Episode 105

FCG105 - Shop Talk (feat. Ben Console)

Looking back on 2014 Ben Consoli and I touch on many topics. Hard drive tech and performance, Motion Graphics and tracking technology, Viral Marketing and we touched on the work of Tony Zhou. So much was discussed and covered in this freeform end of the year meltdown. Happy New Year from DCC and FCPX Grill! Elite Pro dual otherworld computing - just wasn’t the speed I wanted

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Featuring

• Chris Fenwick
• Ben Consoli - @benconsoli

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Transcription

00:00.001: Does that make sense?

00:00.001: It'll come to me.

00:00.001: But sometimes, when you really want to get the business, you got to talk to the assistant.

00:00.080: Could probably go even quicker.

00:00.080: Don't even know why is everything we're bringing up visual every single but he he does these videos where he um

00:00.080: Film.

00:00.160: Like a minute to a minute and a half, specifically for the web.

00:00.160: So they'll buy those, but they want to have something they can just share and put on their site.

00:00.160: It just gives them a whole bunch of stuff that they can kind of play with.

00:00.160: And the camera keeps pulling back, and you see he is standing on the rearview mirrors now doing one of his Jean-Claude Van Damme famous splits.

00:00.160: It's different audiences, obviously.

00:00.160: You know what I mean?

00:00.160: Are now doing something like this, which is kind of fun and different.

00:00.160: I keep it inside the library.

00:00.160: You know, have more control over where they want their media to be.

00:00.160: Ben Console's made a cast.

00:00.160: In the G-Drive Pro.

00:00.160: It's a 4TB one.

00:00.160: Oh, totally.

00:00.160: Transportable G-Drive Pro with Thunderbolt delivers extreme SSD-like speed.

00:00.160: It's like I invest so much of my, like, I fight for these companies.

00:00.160: Let's see.

00:00.160: And saying, oh, no, I don't need to.

00:00.160: Three things I'll become crazy.

00:00.160: So you know these these Pegasus RAIDs are 12 terabytes, 10 you know formatted down to 10 terabytes of data.

00:00.160: daisy chaining the old Pegasus Ones and were running Carbon Copy Cloner every night at eight o'clock to make a one for one copy of the main raid.

00:00.160: bear drives in, you know, a box in your garage or something.

00:00.160: You know, he's a big, you know, After Effects guy, and he would normally do all that stuff in After Effects.

00:00.160: So you've used it?

00:00.160: This is perfect time for Slice X.

00:00.160: Yeah, where it's it's tracked to the phone.

00:00.160: Totally not be prepared and be looking at things constantly the entire time.

00:00.160: We'll just enter slowly and casually into 2015.

00:00.160: It's the end of the year.

00:00.160: I'm like, here's an idea for the show.

00:00.160: Prime that we just bought.

00:00.160: You want.

00:00.160: We just use the thing called the simple tracker.

00:00.160: But just before that, there is one thing I wanted to ask you since we're talking about ProRes 444.

00:00.160: You'd need to see it.

00:00.160: Like, same thing as the Slice X.

00:00.160: it's a bigger file, it's a fatter file, I'll say they still play quite nicely in Final Cut X.

00:00.160: Well, Go Creative Show, for the people that don't know, is my podcast that I do kind of same as you.

00:00.160: They curate their music and they only let stuff on that's really great.

00:00.160: At anyway, go check out PremiumBeat.

00:00.160: Dan Phillipson.

00:00.160: On your show and my show too.

00:00.160: Great.

00:00.240: Oh, good grief they have a new user interface.

00:00.240: I know.

00:00.240: Maybe we will get hoverboards and those awesome Nikes that like they like adhered to your foot.

00:00.240: There was a video that came out.

00:00.240: It's so crazy.

00:00.240: And I don't know, they green screen some stuff out, whatever.

00:00.240: Are we on right now?

00:00.240: Anyway, that has nothing to do with Final Cut.

00:00.240: New product, whatever.

00:00.240: And it's a win-win for everybody.

00:00.240: Uh I'm just gonna play you the audio obviously.

00:00.240: I was playing this for a client a while back, and I think I've mentioned this on the show before.

00:00.240: I think it's really smart.

00:00.240: It's just another screen for people to watch.

00:00.240: In something funny.

00:00.240: if your audience is going to accept that from you.

00:00.240: What were some of the big things?

00:00.240: so that I can do a do a transfer library with him and get some sharing going.

00:00.240: You know, it's interesting as the application evolves over time, it it's almost like uh I don't know.

00:00.240: It's powerful.

00:00.240: You know, the last time we talked, I think it was like epis I want to say it was like episode forty nine when we talked about premia thirty nine, when we talked about premium beat, you you were talking about how you were having trouble with your raid.

00:00.240: I purchased it.

00:00.240: What I ended up doing is going to G Tech.

00:00.240: Okay, so I'm looking at their product list, and the G-Drive is the top thing.

00:00.240: Download everything onto the G Drive Pro.

00:00.240: Then I archive it back to my previous other world computing drives, which I still use and I still like, but they are no longer my working drives.

00:00.240: I don't know what is going on in there.

00:00.240: I think it's some sort of like fusion drive-ish kind of technology where it's part of it is SSD, part of it's not.

00:00.240: I know, but I'm glad I did, and I really like it, but it is expensive.

00:00.240: No, they won't tell you what it is.

00:00.240: Really?

00:00.240: Yes.

00:00.240: I wasn't working with agencies, so I had done a project for a Catholic school around my area here.

00:00.240: As they all do, but it was early in my career, so I didn't expect it.

00:00.240: And it was called Pros on Final Cut Pro or something like that.

00:00.240: It's a closet on the third floor.

00:00.240: a single copy in a single location.

00:00.240: I don't do an off-site.

00:00.240: It should be definitely off site.

00:00.240: Yep.

00:00.240: Track X Slice X combo, which I believe is a hundred bucks and a slam dunk.

00:00.240: Slice X, and um they had given me a a trial of it, and I fell in love with it.

00:00.240: And it gets better and better every time.

00:00.240: And it was too bright.

00:00.240: and start working with it very quickly says something.

00:00.240: color grade on it.

00:00.240: And they were doing this thing where they were tracking the sky in a shot.

00:00.240: He on his hard drive, he had a similar type shot.

00:00.240: Oh, my God.

00:00.240: Few opportunities or very few situations where I need to really do anything like that.

00:00.240: Let me go.

00:00.240: Do you remember that movie?

00:00.240: He wakes up and a narrator comes on, and she narrates what this guy's life is like.

00:00.240: and they do all these little call out graphics that are tracked to his hand as he's brushing his teeth.

00:00.240: And he lives in San Francisco.

00:00.240: And now everybody's talking on cell phones, and you can have you could tell a whole story with two different people in two different locations just talking on their cell phones, doing normal things, like getting in the car and getting on a bus.

00:00.240: And now you have this text message thing where you have somebody who's not speaking, so the exposition cannot be shared by voice.

00:00.240: Jackie Chan, How to How to Do Action Comedy The Silence of the Lambs, Who Wins Something

00:00.240: And I tried to get him on DCC and I emailed him, and he's like, no, thank you.

00:00.240: it might lend itself to something that just becomes an effect or a plug-in or something that even comes stock in Final Cut 10.

00:00.240: That it might end up being something that just is there for you, ready to go.

00:00.240: Oh, here it is.

00:00.240: I'm going to I will fully admit I contacted you I think yesterday and I said and I oh no you sent me a very nice little holiday greeting and I said hey yeah you too

00:00.240: What are you doing this weekend?

00:00.240: Anything else?

00:00.240: there's very little area to actually shoot in, and we're stuck in these awful, small, horrible conference rooms.

00:00.240: Oh, I want to mention something about that.

00:00.240: And this is just, I mean, yes, we are in an age where you have an expectation of the price of these effects.

00:00.240: I'm going to key this thing that maybe has motion blur or transparency, okay?

00:00.240: This is something that you may run into, and just in general, people may run into.

00:00.240: But if you change it to a straight key, what it will do is it will feather it to full transparency.

00:00.240: Again, totally nerd, totally geeky.

00:00.240: or there is motion blur, because the straight version of the ProRes four by four looks perfect over black when it should not.

00:00.240: And I think I should probably do a tutorial or a call out about this because it can kind of bag you, but I will say that in most instances, it's a subtlety.

00:00.240: Have you ever had any experience with XQ?

00:00.240: it is my understanding that ProRis XQ is an even higher quality but very but compressed version that's used for mastering.

00:00.240: I'm mostly doing 422.

00:00.240: because the animation codec actually understands what a straight key is, apparently.

00:00.240: it's quite advantageous because it's a l the alternative is a QuickTime animation codec, which is an uncompressed version that also has an alpha channel.

00:00.240: And what it's meant for me is quite often that black feathered edge is too egregious to actually let it slide, and I have to down I have to go back to using an animation codec.

00:00.240: Well, I'm I haven't done Four in a Month in a long time, but they d they don't come out at any regular schedule.

00:00.240: So coming up, we've got actually this guy is somebody you should have on your show.

00:00.240: a few episodes ago.

00:00.240: it was embargoed, and we couldn't actually say it was for Will Smith and Focus.

00:00.240: Well, that's the reason why I can't have him on the show.

00:00.240: So, anyway, that's it for this episode.

00:00.240: Yes, absolutely.

00:00.240: It's really awesome.

00:00.240: G-Y-O-M is also another one that I'm obsessed with.

00:00.240: And if you haven't seen this movie, it's amazing.

00:00.240: A lot of industry blogs.

00:00.240: Anyway, everybody, thanks for being here.

00:00.320: And so many like seminal dates, like important dates that have happened in science fiction have already passed.

00:00.320: Can you believe it?

00:00.320: And then, you know, I think they went back to fifty five in the first movie.

00:00.320: I think I heard of this coming up right now.

00:00.320: Totally a joke, and apparently, the people who made that one were like, We had no idea anybody would take this seriously because it was so absurd.

00:00.320: And more and more, as the years go on, the commercials become packages of videos where you're doing a thirty second ad or maybe a couple of them and then longer form videos.

00:00.320: That I didn't have to do any sort of promotion, which was really great and so thankful for that.

00:00.320: They wanted to have more eyeballs on it.

00:00.320: One of the trucks in the rolling and one of the trucks pulls out about an extra three or four feet away

00:00.320: And so, you know, when you talk with people about airtime, it's like, really, what do you need airtime for?

00:00.320: And so it's a commercial for the amazing steering control of the truck.

00:00.320: And clearly, at seventy seven million views, it's been shared.

00:00.320: I don't know what has changed dramatically over this year.

00:00.320: the those changes all year, you know, the first, you know, at the very beginning of the year essentially, you get, you know, ten one.

00:00.320: For me, you know, we've talked a lot about, you know, how people say, well, that just doesn't work for me.

00:00.320: it's a big deal, you know?

00:00.320: it really is a lot more like Final Cut seven when it comes to media management.

00:00.320: It just wasn't as good as these transfer libraries.

00:00.320: And my thinking is, well, those are the files that Final Cut creates.

00:00.320: And so this is a simple I mean, there's nothing exotic about this at all.

00:00.320: It was an otherworld computing rate, and I'm not shitting on other world computing because I love them, and I continue to buy tons and tons of things from them.

00:00.320: But this particular raid, which was the it was I'm going to pull it up as we talk so that people are interested.

00:00.320: And it works so great.

00:00.320: We'll go out in the field with a G Doc, one of the drives that go into the modules, right?

00:00.320: Very interesting.

00:00.320: Right now, I'm putting them on my other world computing Mercury Elite, I think they're called.

00:00.320: I was very upset about it for no reason.

00:00.320: Stuck on Final Cut 10 because I loved it.

00:00.320: And to some degree, I still do here and there, but I used them with ESATA, and I had the Thunderbolt to ESATA.

00:00.320: They go, I make a copy on the Mercury Elite Pro, and then I have a corresponding internal drive.

00:00.320: Yep, it's the just the 3.

00:00.320: And so they changed to A um Apple Myriad was the font.

00:00.320: But so at the point where they were changing from Garamon to Myriad, we were actually working on a D V D for Apple.

00:00.320: What happened was somebody involved in the project had decided, oh, no, no, no, no, we want this other guy.

00:00.320: To shoot the pieces and edit the pieces.

00:00.320: And the guy I worked for was a was really good at the whole DVD thing.

00:00.320: Well, we've already approved you guys to pay for it, you know, to pay you for it.

00:00.320: And then we had to we did all the menu design and the programming of the D V D.

00:00.320: New much?

00:00.320: But it was because it was somewhat compromised, it took us like two weeks to get all the data off.

00:00.320: That's a lot of ones and zeros, right?

00:00.320: Oh, wow.

00:00.320: drive didn't want to go, you know, and it was like it was it was acting like a twelve terabyte um USB two drive.

00:00.320: Because it would be you know, it'd be a big hunk of change to do it.

00:00.320: and maybe review track X and Slice X.

00:00.320: So I mentioned earlier we were going to talk about motion tracking.

00:00.320: We haven't heard anything from you.

00:00.320: you know, optimize uh the timeline before we could track this particular piece that was uh A7S footage.

00:00.320: and brought down the the brightness and kind of made it a little bit dirtier.

00:00.320: And it just, what I liked about it was that it actually went off the screen too.

00:00.320: And then the next guy was coming up to do a demo for something else, and he was like, um, and he

00:00.320: that as engineers or editors or problem solvers, content creators, we have to know what our tools can and can't do well.

00:00.320: It's brilliant.

00:00.320: And he I believe he did a whole like, you know, six minute video about text messages

00:00.320: In modern film and television.

00:00.320: If you go back twenty five years, let's say a common storytelling thing and even go back to

00:00.320: And so and that was a very common storytelling technique.

00:00.320: So, you have to have this whole technique.

00:00.320: to his uh um uh uh uh Vimeo channel.

00:00.320: going to work or, you know, cutting up a cadaver.

00:00.320: very very interesting and nothing to do with Funnel Cut ten.

00:00.320: you will install a plugin, and it will install multiple modules into multiple effects browser tabs.

00:00.320: And that has that happens.

00:00.320: You know, the depth of fields, shape, mass, there's a lot of stuff in here.

00:00.320: But I just kind of move it out of the way so I can draw my mask.

00:00.320: text call out things in After Effects that had letters folding down and whatnot, little sound effects.

00:00.320: This is a must.

00:00.320: In After Effects, and you have to render them out with an alpha channel, and then you're gonna overlay them in Final Cut 10.

00:00.320: And this is the most egregious example.

00:00.320: And I first noticed it when I was doing lower thirds for a client that were a white bar that slid across the screen and then dissolve, dissolved, two lines of text would dissolve in.

00:00.320: And it was we were keying it over a it was a green screen shot of people keyed over a white gradient background.

00:00.320: you know, it's a representation of your MOV that does not look right.

00:00.320: a low budget, low quality, long form thing where somebody absolutely had to have it as a ProRes file.

00:00.320: But yeah, I've never actually used the XQ.

00:00.320: I actually stopped when I hit one year and I in 100 episodes, I was like, tag, I'm out.

00:00.320: But they just come out whenever.

00:00.320: At Ben Consoli, B-E-N-C-O-N-S-O-L-I.

00:00.320: there is a line that you get to fill in where you can put like your job number or the name of the job so that when you look at your statements from Premium Beat, it'll say, oh, you bought this song for this job.

00:00.400: Well, hello there Hello, mister Consoli.

00:00.400: and they have a big conference and they had a video that roll I think it was Autodesk, they had this video that rolled into the conference, and it was Tony Hawk, the skateboarder, riding a hoverboard.

00:00.400: There are two.

00:00.400: With the Ben Consoli, and let me see if I can make the new Skype interface work.

00:00.400: Television spot, and then in addition to that, drawing from the shoot material and ostensibly I'm assuming other stuff.

00:00.400: you're doing long form stuff for the web only.

00:00.400: Epic of splits.

00:00.400: You know, and this thing is about well, this is from was posted by Volvo Trucks on November 13th, 2013.

00:00.400: But what's smart about it, or I guess what the risk is, is when you have a viral success, it's generally something comedic.

00:00.400: which allowed you to do the lean libraries.

00:00.400: evolves, more and more people can accept what it is and realize, oh, okay, well, that now works

00:00.400: For my between editors.

00:00.400: you know, horribly inefficiently, but that library file is six six megabytes.

00:00.400: Are you optimizing to get to that point?

00:00.400: Le C that by that, I think it was Belkin, or no.

00:00.400: That I use with their Voyager queue, and I back up to that.

00:00.400: We recorded their whole thing and it worked out great.

00:00.400: in their good graces to be a preferred vendor and to have a channel for them to be able to pay you.

00:00.400: Oh, I deleted all that stuff.

00:00.400: Yeah, we had a I've mentioned this a little bit on the show.

00:00.400: And um at the risk of saying anything uh that could get me into legal problems, I will say that um

00:00.400: Canon H.

00:00.400: Really, really cool people.

00:00.400: And, you know, that and that was something where I had no intention of doing it.

00:00.400: Well, I got to say, a couple of years ago, I think, I was at SF Cutters, maybe a year and a half ago, and somebody from Imagineer Systems came and they were like, oh, we're going to show you how to use Mocha.

00:00.400: You know, and I think that it's endearing that you said, Well, I just got it.

00:00.400: He analyzes certain people or certain things.

00:00.400: Answering machine, not voicemail, you're answering machine messages while you're hanging up your coat and changing into your cardigan and putting your sneakers on, you know?

00:00.400: You know, like Michael Mayhem, mayhem, yes, uh, Scorsese, the art of silence.

00:00.400: So you kind of have to know.

00:00.400: Um but when you do that you'll find um

00:00.400: Make sense?

00:00.400: If you and I've spoken about this a bit in the past, about the difference between a pre-multiplied key and a straight key.

00:00.400: After effects.

00:00.400: Will actually if you open up that MOV that you've rendered, if you open it up in QuickTime, it looks like crap.

00:00.400: because it had some opacity and some motion blur over the white-ish background, but no, it had a black feathered edge.

00:00.400: Since I know our good friends at Apple listen to the show, I'm calling you out and maybe I'll make a tutorial and mail you guys a link.

00:00.400: It's called Focus.

00:00.400: and the show Salem.

00:00.400: Yeah, I think that's new to the new site, and it is so helpful.

00:00.400: The grill this year.

00:00.400: They just spider out into a million things.

00:00.480: Hello, hello.

00:00.480: Yeah.

00:00.480: Jean-Claude Van Damme used to be very famous for his ability to do the splits, and he did it in a lot of his movies.

00:00.480: And so if you really want to hit a targeted audience that is maybe like fifty plus, sixty plus, you're probably going to skew more of your marketing dollars towards T V.

00:00.480: Has it changed the way you work in your company?

00:00.480: If I'm going to share it, I'm putting it, I'm consolidating outside of the library.

00:00.480: One thing that has changed this year, and I don't think it's because of an update necessarily, but I am no longer sharing XMLs

00:00.480: But it's really, really great.

00:00.480: But it is really fantastic.

00:00.480: In the nineties and early two thousands, I think, the official Apple font was called Apple Garamond.

00:00.480: Oh no.

00:00.480: So it was kind of this like kind of BS, whatever.

00:00.480: one of so that the data is still there.

00:00.480: You know?

00:00.480: But we have had, since this last raid issue, we have had a couple of locations about saying, do we want to mirror

00:00.480: Awesome.

00:00.480: And it was too bright.

00:00.480: And he you know, she says, you know, he's he brushes his teeth thirty-eight times up and down, and then thirty-eight times left and right.

00:00.480: So true.

00:00.480: what was it, a Blade Runner.

00:00.480: Snow piercer left or right.

00:00.480: And the internet in film, yeah.

00:00.480: And I would love to get him to talk publicly.

00:00.480: And what we were doing is actually making kind of like the Stranger Than Fiction clip, which will be in the show notes, we were making little animated

00:00.480: Okay, now this rears its ugly head mostly when you're making animated things.

00:00.480: thing and then I'm going to generate an alpha channel from that.

00:00.480: white hunky things that will key well eventually once it's keyed with the alpha channel that is also part of the fi the file.

00:00.480: It does not it du the ProRes 4x4 codec does not understand what a straight key is.

00:00.480: because it was the straight version of the Progress four by four was actually rendering as though it was a premultiplied version.

00:00.480: So I apologize.

00:00.480: Because the feather and the transparency is all carried in the alpha channel, which QuickTime cannot actually show you.

00:00.480: But if this is something that you do and you've ever rendered something as a straight key and you've looked at it in QuickTime, you know what I mean about the chunky

00:00.480: Through this charity, and it's a must-listen to.

00:00.480: And or I don't know how long it'll be there, but um, and it's all music by Dan Phillipson.

00:00.560: experience and it's it's a maglev type thing.

00:00.560: Of a pair of Volvo trucks, like big, you know, in Europe they have, you know, honest to goodness, like semis.

00:00.560: And then as the music swells, the camera pulls back and you see, oh, wow, he's standing on the mirrors of these two trucks.

00:00.560: That goes in the FCPX created.

00:00.560: There's almost no graphics.

00:00.560: Okay.

00:00.560: No, it's G Drive, it's a Thunderbolt G Drive.

00:00.560: So I use these drives as working drives.

00:00.560: The three and a half the 3.

00:00.560: The company that I was working for had gotten the contract to do the thing.

00:00.560: And so we contacted the guy and we said, hey, we need you to make a couple of changes.

00:00.560: the one hundred and forty bare drives that we have in the archive vault.

00:00.560: twenty-five or thirty instances where we needed to track a hunk of text over a guy's head.

00:00.560: It's just really simple.

00:00.560: Too clean?

00:00.560: He's brilliant.

00:00.560: So it's like, oh, well, that's actually a generator.

00:00.560: In the composition.

00:00.560: If you pre-multiply that over black and you key that over a white background in Final Cut or Premiere,

00:00.560: The thing that has opacity or motion blur, and this is a big deal with motion blur also.

00:00.560: Okay.

00:00.560: We don't I think on occasion we have done things as L T, but it's only like a

00:00.560: We had, I'm going to draw a blank here.

00:00.560: Thank you.

00:00.640: It's like, wow.

00:00.640: Because instead of just hiring us to do one commercial, they're hiring us to, you know, we can pitch ideas like: let's do a three-commercial package and a one-minute intro to the product or intro to the company, and then

00:00.640: you know, possibly you're just not seeing the big picture.

00:00.640: the decisions are stored and that's you know it used to be the project file and now it's the library file.

00:00.640: This is my justification for only having one copy.

00:00.640: It was, yeah, it was for a hundred bucks, it's a no-brainer.

00:00.640: Little looks into certain things.

00:00.640: And if you just want to add a little bit of that depth of field, this is a great, and that's just one of the things.

00:00.640: That is the instructions for how to use it that covers your image.

00:00.640: It's going to look funky because the opacity will go from 100, and let's say the text is

00:00.640: That people may have been noticing.

00:00.640: and you render it into a ProRes 4x4 file, it doesn't work.

00:00.640: And on DCC Zero Five Two, he talked about how he was distributing the film in theaters all over the country.

00:00.640: It's this weird it's the weirdest podcast I've ever made.

00:00.720: Horizontal drag so he can do these crazy, like spinning pirouette moves.

00:00.720: And they're like, well, where does that air?

00:00.720: It's like, and not many brands can do that and stay true to their whole branding campaign.

00:00.720: the really thin one is Helvetica Newey, I think.

00:00.720: I was like, oh God.

00:00.720: That's not good, Ben.

00:00.720: And I gotta say, it was awesome.

00:00.720: Storyline.

00:00.720: Okay, well, and they're like, you know, they're drawing a a line and then they track forward and track back.

00:00.720: Well, we were just doing stuff.

00:00.720: I'm going to refuse to go online and search.

00:00.720: I know I use that quite a bit.

00:00.720: It won't feather out to the white background that you're trying to key it on.

00:00.720: Until you actually take it into your editor and key it.

00:00.720: If you haven't, you should because I think you'd be a great guest.

00:00.800: That's a Volvo commercial that's on the web.

00:00.800: And the trucks are moving in reverse, which is the real catch.

00:00.800: The media folder is twelve gigabytes and the and actually, I want to know what you do.

00:00.800: I got a 4TB one.

00:00.800: Very smart, man.

00:00.800: And it was a serifed font.

00:00.800: But by and large, we were okay.

00:00.800: But at twelve terabytes, or you know, there was probably eight or nine terabytes on it, seven or eight.

00:00.800: And I was like, okay, time to break out the core melt.

00:00.800: There was a scene where we were supposed to depict head trauma, and there was a like a wrap around somebody's head.

00:00.800: So what was the benefit of tracking it?

00:00.800: IMDB.

00:00.800: met him, even though I live here, but you know, us editors don't normally get out much.

00:00.800: I'm actually playing with it right now as we talk, and I'm remembering that one of the things I really liked was the depth of field shape mask.

00:00.800: And you can see this, and this again, this is probably very much a visual thing.

00:00.800: I know.

00:00.800: We've got some cool stuff coming up on the way.

00:00.800: But such is the case with my podcast.

00:00.880: Oh my god.

00:00.880: Was when the first movie came out, and they went 30 years into the future to 2015.

00:00.880: So I think that's the curve.

00:00.880: there was some troubleshooting, and I will say that I believe we were not given the best information when we were on the phone doing tech support.

00:00.880: And it blends it with the background image that you have set

00:00.880: And how it has permeated into our society in so many different ways.

00:00.960: Now I stand here before you.

00:00.960: I'm all caught up with the Walking Dead now, so it's almost like it's just these zombies that just are taking over.

00:00.960: For the stuff that I do, and I'm sure there's bigger and smaller.

00:00.960: You know, I probably should.

00:00.960: And that's where I store all that is where I point the library storage location to.

00:00.960: Yeah.

00:00.960: So you're actually archiving on full drives.

00:00.960: And probably learned it in about, well, the video was, I think, eight minutes and 34 seconds.

00:00.960: I was using SliceX right inside Final Cut Pro.

00:00.960: Somebody gave me a new screwdriver, and now everything is a screw.

00:00.960: This is hardly an episode of Final Cut Grill.

00:00.960: a single shot, a whole scene in one shot.

00:00.960: track it, you hit the little track forward button and it and it follows it.

00:00.960: I think.

00:00.960: I love talking to your audience.

00:01.040: The echo is unfortunate, but it's going to have to be just for a little while.

00:01.040: I think it's a must.

00:01.040: But I think it's actually a very interesting point because people say if the only tool you have in your toolbox is a hammer, everything looks like a nail.

00:01.040: A brief look at texting and the Internet in hold on long title.

00:01.040: White, just for argument's sake.

00:01.040: You know, obviously you'd need to see it to get your head around it.

00:01.040: Authors and any sort of creative industry.

00:01.120: So I apologize, but it's the best I can do.

00:01.120: That Tony Hawk is skating on is has a metal surface that it interacts with or whatever.

00:01.120: They'll buy 13 weeks or 26 weeks or whatever.

00:01.120: If you didn't have these new this new library for you.

00:01.120: There was a lot of back and forth.

00:01.120: And I'm just saying that I'm blaming myself too.

00:01.120: You couldn't do that with a color mask?

00:01.120: It will be white text that is transparent over a black field, and it will feather to this murky, blackish, grayish

00:01.120: I think.

00:01.120: It's coming out in February.

00:01.120: And then David Klein, the director of photography for a bunch of Kevin Smith films and most recently, Homeland, the series.

00:01.120: I love them.

00:01.200: Where's that project?

00:01.200: I think that's kind of silly.

00:01.200: If you're asked to be in a company video, just say no.

00:01.200: And I think that might be a long gop issue, but not entirely sure what caused that.

00:01.200: It was just dailies.

00:01.200: Of seeing things at a broad level and seeing common themes through things.

00:01.200: I don't know how you do it.

00:01.200: Yes, he's great too.

00:01.280: Yeah, I mean like 2001 Space Odyssey.

00:01.280: But either way, this particular raid that I had, it was a Thunderbolt raid.

00:01.280: This is compelling radio.

00:01.280: That was the solution that made the most sense for me after talking to them and looking online and trying to find it out.

00:01.280: So, and you say you have two of the G-Drive Pros?

00:01.280: Is it the whole thing with those raids, though, that you can pull out a drive and replace one if one of them gets messed up?

00:01.280: And the client was like, This looks so fake.

00:01.280: I'll put a link to it in the show notes.

00:01.280: Very cool idea.

00:01.280: Now, the solution to that is to do what's called a straight key.

00:01.280: It's been awesome.

00:01.360: Now you'll see it's 7,200 RPM, is what they say the drive is.

00:01.360: Sorry.

00:01.360: We were given erroneous information on a tech support call and

00:01.360: It's been the holidays.

00:01.360: It's only $99.

00:01.360: you can see this in something where the where the alpha channel would have to be blurred or the transparency is feathered

00:01.440: It caused a lot of headaches.

00:01.440: Yeah.

00:01.440: That's the two drives levels next to each other in the same closet.

00:01.440: So he was really impressed with just how well it did and you know, using the planar tracking technology, I think it's called, of Mocha.

00:01.440: So Ben, take us give us I want to give you a couple of minutes.

00:01.440: So if you haven't caught that episode, we talked a lot about it.

00:01.440: You could sell yourself just as a booker because you get some amazing guests, and I applaud you for that.

00:01.440: It's like having a little light box for each job that you do.

00:01.520: Hey, good morning, and welcome to another episode of Final Cut Grill.

00:01.520: It's the future.

00:01.520: That seems to spread like wildfire, like virus.

00:01.520: I mean, they had a huge release back in December, but that was last year.

00:01.520: I just you know, it's just like I again, I you don't want to talk smack about it, but it just it was like, you know, it was shutting down edits.

00:01.520: I was astonished.

00:01.520: Pegasus twos.

00:01.520: So I really I got totally sucked into his videos one day and I think I watched like eight or ten of them.

00:01.520: occasionally getting less and less, thankfully, but we are in situations where there is no location scout.

00:01.520: That's like six minutes of time that you'll never get back if you've listened to that.

00:01.520: So it's like a little surprise in your iPod, in your phone, whatever, when you get it.

00:01.600: No.

00:01.600: They sponsor my show too, and I should talk about it more.

00:01.680: Judgment Day of Terminator has already come and passed.

00:01.680: And I have, I'm watching it right now as we talk, and I have seen this.

00:01.680: Have you never done any corporate video?

00:01.680: You're so close to having it perfect.

00:01.680: So, House of Cards.

00:01.680: He's an editor.

00:01.680: What are we going to talk about?

00:01.760: And when you totally utilize the, you know, what I call the lean or the trim library technique

00:01.760: And I was kind of pissed about it because I'm like, I'm investing a lot of money and I want to know what it is.

00:01.760: That's one thing.

00:01.760: two six four files, no problem.

00:01.760: Is that what the problem was?

00:01.760: Four by fours and then tracking that into the shot.

00:01.760: Yeah, well, the 4x4, 4444 is, you know, does carry the alpha channel.

00:01.760: Everything, yeah.

00:01.760: Thanks for listening.

00:01.840: Skype benefit.

00:01.840: Are you recording right now?

00:01.840: So Ben, have you ever heard this ad?

00:01.840: Well, now you don't really need.

00:01.840: So yeah, because it it was really it was it was potentially really bad when it happened because I came in on a Monday morning and I just fired everything up and

00:01.840: Yeah, I had one of the guys from Intelligent.

00:01.840: They're so dedicated to making great products.

00:01.840: I've done a couple of just you know, I I would change the color of something and follow people around.

00:01.840: It's a good tip, actually, when you install a plugin.

00:01.840: The new website is amazing.

00:01.920: One is totally a joke.

00:01.920: And when I called them to, it was like this weird vagary because I kept saying, is it a RAID?

00:01.920: One day you will have a problem and you will never.

00:01.920: It was too clean.

00:01.920: I want to say that about the plugin is that it it when you install it, you get and this is one of my kind of gripes about Final Cut is that

00:01.920: So, like, if you or the background color.

00:01.920: I think that's what the XQ was supposed to be.

00:02.000: 5 size.

00:02.000: So, tell me the story that caused you to actually be a good backup person.

00:02.000: com again.

00:02.000: I'm like, oh, it's new.

00:02.080: And so they had burned all of the lower thirds into the pieces, okay?

00:02.080: I'm going to just hang out with me here.

00:02.080: So by the way, my favorite artist on there, Max Brody.

00:02.160: You have a younger audience generally, and that's you know, that audience is getting older and older, but a younger audience is watching online.

00:02.160: Go in, change, go to the font menu, insert a new font, and kick it back out again.

00:02.160: Yeah, yeah.

00:02.160: He was this like neurotic, obsessive, compulsive guy, and the opening of the movie is brilliantly done where he

00:02.160: I like that.

00:02.240: Very smart.

00:02.240: Just to protect from a drive failure, but not to protect from a fire.

00:02.240: There's a little bit of a workflow thing.

00:02.240: I like it.

00:02.240: Give it a shot.

00:02.240: Right.

00:02.240: There's a scene, I think, where Decker comes home to his apartment and he walks up to the answering machine, hits the button, and he's listening.

00:02.320: It's one I'm working on.

00:02.320: Did you find what I did is I ended up getting rid of that raid and

00:02.320: They're expensive.

00:02.320: So I can afford to be a little bit more, if you will, cavalier about it because I didn't tell you I was going to do it anyway.

00:02.320: Huh.

00:02.320: And the reason he's on the show is because he's editing the entire film in Final Cut 10.

00:02.400: So they want to put it on the web.

00:02.400: Well, I'm telling you, though, I'm telling you.

00:02.400: Oh, no.

00:02.400: So, yeah, we're going to do that.

00:02.400: So it's a five-minute video just about how we deal how different directors have dealt with this.

00:02.400: Here's eight minutes called How to Do Visual Comedy.

00:02.400: Oh, so you can draw a mask around somebody in the foreground?

00:02.400: There you go.

00:02.400: I mean, he's got a very strict NDA and he can't even be on the show until they start promoting the film.

00:02.400: Dan Phillipson has this really great emotive, you know, very emotional stuff.

00:02.400: I like talking to you a lot too.

00:02.480: Actually, that's actually a really fun thing to do.

00:02.480: We were using it all the time for every project this whole year.

00:02.480: Yeah.

00:02.480: I've been lazy.

00:02.480: Yes, it does.

00:02.480: So a pre-multiplied key is a key that takes whatever it is that you're animating.

00:02.480: com.

00:02.480: There's a lot of stuff there.

00:02.480: It's kind of like, I mean, I just recently listened to at least the beginning of episode 39 when you were on in the office here, and it's just this weird

00:02.480: We'll be back next week with another episode of The Grill.

00:02.560: What do I do?

00:02.560: I should do it more.

00:02.560: I mean, the transfer library is the entire project.

00:02.560: It's like, wow.

00:02.560: So he finds these things.

00:02.640: It was it played well, there was something uh one of my clients is uh Autodesk.

00:02.640: But they did it in a way that it still feels grand, it still feels mature, even though it is clearly just trying to get you to share it.

00:02.640: Now that stuff would have been inside the library prior to 10.

00:02.640: No, I'm I never do either.

00:02.640: I love it.

00:02.640: I've had single drives.

00:02.640: And for what you get, it's definitely worth it.

00:02.640: I might have to make an edit.

00:02.720: So the more and more I'm sharing things.

00:02.720: So so you're s h what are you actually putting old projects on then?

00:02.720: So you have, so you are actually archiving things away in two locations?

00:02.720: If your company is getting a video made, watch out.

00:02.720: But what we've done, and I've tweeted pictures of this now, is we have developed a new workflow, kind of costy, but whatever.

00:02.720: So, what we did now that we have the Retina IMAX and a Mac Pro, everything has Thunderbolt 2, we're getting the black

00:02.720: And the client was saying, this is really distracting.

00:02.720: I'm going to let my mind actually do it as something today.

00:02.720: And he does these videos on Vimeo.

00:02.800: Of course.

00:02.800: Any project that I'm actively working on is on the G Drive Pro.

00:02.800: I still love these guys, though.

00:02.800: So it was overexposed.

00:02.800: There it is.

00:02.800: I want to use it, but I don't know what to do with it.

00:02.880: So hold on.

00:02.880: I know.

00:02.880: I think we would have been fine if we had just initiated a giant copy and said, nope, we're going to take everything off of this drive now.

00:02.880: And then we had a job come in just the other day, and it was a three-minute piece that probably had

00:02.880: So let me ask you a question.

00:02.880: Yeah.

00:02.880: But anyway, I'll have to figure out who this guy is.

00:02.880: It's really fascinating.

00:02.880: Nothing about Final Cut 10.

00:02.880: Yeah, you get great guests.

00:02.960: Yep.

00:02.960: I love it.

00:02.960: I didn't care what anybody said.

00:02.960: The company doesn't exist anymore.

00:02.960: It's very easy.

00:02.960: So at the top of it, it will be white.

00:02.960: I like to think of Go Creative Show as like a Barbara Walters special.

00:03.040: And it could be a very powerful screen, more powerful than TV if it becomes a viral success.

00:03.040: I'm just now doing these transfer libraries.

00:03.040: It's way too bright.

00:03.040: That was the problem, yeah.

00:03.040: He goes, For the record, I would just do this.

00:03.040: What is the movie?

00:03.040: And the different ways that people introduce it and who did it first.

00:03.040: And this is a great tool to kind of fake that depth of field and still make it feel very real.

00:03.040: You have a piece of text that has a gradient opacity.

00:03.040: I understand that this is something that maybe a lot of people have not come across.

00:03.120: And I point at the YouTube counter.

00:03.120: And you only start doing that once you get completely screwed.

00:03.120: And it has to be an appropriate codec.

00:03.120: Well, this was a perfect.

00:03.120: I like it.

00:03.120: And I know you were in the past couple of episodes, you've been talking about who's the artist that you're really into right now?

00:03.200: Oh, here we go.

00:03.200: And actually that's one of the things I want to talk about.

00:03.200: And it just wasn't, I didn't recognize, I didn't get any speed increase from it.

00:03.200: So people are going to be like, why would I do this if it's not a RAID?

00:03.200: I have it for both of the edit stations here.

00:03.200: And this is before somebody at Apple said, you know, serif doesn't really work good in video.

00:03.200: Just get it off site.

00:03.200: Two guys on the web searching for that.

00:03.200: They are my my first my go-to place to get music, and I think for you too, Ben.

00:03.280: And those packages are really popular.

00:03.280: And I think more and more we're seeing that.

00:03.280: We do it for ourselves for convenience.

00:03.280: You're a much better at booking guests, so maybe you could talk him into it.

00:03.280: And you say, Well, I'm moving and I don't have carpet in my new podcasting room.

00:03.280: I haven't booked anything and I didn't want to not have a show on the twenty ninth.

00:03.280: So you have to know to click on the generator tab.

00:03.280: And you draw a very rough shape around something.

00:03.280: I'm talking about stuff that is premature and it's like, I don't know, I don't even know what I'm doing here

00:03.360: They're like flying like five feet above the ground and they're out in a parking lot and they're outdoors.

00:03.360: I think I've been using transfer libraries a lot more, and I've been sharing a lot more.

00:03.360: But I was so used to putting things in the library anyway that it wasn't a dramatic change for me.

00:03.360: It's like a three-minute talking head.

00:03.360: It's not a RAID.

00:03.360: It's like, no, man, it can't be bad.

00:03.360: 5 shadow drives.

00:03.360: Of course.

00:03.360: You know, the interesting thing about stuff like that, there's a guy, I can't remember his name.

00:03.360: And I think that for $99, it wasn't $99 when I got it, I'll tell you that.

00:03.360: Well, I did a whole episode with Michael Matzdorf, and Jan is yes, he was the editor, but

00:03.440: Hold on.

00:03.440: There are some original media.

00:03.440: So anyway, they produced the stories.

00:03.440: Well, I wanted to use SliceX.

00:03.520: This is crazy.

00:03.520: Oh.

00:03.520: Not as tidy because it would be very easy, even on a small spot here.

00:03.520: Okay, G Drive Pro.

00:03.520: Everything was delivered.

00:03.520: Yeah, I might be getting fired.

00:03.520: Because this that's not the way that my mind thinks.

00:03.520: So, if your background color is black and you pre-multiply, in other words,

00:03.520: It's a huge resource of stuff.

00:03.520: I mean, we always have these cool discussions, and I'm glad we get to put them down for the world to hear.

00:03.600: Oh, yeah, I barely remember that.

00:03.600: That's thirty-seven gigabytes of data that Funnel Cut has created.

00:03.600: I mean, there's so many Thunderbolt drives now, you don't really need that conversion.

00:03.600: But is it kind of like, do you watch, oh, God, the Netflix show?

00:03.600: What are we talking about?

00:03.600: Although you can't beat a prime, though.

00:03.600: Like what is it?

00:03.600: Is that what it means?

00:03.600: The ability to make playlists and share those with your client.

00:03.680: Now have you adopted that?

00:03.680: G tech.

00:03.680: What?

00:03.680: What?

00:03.680: One of the mechanisms in the raid went bad on our Pegasus.

00:03.680: Is that what they're called?

00:03.680: But by and large, the archives are for us.

00:03.680: Like he did a whole thing on David Fincher and why he's a great director.

00:03.680: Sounds like a horrible show.

00:03.680: Right.

00:03.760: How's the edit business going?

00:03.760: Yes.

00:03.760: It came to me.

00:03.760: And then, as soon as you replace your real item into that well, the instruction image disappears.

00:03.760: You're doing so you're doing four a month now.

00:03.760: But their blog is fantastic.

00:03.840: And I kind of put should in quotes only because, like I said, if I'm not going to share it, I'm not going to worry about it.

00:03.840: Then you go a little bit further and it's like, oh, I have a page.

00:03.920: And I have since bought two.

00:03.920: Well, for a reason.

00:03.920: I will tell you, I've had three of those Le C things, and they all like burn out and stop working.

00:03.920: I was on a call with them.

00:03.920: I should probably just cut this off the show, but you know me, I never edit anything.

00:03.920: Most of the time, it's video related because that's what I'm most interested in, and that's the people that are listening.

00:03.920: It's so helpful.

00:03.920: But he was on episode 52 of DCC and he talked all about it's all about the Batman mythos.

00:04.000: Anyway.

00:04.000: And it was four case studies.

00:04.000: I mean, not I I guess you have to think about weather more on the East Coast, but yeah.

00:04.000: And believe me, I know I am not a motion graphics person at all.

00:04.000: Yeah, yeah, yeah.

00:04.000: So I used SliceX to track the gauze portion of the guy's head.

00:04.000: And so the key thing is to kind of understand what each one of those separate tools do.

00:04.000: And Michael Mansdorf was the assistant editor, and he's been on the grill.

00:04.080: But you've moved.

00:04.080: They came back and what would you know?

00:04.080: About six or eight months ago, I think, the people from Cormalt contacted me and they said, hey, would you be willing to test

00:04.080: It tracked it fine.

00:04.080: So um we've talked about we've talked about data and backup.

00:04.080: It's like, where is it?

00:04.080: I don't know how you do it.

00:04.160: And I clicked it.

00:04.160: And they will, it's a lot of money to put it on T V.

00:04.160: And they do some web promotion where they'll buy pre-rolls and post-rolls.

00:04.160: What you see is a body crafted to perfection, a pair of legs engineered to defy the laws of physics, and a mindset to master the more.

00:04.160: It says it's USB.

00:04.160: We had one of our raids go belly up.

00:04.160: But it sounds so much cooler when it's a vault.

00:04.160: I don't know, Ben.

00:04.160: And apparently, he's just an editor in not just, but he's an editor in San Francisco.

00:04.240: How are you doing?

00:04.240: So this company.

00:04.240: And the clients love it because they end up with a lot more material.

00:04.240: You know, I reference my media, which is in my media folder.

00:04.240: And it wasn't like it was a year later.

00:04.240: I'm very close.

00:04.240: You could see it tracking.

00:04.240: So what you'll get so let's say for example you have

00:04.320: This is episode 105 with Ben Consoli.

00:04.320: You look at science fiction stuff of the last 50 or 100 years, whatever.

00:04.320: A lot of these companies will say, we want to we're going to buy a package, we're going to buy some airtime for our

00:04.320: And this has become more and more popular as the years go on.

00:04.320: This is the first time.

00:04.320: And there was a lot of research that went into this to make sure this is the right fit.

00:04.320: I do.

00:04.320: Well, he wasn't a vendor yet.

00:04.320: So, anyway, yeah, when you've done it long enough, you realize there's certain things.

00:04.320: Was the gauze in the shot.

00:04.320: Right?

00:04.320: Is it better?

00:04.320: Jan Kovac is the editor of a film.

00:04.400: And the half pipe that and it's and it's not a full vertical half pipe, it's I guess what the kids would call a mini ramp.

00:04.400: I didn't recognize it from just the audio.

00:04.400: I have to say, but it's called G Drive Pro is what it's called.

00:04.400: What did you say?

00:04.400: So there was this strong arm thing where they Apple just said

00:04.400: You know what?

00:04.400: So, um, you should definitely do a tutorial about it because

00:04.400: Very good.

00:04.480: I knew it was amazing.

00:04.480: It was put on DVD.

00:04.480: Could you have done that?

00:04.480: Let's have a giant echo in the room.

00:04.480: Have you in 1012 we got support for 444 XQ?

00:04.560: But yeah, that was thirty years forward and back.

00:04.560: Let me turn up some faders here.

00:04.560: But is that the Jean-Claude Van Damme one?

00:04.560: For their all the user interface stuff.

00:04.560: And, you know, I got to say, I was able to figure it out by watching a Larry Jordan video on the Internet.

00:04.560: You gotta you know, the clip you're gonna track has to be on the main

00:04.560: So, when something presented itself, I'm like, ah, I'm going to try it.

00:04.640: And when you don't have to say the possibly you're not seeing the big picture,

00:04.640: It's like a single drive solution.

00:04.640: I don't like talking in public.

00:04.640: I'll take you out to the end here.

00:04.640: And also, I don't know if you've noticed this, when you check out, this is the kind of stuff that I love about Premium Beat.

00:04.640: Very, very cool.

00:04.720: I felt bad that I was so active, like such a

00:04.720: And I think I don't know what they use now.

00:04.720: So we just want you to hire him to produce the stories

00:04.720: The black ones that are Thunderbolt two.

00:04.720: And then that then that copy should be off site.

00:04.720: I think it was called

00:04.720: If you create a straight key

00:04.720: I won't go into all of it, but the movie is great.

00:04.800: You have a new place, huh?

00:04.800: As a matter of fact, I hit record and I said, hey, it's Final Cut Grill 105 and

00:04.800: So but we lived with the

00:04.800: One for each station.

00:04.800: You know, years ago, I was actually doing a piece.

00:04.800: I know what are we doing?

00:04.800: I don't know what is with blame it on me if you hate it.

00:04.880: Oh, I messed it up.

00:04.880: So that's why I'm not just buying tons and tons of them and archiving on them.

00:04.880: It's otherworld computing.

00:04.880: Oh, yeah, that's all gone.

00:04.880: And I said, I want I want you to try this.

00:04.880: They're like, I can't send it out.

00:04.880: I just wanted to try it out.

00:04.880: You know, in House of Cards, do you watch that show?

00:04.880: Try all those things.

00:04.880: Is it different?

00:04.960: And it's on YouTube.

00:04.960: I said, well, apparently right here, it has almost seventy seven million views.

00:04.960: Or a 50-year-old man doing splits on top of two Volvo trucks.

00:04.960: If it's something that I'm keeping on my system, I'm the only one touching it.

00:04.960: It's not an SSD.

00:04.960: So I have the Mercury Leap Pro and then an internal Voyager drive, and that is my archive.

00:04.960: They had gotten the contract to do the thing and the PO and they you know, so like if you've ever worked with a big company like Apple, it's really difficult to get

00:04.960: We still, our archives are still only kind of.

00:04.960: Yeah, you got to get it for a hundred bucks.

00:04.960: They didn't want to show it to their client with the mesh or whatever that is.

00:04.960: And I didn't want to do anything real fancy.

00:04.960: Sorry to go there.

00:04.960: I can't recommend it more.

00:04.960: So tell tell me again, what's going on with Go Creative Show?

00:04.960: So anyway, go check out Premium Beat, and thank you guys for supporting

00:05.040: Twice.

00:05.040: This has to be a joke.

00:05.040: I mean, I've adopted I adopted 10 early on, right at the really very beginning, just a couple of months after it was released.

00:05.040: Or are you still importing and keeping your media and render stuff inside the library file?

00:05.040: I think some of that stuff.

00:05.040: I know, SSD-like.

00:05.040: But you know, I don't like perfection.

00:05.040: And they were, I mean, fairly early in the Final Cut 10 world.

00:05.040: And what I was doing was we did, it was actually, I was just, I was doing it for dailies actually, because

00:05.040: And it was so easy, and it worked awesome, and the client loved it.

00:05.040: I'm like laughing to myself as we talk.

00:05.040: I'm never watching it.

00:05.040: Frankly, you could book out your services just as a booker.

00:05.040: Anyway, it was Brent Culp, and he produced a movie called Legends of the Night, which is currently, which just came out on Netflix.

00:05.120: Uh not green screen, but um motion tracking.

00:05.120: Brands like Volvo that have always been associated with safety

00:05.120: No, you're right.

00:05.120: Yes, OWC Mercury Elite Pros.

00:05.120: So, like commonly referred to as an OEM drive, a bare drive.

00:05.120: And I was like, Yeah, sure, send it over.

00:05.120: It was a new toy, and I said, I think this would be perfect.

00:05.120: In our shop, we use ProRes422.

00:05.120: At least I'm not the only one.

00:05.200: So there's a lot of talk about it, too.

00:05.200: Le C made one.

00:05.200: We do not charge people for it and we do not promise it.

00:05.200: So the gauze wasn't just in the frame the entire time.

00:05.200: This is exactly what I mean.

00:05.200: But I like you.

00:05.200: I'm doing, I'm down to one a week.

00:05.200: And thanks for listening.

00:05.200: Say goodbye, Ben.

00:05.280: I've had my ups and downs, my fair share of bumpy roads and heavy winds.

00:05.280: Two guys reading the web.

00:05.280: No, it's interesting.

00:05.280: Yeah, it is fantastic.

00:05.360: You realize all of a sudden, oh my god, he's in reverse.

00:05.360: And well, you know what?

00:05.360: I don't know if I should or not.

00:05.360: I'm looking at it right now.

00:05.360: They're just it's weird.

00:05.360: So, anyway, these are guys that are in the business.

00:05.440: I'm doing good.

00:05.440: That has been so much cleaner and there's less missing parts.

00:05.440: Well, either way, I had somebody from the company that owns Mug.

00:05.440: Right.

00:05.440: I mean, I'm looking at it: blur shape mask, you have a color-correct shape mask, object remover, which is very powerful.

00:05.440: My my one complaint, I haven't figured out how to get around this, is that in the simple tracker at least, when you first turn it on, it has this big overlay graphic.

00:05.440: See what I'm saying?

00:05.440: So, anyway, that was the longest ad from Premium Beat.

00:05.520: You know, I'm old enough that George Orwell 1984 was the future.

00:05.520: It's like, well, you know, yes, but

00:05.520: And this is, I'll tell you my workflow once I pull this up so I can tell you exactly

00:05.520: I'm sorry, what's the parent company from Mocha?

00:05.520: Imagineer systems?

00:05.520: It's a nice start to the new year.

00:05.520: Do you know anything about it?

00:05.520: Love Max Brody.

00:05.600: So I don't think anything's dramatically changed it.

00:05.600: Oh, absolutely.

00:05.600: And I'm like, no, I'm going to dig my heels in the ground, damn it, and wait for everyone to come around and see how great this is.

00:05.600: They delivered the stories on like DV tape.

00:05.600: Now, I'm just going to play the definition.

00:05.600: And this is the worst radio show ever.

00:05.600: Now, After Effects defaults to pre-multiplied.

00:05.680: So I think it's powerful.

00:05.680: I think that's the name of the company.

00:05.680: And the way that our workflow goes now is

00:05.680: So that's how long ago it was.

00:05.680: Chances are someone's getting fired.

00:05.680: You have to change all the lower thirds to this new font.

00:05.680: Make a deal with some another post house or a friend and just say, Hey, dude, can I just store these?

00:05.680: Well, the show's going to get long.

00:05.680: He does a whole whole thing on Michael Bay, what is Bayhem?

00:05.680: And because it will never look right until it is actually keyed over your background footage.

00:05.760: It's going really good.

00:05.760: It was one of their new ones, the Elite Pro Duel.

00:05.760: That's the next level of backing up that I think I'm going to embark in.

00:05.760: I wanted to try it.

00:05.760: You know, and dissecting various Spielberg shots.

00:05.760: So, as you're driving down the highway, please don't run into the guy in front of you where you're trying to imagine this.

00:05.760: Yeah.

00:05.840: No, no, no, no.

00:05.840: I mean, they're small enough to email, they're certainly small enough to throw on a Dropbox or anything like that.

00:05.840: No, no, no.

00:05.840: Were you doing it in using TrackX or were you using the standalone Mocha

00:05.840: So the guy's name is Tony, and I don't know how to pronounce his last name, Zoe, Z H O U on Vimeo, and I will put a link.

00:05.840: And you might have some SliceX stuff under generators.

00:05.840: And there's not enough distance to make any depth of field.

00:05.840: And this is a little bit deep, nerdy, Fenwick crap, but bring it.

00:05.840: It's not the most regular show.

00:05.920: What is it?

00:05.920: I think that's partly why I was just so.

00:05.920: But with Sony A7S H.

00:06.000: What about Back to the Future?

00:06.000: So I actually just set up a drive this morning for an editor that's coming in tomorrow.

00:06.000: It's not shot really

00:06.000: And it works

00:06.000: There was a broadcast place and an effects place and whatever, and they were how they were all using Final Cut Pro.

00:06.000: I think I'm distorting.

00:06.000: I'll give a couple of links in the show notes to his work.

00:06.000: It's a pretty nice lens.

00:06.000: And I'm assuming there's a checkbox someplace, but I haven't been able to find it to say, turn off the damn instruction image.

00:06.000: It's madness.

00:06.080: It's a dozen people on black limbo looking straight at camera.

00:06.080: Let's see.

00:06.080: I deleted all that.

00:06.080: Common things.

00:06.080: Yes.

00:06.080: Um, but uh yeah, I think that this ProRes four by four straight key thing is a bug and um

00:06.080: So there was a lot of vagaries there.

00:06.160: You're in a new location.

00:06.160: Yes.

00:06.160: All right, then.

00:06.160: You need to do something.

00:06.160: And I'm like, okay, is it just me or am I the only one who's thinking, just do a color mask on the color of the sky?

00:06.160: And he went, boom, boom, click, click Don Co.

00:06.160: Stranger Than Fiction, 2006 with Will Farrell.

00:06.160: Well, it looks.

00:06.160: Bye-bye.

00:06.240: No, I think it's g technology.

00:06.240: Le C, yes, that's it.

00:06.240: It looks very cool.

00:06.240: Because I don't think that it's a major thing because ProRust 4x4 has been around for a long time and apparently nobody's complaining about it.

00:06.240: I don't even do a lot of 444 stuff anyway.

00:06.240: But it's mostly focused on just any creative industry.

00:06.240: It's called The Beat.

00:06.320: Right.

00:06.320: You have a place where all your media is, which used to be called the scratch disk.

00:06.320: It's interesting.

00:06.320: It's awesome.

00:06.320: Well, if you've gotten this far and you've heard me talk about Tony's Out.

00:06.400: I can't put any rugs down.

00:06.400: I guess it is because of these new lean libraries because you wouldn't be able to do that.

00:06.400: I'm just hoping that I never am in a situation where both of the backups go because then I'm going to start backing up to

00:06.400: And they I probably shouldn't tell the story, but I don't care.

00:06.400: But you know, that whole idea of having to show text messages in film and in videos.

00:06.400: Okay, so I'm totally making this up, so you can just tune this out.

00:06.400: It's like the show's really produced, but the

00:06.480: I click on that guy?

00:06.480: So you got to be careful, but if you're the type that can get away with doing something outrageous and different online, you have to go for it.

00:06.480: Oh.

00:06.480: But I have no problems.

00:06.480: I'm telling you, this thing gets speeds as fast as a RAID.

00:06.480: I have very

00:06.480: Because it's pre-multiplied it with the black background of

00:06.560: I don't understand it.

00:06.560: Luckily, it wasn't, it was before I started really doing it too professionally.

00:06.560: It was like two weeks later.

00:06.560: Tell us a little bit about what you've been doing on Go Creative and what's coming up, what you have in the pipeline.

00:06.560: I mean, we have our regular jobs, but then we do these things on the side, and they're a lot of fun.

00:06.560: However, I think at the moment that we did the recording

00:06.640: So, yeah, yeah, we're basically we're totally living in the future.

00:06.640: It's well, okay, hold on.

00:06.640: And have you ever seen this?

00:06.640: But, um, but yeah, I mean, I think it's really smart because

00:06.640: Say it's a vault.

00:06.640: And I say vault like it's like it's special.

00:06.640: Yeah.

00:06.640: In Internet and Film.

00:06.640: And then say, make the background out of focus?

00:06.720: So, yeah, the famous hoverboard scene is 2015.

00:06.720: So it's been a good year.

00:06.720: Judev Pro, $849 for a 4TB.

00:06.720: When that project is done,

00:06.720: What does that mean?

00:06.720: I am going to have to make an edit.

00:06.800: Oh, good.

00:06.800: Yeah, yeah, yeah.

00:06.800: The the Lost in Space television series.

00:06.800: G Pro, G Tech.

00:06.800: And get all of our media from there.

00:06.800: And this happens with a lot of big companies.

00:06.800: Couldn't have been too bright.

00:06.800: Yeah.

00:06.800: I'll have to come up with it and put it in the show notes.

00:06.800: Yeah, it's kind of a drag that it's that there isn't a way to consolidate that.

00:06.800: And then we were just bringing those MOVs in.

00:06.800: However,

00:06.800: And Dan Phillipson did a custom score for that movie, and it's beautiful.

00:06.880: We did so many of them this year, it's unbelievable.

00:06.880: But he also didn't know how to make a DVD.

00:06.880: So eight minutes and 34 seconds, I knew how to do kung fu matrix reference there.

00:06.880: And by the way, they're not paying us to say any of this.

00:06.880: Yeah.

00:06.880: Common things, like cutting up cadavers.

00:06.880: Oh, thanks.

00:06.960: So I was playing for a a client, and it's a really awkward link.

00:06.960: This one is a G-Drive with SSD?

00:06.960: It's got that's what it is.

00:06.960: So the data is still there?

00:06.960: I was blown away, and Steve, the editor who actually cut the piece.

00:06.960: He did a thing all about Robin Williams after he passed away.

00:06.960: And I'm like, I'm okay with that.

00:06.960: That's like my new favorite.

00:07.040: What year was Back to the Future supposed to be?

00:07.040: So I just like to stay right just a little less than perfection.

00:07.040: Imagineer systems, that's it.

00:07.040: I'm like, oh, Jesus.

00:07.040: I just wanted to go in there and take the level down.

00:07.040: It's a casual.

00:07.120: I hear echo.

00:07.120: Well, hello, everyone.

00:07.120: Have you ever heard this ad?

00:07.120: And we still didn't get it all off.

00:07.120: I noticed that with

00:07.120: Hello, hello.

00:07.120: It's the next Will Smith.

00:07.120: Also, you know, I thought we would mention Premium Beat earlier.

00:07.120: Hey, here's 10 songs I think might be good.

00:07.120: And I think I've mentioned this.

00:07.200: It was a very, very good year, I have to say.

00:07.200: But I gave it a go.

00:07.200: Sorry, do you do you store your bear drives off site?

00:07.200: So,

00:07.200: And the

00:07.200: I hope people are enjoying the banter.

00:07.200: We've talked about um track X and SliceX.

00:07.200: And I will say.

00:07.200: I understand.

00:07.200: I'm like a normal podcaster.

00:07.280: It's a different experience than a skateboard, you know.

00:07.280: I think it allows people to

00:07.280: But that's how I'm archiving.

00:07.280: Oh, yeah, yeah.

00:07.280: But I thought, but I would.

00:07.280: Let's.

00:07.280: And at the bottom of it, it will be white.

00:07.360: If you make something that's amazing, it's going to get viewed.

00:07.360: Yeah.

00:07.360: And those pr and those library files are roughly about the size of what uh an old project file used to be, you know, ten, twenty, thirty megabytes.

00:07.360: 1.

00:07.360: And then they proceeded to about once a month send me an email saying, Uh, hey

00:07.360: Okay.

00:07.360: And I was like

00:07.360: And, you know, because it's an interesting thing.

00:07.360: Yeah.

00:07.360: Because you don't get any of the feathering, you don't get any of the motion blur, you get these big

00:07.360: But that's the difference between a pre-multiplied and a straight key.

00:07.440: The floors are brand, brand new.

00:07.440: Well, actually, both of those things have been seen.

00:07.440: I do leave in place.

00:07.440: I think you're a little like me.

00:07.440: And they came back to me, you know, a year later.

00:07.440: Somebody got fired, so they wanted to replace that person's interview.

00:07.440: I can't remember the name of it now.

00:07.440: I mean, it's so commonly used as storytelling nowadays.

00:07.440: Really fascinating little um

00:07.440: Great stuff.

00:07.440: Thanks for listening.

00:07.440: And I do stuff on there, but there's so much stuff.

00:07.520: So also 2014 was obviously a giant year for Final Cut 10.

00:07.520: You know how they do like the little text messages that pop up from the phone?

00:07.600: Um and then um

00:07.600: I don't have any lagging problems.

00:07.600: I have a million of these.

00:07.600: Yeah.

00:07.600: I know.

00:07.600: Oh, really?

00:07.680: And then probably a bigger change was the ten point one point two

00:07.680: I talked to them a lot.

00:07.680: How are you getting these speeds from a single drive?

00:07.680: That's the one I use.

00:07.680: Why do I say this out loud, knock on wood?

00:07.680: We don't charge people for it.

00:07.680: I think he did a whole thing on Scorsese.

00:07.680: And I'm going to pre-multiply that with the black

00:07.680: And if you love it, then credit it to me too.

00:07.760: But I mean, as the application

00:07.760: I have to answer this, or oh, you know, and it was pagers were the thing.

00:07.760: You know, people are expecting $30, $40.

00:07.760: So I'm going to speak very briefly about one thing.

00:07.760: Like yours, I don't know how you bang out two a week.

00:07.760: He's going to be on the show as well.

00:07.840: So hey, welcome.

00:07.840: Well, in this particular commercial, he's standing on the rearview mirrors

00:07.840: 2.

00:07.840: It must be some sort of a fusion thing.

00:07.840: Anyway, so actually for their branding stuff, it might still be Murrieta.

00:07.840: And so somewhere in the middle of that, Apple says, Hey, we're changing our font.

00:07.840: I mean, it was definitely, it was overexposed because I hadn't really done a good

00:07.840: So at the top of it, it's completely opaque, and at the bottom of it, it's completely transparent.

00:07.920: I'll just leave it in the library.

00:07.920: I think that's G Tech.

00:07.920: So I have the G-Drive Pro.

00:07.920: And luckily, you know, it's a raid five, but

00:07.920: I know what you're talking about.

00:07.920: So they finished their demo.

00:07.920: Even still, if you're in a real, real small room and there's too much light, you don't have a lot of control over the light, sometimes you just can't get the look.

00:07.920: I do too much of that at work.

00:08.000: And I'm just going to dial him here on the Skyper.

00:08.000: It was like, oh, my God.

00:08.000: It's on Netflix this month.

00:08.080: So, and it's great for us.

00:08.080: And they can also use it in a variety of different ways.

00:08.080: I'm trying to think of what were some of the big

00:08.080: And the guy's like, huh?

00:08.080: Where do you put that?

00:08.080: And after about four hours, you know, I came down at lunch and I was like, How's it going?

00:08.080: Was the gauze in the shot just

00:08.080: Very fascinating stuff.

00:08.080: I don't remember what it was, but it wasn't $99.

00:08.080: And so for upload capab for up for speeding up uploads, we've done L T.

00:08.080: Hold on, let me mark that I'm going to.

00:08.160: So they want it to have more

00:08.160: Like voodoo magic.

00:08.160: So we've talked about that.

00:08.160: And I've used this a few times.

00:08.160: He's going to come on the show to talk about that.

00:08.240: Okay, so here's what it says: the description on the page says high-speed.

00:08.240: Yeah.

00:08.240: Even if it was unnecessarily done in Slave Sex, I'm still going to do it.

00:08.240: I'll give you some of the ni uh things.

00:08.320: Okay, we don't I don't think we sell them in the States, but um

00:08.320: And, you know, I was complaining about it.

00:08.320: com, is that it's gyphentechnology.

00:08.320: Yep, yep.

00:08.320: And actually, it doesn't matter.

00:08.320: Ben, thanks for taking the time.

00:08.400: Let me pull it up.

00:08.400: I'm just using them as working drives.

00:08.400: This is all standard F Way back then.

00:08.400: And for me to be able to jump into this effect,

00:08.400: I just caught, I caught up on the last four episodes just this past past couple days.

00:08.480: Yeah.

00:08.480: Right.

00:08.480: Tony Zhao, I highly recommend.

00:08.480: I think he's great.

00:08.560: That's what it was.

00:08.560: I can't, what is that guy's name?

00:08.560: I'm describing something.

00:08.560: Please.

00:08.560: I did I used the object remover once.

00:08.640: You're bringing up something that's very interesting.

00:08.640: And then

00:08.640: So let me pull up their product list.

00:08.640: So

00:08.640: So, anybody out there that's only backing up to one?

00:08.640: It's like a new toy.

00:08.640: And I just used, I mean, we used the hell out of it.

00:08.720: Back to the Future 2.

00:08.720: Okay, so without playing too much, Enya.

00:08.720: But I think that

00:08.720: And so

00:08.720: I've never.

00:08.800: And I think that

00:08.800: But this guy, Tony, does these amazing little analytical films

00:08.800: You

00:08.800: Yeah.

00:08.800: But anyway, great stuff.

00:08.880: two six four files, it said it had to be optimized before it would track.

00:08.880: I don't know who owns Mocha, but the.

00:08.880: I mean, they were doing stuff very powerful.

00:08.880: But he does these amazing I've tried to get him on DCC.

00:08.880: Right.

00:08.960: And we made it through another year.

00:08.960: Now granted, there are

00:08.960: I I've spoken about this in the past.

00:08.960: This will date it.

00:08.960: And it was like, okay, so that 20-minute demo just got thrown out, you know.

00:08.960: Yeah, that's interesting.

00:09.040: I got the G-Dock as well, the G-Dock EV.

00:09.040: That seems to be what happens.

00:09.040: And those are the primary drives.

00:09.120: And then the but the other hoverboard was actually a legit

00:09.120: I'll give you, for instance, sitting here at a computer

00:09.120: It never seems sluggish.

00:09.120: G Drive Pro.

00:09.120: Once my libraries are done and really done, the clients love them, and we're moving on.

00:09.120: These were my working drives.

00:09.120: A lot of people don't have a spare eight terabytes of hard drive laying around.

00:09.120: But we did have to trans

00:09.120: I think that's what Michael said, too.

00:09.200: Like you'll watch YouTube or something and you'll get a little commercial ahead of time.

00:09.200: No.

00:09.200: Yeah, yeah, yeah.

00:09.200: The

00:09.200: G Tech.

00:09.200: OWC Elite Pro Duel.

00:09.200: Like, you kind of get a little fanboy-ish.

00:09.200: I mean, if you, you know.

00:09.200: The Spielberg Wonner is one where he does a whole thing about doing

00:09.200: Anyway.

00:09.200: Yeah.

00:09.200: You can email them that link.

00:09.200: Well, while you're thinking, another thing that very rarely gets mentioned.

00:09.280: So basically, what you're saying is you'll do a 30-second

00:09.280: And then anything that Final Cut wants to create

00:09.280: And you and I both know you've been here.

00:09.280: And you're like, oh, okay, whatever.

00:09.280: But I do think that, that is a bug that unfortunately a lot of people haven't noticed.

00:09.280: And Michael Goy is coming back.

00:09.360: These are my working drives now.

00:09.360: This would be Final Cut 10 Premiere or whatever.

00:09.440: That's this year.

00:09.440: But it's a legit hoverboard.

00:09.440: Do we want to go through the expense of that?

00:09.520: They did ask me to review it, so this is kind of my review.

00:09.520: So this white bar should be very clean

00:09.600: I think that, and I don't know if that's anything in particular that happened in 2014, but

00:09.680: What year was that supposed to be?

00:09.680: So, really good.

00:09.680: It's crazy talk.

00:09.680: Yeah.

00:09.680: You probably have reached out to him already.

00:09.760: Yep.

00:09.760: Then we'll plug that into the G Doc EV.

00:09.760: It slipped off the frame, came back on, and the tracking was great.

00:09.760: I know.

00:09.760: God damn it.

00:09.760: You have some, I think, under Titles.

00:09.840: Okay, so.

00:09.840: I got there G Pro, which is let me just look at it and make sure I have the name correct.

00:09.840: I just can't remember it, but they were on the show, Go Creative Show.

00:09.840: So the thing that we were tracking was animated in and of itself.

00:09.840: We don't even use HQ.

00:09.920: Our archives are still only.

00:09.920: So we have some stuff on audio there, we have stuff on video there.

00:09.920: And also on the Twitter, how do people find you on Twitter?

00:09.920: We have, I think we did a little bit, did we?

00:09.920: If we had on DCC

00:10.000: Still don't have my flying car or jetpack, but whatever.

00:10.000: Skateboard typically only goes forward and back.

00:10.000: He's got a great way of

00:10.000: Well, I stopped.

00:10.080: I would think that I would start with a color mask because it

00:10.080: Um David Fincher and The Other Way is Wrong.

00:10.080: A little Mr.

00:10.080: And I know you don't do a lot of motion graphics, but.

00:10.160: That's going to be this coming year.

00:10.160: Yeah.

00:10.160: I called them.

00:10.160: And they won't say that.

00:10.160: It's just our expectation.

00:10.160: Um, Ben, thanks for joining me.

00:10.240: com.

00:10.240: Yep.

00:10.240: Yep.

00:10.240: I mean, After Effects, Final Cut Pro, Avid, and just.

00:10.320: But

00:10.320: Oh, yeah.

00:10.320: I just have two copies of it.

00:10.320: Oh, so you just did the GOSS thing.

00:10.400: And at a hundred bucks, it's a lot cheaper than the eighty five millimeter

00:10.480: It'll come to me.

00:10.560: So it was already in the library.

00:10.560: Rogers reference there.

00:10.560: Here's the problem that I want to point out.

00:10.560: It's because I anti-produce the show, is what it is.

00:10.640: And the XML was good, but

00:10.640: We went back and forth.

00:10.640: They don't tell you what it they don't tell you how what the special sauce is.

00:10.640: And that works because.

00:10.720: Yeah.

00:10.720: Okay.

00:10.720: SliceX was very powerful even in its first iteration.

00:10.720: I can't even think of it, but it's like a gauze.

00:10.720: We were rendering them as Progress four four by fours.

00:10.720: Did you know?

00:10.720: He's the DP from he did the sh the American Horror Story.

00:10.720: When you're checking out and actually purchasing your song,

00:10.720: Brent did an amazing job on it.

00:10.800: And, you know, and I think that that's.

00:10.800: Like, what's going on?

00:10.800: I've done that many times, yeah.

00:10.800: It's totally true.

00:10.880: It's two it's going to be twenty fifteen when most people hear this.

00:10.880: Well, you know, it starts in 80.

00:10.880: And so, you know,

00:10.880: Is that the kind of effect you're talking about?

00:10.960: I think this is the first year since I started.

00:10.960: And then you have a place where the

00:10.960: I used them

00:10.960: And then we're

00:10.960: That worked pretty cool.

00:11.040: And the networks like it because they've got more commercials to air.

00:11.040: This was a common storytelling technique.

00:11.040: Hang with me here.

00:11.120: I create a folder called FCPX Created.

00:11.120: It was, you know, within the first couple of months that it was released.

00:11.200: They launched from Earth, I believe, in 1997.

00:11.200: It makes me feel better.

00:11.200: It's the same thing.

00:11.200: Like, he couldn't talk about a lot of stuff.

00:11.280: We were actively working in it.

00:11.280: I mean, I was doing some things, but

00:11.360: It's 116 TRT.

00:11.680: Right.

00:11.680: I mean, we had some major things happen.

00:11.680: It's a G drive.

00:11.680: He goes, Awesome.

00:11.760: It's totally true.

00:11.760: We have a couple more days on that project, but.

00:11.840: What do you mean by an internal?

00:11.920: We do a lot of commercial work.

00:11.920: What's the whatever became of that?

00:11.920: I don't know.

00:11.920: I can't remember.

00:12.000: Right.

00:12.000: You have some under Effects.

00:12.080: And it's weird because there's no

00:12.080: And I do think that it's important.

00:12.240: That's what made me what I am today.

00:12.240: I just.

00:12.240: Have you not used it for

00:12.400: I had to consolidate it outside.

00:12.480: You're going to see, really.

00:12.560: Exactly.

00:12.720: I don't know how you do it.

00:12.800: So

00:12.880: They talked about

00:12.880: I was like, yeah, it looks fine.

00:13.040: You you listen to your

00:13.120: Yeah, it's like a gauze, exactly.