Episode 104
FCG104 - FCPX Change Agent (feat. Ben Brodbeck)
14 Editors all moving to FCPX at once? Good idea or not? Ben Brodbeck, who works for a large company in Illinios (he’s not allowed to say which one) has been pushing to have their internal video department make the switch to FCPX and it looks like come January 2015, he’s gonna get his wish. In this episode we discuss the pros and cons and what Bed did in order to help switch peoples minds and make them take another look at Final Cut Pro X. In addition to all this we also take a giant detour through the world of Media Asset Management (MAM) and discuss some workflow ideas that may help GREATLY reduce the amount of storage that this company has to budget for.
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Featuring
- Chris Fenwick
- Ben Brodbeck - @benyzboy
Transcription
00:00.080: our corporate logo and it's got our artwork and it animates just a certain way.
00:00.160: And we talked about his work and stuff.
00:00.160: a Ripple Training video or a Larry Jordan video.
00:00.160: From the management level, what do you guys want to use?
00:00.160: They're like, I don't want to do this anymore.
00:00.160: There were a lot of people in our group that had the time to actually look at it.
00:00.160: That functionality is there is another thing, but we can absolutely work with the company that makes the MAM system to say, hey, I can prove to you I can get this metadata into a spreadsheet.
00:00.160: Okay, so let me ask you a question, because I'm I'm actually curious about this because I don't understand it.
00:00.160: Final Cut interface, I think that would be a huge win for our team.
00:00.160: Some of the Ripple training tools and membership with Larry Jordan's website.
00:00.160: That there have been a few things that I was actually very publicly, you know, I had made tutorials on my website.
00:00.160: With the keywords.
00:00.160: Well, how'd you do that?
00:00.160: or birch or whatever color those tables are at the Apple stores.
00:00.160: for that project rather than bringing in the entire project.
00:00.160: I couldn't keep track of all the stuff that you're doing or the number of people that you're dealing with.
00:00.160: I think maybe you got thrown off that I meant I said you guys were being inefficient.
00:00.160: A unique idea, and I thought, man, yeah, I'll be I would like to be a part of that.
00:00.240: This music is affordable.
00:00.240: So anyway, that's premium beat.
00:00.240: Year.
00:00.240: Right, okay, yeah.
00:00.240: And you're one of the finishing editors?
00:00.240: an agency or a post house, we're competing for that business.
00:00.240: Now, do you find that that's a problem that people often or ever do take business outside a house?
00:00.240: That can be a reason for people to go outside.
00:00.240: When you're dealing with a company that you know really well, and I have some clients that people have heard me talk about that I work with all the time, and it is interesting because
00:00.240: You know, the style of things.
00:00.240: But if it doesn't feel like the company, you have to kind of wonder, is that really a good thing?
00:00.240: It can be great production value.
00:00.240: You know, we have a pretty good hand on that, but that's not to say that sometimes you don't catch a small thing here or there and it ends up coming back to you and you got to
00:00.240: You know, mask something out or change a shot out or, you know, change the messaging, but it happens from time to time.
00:00.240: Yeah, I always say that the most heavily branded company that I've ever worked for, Apple, was the one company that I worked for that never had a style guide
00:00.240: You know, and that's one of the sad things is then you're going back and getting revisions done and you're paying an outside source more.
00:00.240: Yeah, and I think it's interesting that that's basically what I did in our company, where I sort of went off rogue and I was like, I'm going to work for a couple of months in this because I had a handful of projects that only I needed to touch.
00:00.240: Now you just mentioned something that's very interesting.
00:00.240: to grab everything and pick it up and move it down to the right in the timeline, is what you're saying.
00:00.240: If I think I'm just going to start putting together a whole nother section of a video, then I'll just toss a gap in there.
00:00.240: You know, put a clip or two or three in here.
00:00.240: It would have been two to one.
00:00.240: You know, Final Cut 10 should be looked at a little closer.
00:00.240: to actually use the program and they actually both loved it.
00:00.240: try and do some teaching of, okay, here's how you do it, but here's why it works this way.
00:00.240: I did not like it.
00:00.240: So I made this simple little iPhoto slideshow, let it render out, brought that into 10, and I was going to start placing the music under it.
00:00.240: And I didn't understand the magnetic timeline.
00:00.240: We have a ton of assets.
00:00.240: Correct, rather than going to an agency or a post house.
00:00.240: So a media asset management system.
00:00.240: And I can add all this metadata.
00:00.240: And I start thinking, okay, hmm, how could we take this metadata that's in the application that everybody has to use anyways?
00:00.240: This just got really big here.
00:00.240: Through through spreadsheets and stuff.
00:00.240: And then Final Cut Pro 10 started honoring Finder tags as a preference.
00:00.240: And that becomes a competitive advantage for us as compared to going outside of the company to get your work done because we can find the stuff so much quicker and we have this huge library.
00:00.240: it's still just this massive amount of media that we have.
00:00.240: I haven't used it yet, but I've looked at it very with quite a bit of interest.
00:00.240: when you upgrade from machine one to machine two and then you're sitting at machine two and for like the next couple of months, you're like, oh, I forgot to install that.
00:00.240: You know, blessed by corporate ideas.
00:00.240: which is actually quite useful because it's available we actually have one edit system that lives at one of our clients' offices
00:00.240: you know, like we talked about, you know, a unified color theme and a unified font, you know, just being able to go in and create, you know
00:00.240: A font that they can select.
00:00.240: all the different presets for font looks that they have in there.
00:00.240: There's no reason why you can't and and that's what this script was for.
00:00.240: You can pre-build all that stuff so you're not, you don't even have to go into the font menus.
00:00.240: is we've actually made a few what do they call it in motion you could I think you call it a template
00:00.240: so that when you're sitting at File Cut, you only have access to the things that are approved to be changed.
00:00.240: common things.
00:00.240: your three editors, you're training these ten field guys also.
00:00.240: I've basically trained him to be like my assistant editor.
00:00.240: You know, and whatever way I choose to think about it, I can access it.
00:00.240: that a keyword collection is nothing more than a little script to filter through your data.
00:00.240: 5k red dragon footage.
00:00.240: Yeah.
00:00.240: You know, that I thought was really powerful.
00:00.240: We didn't already know for the most part.
00:00.240: took a dump on us.
00:00.240: He found the problem, how we basically confirmed that it is a problem, but not only that, a really good workaround that hopefully we won't have to do in the future when this bug is
00:00.240: is solved.
00:00.240: You absolutely need to use that little pull down menu where it says this is where you want to make a comment, you can report bugs.
00:00.240: But it's important for us to know as users that Apple reads all of those feature requests.
00:00.240: Here's how you do it over here.
00:00.240: You know, it basically like what the Ripple guys are doing.
00:00.240: Well see, as a matter of fact, if you let's say you are using a lean library and you log on to a central server that has
00:00.240: You can just leave it in place across the network.
00:00.240: hopefully in the future.
00:00.240: Let's talk again and see how it's going, if some of these workflow things get ironed out.
00:00.240: This is a big problem.
00:00.240: Yeah, I'd love to come back and talk about it here once we have some results to share.
00:00.240: Kind of pester Ben and go, come on, man, tell me who you work for.
00:00.240: But again, the big giant company in Illinois does not specifically endorse this product, but I'm thankful that they let you come and talk about it because this is a great discussion.
00:00.240: Toward the in there, when we realize that a lot of their media consumption, or how do I know, data
00:00.240: Data generation, let's call it, was based on the inefficiencies of having multiple copies of their projects and the full version and the media managed version.
00:00.240: accidentally throw something out, you just store you end up storing both versions of it.
00:00.240: So, anyway, that's it for this episode of The Grill.
00:00.240: And sometimes that means a little bit of time on a whiteboard and thinking things through and discussing your own workflow and how you're going to avoid having those problems crop up.
00:00.240: And also, I want to mention that I am a part of a new podcast probably starting, I believe, in the first week or two of January.
00:00.240: And I'm partnering up with my old friend Carl Olson again, and we're doing something out of the ordinary.
00:00.240: Deal with all the tech back end stuff.
00:00.320: We were both in Vegas at the same time with various clients.
00:00.320: is deciding coming come January 1st, 2015, they are going to fully switch over to Final Cut 10.
00:00.320: Wholeheartedly endorse and I use their music all the time.
00:00.320: Hello.
00:00.320: Yeah, glad to be here.
00:00.320: You know, a lot of times I think in the sort of corporate world, we pull an apple.
00:00.320: So because of that, we're not going to say the name of the company, and we will not make specific references to the types of things that you shoot.
00:00.320: roughly about ten people who are going out to shoot video for us, you know, that being employees of the company.
00:00.320: And then we've got three video editors, dedicated video editors.
00:00.320: We shy away from discussion just because there is some corporate policy.
00:00.320: video department that you work in?
00:00.320: take more of a completed rough cut from the we call them producers in house.
00:00.320: And they and the producer that I was working with, she made reference to well, my client.
00:00.320: All of those needs.
00:00.320: you know, the guidelines, the advertising framework, stuff of that nature.
00:00.320: And then you run it up the flagpole to the Markom department, and they would just go, Yeah, no.
00:00.320: It's actually comforting to have those limitations because you can work faster
00:00.320: Absolutely.
00:00.320: One font that has a couple different styles to it, and that's about it.
00:00.320: You know, you can it's I as a designer, I actually welcome the the parameters.
00:00.320: Feeding me footage from the trade show and putting together roughly about three or four stories a day.
00:00.320: And we are going to be better off come January.
00:00.320: And I just had to confirm, will this work?
00:00.320: It was all about trying to make it work like Final Cut Pro 7.
00:00.320: A gap, you know, for lack of a better term, between content side A and content side B.
00:00.320: I can play about.
00:00.320: And I just don't want to think about it for a while.
00:00.320: What was the process in terms of pitching it to so not only do you have to sell did you have to sell it oh, actually, hold on.
00:00.320: shooter, editor, the the producers, you call them, that are out shooting and and roughing together these stories, how did they how did they land?
00:00.320: Even when I wasn't there, to be working in the application.
00:00.320: You know, it was just a simple little personal project.
00:00.320: You know, once you embrace what's going on here, there's a really powerful tool here.
00:00.320: And so I want to say it's probably about 2012 we got a MAM system in house.
00:00.320: And then is searchable and retrievable.
00:00.320: not online within the MAM system, it can robotically go grab the LTO tape, put it in there, restore that media and then send it to the destination that you've requested.
00:00.320: And without being too specific about the MAM system, it doesn't work very nicely on the MACS side, which is where all of us live.
00:00.320: And so I can see we shoot on Canon C three hundreds.
00:00.320: So what that allowed me to do at that trade show was start to put all of these clips into a folder about what story they are, separate the interviews in a folder from a folder of B-roll.
00:00.320: You know, and start renaming stuff and start tagging stuff.
00:00.320: You know, I would say over a hundred terabytes a month.
00:00.320: But see, here's the thing.
00:00.320: It's a really amazing tool because you'll launch it and you'll search for the name of a library and you'll go, Oh, there it is and it'll say, Oh, yeah, it's not online right now.
00:00.320: And it's all searchable.
00:00.320: you know, they may have this media.
00:00.320: If that was a keyword within a Final Cut 10 library, would I be able to find that through the library manager?
00:00.320: Like it never comes home.
00:00.320: So but because it's attached via Dropbox through their network system, it has access to the same database.
00:00.320: Quite useful.
00:00.320: I think it came from the Facebook Illuminati group, but somebody made an automator script to
00:00.320: getting trained here in the first month of twenty fifteen just on how to use the application.
00:00.320: have you guys do you envision or have you had discussions about using Final Cut graphics capability to make things more unified across the shop?
00:00.320: or a theme, I think.
00:00.320: if you want to make it available to the field producers, they're going to start coming to you with corporate approved lower thirds already built because they can't screw it up.
00:00.320: Hey, how would you like to have a, you know, like a certified trainer come in?
00:00.320: If we could get somebody, that type of thing.
00:00.320: You know, be upset with the whole magnetic timeline and stuff like that, trying that out for the first time.
00:00.320: And it was causing all kinds of problems.
00:00.320: Yes, I think that would be a really smart thing if that's something that the very big company in Illinois would pay for.
00:00.320: You've met me.
00:00.320: You know, and they might be calling me at 2 in the morning or whatever time it might be.
00:00.320: We're definitely going to be looking into some type of training like that.
00:00.320: You know, he's got a folder there, and it's like, score, done.
00:00.320: And then we talk about it all the time.
00:00.320: separates itself from every other NLE is, you know, I could make a bin in another NLE, but I can have this same piece of footage or just a section of this piece of footage in three or four or ten different places.
00:00.320: Yeah, and I was just working on a couple of projects that I was not working with a producer that was going to create the rough cut on, a couple of projects.
00:00.320: And that was, you know, if you can get those filtering shortcuts for hide rejected, show favorite, show unused, you know, I think it's Control F.
00:00.320: Was just marveling at how I was able to switch between subsets of media just using those little keyboard commands
00:00.320: And then, you know, on top of that, you get into that and then type in a search for a keyword in the little Google search bar, as I like to call it.
00:00.320: They're just like, How'd you do that?
00:00.320: them and it might not be something that I'll hit with a noise gate, but I'll just go in as it's playing I can
00:00.320: Scrub through the timeline.
00:00.320: Yeah, use I don't know.
00:00.320: or uh Sund uh Monday morning.
00:00.320: And they all go into the soup, if you will, of data that determines where Apple is going to direct resources in terms of how to make our product better, the product that we use better.
00:00.320: Yeah, and you know, it's it's interesting to me, you know, how things evolve and change.
00:00.320: It was there all along.
00:00.320: You know, here's how you did this here.
00:00.320: What we've replaced it with, and this is why it's better.
00:00.320: is through the feedback tool.
00:00.320: And then at that point, that drive comes into my room.
00:00.320: I don't know who makes that final decision for them to remain quiet, but I don't think I've met that person.
00:00.320: about possibly having that create media, but I don't know if it would relink back.
00:00.320: On the edge of a I'm going to use vague words here, to an area where one of your products is being used.
00:00.320: There you go.
00:00.320: And those four pieces then would get media managed down into your finishing room.
00:00.320: You've media managed it down to presumably considerably less than that.
00:00.320: Do both of those and again, I'm using the word snapshot, for lack of a better word, do both of those snapshots of that data get archived away in your systems?
00:00.320: And that's why we use so much data per month.
00:00.320: If you had a central, so let's say between your three finishing rooms, or actually, no, you would want it to be
00:00.320: with my leaders about possibly changing what it might look like not doing that media management step.
00:00.320: And the complete version of the data?
00:00.320: device is, I don't know.
00:00.320: But, you know, there's a reason why Sam travels all over the world teaching people Final Chat 10.
00:00.320: you know, hard drives becoming cheaper and larger all the time.
00:00.320: make our workflow as a whole a whole lot more efficient.
00:00.320: finite minutiae details of how you went about solving it.
00:00.320: It's at Benny's Boy.
00:00.320: But I can see in some of our workflows some things that are not efficient, where we are ending up archiving two separate versions of a job when it's grossly inefficient.
00:00.320: Yeah, thanks for having me.
00:00.320: or if we already have a copy of this.
00:00.320: And he's got some great ideas about what is coming in the near future.
00:00.320: So that's it.
00:00.400: that I did not foresee that we would get into.
00:00.400: Without saying the name of the company, tell me about the video department that you work with.
00:00.400: source this work to.
00:00.400: all kinds of creative things that we see done by outside agencies, but then it ends up hitting the brand department or the legal department and it just dies on the floor there and they have to
00:00.400: Wow.
00:00.400: Final Cut Pro 7.
00:00.400: So there was three of us, and then one of our editors moved on.
00:00.400: Once that third one left, we were truly split 50-50.
00:00.400: and was able to assemble a story that he never he and he said it himself.
00:00.400: Sort of discussing, pitching, explaining to the other editors to kind of get them over that hump.
00:00.400: Yeah, I don't think it was cheap.
00:00.400: something that everybody on our team is already used to anyways, you know, OS 10, bringing it in here and having all that metadata honored.
00:00.400: So but I know that it keeps track of every library you've had open and it will tell you what drive it's on.
00:00.400: Yeah, the Arctic Whiteness Final Cut Library Manager, I'm very interested in actually using that.
00:00.400: It starts with the letter U and it's down near the end of the alphabet.
00:00.400: Yeah, that's the idea.
00:00.400: You can publish the parameters that you want people to be able to change.
00:00.400: You know, I would recommend I was going to ask you, who was doing your training in January?
00:00.400: Yeah, I think we could probably talk him into that.
00:00.400: Conversation that I've been having with a friend of mine and a producer that we work with all the time.
00:00.400: The process of training him to be able to essentially, and this is kind of funny, but he is the producer.
00:00.400: For show favorites, maybe Control H for Hyde Rejected.
00:00.400: on a portion of audio.
00:00.400: Yeah, and that's I think something, oh gosh, what's the gentleman's name?
00:00.400: I have noticed that.
00:00.400: And my boss, who was like, I'll take this one, he got really frustrated with the promise guys.
00:00.400: us examining one bug that he found in Final Cut X in regards to the proxy workflow.
00:00.400: You can even do feature requests.
00:00.400: July of 2011, you know, one a week.
00:00.400: you're not entirely sure what you're going to do for training come January.
00:00.400: Well, with our workflow, one of the key things that we used in Final Cut Pro 7 was the media manager.
00:00.400: is probably the closest thing to a media manager.
00:00.400: Where you are growing, that you solve the growing pains.
00:00.400: if you're the least bit interested in the world of podcasting.
00:00.400: So if you know anybody that might be interested in that, in how to put together a a podcast and how to
00:00.400: So, because then you don't even know, are you opening up the most recent version?
00:00.400: It's not video or film production related, but it is media generation.
00:00.400: And in our little circle of humanity here, those of us that do video and film production.
00:00.480: We've talked about their new website and their curated music library, and they've just been really great supporting what we're doing here at the Grill.
00:00.480: It's very frustrating when you're scrolling through a font menu of a thousand fonts or something.
00:00.480: and work within the st the style guide.
00:00.480: And that was a real big aha moment for me was like, okay, I can start to see how I can do things that I was doing in seven, in 10, just in a different way.
00:00.480: at work in Final Cut Pro 10.
00:00.480: Yeah, well, that's an interesting thing.
00:00.480: And let that feed the MAM system.
00:00.480: What do you think you gain by letting this external media asset management system
00:00.480: have a a single library that is um like on a Dropbox or something that everybody is referencing.
00:00.480: We haven't really.
00:00.480: Very useful to get going like on the right foot, you know, right from the start, you know?
00:00.480: the sort of journey that I've had at our place here in the last two and a half years.
00:00.480: They're going to be in situations where they can't walk across the hallway and say, Hey, how do you do this?
00:00.480: And I'm good to go.
00:00.480: then you guys could change your storage location and kind of spread out into a more lean library workflow.
00:00.480: Vegas working on that trade show was the keywords made such a huge difference, especially because I had to do like a highlights video at the end of it.
00:00.480: It's not a bin.
00:00.480: So you actually have to open up the audio components for that to be understood.
00:00.480: You need to there needs to be feedback into the system.
00:00.480: Certified book.
00:00.480: So it's not a true media manager.
00:00.480: Agreed.
00:00.480: And so sometimes it's easier for us just to just to retrieve a smaller subset of the media.
00:00.480: And it's going to spider across your network and find all those bits of media.
00:00.480: inform people when there's things that are of interest.
00:00.480: you see them in the archive.
00:00.480: That might benefit from the world of podcasting.
00:00.560: In great detail.
00:00.560: So go check out premiumbeat.
00:00.560: But it doesn't really matter.
00:00.560: So in that area we like to try and manage let's set you up with an approved supplier that we can
00:00.560: It just doesn't hit, you know, it doesn't hit the mark.
00:00.560: Okay.
00:00.560: Some of them just tried to avoid the issue altogether.
00:00.560: I'd say absolutely it's a matter of scale and capacity.
00:00.560: training departments, groups, work groups and film teams in terms of like how to optimize their workflow.
00:00.560: almost three now and I'm thinking like yeah I could have saved I could have had saved a few headaches if I had hadn't been so proud and just reached out a little more and and and I will also say
00:00.560: And he has created some of his own keywords that made perfect sense for this particular job.
00:00.560: actually work entirely within the library.
00:00.560: That you might be best off if you let your field, and I'm thinking out loud here.
00:00.560: Yeah, that's an interesting thing.
00:00.560: And because you will not get that feature tomorrow.
00:00.560: concerns that you are sensing might be cropping up come in the next couple of weeks?
00:00.560: So that's a concern for me knowing that there's not a direct media manager there.
00:00.560: Not at this point, no.
00:00.560: large amounts of data.
00:00.640: Ben met me I met Ben rather I should say earlier this year I 2000 early I'll say early 2014
00:00.640: Right.
00:00.640: using the video editing software that we're going to be starting to use in January, which is Final Cut Pro 10.
00:00.640: Just up the food chain in the company.
00:00.640: And then the other one was doing some smaller projects for the company, but ended up asking me a handful of questions here and there.
00:00.640: If I can get this here, show me how we can do this with XML to get it into this asset management system, because then all this media becomes so much more rich.
00:00.640: you know, your drive called The Joker or something.
00:00.640: And he hands me the job, and he's used my template for organizing bins and keywords and whatnot.
00:00.640: We miss hearing Michael Garber's voice out in the public, by the way, people.
00:00.640: experience with Promise.
00:00.640: But all things being said, it actually should work the way he assumed it should work.
00:00.640: Yeah, Consolidate is your best it is pro inside Final Cut, Consolidate Library Contents, I think it's called.
00:00.640: the consolidate command will not trim it down to just the portion that sh of the clip that is using that it's being used.
00:00.640: There is the full representation of all the media and the trimmed down managed version of it.
00:00.640: You did.
00:00.640: you would save twenty percent to thirty percent of your storage if you stopped media managing.
00:00.640: And you don't even have to relink because the drive is still mounted.
00:00.640: And literally as long as you can have stay connected to that piece of hardware, all you have to do is just drag that library over to your desktop.
00:00.640: And a handful of people.
00:00.640: Interesting.
00:00.720: the wha uh the how do I want to say this?
00:00.720: I think I was in Vegas doing a job, and you were there at some sort of a show.
00:00.720: You know, approved for content by the client, and then we go ahead, and the three of us are getting fed by those 10 or so videographers that are bringing the projects to us.
00:00.720: You know, there is quite a bit of business that goes out of house just because with the size of the team versus the size of the company and the needs, we can't serve
00:00.720: So I don't personally like to use it to enter meta metadata, although I have to.
00:00.720: Things like that I'm trying to do.
00:00.720: Or if I'm just in the actual main level of audio there, I can just drag down on the level for it just to bring it down.
00:00.720: Again, two, three, five, seven terabytes of media for a project.
00:00.720: have you ever messed around with Final Cut X over a network using lean libraries and accessing media elsewhere?
00:00.720: And do you think and again, I'm using the term snapshot, do you think that snapshots of that data
00:00.720: So that we can notify people.
00:00.800: has a policy that they do not want to what was the word you used?
00:00.800: We were doing a trade show, so it wasn't a big multi-cam deal, but I did have two or three different videographers.
00:00.800: Yeah, I mean, we could make one giant final cut library, and even if that number is overly high, let's cut it in half and say 50 terabytes a month.
00:00.800: sync your motion templates between multiple machines.
00:00.800: to my storage, but I would do it with two, three, four-second trim handles.
00:00.800: If a chute would bring in, let's just say, five terabytes of data, which is astonishing to me, but okay.
00:00.800: gets is there more redundancy than just your media managed version of the media managed version of the data?
00:00.800: Yeah, I think we do a lot of the same thing.
00:00.800: It can be quite a nightmare.
00:00.880: We call them clients, customers as well.
00:00.880: You know, I was like, why can't I have that in Final Cut 10?
00:00.880: is one way to push stuff down.
00:00.880: And then if the producers get done with something, then it comes to me, and maybe I add two or three bits of metadata.
00:00.880: But in terms of like setting up, you know, the work group, that that would be something that I I'm glad you mentioned FCP Works, but I would I would do that, you know.
00:00.880: I mean, that just created for a powerful editing environment.
00:00.880: When you have a problem, when you are experiencing what may very well be a bug, and I'll tell you, Ben, you haven't heard this episode yet because it goes live tomorrow morning.
00:00.880: And and I know that sounds like really, you talked about a bug for an hour, but it was the whole troubleshooting of how
00:00.880: Projects come back to life two, three years later sometimes.
00:00.960: realizing, oh, I'm not even using that feature yet.
00:00.960: Yeah, that's definitely an area that I need to do some research in because if I can create that kind of graphics package, for lack of a better term, and have that live within the
00:00.960: And then you add on top of that the find command in the browser and the filter pull down menu in the browser, and it's extremely powerful.
00:00.960: That makes me sad.
00:00.960: But it was one of these bugs that it's like, you know what, this is a very peculiar workflow.
00:00.960: It is my belief that many people at Apple absolutely agree with us.
00:00.960: You know, I think it's yeah, I think it's part of that.
00:01.040: So it feels like it feels like it last year, a hundred and so odd shows later.
00:01.040: Yeah, there are times absolutely when I do that.
00:01.040: It can then cascade.
00:01.040: I was like, really?
00:01.040: That would be interesting.
00:01.040: You know, I'm not lightweight.
00:01.120: I would say I was a change agent.
00:01.120: where the database is stored for the for the library tool with Final Cut Library Manager.
00:01.120: Here we go.
00:01.120: Do your field editors only edit in the field or do they come back and edit in-house also?
00:01.200: Ben, how are you doing?
00:01.200: As we've talked about before on the show, that there's the multiple stages of adoption.
00:01.200: I was thrilled because I was really kind of dreading, like, am I going to get the best footage in here versus the amount of time that I actually have to put the thing together?
00:01.200: Well, how'd you do that?
00:01.200: A quick little message from an executive officer or some department manager or whoever it might be.
00:01.200: And you know what?
00:01.280: And we overly we overly how do I want to say this?
00:01.280: I remember the first thing I got married in 2011, and I just wanted to put together an iPhoto slideshow and then marry it to music in Final Cut 10.
00:01.360: I think it would be great just for individuals to have on their machine that way they can say whether or not they touched whether or not they touched a project or whether or not
00:01.440: you get to the point where you just you know the cor corporate culture.
00:01.440: And everybody has seen, you know, an outside agency piece, if you will, come back and just
00:01.440: And and it was pretty crazy because you would just like, well, I think this will look good.
00:01.440: A little bit.
00:01.440: And I was not the one that was assigned to deal with promise, to deal with all the tech support.
00:01.440: If you're really upset, what you need to do is you need to call back and talk to this guy's supervisor.
00:01.440: Yeah, and that's actually something I've been talking about.
00:01.440: And then also getting everybody else on board with changing that process.
00:01.440: Once we get further into the Final Cut 10 workflow, I think we're going to start to discover things, just different ways of thinking about things and how we can make
00:01.520: In the main interview.
00:01.520: It doesn't need to be one library to let Final Cut keep track of it.
00:01.520: I'll just leave it there.
00:01.520: Not a problem, Ben.
00:01.520: We'll be back next week with another episode of The Grill.
00:01.600: keep track of everything as opposed to just building a giant library in Final Cut 10?
00:01.600: And I'm not talking about your MAM necessarily, but maybe it's your working data pool, whatever that
00:01.680: That way, we kind of manage it without actually doing the work.
00:01.680: Yeah, it's interesting how the mind works like that.
00:01.680: You were the odd man out.
00:01.680: So like you can search individual things, I believe.
00:01.680: I'm actually starting to try and create some of that stuff and then show it off.
00:01.680: Waiting for a specific action to happen, and it takes him five minutes to get that action, but it's only a twenty second action or whatever.
00:01.680: It's a big installation.
00:01.680: It's a small group of us here, but there's a lot of people out there that are interested in the world of podcasting, and frankly, there's a lot of people teaching podcasting.
00:01.760: And we talk about this in the interview, but I can't tell you who he works for.
00:01.760: It can look absolutely wonderful, but it's not useful to us at that point because we do have a common look and feel.
00:01.760: I routinely get stuff, you know, and it's funny how the guidelines can change from day to day, it seems like.
00:01.760: And I will say that it, and I've said this before on the show, it is and I'm just gonna rant here for just a little bit.
00:01.760: I would definitely talk to Sam about all of this.
00:01.760: So yes, it seems like there are some potential inefficiencies and I and good grief, I'm not pointing fingers because
00:01.760: It's B-E-N-Y-Z-B-O-Y.
00:01.840: And you found that oh, just inserting a gap, which I believe is like control W or option W.
00:01.840: How'd you do that?
00:01.840: I can see where the breath is before it actually happens.
00:01.920: Take the margin for error out of the situation.
00:01.920: Yeah, he has a full-time job now for a company that doesn't allow him to speak to the public.
00:01.920: I really wish Apple would do something that was like a Final Cut 10 for Final Cut 7 editors.
00:01.920: I'm totally with you on that one.
00:01.920: So when we launch the disk tracker software, which I've mentioned many times, and we search out the name of a job and it comes up and you see it's like, mm, it's on three different drives.
00:02.000: So, we started off talking about a little $300 edit system, and now you're doing enterprise-level metadata sharing.
00:02.000: I know there's something in the titling tool within Final Cut 10 where you go to create a title and you can select
00:02.000: Well, there's other things that you can do.
00:02.000: And my favorite is, you know, I think it's the option brackets to trim.
00:02.000: It was just me having to figure it out, right?
00:02.000: we gather all this data and we're so busy, we don't really have the time to go through it and decide what we really need to keep.
00:02.080: So, before we go, I want to remind you to go check out premiumbeat.
00:02.080: How's that working for you?
00:02.080: So what you would do is you would use the track tool or the shift T to grab all tracks.
00:02.080: Can't we just work in 10?
00:02.080: And actually, one of the editors, when I was showing them that, they're like, oh, yeah, actually, that's pretty cool.
00:02.080: I think it was called Final Cut Pro for Avid Editors.
00:02.160: And we get into media asset management and how and how you deal with it.
00:02.160: I think ultimately for this discussion, it doesn't matter.
00:02.160: Oh, still.
00:02.160: You're going to name a drive Grumpy?
00:02.160: But that's an interesting question to look at.
00:02.160: I mean, I learned a ton of stuff just watching him.
00:02.240: Then you could change the duration of that or drag it out if you need to push it out.
00:02.240: I'm like, okay, this is really cool.
00:02.240: Okay, so I'm sorry I cut you off.
00:02.240: And you can actually have a whole theme in the lower thirds tab that has all my things for that client.
00:02.240: Yeah, that's what I would recommend.
00:02.240: That might be something that you're going to want to experiment with or look into because
00:02.240: Uh, 'cause I gotta tell you, I don't know if you if you were listening.
00:02.240: Anyway, that's podcastersguide.
00:02.320: So I'm going to this is going to be an interesting conversation because we're going to be dancing around vagaries.
00:02.320: That is correct.
00:02.320: We also get a lot of what we like to call ass on fire requests.
00:02.320: Final Cut Pro 10 or Premiere?
00:02.320: And one of our competitive advantages that keeps people coming to us is we have the library.
00:02.320: If it can get to producer's best friend, I know there's a way we can send an XML file to this MAM system, whether or not it's actually.
00:02.320: To me, you know, a lot of times I'm looking for, you know, say people shopping in Shanghai.
00:02.320: Not only that, but the getting back to the keywords.
00:02.320: But I've had multiple very good experiences with them.
00:02.320: We'll talk more later.
00:02.400: The licensing is very straightforward.
00:02.400: Yeah, no kidding.
00:02.400: But um uh the last episode with Ron Dawson is basically
00:02.400: In our workflow here where I work, I am seeing the beginnings of some of the
00:02.480: It might look a little bit like a bin, and in your mind, you might think, oh, I'm going to put this in this bin.
00:02.480: Do you think it's like, oh, and here's another copy of all of it on Bob's laptop?
00:02.480: And I'm seeing even in our little company here that we already have multiple copies of things and
00:02.480: Thanks for listening.
00:02.480: And trust me, we're not going to flood you with a bunch of stupid junk mail.
00:02.560: Let's now go to our interview with Ben Broadback, and Ben is coming at us from Illinois and a company I can't actually tell you who it is.
00:02.560: Which is fine.
00:02.560: But we do a lot of work, and there's just no way we can handle everything that the company has to do.
00:02.560: Oh, well, that person actually was a premier.
00:02.560: It's just a big repository to put all your assets, video, audio, graphics, scripts, music, voiceover, all that stuff can go in there.
00:02.560: And you could do it while it's playing and never stop playing.
00:02.560: Couldn't agree more.
00:02.640: But what's interesting is that Ben's company, and this decision affects 14 different people.
00:02.720: com and if you if you find something you like, do me a favor, tweet it, say, Hey, I heard about Premium Beat from the Grill and they my music is now is now locked in and good.
00:02.720: Okay, good.
00:02.720: And I was fighting it, and I was staying up late, and I was cursing at Final Cut Pro 10.
00:02.720: There are some advantages where that isn't the best way to do it, but you but once they hand off the job to you
00:02.720: And it may feel like it is a futile thing to pull that thing down and say, can you please give me this feature?
00:02.800: Literally, all you have to do is reach across to your network and say, oh, here's the XYZ job.
00:02.880: Well, the size of the video department I work in, we've got about twenty people on the team, and about 14 of those will be
00:02.880: It's interesting.
00:02.880: We'd have to figure out a way to do it internally because I know things like Dropbox and Google Drive are not
00:02.880: I used to carry it in all the time, and I just got old and tired of doing that.
00:02.880: Somebody actually made me an automator script.
00:02.880: It's actually very cool.
00:02.960: A lot of late nights and weekends.
00:02.960: Y you know, uh there was a drive we had once.
00:02.960: Here's how it happens over here.
00:03.040: Doing well.
00:03.040: And it is kind of an interesting situation, but there's you know, it's just like working for
00:03.040: Actually when I met you back in March, I was doing some top secret work in Final Cut 10, not really telling anybody about it since I was a a one man show.
00:03.040: So, can I just push this down?
00:03.040: But that's the thing is, you know, we were using this MAM system and now metadata is becoming so important to us.
00:03.040: I don't think I personally have met that person, and I really wish that they would become more vocal, but they're not going to.
00:03.120: And I said, you know, we're going to have to do this in something that's not Final Cut seven just because of the they needed a quick turnaround.
00:03.120: You know, there's a lot of ways that you can use podcasts even internally, not a wide release, but a narrow release.
00:03.200: It's just it's just better all around.
00:03.200: Yeah, I you know, it was it was okay.
00:03.200: But the more I played with Final Cut Pro 10, the more I started to understand it, the more you started to understand it, the less you're fighting it.
00:03.280: Final Cut in five minutes.
00:03.280: Please go to the iTunes and leave comments and stars.
00:03.280: So that's what's happening right now.
00:03.360: Whether or not I actually had the time to look at it is a whole nother story.
00:03.360: I mean, if you want to commit to using the built-in character generator for things.
00:03.360: Are you saying the letter V will make that range of that portion of audio clip inactive?
00:03.360: And I know that they read it.
00:03.360: It's the media management part, I think, really needs to go, especially with
00:03.440: I understand.
00:03.440: So it's always interesting.
00:03.440: But then sometimes it's like, okay, I know that there's all that there to the right.
00:03.440: I was.
00:03.440: However, if your guy is standing there for ten minutes
00:03.440: All right.
00:03.520: And I know we could probably just open the library at that point and say reconnect to these types, get the list and just bring those back in.
00:03.600: We can spend money internally or that money can be used from their budget to go out of house.
00:03.600: Yeah.
00:03.600: And for me, it was the metadata that I pitched at them.
00:03.600: That's not a giant installation, but it's you're certainly touching a lot of data, and I'm very interested in seeing some of the more
00:03.680: And you know, it was one of those things where, like, I don't get to drive the bus on what the decision is, but I was driving the bus on
00:03.680: And that was the big issue: I didn't feel like
00:03.680: Right.
00:03.680: I mean, I know that Sam Messman has traveled literally all over the world.
00:03.680: That's exactly what I needed.
00:03.680: But they should have been doing that since September July of twenty eleven.
00:03.680: Right.
00:03.760: And I tweeted something.
00:03.760: How are you?
00:03.760: So, so you've heard me talk about the way we store data, I'm sure.
00:03.760: Something, you know, I had in my heads like calling up FCP Works and seeing
00:03.760: It makes me sad too.
00:03.840: The way that that decision uh came about.
00:03.840: Oh, wow.
00:03.840: We've got a LTO tape library.
00:03.840: It would be really great.
00:03.840: Yeah, and you know what?
00:03.840: I didn't mean that in a bad way.
00:03.920: I'm very thrilled about that.
00:03.920: And then I see Philip Hodgett's producer's best friend, where you can then get that metadata out of the application into a spreadsheet.
00:03.920: I mean, we're going through just gobs of media per month.
00:03.920: Take care.
00:03.920: And I'll warn you right now, right now there's just there's nothing to see.
00:03.920: So that that's something that we've been working on for the last month.
00:04.000: I don't want to get anybody in trouble.
00:04.000: Right.
00:04.000: You know, that's a big deal is we have this library and we can create a video about our company from you from thin air sometimes if we need to.
00:04.000: It's just one of the inefficiencies that we, I think, probably have right now.
00:04.000: I mean, I agree.
00:04.080: And of course it did.
00:04.080: When I started doing my own work in Final Cut 10 on the side,
00:04.080: And I know you can save out a look.
00:04.080: You know, I'm sitting here thinking about it.
00:04.160: Very cool.
00:04.240: And yeah, it might be really nice, and it might be really creative, and it might be really wonderful.
00:04.240: Some of them were literally too busy to start using another application.
00:04.240: And then I start looking at Mac OS 10
00:04.240: And we can't keep it all online all the time.
00:04.240: But the other thing that I find interesting from my point of view, and again, we have three or four edit suites depending on how you count them.
00:04.320: You know, it was like the track selection tool, you know, T in Final Cut 7, you know, to bring things forward.
00:04.320: And then it's all of a sudden, oh, wait a minute, I can insert a gap, everything will go down, and since it's magnetic, everything moves around.
00:04.320: And it was okay, videographers, what do you guys want to use?
00:04.320: I think we have all the media over here, but here are just the edit assets.
00:04.320: Yeah.
00:04.400: You know, it's interesting.
00:04.400: You know, and then you would learn different things just by trial and error or, you know.
00:04.400: So, um, so you started at least back in March, you were messing around with it
00:04.400: And I believe that was being done internally.
00:04.400: So you're going through thousands of fonts sometimes just to get to that font.
00:04.400: So just the other day, he comes in with one of his field drives, his little Thunderbolt field drives.
00:04.400: I'm actually thinking that it's very possible
00:04.400: You know, import into the library.
00:04.400: I mean, agreed.
00:04.480: We're still there.
00:04.480: So now, those are the finish editors, but you also have this staff of.
00:04.480: That's a bad open.
00:04.480: And I actually had to publish a retraction on my website and correct it.
00:04.480: If you guys can get FCP Works in there and again, this is not a FCP Works commercial.
00:04.480: So you can check that out at podcastersguide.
00:04.560: I'm doing great.
00:04.560: One of them was a guy that was shooting a documentary and had, I think it was about 1400 clips.
00:04.560: And that was a huge win for me.
00:04.560: Right.
00:04.560: Or at least just be a little more forthcoming with this was our thinking of taking this tool away, and here's
00:04.640: Generally, if I know, okay, I'm going to put two or three clips down, I'll just insert them.
00:04.640: And it's the very same thing with Final Cut and the Feedback tool that is underneath the Final Cut menu.
00:04.640: That drive comes into my edit suite, and I would media manage those four sequences, those four projects, as it were.
00:04.640: You know, I think it's fascinating.
00:04.640: And we are creating an entire generation of what I what I've labeled in the past as digital pack rats.
00:04.640: com, and that's a new thing that I'm doing with Carl Olson.
00:04.720: Happy Monday morning.
00:04.720: I like to call us more like finishing editors because we really
00:04.720: And I get that, and some of it I get, some of it I don't understand.
00:04.720: So currently we're two, but we're going to have a third one starting in January.
00:04.720: And then, when I did all that at the finder level
00:04.720: But I was going through those and the producer that was in there with me
00:04.720: I think Michael Garber.
00:04.720: What are your personal
00:04.800: And I was like, you guys all work for the same people.
00:04.800: And the editors were split.
00:04.800: I can hit my range tool.
00:04.800: Well, this is really interesting.
00:04.800: We're a company that moves slowly sometimes.
00:04.880: Absolutely.
00:04.880: You said you started looking at Mac OS X.
00:04.880: We put a KeyPro quad on them, so everything's being recorded as ProRes.
00:04.880: Here is our corporate bumper graphic or logo tag at the end of each piece that has copyright information.
00:04.880: You and me both, and many other people, and I will say that
00:04.960: It's not complicated.
00:04.960: Have you seen any of that in your own adoption?
00:04.960: It's pretty cool because one of the things that it does is it keeps track of every library you have opened.
00:04.960: And it reminds me of there was an Apple
00:04.960: This is a forever beef.
00:04.960: Cool.
00:04.960: So if you want to, um, if you want to
00:05.040: So we ask a lot more questions of what exactly they want.
00:05.040: I will also say that because of some conversations that I have had on the show, that somebody recently
00:05.040: Yeah.
00:05.040: You're not going to get it next week, and you probably won't get it next month.
00:05.040: Product changes, person leaves the company, somebody just notices they want to change something.
00:05.120: He's like, oh, dude, I'm right down the street.
00:05.120: And then I have a little sandbox, so to speak, with which that I can
00:05.120: Oh, wow.
00:05.120: And I'm realizing that since I've replaced the machine in front of me, it's not actually on you know how that is when you
00:05.120: Yeah, and not to mention the fact that you're not just training
00:05.120: And I have been in the
00:05.200: It's like, hmm, what should I use today?
00:05.200: And I think you'll find it'll save a lot of time.
00:05.200: So you're always checking creation dates and whatnot.
00:05.280: Endorse.
00:05.280: And it was basically saying, Okay, you know how to do this in Avid.
00:05.280: That's something that I'm kind of toying with.
00:05.280: Let me ask you a question about that.
00:05.280: I think that's definitely something that we're going to be doing.
00:05.280: I think you have the better tool.
00:05.280: The smartest thing you can do is solve the growing pains before they become growing pains.
00:05.280: And I would ask you that if you have clients
00:05.360: It's so great.
00:05.360: I remember the first time I was working with an in-house department as a freelancer, as an outsider.
00:05.360: So um so what were you uh what have you been editing uh in in the last, say, you know, year or two?
00:05.360: I've been doing a lot of work on my own in Final Cut Pro 10, and I've been doing some work recently.
00:05.360: Correct.
00:05.360: Oh, wow.
00:05.360: Was so you can build your custom lower thirds where you don't even have to select the font.
00:05.360: Well, and that's one of the things that I love because a lot of times we'll be doing
00:05.360: They should and it should be somebody wearing an apple T-shirt standing in front of a white limbo background, you know, with a pine table in front of them, you know.
00:05.360: All you have to do is launch that library from your desktop.
00:05.360: And basically, what we're going to do is we're going to be teaching the world about podcasting.
00:05.360: And have a Merry Christmas.
00:05.440: And if it's 2 in the morning, chances are I'm probably not going to hear it.
00:05.440: He hands me the drive, I copy it off onto my RAID.
00:05.440: I'm glad I have.
00:05.440: I figured it out.
00:05.440: So again, we can't say who you work for, but if people I know you're on Twitter, so what's your Twitter handle, your personal Twitter handle?
00:05.440: Well, there you go.
00:05.520: And I'm glad that the people that you spoke with said, well, yeah, you can talk.
00:05.520: I mean, just simple things like the fonts and the and the color palettes, but you also know
00:05.520: And it was fun, you know, to watch the producer sitting next to me saying
00:05.600: But there is absolutely people who just want to hit the easy button and have an agency do everything for them.
00:05.600: I talk about this all the time.
00:05.600: He's like, I never would have been able to do it this quickly with Final Cut VII.
00:05.600: Oh, yeah, absolutely.
00:05.600: It's all done.
00:05.600: I think Apple should have been doing that since
00:05.600: There are now two separate, I will call them snapshots of that data
00:05.600: It's just it's the inevitability of growing really large.
00:05.680: And that's the thing is when I first started using 10 back in 2011, when it first came out, I hated it.
00:05.680: And so that's actually something I was actually just yesterday talking with one of the team members.
00:05.680: You're not going to hear the phone call because you're a lightweight and you're not dedicated to your craft.
00:05.680: I'm very curious about workflows with ClipExporter.
00:05.760: Yep.
00:05.760: We are one of the holdouts.
00:05.760: And by the time they got done with those projects and went back to Final Cut 7.
00:05.760: So I start thinking about Final Cut Pro 10 and I'm like looking at this
00:05.840: Welcome to another episode of Final Cut Grill.
00:05.840: It's painful, but it does get the job done.
00:05.840: And as soon as they did the OS X Finder tags, I was like, ooh, I hope someday they honor them in 10.
00:05.840: And that's really the beauty of it, is you can do that.
00:05.840: That's not jarring to anybody that's ever edited video before in their lives.
00:05.840: One of the things when I was in.
00:05.840: I agree.
00:05.840: Maybe you'll get a hint somewhere from his Twitter handle.
00:05.920: So you want to like push some stuff out of the way.
00:05.920: They could be, you know, in India where the time change is, you know, X number of hours.
00:05.920: And I keep saying to him, I go, you know, just sitting here and yelling at the computer doesn't help the system.
00:05.920: And I think that, Ben, this definitely warrants a repeat performance.
00:06.000: Endorse, yes.
00:06.000: One is, can it actually work for me?
00:06.080: Do you ever just say, forget it, I'm going to just start inserting clips and not worrying about having that sort of extra gap to work within?
00:06.080: And it's a very interesting thing.
00:06.080: So
00:06.080: And the, you know, say we're making four videos.
00:06.080: Uh back in when I started the grill, I mean, I was just flummoxed with like, oh my goodness, I had thought I'd broken a bunch of stuff.
00:06.160: Thank you for being on the little show.
00:06.160: But just to be clear.
00:06.160: There's probably a million reasons why this may not be the best way.
00:06.160: Yeah, top and tail.
00:06.160: So you don't have to manage it into your system or you don't have to bring it across
00:06.240: Just kind of gives me visually, you know, this
00:06.240: What do you guys want to use?
00:06.240: I just took it upon myself.
00:06.240: Well, I mean, it's one more person that was out there showing us things that.
00:06.320: So it was a big trade show.
00:06.320: It's really interesting the way the mind works because I know exactly what you're talking about.
00:06.320: Like, guy, what would I do?
00:06.320: I can highlight it.
00:06.320: I saw him do that one time, maybe out at NAB or on one of the virtual user groups.
00:06.320: Yeah.
00:06.320: Somewhere in your universe, one of your producers has the five terabytes of stuff.
00:06.320: So, okay.
00:06.400: Yeah, that's you hit the nail on the head if you're not in the voice of the company.
00:06.400: So just something as easy as that is saving it because our font is actually the name of our font is
00:06.400: So if you hit the letter V on that range, it should go ahead and mute it for you.
00:06.480: And so what we're going to talk about is the reasons why that
00:06.480: I'll tell you, one of our clients, it used to be such a hassle when it came down to music, but
00:06.480: Yeah, that's more definitely something I don't have a problem with where I work.
00:06.480: We haven't set up any official training at this point, but we've got
00:06.480: He's like, oh, those idiots.
00:06.480: That way I'm not bringing over all that media.
00:06.480: Those guys know what they're talking about.
00:06.480: I tell you, it was quite the sort of eye-opener
00:06.560: And then it's really just been a matter of adopting feature sets and implementing them.
00:06.560: Okay, so it would have been two to one.
00:06.560: Oh, a place I used to work, they somebody decided to name a series of drives after the um the seven dwarfs.
00:06.560: Yeah, and that's a big thing is you know, they're out on the road, and that's you know
00:06.560: Have you noticed you haven't seen heard from him in a couple of months?
00:06.640: And he.
00:06.640: You're overboring.
00:06.640: It's not
00:06.720: And I said, well, come on down.
00:06.720: So it's very interesting.
00:06.720: I think that's a huge thing when you're training somebody, when you get them to realize.
00:06.720: We went from seven to ten and like going back to the the track tool thing that I learned to hit option W to insert a gap.
00:06.720: That's something I've been talking.
00:06.800: And we found some very interesting workflow issues that we'll go into in great detail.
00:06.800: You know, we we we
00:06.800: So and you were there and we had lunch and it was great.
00:06.880: I want to say it's got like 500 tapes.
00:06.880: Once we go full-blown Final Cut 10 in 2015
00:06.960: So not a lot of them have asked those specific questions at this point in time.
00:06.960: Everything is stored in the library.
00:06.960: And we go to deep breath
00:06.960: And it actually doesn't surprise me that somebody else hasn't come across this yet.
00:06.960: You've made the choice for the right tool.
00:07.040: So, Ben, what would be some of the things that you were
00:07.040: You know, being a large company
00:07.040: And I'm just curious, and I'm not trying to be confrontational.
00:07.120: You know, I don't
00:07.120: So we're constantly, you know, once things become three or six months old, it may get moved off to LTO tape at that point.
00:07.120: And actually, I think in a corporate environment, that's a huge thing because what we've done
00:07.120: But we are reassured that he is now on the inside helping us create a better tool.
00:07.120: They read all of those bug reports
00:07.200: So yeah, do you do you um do you guys have a really um tough branding department that ever kicks stuff back?
00:07.200: No, dude, we have a font and you should be using it.
00:07.200: Yeah, so we got, I think in Mavericks, we got OS X Finder tags.
00:07.200: And I apologize, I can't remember who did this.
00:07.280: And quite frankly, that is a big deal.
00:07.280: Right.
00:07.280: They're the ones that go out and shoot the project as well.
00:07.280: It's like, oh, this is the way you do it.
00:07.280: I'm very interested in following along and seeing this because this is a
00:07.360: com
00:07.360: It's not a bin.
00:07.360: So we might shoot
00:07.440: And then I explain all that.
00:07.440: Can you describe that?
00:07.440: I go, Can't we just leave one here?
00:07.520: I'm very excited about that.
00:07.520: I totally agree.
00:07.520: Podcasters Guide is not about that.
00:07.520: Later, later.
00:07.600: You know, it came from
00:07.600: And, you know, if I actually have my channels open, I can hit V and mute it if I wanted to do that.
00:07.600: Also, maybe just doing what is it, a consolidate where you can just take all the used media.
00:07.600: They edit everywhere.
00:07.680: You know, some of us wanted to use Premiere, right?
00:07.680: It's a very good question.
00:07.680: So
00:07.680: Yeah, top and tail.
00:07.680: com.
00:07.680: We're just gathering email addresses.
00:07.760: We'll have lunch together.
00:07.760: A lot of these people are going to be
00:07.760: As a matter of fact
00:07.760: .
00:07.760: And he wasn't, I will say, it was not a good.
00:07.760: Um, a lot of brainstorming and you know, planning and organizing.
00:07.840: Have you ever used the Arctic Whiteness application?
00:07.840: Classic.
00:07.840: So it's important when you are in a position
00:07.920: It was March actually of this year that I got to meet you.
00:07.920: And I'm realizing that it's actually very similar on a much smaller scale to
00:07.920: No, wait a second.
00:08.000: Because we first met last year
00:08.000: That really helps the show.
00:08.080: And so
00:08.080: And from that, you're going to generate four pieces.
00:08.160: So over that week, I output about 20 deliverables, all in Final Cut Pro 10.
00:08.160: Is it just a matter of scale and capacity?
00:08.160: So like for the small to medium sized shop
00:08.160: And yeah, that's because I can't imagine anybody's going to
00:08.240: This is episode 104 with Ben Broadback.
00:08.240: And frankly, we go into a whole part of discussion that I did not even foresee, although I should have, I guess.
00:08.240: And we actually do use, we have a small database that's on a Dropbox.
00:08.240: Interesting.
00:08.400: Hold on before you get to that, the guy who left, where did he land in the choice?
00:08.400: Well, I do understand it, but I don't know the software.
00:08.400: You know?
00:08.480: So it was a great chat.
00:08.480: But I'm just going to say that the company, the really big company in Illinois you work for.
00:08.480: I'm going to come in here.
00:08.480: When it comes to building those graphics.
00:08.480: So I'm going to say.
00:08.560: We need this this afternoon or we need this tomorrow morning, and we just don't have a resource.
00:08.560: Yeah, that's happened to me recently.
00:08.560: And that thing put itself together with
00:08.560: I think that Apple should have a
00:08.640: I ended up getting something, it wasn't the edit I wanted, but.
00:08.640: We've got a robotic arm that can load the tapes up if you need something that's
00:08.640: He's like, Yeah, sure.
00:08.640: And I mean, I dig Sam and that might be something that's would be
00:08.640: You just said something that I did not realize.
00:08.640: So Ben, do you ever it's so funny, and that is why we do Honor Day.
00:08.720: There you go.
00:08.800: I mean, probably upwards.
00:08.800: And then, like, a month later, I realized, oh my goodness, that's a horrible way to do it.
00:08.880: What is that?
00:08.880: And there's a lot of ways to kind of solve that problem.
00:08.960: So we absolutely have to compete for the business within our own company.
00:08.960: And sometimes we're not found as the easy button.
00:08.960: Option W, which will drop in a three uh default it defaults to a three second gap clip.
00:08.960: Yeah.
00:08.960: You know, I'm not even sure how
00:08.960: If you really think he gave you bogus information
00:08.960: It'll say, oh, you need that clip, and it'll consolidate it into your storage location.
00:08.960: And I'm again thinking out loud here.
00:09.040: And I absolutely
00:09.040: And then
00:09.040: Okay, I want to do this.
00:09.040: They're in-house, they're in hotels, they're all over the place.
00:09.040: So Carl came to me and pitched me a
00:09.120: You just can't talk about us, which is fine.
00:09.120: It's actually extremely powerful.
00:09.120: He's, you know, it's his job.
00:09.200: That's something that's currently entrenched in our workflow.
00:09.280: And most people find, yes, it can if you give it a chance.
00:09.280: I did get two of them.
00:09.360: I'm going to do some more some some stuff in between here.
00:09.440: And that was something
00:09.520: And when you say coming to us, you mean the internal video department.
00:09.520: Okay, you win.
00:09.520: I just hit the download.
00:09.520: Those four videos get assembled, get approved for content by the customer.
00:09.520: They don't sponsor this show.
00:09.520: We do want to
00:09.680: And we want to present a consistent message.
00:09.680: And that's where keywording and that's where I think Final Cut Pro 10 really
00:09.760: Were you the impetus behind this change?
00:09.840: That sounds very expensive.
00:09.840: But if you let your field people
00:09.840: So if you're
00:09.920: But we have crews that go all over the world.
00:09.920: It's actually quite
00:10.000: And it felt weird.
00:10.000: Yeah, it's interesting.
00:10.000: And then
00:10.080: The ones that did have the time to give it a go.
00:10.160: So tell me a little bit about the size of the
00:10.160: I've got about three or four colors I can play with, and about
00:10.240: I don't know how to do that.
00:10.240: So we had an issue with one of our hard drives that kind of
00:10.240: So, our best way to communicate with them
00:10.240: You should come back in six or twelve months and
00:10.400: But they go ahead and get everything edited and get it
00:10.400: Yeah, in the upper right-hand corner, yeah.
00:10.640: Yeah, there's a few things that are common.
00:10.720: Sometimes it's like, no, I just need to push.
00:10.800: Yeah.
00:10.880: I'm going to make it up because I don't know the exact number, but
00:10.880: And they were kind of high profile.
00:10.880: Sam's a good friend and I want those guys to be successful.
00:11.040: If you do a range selection,
00:11.120: I'm wondering if you could
00:11.120: Right.
00:11.200: It's just you drop it in.
00:11.280: And then, in a world where you just don't want to
00:11.360: So
00:11.360: Oh, I did not realize that.
00:11.440: And so we went to ten
00:11.440: That's not good.
00:11.520: I don't know what it is off the top of my head.
00:11.760: And this is why we all love it so much.
00:11.840: Yeah, weren't you doing a big multicam thing or something?
00:12.000: We know the process.
00:12.000: I would answer the questions.
00:12.080: So.
00:12.080: Unfortunately, consolidate
00:12.160: And there's all kinds of
00:12.160: A couple of things I'm trying to do is
00:12.320: It's like, here's my lower third look.
00:12.320: It'll be interesting to see how you do it.
00:12.400: It gets metadata tagged.
00:12.560: You have to go get drive
00:12.640: Right.
00:12.720: Right.
00:12.720: So.
00:12.800: And the less you're fighting it.
00:12.880: But then you start
00:12.880: And then they did.
00:12.959: And
00:12.960: That's very cool.
00:13.040: We were working with some
00:13.200: We have
00:13.280: We know
00:13.360: And I look at just
00:13.680: Right.
00:13.920: And it's got
00:14.240: Because