actually more interesting if you don't totally tidy up and you see what a slob people actually are. 01:02:03.360 Speaker 1: I'm sitting here looking at this black magic thing that's sitting on top of the desk and there's a bunch of cables in it. 01:02:08.700 Speaker 1: I hate looking at it. 01:02:13.500 Speaker 1: Maybe I'll fix that up when I'm done here. 01:02:14.780 Speaker 1: Anyway, so thanks for listening. 01:02:16.700 Speaker 1: Thank you for going to iTunes and subscribing. 01:02:18.060 Speaker 1: Tell your friends about the show. 01:02:20.380 Speaker 1: You know, I 01:02:22.300 Speaker 1: Here we are, we're 102 episodes into it, and one of the things that Frederick said last week is, he goes, I didn't even know you were doing this show. 01:02:23.400 Speaker 1: So, you know, tell people about the show. 01:02:30.920 Speaker 1: It helps everybody out. 01:02:34.040 Speaker 1: So, thanks again. 01:02:35.320 Speaker 1: We will be back next week with another episode of The Grill. 01:02:36.840 Speaker 1: Later, later. 01:02:40.280