Episode 107
FCG107 - FCPX and Logic X (feat. Sam Westman)
Logic X seems to potentially be a great tool for audio sweetening in FCPX and audio for video is always a topic for discussion. On this episode we hear how Sam Mestman, a recurring guest on The Grill, took a simple task of producing a podcast under his wing to learn a new tool to add to his post production arsenal.
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Featuring
- Chris Fenwick
- Sam Mestman - fcpworks.com - @sammestman
Transcription
00:00.001: I'm hitting the record button.
00:00.001: Or anything actually edited.
00:00.001: Let's talk about that a little bit.
00:00.001: It's not going to take away, you know, if your audio sucks, it's still going to suck.
00:00.001: You're just not going to know.
00:00.001: You're going to go to the South Hall or you go to the Renaissance.
00:00.001: Chris and Sam Show.
00:00.080: Hey, good morning, good afternoon, good evening, whatever time it is you're watching this or watching, listening to this.
00:00.080: Yeah, it's like a website from like 1978 or something.
00:00.160: We chatted for a few minutes before I hit record and we came up with a great topic.
00:00.160: That means you're not a total moron when you're talking.
00:00.160: You know, actually, the thing that I noticed that drives me crazy is um uh uh um uh uh um uh oh my goodness I wish I could I wish I could filter that out of my my uh
00:00.160: I mean, seriously, Jeff, Jeff has like a magical ear.
00:00.160: Digital to analog converters are not the same.
00:00.160: and make that determina uh determination of what you need to do to fix it.
00:00.160: And it sounds better, you can tell the difference, right?
00:00.160: But there's not a process for the most part unless you get a detailed script on w how this thing is going to come together.
00:00.160: Want to start with a feature.
00:00.160: because he didn't have another tool that made sense to him.
00:00.160: But one of the advantages of working on Final Cut 10 is you can keep that stuff linked up more easily.
00:00.160: So essentially what we're talking about, and this is something that actually comes up in the show quite a bit, a lot of people have said that they wish that there was some sort of roles-based
00:00.160: It's going to put everything in there, and you can either reference the audio or it'll basically media manage your audio to bring it in in certain handling.
00:00.160: It says uh he says, uh I'm afraid we have a slight apocalypse instead of a slight change.
00:00.160: But it's a similar mixed thing, which is why, Chris, long term, this should all just happen in Final Cut.
00:00.160: that I'm tired of going to these goddamn applications.
00:00.160: That it's still a manual process.
00:00.160: And I also want to point out that Philip has been on the show.
00:00.160: And assign a role to each one of those.
00:00.160: Clips in your timeline, expand audio components, and you can just shift-select across all of these different clicks or clips based on the names of the components.
00:00.160: What he was talking about, and I'm like, oh, yeah, sure, totally.
00:00.160: You know, you put some cross fades in, and that's a mix.
00:00.160: But now here's another subtle thing that you may have come across, and if you haven't yet, you probably will at some point.
00:00.160: What does a mixing board do?
00:00.160: Call recorder is pretty magical, I will say.
00:00.160: Probably going to make a little more sense to your brain than Pro Tools is going to make.
00:00.160: The point is, when people tell you that you can't use logic, just know that lots of people say that about Final Cut 10 as well, that you can't use Final Cut 10 for certain things, and they're wrong about that too.
00:00.160: Oh, that's not a setup.
00:00.160: That negotiation still remains to be said.
00:00.160: And I'm going to tell you that my thing is the greatest, whether it's the greatest or not.
00:00.160: But you know what the hardest part about it is, is the peop if you have to set up the shuttle to get the people over there, trust me, it's not fun.
00:00.160: Convention, okay.
00:00.160: Let's just say that if you were at the suite last year, we thought we did some interesting things.
00:00.160: Or hear anything I have to say, click on blog, and that's you're going to see a whole bunch of stuff.
00:00.160: Sam's kind of new to this whole podcasting thing.
00:00.160: on iTunes.
00:00.160: Well, you I think now we're tied for a number of podcasts.
00:00.160: we makemovies.
00:00.240: My good friend Sam Messman.
00:00.240: in recording these shows, I I learned new things.
00:00.240: you know, what they do and what Sam does.
00:00.240: makes it a dream to not only search for music, but I tell you, one of the things that's really cool is as you're checking out, there's a cell where you can actually put like the name of the client or the job number.
00:00.240: They've just thought about so many great things.
00:00.240: I hit the record button like before I call and Sam and I have been chatting for the last like probably what is it now about 15 minutes.
00:00.240: Oh, well, thank you, Chris.
00:00.240: You were the first guest on my show for so many reasons that I don't even know where to start, but it was a pleasure.
00:00.240: That's the other problem is when you lose yourself and you realize you can't talk, and then you realize it's probably how you sound to most people you talk to.
00:00.240: and he was saying that he recently drove to LA.
00:00.240: Less yapping, more tapping.
00:00.240: You basically have an open invitation.
00:00.240: But prior to hitting record, you told me a really interesting story that you we were talking about learning.
00:00.240: You know, I got to say the thing it's very interesting because when I look at something visually, I think it's because I am, you know, you hear this all the time in this business.
00:00.240: Subtleties and nuances and texture that I think a lot of times we don't register.
00:00.240: Right, and stuff can move all around, everything's got its own, you know, core elements and all of this stuff.
00:00.240: So, you're not doing editing so much as you're finessing.
00:00.240: on down the line and get to something that's no matter what I've done, probably going to be significantly improved than what I started with.
00:00.240: 70 to 80% of the way, in a way that that isn't the case for editing.
00:00.240: You know, I know the basics of it.
00:00.240: Oh, very cool.
00:00.240: The same way I would probably tell him that I can't do certain things in logic.
00:00.240: Took the time and walked me through the basics of how to approach dialogue and voice and some of these other things in Duce and BQ.
00:00.240: where you see a little thumbnail of your audio portion of your your clip.
00:00.240: You have a four-channel audio camera, but you've only plugged in two mics, maybe a boom and a love on an interview.
00:00.240: It's important to remember that when you import audio or when you import your files into Final Cut, there's actually a checkbox where you can say, if there's no audio on the clip, on the channel, don't bother importing it.
00:00.240: Pre-muted for you.
00:00.240: that you want to be careful when you're when you're messing with these things because there's another item called detach audio.
00:00.240: All of the filters in Final Cut are present or come from logic, right?
00:00.240: It used to be RX3 Advanced was the one that had the dialogue denoiser.
00:00.240: That's a major, major thing.
00:00.240: And then one sound blanket on the left and right side of the frame, and then make a frame like a 12x with a bunch of packing blankets, sound blankets, whatever.
00:00.240: and put it right outside of the frame, right just right above his forehead or whatever, or you know, right above the frame.
00:00.240: It's literally, it's just like a make it better button.
00:00.240: that the export sort of cha cha cha meant that I was not if you know what you're doing
00:00.240: You can get an AAF that's going to shoot all of those individual channels on the components out into a single strip in logic that you're then going to put all of your stuff on, and it's set it and forget it, and you're pretty much good to go, and you're on to the next thing.
00:00.240: Filters where I could say, I want to apply a filter to a role as though it were a track.
00:00.240: But you can also, if you use X to Pro correctly, shoot out these components and have it just place the individual pieces of dialogue
00:00.240: I've already here's what you're going to need to do.
00:00.240: Do I have please oh yeah, it's called renderplease.
00:00.240: How to lay everything out so that if you have changes, you can quickly add something into a project.
00:00.240: In terms of like keeping track of things and making spreadsheets of all of the clips that are being used and whatnot.
00:00.240: Let's face it, I mean, Philip has been a giant friend of Final Cut 10 from the very beginning.
00:00.240: Avie Foundation and and you know meditated this.
00:00.240: Even remotely, his most innovative things.
00:00.240: And the reason for that is because it hasn't really clicked for them how much time it really saves.
00:00.240: And so you'd you'd have like the Bob role you'd be assigning sub-roles.
00:00.240: Very cool.
00:00.240: Mike, if you're listening, hi.
00:00.240: Capable sound editor.
00:00.240: And there's a couple of reasons why this is better.
00:00.240: Currently, we are still missing a very important feature that I wish Apple would give us back, and that would be remove attributes.
00:00.240: Well, and hey, not only that, but you've also got to go through and select all of those SAM components.
00:00.240: So a lot of times what we're doing is we're doing various types of compression or noise reduction.
00:00.240: So that's one reason.
00:00.240: in a dedicated digital audio workstation.
00:00.240: The major difference why video editors don't know how to edit sound is video editors approach things based on the clip level.
00:00.240: I had someone take the time to show me, and then I found some really good tutorials that filled in a lot of the technical blanks for me.
00:00.240: You can watch them all until you get tired of it.
00:00.240: But what you're not going to understand is how to use the tools and logic, you know, to do some of the like how to use logic.
00:00.240: Cool.
00:00.240: figure it out.
00:00.240: I bring it in, I click on this, this, this, and this, and now I'm ready to make my show.
00:00.240: Because if you follow up with me and you're like, you said you were going to do this for me, and I'll be like, I did say that.
00:00.240: Yeah, that was an accident.
00:00.240: Well, we have the sketch show, and I don't have a deadline on that.
00:00.240: you know, it's a great program.
00:00.240: Oh, this went really well.
00:00.240: I had not heard of Patreon until like a month ago.
00:00.240: We're now into this rollover thing.
00:00.240: what we're doing so that because that's a whole other thing.
00:00.240: People interact with workflow and vendors.
00:00.240: trying to say, hey, look at me, look at my product.
00:00.240: And you were like you were like peeling the walls back on your booth to show me like stuff and hardware that was inside, you know, kind of the the back
00:00.240: You know, when I met you, it was two almost two years ago now, and it was at NAB, whatever it was, 2012, whatever, 13, I don't know.
00:00.240: Well, I'm not going to get into the whole format, but let's just say we're going to have all kinds of things set up where people can come in and they're interested in a topic and they're interested in how certain things
00:00.240: Fit together across a thing, or what certain types of people are approaching.
00:00.240: and maybe get a sense of solutions that are going to be right for them in a comprehensive sense, as opposed to nine million booths where you're overwhelmed by the paralysis of choice.
00:00.240: I mean, I got to go to your suite.
00:00.240: You're going to be at what's it?
00:00.240: Over at the Renaissance this year.
00:00.240: It was one of the c big color grading companies.
00:00.240: We've got a really good game plan.
00:00.240: Be willing to participate.
00:00.240: And FCP Works on online?
00:00.240: and you think you maybe want to become a member, we're going to have some digital stuff longer term.
00:00.240: So, like to the south.
00:00.240: That's Noah.
00:00.240: By all means, let me know.
00:00.320: passion.
00:00.320: Go support the people at Premium Beat.
00:00.320: With uh called FCP Works.
00:00.320: And it's just it's a pleasure.
00:00.320: It's absolutely my go-to source for music to cut to.
00:00.320: And so there might be things where we go, wait, did we talk about that?
00:00.320: As narcissistic as it sounds, I gotta say, it was a great show.
00:00.320: So prior to chatting, basically, Sam, this is, I think, the fourth time you've been on the show, so if people are sick of you, I apologize.
00:00.320: And I said, Yeah, I'll tell you the best thing that you can do if you want to learn how to edit, and you don't know anything about editing.
00:00.320: Just tell one, and it doesn't have to be epic.
00:00.320: You know, just tell a story every week.
00:00.320: Geniuses and elves do.
00:00.320: Hearing the differences between things.
00:00.320: And Jeff is one of these guys that has a magical ear.
00:00.320: But when you're at the start of that journey, you quite often we cannot tell
00:00.320: You're dealing with, you know, you're dealing like there's this chunk that I'm going to move here, and then there's this chunk that I'm going to move here.
00:00.320: Even if you're not, even if you don't have a genius ear, and I'm not going to pretend to, you're not going to see me mixing the next Star Wars, right?
00:00.320: And mix and get 90% of the way there if it's going to go on the internet and do it myself now because I learned
00:00.320: If you can't make something that's any good that's 30 seconds long, how the hell are you going to keep people entertained for 90 minutes?
00:00.320: How to make something better on the audio side, and what that basic process was.
00:00.320: And have it be simple and achievable so that it doesn't feel impossible.
00:00.320: And logic is this audio tool that I have that I already used to check AAFs that I'm going to deliver to a sound designer.
00:00.320: the next mile.
00:00.320: And then I ran into some really great tutorials, but I also ran into somebody who was kind of really
00:00.320: And I'm afraid of logic because I don't know any better because I just stay in my video editing software.
00:00.320: This has completely demystified the process for me.
00:00.320: Yeah.
00:00.320: Well, here's the thing.
00:00.320: I'm going to show you this, and you're going to show me logic, and we're going to meet in the middle here.
00:00.320: When you've got a lot of different when you're dealing with multi-channel audio, it becomes really useful because what you multi-channel off the cameras
00:00.320: you have your info, you have your video tab and your audio tab.
00:00.320: And that's actually kind of a cool thing to add because it saves the things you have to mute or deal with here.
00:00.320: For each track of audio.
00:00.320: Right.
00:00.320: There's not really much that you're gonna do in logic that you can't do in Final Cut.
00:00.320: Are very high end, very costy, but I agree.
00:00.320: It really is.
00:00.320: I have a whole bunch of people talking in a scene.
00:00.320: where you're going to get your original media coming in on that thing.
00:00.320: In sync in a role-based track, but it's only the piece of the media, and then you have silence in the other places, but it's not just one clip coming in.
00:00.320: On a single component and then copying and pasting and making sure you've got all these components managed, right?
00:00.320: That's your kind of you know workaround.
00:00.320: It's knowledge, that knowledge thing.
00:00.320: What do you mean?
00:00.320: But anyway, so yeah, I mean, that's that's yeah, I mean, we we've all had had it.
00:00.320: There's a whole lot of money for someone, Cough Cough, Mark Wiz Broadcast, who makes X to Pro to come up with something that does what
00:00.320: But that is not how things have been that is not how the sound industry has been set up.
00:00.320: Inside Final Cut, I would never need to leave.
00:00.320: And ChangeList allows you to take an XML from like version five and an XML from version six, and it will kick out
00:00.320: You know, I those tools are just things that like those guys like turned out because that's what the industry needed.
00:00.320: So, or at least is going to be ready to start really taking advantage of hopefully some of the things he's built because he can save your average college hundreds of thousands of dollars because that's how much they pay this other company to come do the stuff that his software does much better.
00:00.320: You can make this really easy on yourself.
00:00.320: Yeah, I've heard I remember Michael Matsdorf was talking about sub-roles.
00:00.320: OCD.
00:00.320: Anyway, he did a fantastic video back when he did that sort of thing.
00:00.320: As tracks based on your components that you assign to each individual subroll.
00:00.320: Basically, illustrating this whole process, you can still find it somewhere.
00:00.320: And it's very hard to get them off once you've pasted them on.
00:00.320: And then, you know, the the note comes back from the client.
00:00.320: It's listening to the audio level.
00:00.320: Where there was already threshold set, there was speaking set, and so it was compressing a certain way.
00:00.320: I remember the first time this happened to me and I didn't catch it, and it was really embarrassing.
00:00.320: There was this massive, like ear-shattering, just background noise.
00:00.320: That would not have happened had there been some audio in that clip.
00:00.320: You know, I have invented.
00:00.320: Trying to figure out how these sound designers do the echo.
00:00.320: Audio editors approach things on the track level.
00:00.320: Doesn't look like there's anything specifically for video, is there?
00:00.320: And go down the rabbit hole and like something that wasn't critical and I wasn't going to have a huge deadline for.
00:00.320: Or are you still recording in the what's it called?
00:00.320: Yeah.
00:00.320: Okay, I'm onto something here.
00:00.320: And then you only really get to make one thing.
00:00.320: And now I see the big giant orange button that says become a patron, give $3 per month.
00:00.320: Pilot feature if they want to, depending on how much money comes in, you know, and where that money is going to go.
00:00.320: I gotcha.
00:00.320: And I was walking through one of the back halls and you were there working with a drive vendor, I think it was.
00:00.320: Hey, what the hell was that?
00:00.320: the backstage, if you will, of your booth.
00:00.320: discuss integration because it might mean you have to talk about either A, somebody else's product or B, possibly shortcomings in your own product.
00:00.320: Right.
00:00.320: There's going to be something for you at a given time in a suite, and you're going to know a good time for you to come in advance.
00:00.320: And I went to somebody else's booth there last year.
00:00.320: No, that won't be the case.
00:00.320: And if you search for Film Central on the iTunes, we make movies, Film Central, and the first guess, there's one episode at the moment that's going to change.
00:00.320: Go to iTunes, leave the comments, give the show stars.
00:00.320: Exactly what it is that we have going on.
00:00.320: Sam was really enthusiastic.
00:00.320: I can't remember the name of the hotel, but it's literally it's like across the driveway from the L V C C.
00:00.400: Okay?
00:00.400: You said that you've been you have some kind of non-standard views about using logic for sound design and stuff.
00:00.400: When he'd take headphones, I go, What are you doing?
00:00.400: what it is that we need to do to get there.
00:00.400: The same way that, like, actually, I feel like, you know, having been through this process a little bit now, once I framed sound the way that I framed color correction,
00:00.400: Things started to make a lot more sense to me.
00:00.400: Right.
00:00.400: You know what I mean?
00:00.400: Learning the deeper things and what all the filters do, and all this.
00:00.400: way to approach dialogue.
00:00.400: I do I would say 95% of the time all the audio that I deal with we do right inside Final Cut.
00:00.400: Once you realize what logic does, and you realize what you can do with X to Pro and an AAF, you're like, oh, I can do all my own mixes now.
00:00.400: There's a certain amount of logic as stuff comes in.
00:00.400: What it will do is it will break your file.
00:00.400: Under a boom, and he's in a room, and you're doing a little chit chat, whatever.
00:00.400: To walk into that room with a bunch of sea stands and a bunch of packing blankets.
00:00.400: Most organized AAF if you set your roles correctly in Final Cut.
00:00.400: And I bring that into logic, and then I start laying out my stuff on a track-based system instead of a clip-based system.
00:00.400: Basically, things that Philip Hodges was saying years ago.
00:00.400: It is.
00:00.400: Label all of your individual components according to who's talking, right?
00:00.400: Is it's going to send out if you send out an XML that's going to come into X2Pro, X2Pro is going to allow you to arrange the sub roles so that it comes into Logic or Pro Tools.
00:00.400: In logic, named after the role that you named it, so named after a character, and then you just go and you put all of the EQ and compression and
00:00.400: Mac Pro Video, by the way, if you want to learn logic, get a couple months' membership or download some of the tutorials.
00:00.400: You know, and that's kind of what I'm talking about: is like just wanting to do something small and achievable to teach myself a new program.
00:00.400: Well, basically, so here's the problem with Kickstarter, right?
00:00.400: a community funded production company.
00:00.400: That we have, what we're gonna try and do at NAB this year is change the way
00:00.400: It sounds very cool.
00:00.400: And, you know, we're going to see what happens.
00:00.480: Yeah, it's hard, isn't it?
00:00.480: And I think that there's a lot of that a lot of visual people have a hard time
00:00.480: All of the sound effects that you hear on the the grille, those are things that he and I composed and or he composed it, but we created together just via the phone.
00:00.480: When you mix something in Final Cut and you're like, this sucks, I need to get it to a sound designer, and it comes back
00:00.480: That is going to get me 85% of the way there in terms of getting a shot right.
00:00.480: So on the audio side, once if you are trained, the basic process for fixing audio
00:00.480: You know, mute channels that you don't need right there at the browser level.
00:00.480: That's what the dialogue denoiser makes it sound like.
00:00.480: And then you're going to write a re-review.
00:00.480: It is dynamic in the sense that you can just restart up a new Logic project and you can slap your channel strip settings that you've already done your EQs and compressors and all that stuff, and you can place those on there.
00:00.480: It is this industry that thinks that that's a good way to do things.
00:00.480: It's you don't even appreciate it.
00:00.480: Should be a no-brainer, but like I have to sit there and show people, and like they're like, oh, that's amazing.
00:00.480: Was to auto-gain that little section up, and because there was actually no
00:00.480: Because you brought down, you know, you use keyframes and then there's no audio.
00:00.480: Oh, what was I so afraid of?
00:00.480: Does Logic do that for you?
00:00.480: What I do for clients, you know?
00:00.480: So tell me a little bit, and I know that we make movies is a huge passion for you.
00:00.480: And this is a monthly thing, which we set that to $1,600 a month.
00:00.480: Now that our memberships have paid for making sure that our lights stay on for all of our weekly events, like that's already, we've already hit those goals three months ahead of when we thought we would.
00:00.480: People that have the audience you're trying to reach.
00:00.480: To promote your movie, and there's a really smart affiliate system built around it.
00:00.480: You know, what the regular industry does, which is basically rape filmmakers.
00:00.480: I think that's an awesome location to be in.
00:00.480: If you're interested in the We Make Movies side of things, go to we makemovies.
00:00.480: Twitter.
00:00.480: uh you know, all of the um all of the details, you know, uh money wise and compensation.
00:00.560: Way back when, and maybe you're familiar with some of this, is you have lots of people who will tell you that you can't use logic for sound design, right?
00:00.560: And all you know is that the elves are really demanding and they want a lot of things from the editor.
00:00.560: That I can bang my head against the wall and actually make something that's going to be usable later and then start applying some of that stuff out.
00:00.560: Inspirational in terms of like making me do it in the first place.
00:00.560: When you select a clip or a file that has audio in Final Cut Pro, in your Inspector, which is in the upper right-hand corner of the screen,
00:00.560: So so back to Sam then.
00:00.560: That's I that's kind of blowing my mind.
00:00.560: audio engineers wet their pants every time you're like, well, we just we just shaved a couple of frames off.
00:00.560: It's not a bit.
00:00.560: Yeah, you can't get the echo because there's no more space on the clip.
00:00.560: And by the way, Linda, believe it or not, has an old logic tutorial because I've been down the because here's the thing: if you already know how to edit video, you're going to understand how you want to approach your mix.
00:00.560: You know?
00:00.560: Well, that's awesome, Sam.
00:00.560: He'll learn.
00:00.560: For an hour.
00:00.640: The Grill four times.
00:00.640: There was a discussion in there where we started talking about system integration and training and whatnot.
00:00.640: This evening I was talking briefly with Paul Koblik, my boss, and he was saying we had a client showing up late.
00:00.640: And in color correction, I come from a colorist background, like editor colorist is my thing.
00:00.640: And so for me, I was like, well, if I did a podcast, this is the perfect excuse for me to do something simple.
00:00.640: Four stereos.
00:00.640: pretty much a no-brainer.
00:00.640: And that makes what, like an OMF file?
00:00.640: So, if I just had a couple of the tools that you have in Logic or I have in Resolve and those were present.
00:00.640: And that thing should be blowing up college sports.
00:00.640: noise reduction and any filters you want to put on it, you're going to put it on each of those channel strips or tracks.
00:00.640: But the problem was, is there was one short little clip that was completely innocuous.
00:00.640: Just going, I don't get it.
00:00.640: We're recording this on January 12th, this year, 2015, and we're just a couple of months away from NAB.
00:00.640: Yeah, or you know, it's just all about, well, these are my marketing talking points.
00:00.640: But we're going to completely change our approach this year and I think try and target something that, regardless of what you're doing,
00:00.640: As I mentioned, the guy from Yecker coming up this week.
00:00.720: LA, which is kind of like a normal day working with Chris.
00:00.720: So, can you describe that to me again?
00:00.720: Maybe there's actually a way for me to, you know, do some sound editing in there and see how the hell that goes.
00:00.720: But, like, it's really, that's not actually true.
00:00.720: At what point do you get to the point where you go, yep, got to go outside?
00:00.720: And then you're going to have the audio enhancement section, and there's a volume and pan section.
00:00.720: or expand audio and video, but it actually separates the link to the video file, which might be okay.
00:00.720: Where Sam actually wasn't speaking at all for about two or three seconds, but it was its own clip.
00:00.720: So yeah, I'm looking at the Mac Pro video site here.
00:00.720: I don't know.
00:00.720: I have the luxury now where, like, I get to edit for free and I only edit the things I like, you know, because a lot of what I do informs
00:00.720: The show floor.
00:00.720: Because the S was taken.
00:00.720: I don't even know if I need to sit, but I'm sure we'll do it again sometime.
00:00.800: And for the most part, you will typically believe them.
00:00.800: So, start with something small, right?
00:00.800: So he could mix in logic.
00:00.800: So I can actually reveal that audio component, go in there, mute that out a bit.
00:00.800: Reapply your channel strip settings.
00:00.800: So, yeah.
00:00.800: Resolve does with XMLs, which is basically handling a media pool.
00:00.800: If you fit, which is the same thing.
00:00.800: With sub roles.
00:00.800: Is triggering off of the actual footage that is in the clip, okay?
00:00.800: And I'm probably getting this wrong.
00:00.800: It's a similar thing.
00:00.800: But it would, I would also improve it in Pro Tools as well.
00:00.800: To show how this integrates in a larger picture workflow.
00:00.800: Okay, well, here's the long and short of it.
00:00.880: But I tell you, Sam is an amazing evangelist for the platform.
00:00.880: Okay.
00:00.880: And one of the guys that was working here today, John Lewis, he pointed this out to me.
00:00.880: I also want to point out that Philip Hodgetts has made a couple of utilities that are actually very useful.
00:00.880: A change list, and it'll show all the things that are different.
00:00.880: Would you do 'cause I know you know Screenflow, you use the ScreenFlow.
00:00.880: where basically the members of We Make Movies are going to get to decide whether we're going to put that money into a community funded short
00:00.880: Now, can you can you mention where you're going to be?
00:00.960: And it's just it is a destination site on the web.
00:00.960: And very editable and very you know, it's a curated collection of great music.
00:00.960: So, in terms of learning and how that applies to what you were saying earlier with the girl and the phone, the basic thing is like: start with something, start it, finish it.
00:00.960: I really feel like a big weakness in my arsenal is sound, right?
00:00.960: Okay, now I'm going to ask the silly question reveal audio components.
00:00.960: So, anyway, a little bit beside the point, but you know, what I was saying is that, yeah, the tools in Final Cut, there's nothing
00:00.960: And then I get edit notes from the client, and at three o'clock, I got to make some changes.
00:00.960: And it's that type of thing.
00:00.960: Okay.
00:00.960: about what creators should be doing on the distribution side of things where they can incentivize actors or
00:00.960: And we're less interested in that.
00:00.960: FCP Works is doing at NAB this year.
00:01.040: Yeah, and then you just never learn it.
00:01.040: Initially, the same way a lot of people think Final Cut 10 sucks with the magnetic timeline because I'm trying to use it the way I use Final Cut 10, and that's not how it's designed to work.
00:01.040: Or do a monthly pledge.
00:01.040: And we're trying to change the way movies get made.
00:01.040: I always see those things.
00:01.120: So like in a color standpoint, it's like, well, first I'm going to fix overall exposure.
00:01.120: I will tell you that after the recording, we talked for a fair amount of time, and we haven't negotiated
00:01.200: Hey, so this is I have Sam Messman on the line here.
00:01.200: A woman that I met over the Christmas season, it was at one of our clients' Christmas party, and the executive producer's assistant was chatting with me and she said, Yeah, I really want to learn how to edit.
00:01.200: Anyway, I'm thinking the rest of the world's going to catch up with him over the next couple of years.
00:01.200: All right, so back to back to our our little project of taking a timeline.
00:01.200: Right.
00:01.200: Find this one car that's going to shuttle you over.
00:01.200: org and click on the thing that says go to our Patreon thing or whatever, or just go to patreon.
00:01.280: Uh there are people that would definitely agree with that assessment.
00:01.280: And for $4.
00:01.280: And I'm like, are you out of your mind?
00:01.280: So when you have multiple people mic'd up, a lot of different lab mics flying around on different channels that you want to be able to manipulate independently.
00:01.280: And there's lots of different things that like, it's all going to basically work in both programs.
00:01.280: Michael Garber did a fantastic video on this too, way back when.
00:01.280: I know you push faders, but like I don't know how the sig I didn't know how the signal feeds and in what order it went down and around and back up and out to the outputs and all that.
00:01.280: And that's how you learn and you get better.
00:01.280: Very cool.
00:01.280: Create a place where filmmakers can come and, if the work is good, build an audience around it and distribute it and actually profit from it as opposed to
00:01.280: Yeah.
00:01.280: What's the name of the place you're going to be at?
00:01.280: He'll learn.
00:01.360: It's because no one they don't talk to the people who are doing the sound.
00:01.360: So you're doing the podcast and you're actually doing you have a fair amount of production value on your show, certainly a lot more than I do.
00:01.440: Microphones or five lab mics on it, right?
00:01.440: Like, for me, this was just like an experiment.
00:01.520: Right.
00:01.520: So that's kind of a powerful thing.
00:01.520: So like you could say, Oh, yeah, I'm going to EQ, you know, Sam's voice here and make him sound more awesome.
00:01.600: It's similar to editing, you know, where like, and magically you send an AAF or an OMF out, and then you get handed back this beautiful mix, and you're like, How did this happen?
00:01.600: So, what he did is, well, he's approaching it from the side.
00:01.600: So the do the dialogue denoiser, I describe it to people like this.
00:01.600: And then we did our Patreon video for We Make Movies, and I mixed that in Logic, and it sounded way better than it would have sounded had I done it normally.
00:01.600: I got the invite, and it's kind of a little bit elitist because you actually have to leave the convention center and like take a shuttle.
00:01.600: And if you are interested in whether or not you should pursue a career in freelance editing, that's pretty much all Chris and I talk about.
00:01.600: Yeah, it was a lot of fun.
00:01.680: All right.
00:01.680: Because then.
00:01.680: What are you and what is FCP works?
00:01.680: Anyway, excited about that.
00:01.760: It's a pleasure to be back.
00:01.760: Setting your filters in Final Cut and then pasting it across all you know, selecting all and then paste the attribute across.
00:01.760: Because 102, I think, is signal flow.
00:01.760: It's significantly cheaper and it's also an Apple product, which means that it's
00:01.760: Whether you do or not, I mean, this is always fun, man.
00:01.840: Like, I did it.
00:01.840: So anyway, it's been kind of like I feel like I broke down the final frontier or something for myself just by deciding that I wanted to do a podcast.
00:01.840: And that's a loop from logic that I threw in under my girlfriend's voice.
00:01.840: This isn't, and it's like it's demystifying the idea that you can only mix in Pro Tools or any of this other stuff.
00:01.840: And the Renaissance is just, I think it's just to the south of the convention center.
00:01.920: So go check out PremiumBeat.
00:01.920: There's a basic way to approach building a mix that many people even know in video editing how to do something basic, right?
00:01.920: I know what a compressor does.
00:01.920: Who comes from a music background, right?
00:01.920: We'll call that the self-indulgent podcast.
00:02.000: It depends on what you need to do.
00:02.000: Yeah, and say you move like one piece of dialogue later, they're going to have to go basically by hand, and they use these things called changeless.
00:02.000: It's the same type of thing, choice.
00:02.080: They're just necessary.
00:02.080: I mean, some of it just isn't very elegant at this point, but it does enough where you can do what you need to do.
00:02.080: Yeah, well, you know, I could talk to you all day about nodes and color correction and all that other stuff, but like
00:02.080: Well, number one, if this is FCPX Grill.
00:02.160: We always have great conversations.
00:02.160: So here's the deal, right?
00:02.160: And that's the best way to go in.
00:02.160: Yeah.
00:02.160: Let me, I will show you the wheel, you know, and like I have reinvented it.
00:02.160: Okay.
00:02.160: That's about put 10 on that display.
00:02.160: I don't open my mouth without mentioning Final Cut Grill and Digital Cinema Cafe.
00:02.160: Anyway, looking forward to that, and we'll see.
00:02.240: I saw a great thing.
00:02.240: It's so stupid.
00:02.240: So you can actually assign a role to one component in the clip.
00:02.240: And but what you can do is have the world's literally most OCD AAF come in based on components and have all of your similar types of audio basically get laid out on a single track.
00:02.240: Maybe it wasn't compression that I was doing, but I had applied a setting to a passage of audio that had no dialogue.
00:02.240: He hasn't learned that he should mention that too.
00:02.240: And if you have a guest that you think should be on the show, hook me up.
00:02.320: He's even been on an episode of Digital Cinema Cafe where all he talked about was we make movies, which is really the guy's main
00:02.320: 99, you can just just shoot and edit one story a week.
00:02.320: And here's: I'm going to unravel another mystery that had plagued me forever until I had this
00:02.320: So we were at the Wynn last year.
00:02.320: There's going to be a lot more info coming about this.
00:02.320: If people want to find you're involved in a lot of different stuff, how do we find Sam Miskman?
00:02.400: And they've been extremely supportive of what we're doing here.
00:02.400: I'm like, really?
00:02.400: I'm like, seriously, you can hear the difference.
00:02.400: Whereas with color and audio, you're taking something that's already done and you're improving specific parts of it.
00:02.400: And he's like, yeah, once I'm in logic, I'm good.
00:02.400: It might find it as four monos.
00:02.400: We're hoping that we'll be able to make some other announcements about certain participants relatively soon.
00:02.400: And I said, Yeah, let's talk about the money.
00:02.400: But yeah, thanks, Chris.
00:02.480: If you haven't heard Sam talk before, he's an extremely passionate guy.
00:02.480: And Sam is an extremely brilliant guy.
00:02.480: We call this rollover funds.
00:02.480: So and is this what you're you're doing in terms of helping fund what We Make Movies is doing?
00:02.480: And I think there's a good chance we're going to see a connection there.
00:02.560: And I use the dialogue dinosaur pretty much unfucking everything.
00:02.560: I you know, I did not realize they had moved Dialogue Denoiser.
00:02.560: It eludes me most of the time.
00:02.560: Okay, so like I export, I create my roles, and I use what's it called, X to Pro.
00:02.560: And this is part of the problem in the sound and picture world: it doesn't work the way that Resolve works, where you just bring in a new XML and place it on top of it.
00:02.560: So, I want to point out one of the reasons why this is better than
00:02.560: It has a threshold set, and it's doing certain stuff to that clip based on that threshold.
00:02.560: You know, and then you can look at it with like, and start really evaluating what you're doing and start getting better.
00:02.640: So it was great talking to Sam and you're going to enjoy that.
00:02.640: No, it's not hard.
00:02.640: He goes, I'm going to buy a DVD player.
00:02.640: Yeah, absolutely, and that's the point.
00:02.640: Explain framing.
00:02.640: I've never heard one.
00:02.720: Like you appreciate something a few years later.
00:02.720: Yeah.
00:02.720: I can't.
00:02.720: There's no way to get recurring revenue.
00:02.720: It does this thing and it's better than all the other products, but I'm not going to show you anyone else's product at my booth.
00:02.720: And I think it's cool.
00:02.800: Sam, what are the times when you decide I need to go outside?
00:02.800: Very few people do, though.
00:02.800: And it's all going to be like, you're not going to have to go through all of the fundraising and all this other stuff.
00:02.800: I can't remember who it was, but it was actually very nice and it was close and it you know, you take the normal shuttle and so
00:02.800: And then Alex4D is going to be really interesting.
00:02.800: And if you want, you can email me at the show email address, which is Chris at DigitalCinema Cafe.
00:02.800: And, you know, otherwise, I'm at FCP Works or at Sam Mestman or at We Make Movies with a Z on Twitter.
00:02.880: Go check out their website.
00:02.880: It could be like, this is how I brush my teeth, this is how I make a cup of coffee, this is how I pump a tank of gas.
00:02.880: And also, there's part of you that like the same thing.
00:02.880: If it's coming from a camera with like four, and Good Grief, I've seen cameras with eight audio tracks, it seems like.
00:02.880: He was on episode 71.
00:02.880: The only thing that I'm going to need from you is a couple reminders to sit down and actually do it.
00:02.960: And during the trip he found a bunch of um the podcasts, uh both the Grill and also um DCC episodes.
00:02.960: And then I got pulled in by somebody down the line to come help him sort it out so he could get back out to logic.
00:02.960: Sub Rolls.
00:02.960: And it's just because video and audio editors work differently.
00:03.040: If you were really visual, you'd understand what I had just said.
00:03.040: And for go ahead.
00:03.040: It doesn't save me time.
00:03.040: It would not, because you're dealing with things at the track level and not the clip level.
00:03.040: You should listen to next week's podcast where I talk to the CEO from Yekra that's coming out Friday or Monday.
00:03.040: Is pretty busy.
00:03.040: And I'm like, oh, this is cool.
00:03.040: So, this Alex Golner, you say, or Alex Fordy, who is that?
00:03.120: Um and if you listened to um a couple episodes ago with Ben Brodbeck, I want to say it's like one episode one oh four, I believe.
00:03.120: Do you want me to give him the long and short of what we were talking about?
00:03.120: Right.
00:03.120: com.
00:03.120: So if you just search for Logic, there's Logic Pro X 100, 101, 102, 103, 104.
00:03.120: Oh, geez.
00:03.120: I like, I couldn't figure out at the most basic level.
00:03.120: Because I tried learning Pro Tools multiple times and it was an epic disaster, and I gave up.
00:03.120: So you can basically do your own subscriber base system.
00:03.120: First of all, Patreon, let me just say, first of all, Patreon is already in the show notes.
00:03.200: And then the other thing that you can do is if you right-click on a clip and you say it's called expand audio components.
00:03.200: What you're going to do, though, Chris, this is important, is you're going to need, if you have, if you're dealing with something that has like five
00:03.200: Go to Garbershop, and it illustrates what's going to happen in logic.
00:03.200: We'll have that discussion offline too.
00:03.280: You're going to redo your AAF, and you're basically going to need to
00:03.280: This is 2015.
00:03.280: And they're great.
00:03.280: You and I, the two of you are pretty prolific on this show, but you're also huge, huge minds in the business.
00:03.280: Thanks again for listening.
00:03.360: Okay, so let me ask you a couple of very practical questions because this is Final Cut 10 grill.
00:03.360: And actually, let me back that up.
00:03.360: Now is it generating new media or is it referencing the original media?
00:03.360: Have you ever seen?
00:03.360: For instance, Final Cut users, where you can incentivize, I guess, Malcolm Gladwell's connectors
00:03.360: So stay tuned.
00:03.440: com.
00:03.440: What are you talking about?
00:03.440: If you can hit a point where, like, at a certain point, you're like, oh, that's a reasonable point.
00:03.440: What do you mean?
00:03.440: They're all on one mic, right?
00:03.440: They're like, Yeah, Sam sounds a little fake and bassy.
00:03.440: So I'm going to now take a sketch and I'm going to make sketch and logic and see how that goes.
00:03.440: Is that people can only give for one thing
00:03.520: But do you know why that is?
00:03.520: It's the same thing as editing.
00:03.520: And I'm sitting around, I'm like, Yeah, no, you just do this, this, and this, and you're good.
00:03.520: I just was like, I was just trying things.
00:03.600: And so then you said, Yeah, that's how I learned logic.
00:03.600: Let's say I just want to like, like the host coughed on his laugh or cleared his throat, and I want to kill that.
00:03.600: I have no idea what he meant.
00:03.600: Call recorder.
00:03.600: I don't know what's going on there, it's crazy.
00:03.600: Okay, Sam?
00:03.680: Like, for example, you know, I've had my friend Jeff Dykaus on the show.
00:03.680: I can remember in the days of like DVD players going to the store with him.
00:03.680: You're going to need to save your channel strip settings based on your different tracks.
00:03.680: Right.
00:03.680: I was like, Ah, Philip, give it a break.
00:03.680: You know, if you've been to the show, so you know what this is, which is basically you have 9 million vendors who are all
00:03.680: Well, I guess I don't think it needs to be a surprise.
00:03.760: You know, he's a composer.
00:03.760: But if it's good, it's going to make it great.
00:03.760: And I think they also have a Tumblr account.
00:03.760: The thing that's really innovative that no one is really using out there because they haven't grasped it fully is Lumberjack.
00:03.760: Keep up the good work, Mike.
00:03.760: Okay, so he d can you do me a favor?
00:03.840: So I apologize.
00:03.840: I mean, anyone can learn the process that can get you 80%, and then it's repetition, and then it's like
00:03.840: And that's like a hugely useful thing if you accept.
00:03.840: No, he's one of those people who is so smart.
00:03.840: First of all, currently, and this we're recording this when 10.
00:03.840: If you have a deadline and you need to learn something, it's not going to go well.
00:03.840: That's cool.
00:03.920: And it was funny.
00:03.920: And I'm actually going to have him on a podcast.
00:03.920: It's going to make an AAF that you can import into Logic.
00:03.920: All the money that goes in over that goes into a community production fund.
00:03.920: We're more interested in creating our
00:03.920: And so that's really significant because of the whole shuttle thing.
00:03.920: Well, I got to say, it sounds really exciting, and I hope we can make it work out.
00:04.000: Yeah, well, you know, you must be really fast, or either that, or you need to like fill out all those hours you're charging for, I guess.
00:04.000: So I had a well, I guess the backstory to this is
00:04.000: That was the last sentence I said.
00:04.000: So, I remember at a certain point I got this idea in my head.
00:04.000: I totally agree.
00:04.000: You need to expand out the components and a couple strategies, right?
00:04.000: Right.
00:04.000: So, this is one of those things where I just get to kind of go play and test things and see what works and what doesn't.
00:04.000: We're like all money that comes in from members on Patreon that goes over our last workshop goal.
00:04.000: What do you guys have in store for everybody at NAB?
00:04.080: It's awesome.
00:04.080: He goes, Oh, yeah.
00:04.080: And, like, you're taking something and breaking it down to its core elements for the most part and addressing those.
00:04.080: I know the basics of EQ and some of these other things, but I don't really know how this stuff works.
00:04.080: Yep.
00:04.080: Oh, dude, it's amazing.
00:04.080: Yeah, good point.
00:04.160: So go check them out at premiumbeat.
00:04.240: So anyway, that's now part of the RX4 suite, which is a huge for video editors, it makes the purchase.
00:04.240: So it's not like you're going to kick out the QuickTime as roles, which you can do and will work very well.
00:04.240: Hold on.
00:04.240: He goes, Oh, you gotta, you're gonna love this.
00:04.240: I don't know that he's got a lot of spare time.
00:04.320: It's like, it t turn around, click.
00:04.320: Editing, you're creating that cut.
00:04.320: Now when you click that audio tab, you're going to see a few you're going to see a region for your audio effect
00:04.320: Well, this is interesting too.
00:04.320: It's like, wow, all that noise is gone.
00:04.320: Skype call recorder.
00:04.320: We're going to be significantly closer this year.
00:04.320: But if you're interested in and you want some a live community experience, go to
00:04.320: org.
00:04.320: So come check us out over there.
00:04.320: We'll be back next week with another episode of The Grill, and as always.
00:04.400: So go check out PremiumBeat.
00:04.400: So, when I looked at, you know, in terms of sound, in terms of picture editing, you're dealing with, you know, pieces of things, right?
00:04.400: We used to have it in Final Cut 7.
00:04.400: This guy knows his stuff.
00:04.400: I know I have to sell this many things.
00:04.400: So if you're interested in Final Cut Workflow, come check us out at fcpworks.
00:04.480: Let's go now to the interview with Sam Esman, fresh back from his vacation from Mexico, and he's excited about getting back to work.
00:04.480: And because you don't, you're not a sound designer, right?
00:04.480: So if you want to go back, I think, as I recall, he went on to a whole big long discussion about Lumberjack.
00:04.480: It helps other people find it.
00:04.560: Take everything that's difficult about making a short film or a commercial and then multiply it by a thousand and jump in.
00:04.560: So, how the hell did they do that?
00:04.560: And if you have someone else kind of show you some of the stuff, like once it clicks for you, then you're like.
00:04.560: It's just as messed up in the Pro Tools world.
00:04.560: I was with Alex McLean from Digital Cinema Cafe, and he was I you know, I can't remember, I think it was like uh
00:04.560: Yeah.
00:04.640: Okay, I I hear you, except for this.
00:04.640: It's like it's just you continue to improve your skills.
00:04.640: It actually doesn't break it, but it expands it to the point where, like, say, your video clip will now have you will see an audio component for each portion of
00:04.640: They moved the Dialogue Denoiser into the regular version of RX, which is like $700,080 cheaper.
00:04.640: Because if you're, if you're here's where you save lots of time and logic.
00:04.640: Yeah.
00:04.640: It's very manual, but thanks to Philip, we actually do have something like that.
00:04.640: Oh, yeah, Mike and I, we you'll feel more about that later.
00:04.640: You get to be there.
00:04.720: They like to keep their own little like silos, you know?
00:04.720: So I'm just going to give a little bit of just an audio tutorial here for people that don't know.
00:04.720: And that one's really important because that explains how a mixing board works, which, to be honest, I didn't know.
00:04.800: I love it.
00:04.800: It's very rare that you find people that even want to acknowledge that there's any other technology in their booth.
00:04.800: Do not go to dot com.
00:04.800: We'll just, which podcast is it going to be, man?
00:04.880: And I gotta warn you: you know, as you, as everybody knows, on a typical show, I
00:04.880: I'd like to keep it fresh, but we were doing some other business.
00:04.880: I listened to it.
00:04.880: I go, Yeah, it's a DVD player.
00:04.880: And there, and not only that, but there's ways to do it.
00:04.880: Well, it's just like you don't even know until you need to know.
00:04.880: And both processes are valid, but it was the hardest thing.
00:04.880: Uh not as much, but it's not important.
00:04.880: Well, hopefully, we're going to have some further announcements about that involving a certain podcast host.
00:04.880: And I was like, hmm, I want to talk to this guy.
00:04.960: Time and time again, I am finding exactly the music that I need.
00:04.960: And he wanted to make a film based around his new album.
00:04.960: No, Mike, and I have been down the rabbit hole on that one.
00:04.960: Because I would throw the echo filter on a clip, but as soon as the clip is over.
00:04.960: And then you extend out the clip and you bring down the automation and it doesn't work.
00:04.960: Oh, yeah, yeah, yeah.
00:05.040: And I you know, it sounded like I was given an ad for FCP Works, but it it wasn't.
00:05.040: Because we're we're videotes, according to Jeff.
00:05.040: And like, and I'm like, oh, wait a minute.
00:05.040: But you could have your sound designer
00:05.040: I I have I gotta I feel stupid saying this, but I've tried this.
00:05.120: Well, I'm a picture guy.
00:05.120: And he's telling me that you can't do things in Final Cut 10.
00:05.120: So just be careful when you go to detach audio.
00:05.120: Hey, so along the lines of what you're talking about here.
00:05.120: So tell me what Patreon is and tell me how we make movies is using it.
00:05.120: And we're going to make it easy for people with certain interests to come in.
00:05.120: And, you know, I'm not the cheapest guy.
00:05.200: And as I continue to do it more, I'm getting better and better.
00:05.200: Okay, good to know.
00:05.200: Okay.
00:05.200: I want to give you a couple of minutes here.
00:05.280: But you can begin to manipulate your audio right there.
00:05.280: Yeah, I only want to change one thing: the music.
00:05.360: It's like you hear the difference
00:05.360: The amount of time I save in some of these applications by going to them is lost by my conform back and forth.
00:05.360: Wonder whatever happened to him.
00:05.360: Would you do like a two-minute here's my file coming out of call recorder
00:05.360: And then the last thing I want to ask you about.
00:05.440: And it's something that I've been wanting to learn more about.
00:05.440: And like, oh, that's what he was talking about.
00:05.440: And
00:05.440: Oh, I get it.
00:05.520: He travels all over the world t training people how to use Final Cut Pro and doing system integration with the company that he works.
00:05.520: I'm like, oh, good grief.
00:05.520: So it'd be a sub-role within dialogue.
00:05.520: If I stop talking to Chris, you'll know why.
00:05.600: So, for you guys up there, that's in two weeks.
00:05.680: And in this episode, you know, it's funny, you know, Sam just got back from a vacation and he was like, Yeah, man, let's talk, let's do an episode.
00:05.680: He's like, he's got the album already, so he's going to do this, and he's going to make this film, and he's just going to do it.
00:05.680: But we makemovies.
00:05.680: Great.
00:05.760: However, in color correction and in sound design, you're being handled a finished thing that you're going to improve.
00:05.760: And then from there, you go mess around.
00:05.760: And so those are things that are capable inside Final Cut.
00:05.760: So now with the latest version of RX4, it's called RX4.
00:05.760: I got to look this up because I had never heard of this before.
00:05.760: And it's basically a bunch of gifs where people have put funny things that only editors would really understand.
00:05.760: And it's such a breakthrough.
00:05.760: Okay.
00:05.840: Isotope is a series of plug-ins that.
00:05.840: That's what I would love to see someday.
00:05.840: But what I am doing is I'm bringing that into Logic and it splits out into split track audio.
00:05.920: com.
00:05.920: Yes.
00:05.920: And you could put one packing blanket behind him
00:05.920: Instead of having and putting a series of filters and all of this stuff.
00:05.920: And here's and so one of them says, The guy, it's some clip from a movie, and you can't hear it, but
00:05.920: And now here I am, you know, with a hundred and seven episodes of
00:05.920: Did they make a nest or what did they do?
00:05.920: So anyway, so no, you're right.
00:06.000: You're just not listening.
00:06.000: Whatever I've got going on is going to be in there.
00:06.000: And hopefully, I'll be able to get you back on again soon.
00:06.080: And there's nothing more narcissistic than listening to a podcast that you're on.
00:06.080: And a lot of times that compression
00:06.080: And if you have a topic that you think I should be covering.
00:06.160: Before we get started, please, I implore you, as a as a favor to me.
00:06.160: Well, not yet.
00:06.160: We said, so you want to do an episode?
00:06.160: So when I come in and color correct, I have a very specific process that I follow.
00:06.160: I'm going to get a job.
00:06.160: Yeah.
00:06.160: That's what I want.
00:06.160: Right.
00:06.160: And then all you would need to do is shift select all of your
00:06.160: Like literally, our members are our community and it's their money.
00:06.160: All right.
00:06.160: Now, not where the old um Hilton used to be, which is now called something else, but um on the s I believe it's the south end.
00:06.240: They also have their new user interface, which it
00:06.240: Exactly right.
00:06.240: And it's really important there because most files will come in
00:06.240: What's the big deal?
00:06.240: One of them is called ChangeListX.
00:06.240: Well, yeah, you know, let's face it, there's a lot of things wrong with this industry, but you know.
00:06.240: It's possible, but he's got a huge head start.
00:06.240: So I had copied an attribute and I pasted it across all of the selected components.
00:06.240: But I think what's been the most interesting thing for me is now that
00:06.240: And that's how I do anything.
00:06.320: So you're going to sift through you're not going to be sifting through thousands and thousands of crap tracks.
00:06.320: We hear it when we hear the before and the after, but you can't listen to the before.
00:06.320: It's like takes digital, makes noise out of it.
00:06.320: And then below that is the channel configuration.
00:06.320: Okay, that's kind of blown my mind.
00:06.320: And it's just going to read based on your media that's in there.
00:06.320: Right.
00:06.320: And we're going to hold a contest that's members only where the community is going to decide what we go make.
00:06.320: So the bottom line is what we're trying to do with We Make Movies is
00:06.320: So yeah.
00:06.400: Welcome to another episode of Final Cut Grill.
00:06.400: Like, I'm not supposed to know how to do that.
00:06.400: And he's like, oh my God.
00:06.400: But then you can actually.
00:06.400: Oh, yeah.
00:06.400: Right, exactly.
00:06.400: I'm going to tell these over and over and over again.
00:06.400: The Wynn Hotel is really beautiful and it's really wonderful.
00:06.400: Oh, really?
00:06.400: Very cool.
00:06.400: We don't know exactly what it is, but
00:06.480: And I tell you, premium beat is
00:06.480: Or or actually the line that Paul uses all the time, and you hear him from down the hall, you hear him yelling
00:06.480: If you use roles in a certain way
00:06.480: And it's just a simple thing.
00:06.480: Good point.
00:06.480: com is not us, and you will be disappointed.
00:06.560: I really appreciated it, man.
00:06.560: I said, Look, you're standing there holding your iPhone for $4.
00:06.560: And I'm like, Yeah, but I was trying to make him sound awesome.
00:06.560: We are going to be adjacent to
00:06.560: And there's going to be a lot more stuff for me to talk about on this side of things.
00:06.560: com slash we make movies and you'll see
00:06.640: That is a huge, huge plus.
00:06.640: Yeah, it's scary.
00:06.640: Now, he doesn't, he never did any sound design in logic, but it turns out you actually, it's a very
00:06.640: Okay, I'm going to do it now.
00:06.640: So you mentioned this Patreon thing.
00:06.640: Take care.
00:06.720: And it's it literally is like my make it better button.
00:06.720: And what it's going to do
00:06.720: And we paid this amount of money for the booth, and I need this to be worth my while.
00:06.720: We got all kinds of free filmmaking resources and really cool stuff.
00:06.800: com.
00:06.800: But anyway, so like when you talk to a sound designer, they're hearing things.
00:06.800: And that's literally the best way to describe it.
00:06.800: And so until we get something like that, if you can kick all these things out as individual roles into logic.
00:06.800: Well, Chris, funny you should mention that.
00:06.800: Anyway, so um
00:06.880: The reason you say that is because you're a musician.
00:06.880: So the EQ, the you know, and then there's certain other things that come really in handy that'll work in both.
00:06.880: And an AAF is kind of like an OMF, but it's different.
00:06.880: And I love, thank God, for intelligent assistance.
00:06.880: Oh, yeah.
00:06.880: Oh, cool.
00:06.880: I think we really need to get that back.
00:06.880: The podcast is Film Central.
00:06.960: Well, the best is when you can forget that it's you.
00:06.960: Yeah.
00:06.960: And I'm like, oh, I've been dying to learn logic.
00:06.960: He does sound design.
00:06.960: He just confirmed with me the other day.
00:06.960: So, anyway, inside baseball with Chris Benwick and Sam Messman.
00:07.040: He's already been on.
00:07.040: Yeah.
00:07.040: Because usually your sound is this is where, like, if you have an integrated approach to workflow.
00:07.040: So
00:07.040: I'm fairly certain it's official.
00:07.040: Coordinating like, oh, you're people with this giant
00:07.120: Well, I was, I just did it again.
00:07.120: Exactly.
00:07.120: And it's a really simple process.
00:07.120: So every time you bring that clip into your timeline, if you don't need that channel, it's
00:07.120: So
00:07.120: Now it's not going to take away trucks.
00:07.120: And I walked up to you, and I think we talked there for like 45 minutes or an hour.
00:07.200: So there's a process.
00:07.200: So you can have literally the world's most
00:07.200: Would you make that video for me?
00:07.200: Accusys.
00:07.200: org, and that is my Los Angeles and Canada-based film collect.
00:07.200: Exactly.
00:07.280: Don't forget, there's the whole blog section with tutorials and whatnot.
00:07.280: But there's a basic
00:07.280: Now,
00:07.280: Basically, if you have a guy and he's like
00:07.280: And so he was in like a little box of packing blankets.
00:07.280: And you're pretty much good to go.
00:07.280: So I'm not even touching that.
00:07.280: Would you be willing to do Chris Fenwick and therefore the whole show a favor?
00:07.280: Hey, so one last thing or not one last thing, but another thing I want to ask you, are you actually using logic to record your podcasts?
00:07.280: And we are still finalizing some things.
00:07.360: But I know where I'm going to start, how I'm going to progress, and I'm going to get boom, boom, boom, boom, boom.
00:07.360: Like a lot of people, like I run, we make movies, right?
00:07.360: So when it comes down, what's that tipping point for you?
00:07.360: If you had the ability
00:07.360: No, it's it's referencing your sound.
00:07.360: You know, I remember when he first going started going on and on about
00:07.360: And then they go off about their business and don't use it.
00:07.360: So, yeah, I mean, I think, I think
00:07.360: All right.
00:07.440: I mean, if you're like you are, if you're like the way you are on the podcast, I don't know how you get anything done.
00:07.440: So that's the way I deal with audio.
00:07.440: I don't know.
00:07.440: Yeah.
00:07.440: But literally, it's a walk.
00:07.440: Check back for Alex4D.
00:07.440: I got to talk with the people in the office at FCP Works.
00:07.440: You can do that.
00:07.520: Oh, wait, I said that.
00:07.520: I was like, you know what?
00:07.520: And detach audio at first looks very much like expand audio components.
00:07.520: It's hard.
00:07.600: But you don't the sound and picture people don't talk very well together.
00:07.600: So it's still the similar situation of like there's ways to get around it, but it's a pain in the ass.
00:07.600: Because and I want the same for color.
00:07.600: He's not crazy.
00:07.600: Okay.
00:07.600: So
00:07.600: And just allow myself to like
00:07.600: Oh, okay.
00:07.600: Thanks, man.
00:07.680: First of all, I just want to say I got to be like, I think I was like the first guest on your show.
00:07.680: There's lots of things like there's a process that's going to allow you to organize things and maybe find some things.
00:07.680: And I'm like, all right, we're going to make a deal.
00:07.680: Why can't I just do that?
00:07.680: We make our roles proper.
00:07.680: You don't need it.
00:07.680: So,
00:07.760: I can take something.
00:07.760: And then he
00:07.760: But it was a three-second clip where there was no voice.
00:07.840: Oh, geez, almost 30 minutes.
00:07.840: Okay.
00:07.840: He just isn't appreciated, and he's just so far ahead of us that, like,
00:07.840: It's very easy to paste a bunch of attributes onto a bunch of clips.
00:07.840: You know, they're doing it on a track, not on a clip.
00:07.920: I miss Michael Garber.
00:07.920: Okay.
00:07.920: So it this has allowed us to be, as far as I'm aware, become the world's first
00:07.920: I was at the Accusys.
00:08.000: You know, as
00:08.000: So for the record, um
00:08.000: It's really easy to miss something like that.
00:08.080: The sound design is like this mythical thing that you hear about that these
00:08.080: It's called renderplease.
00:08.080: And that is the biggest that is literally
00:08.080: They've got like 9 million of them dedicated to basic things.
00:08.080: And that's how it's going to go.
00:08.080: So Patreon allows you to pledge over time.
00:08.080: Okay.
00:08.080: Very few people want to
00:08.080: The best way to do it is through Twitter, through a direct message, or just mention and I guess it's called a mention.
00:08.160: Yeah.
00:08.160: That's very cool.
00:08.160: I got it.
00:08.160: But I promise you, I will do it.
00:08.160: But um uh there is a very good chance I will be a part of what um uh
00:08.240: And he goes, Yeah, but all
00:08.240: It wasn't part of a larger clip.
00:08.240: How do we find We Make Movies?
00:08.240: I actually found that.
00:08.320: But so, anyway, Sam, welcome to the little podcast.
00:08.320: Like what's the best way to learn?
00:08.320: I can't remember what episode.
00:08.320: Okay.
00:08.320: I mean, the other thing is like.
00:08.320: We're fixing that this year.
00:08.400: This is episode 107 with a repeat guest.
00:08.400: Sam, is it dynamic?
00:08.480: And we didn't even discuss what we were going to talk about.
00:08.480: And then it's just a matter of like getting better, knowing what to listen for.
00:08.480: I played it off like I knew what I was
00:08.480: And so, like,
00:08.480: And basically, this had plagued me
00:08.480: And I was like
00:08.480: Well, we may have to look for someone else then, Chris.
00:08.480: Right.
00:08.560: I don't think those are his most
00:08.560: And I think part of it is because I don't think they've messaged it right, and I don't think they've messaged it to the right industries.
00:08.640: Right.
00:08.640: Yes.
00:08.640: I was wondering whose voice that was.
00:08.640: First of all
00:08.720: He does.
00:08.720: And he's a DJ.
00:08.720: And so that is a snapshot in time.
00:08.720: And then I do that and I paste it across all the clips.
00:08.720: I think just once a week we should get together and chat and post it.
00:08.800: And I don't really know what I'm supposed to do.
00:08.800: And channel configuration is really, really important.
00:08.800: Oh, yeah.
00:08.800: Okay.
00:08.800: You walk across a driveway.
00:08.880: And as is the case quite often
00:08.880: So you have the tool for other reasons, and it's just one of those things that's like, yeah, I don't really open it enough.
00:08.960: He's from the future.
00:08.960: So, and there's more that I'd like to see Final Cut do.
00:08.960: And then you're going to use automation to affect your levels.
00:08.960: It is We Make Movies, Film Central.
00:09.040: Yeah.
00:09.040: Right.
00:09.120: So at what stage
00:09.120: I did not realize you did that.
00:09.120: I totally get you know what?
00:09.120: And I'm not going to have a platform for that
00:09.120: We should be.
00:09.120: And I got to say, it.
00:09.120: I get one offer for Chris, and we'll see whether he says yay or nay.
00:09.200: Yeah.
00:09.200: And they're like, Yeah, too much.
00:09.200: And we're building a distribution platform around
00:09.280: Exactly.
00:09.280: Or if there's a little bit of a hum or some other thing in the background.
00:09.280: Yes, I will do that, especially because you told me about Call Recorder in the first place.
00:09.360: And I think that it's easier for me to register visual things.
00:09.360: He was on several episodes ago.
00:09.360: So, like, let's say, for example,
00:09.360: Yes.
00:09.360: And so I walked by and I looked over and I'm like
00:09.360: So that was kind of funny at the end there.
00:09.440: What do I need anything?
00:09.440: Oh, that's funny.
00:09.440: There's a whole giant list of random stuff for you to look at.
00:09.520: There's a basic process that is going to get you.
00:09.520: So basically, it's just like an an OMF, but it's like you're you're getting the world's
00:09.520: Yeah.
00:09.520: Okay, cool.
00:09.520: And what Sam is talking about is he has asked if I would
00:09.520: And I will tell you that the location that they're going to be at this year
00:09.600: Be careful with the whole sparking and everything.
00:09.600: Well, no, it's because we haven't been trained to fix dialogue.
00:09.600: Exactly.
00:09.600: And to be clear, the roles is something that you can set either in the browser
00:09.680: So why is this so impossible for video editors to go
00:09.680: Because what I'm finding more and more is
00:09.680: And then the other thing is a producer's best friend that does a lot of this type of stuff.
00:09.680: You have a little intro-y thing and some music and bits and bobs, yeah?
00:09.680: How do we find the Patreon thing?
00:09.680: So that's going to be in the show notes.
00:09.760: 99.
00:09.760: It's a pretty straightforward workflow.
00:09.760: com.
00:09.840: 1.
00:09.920: And I had told you a story about
00:09.920: I've spent probably a total of maybe an hour and a half over the last couple of months
00:09.920: So, so you're going to be at um
00:10.000: That stuff, it might find it as.
00:10.000: Like I said, 95% of the time.
00:10.000: And it's the same thing with the We Make Movie stuff.
00:10.080: Um
00:10.080: Now I'll also say before I let Sam have his microphone back,
00:10.080: You're like.
00:10.080: I don't want that to take what I just said as a knock on them.
00:10.080: And so for this short
00:10.080: What are you doing?
00:10.160: No, no, no, no.
00:10.160: And so
00:10.160: You're totally right about that.
00:10.160: You know, I didn't know.
00:10.160: It's just like going to another building.
00:10.160: com.
00:10.240: You know.
00:10.320: That's not my thing.
00:10.320: I'm afraid we have a slight apocalypse.
00:10.320: And then if you want to see
00:10.400: So
00:10.400: Right.
00:10.400: And it would never happen.
00:10.400: Yeah, that's great.
00:10.480: And basically, it's
00:10.480: So episode 71 of the show.
00:10.480: Ugh.
00:10.560: And he used Final Cut 10.
00:10.640: And a lot of people
00:10.640: Like, unless it's like something serious with a major budget.
00:10.640: I always thought that the
00:10.640: 4 is the current version.
00:10.640: They are allowing us to keep the lights on and do our weekly events, but also
00:10.640: So thanks again for being here.
00:10.720: Oh, snap.
00:10.720: It's a similar type of thing.
00:10.720: Yeah.
00:10.720: It's cute.
00:10.800: So it's like it's like for you to keep track of what you're doing.
00:10.800: Buy the iMovie app from the App Store.
00:10.800: Let me know if you have any ideas.
00:10.880: And that's it, it's on a track.
00:10.880: But if you just pay for the monthly,
00:10.880: So thanks again for listening.
00:10.960: We get a lot of work done, and we're using a very powerful tool.
00:10.960: And I was like
00:10.960: This makes perfect sense now.
00:10.960: But how do we follow Sam and we make movies?
00:11.040: Right.
00:11.040: com, I think.
00:11.040: It took less than a month, and we already hit all of our milestones.
00:11.040: So you're at my booth, so I can only talk about my thing.
00:11.040: As always, things are subject to change.
00:11.040: Sam actually was forgetting to promote his new podcast.
00:11.120: And so what it was trying to do
00:11.280: I mean, it's, it's, that's, I mean, like, talk about a, like,
00:11.280: It's like, you know, if you're offended by stuff, you should probably be listening to something else.
00:11.280: It'll be the Chris and I
00:11.360: It was just me giving an honest assessment of
00:11.360: And that's the part
00:11.360: And you want to talk about something that like.
00:11.520: I don't know.
00:11.600: Right.
00:11.600: It's going to be weekly.
00:11.680: You know, do you have any pointers?
00:11.680: And if you're interested and you're in the LA area,
00:11.760: And he said, Yeah, I listened to Chris for like six hours on the way to
00:11.760: But
00:11.760: And you'll probably won't have any installed yet
00:11.840: Well, I'm a very visual person.
00:11.920: The elves did it, you know?
00:11.920: I thought logic sucked.
00:12.000: And we literally did not plan anything.
00:12.000: I mean, is that a fair assessment?
00:12.000: It's like, you know, if you're going to go to the North Hall or you.
00:12.080: So let's say I do that at two o'clock in the afternoon.
00:12.080: That's not how sound works.
00:12.080: So, I did the podcast, and then I was like, oh.
00:12.080: We'll talk to you next week.
00:12.160: That's awesome.
00:12.160: There's a lot of stuff that I would do to improve it.
00:12.320: You're going to get the good stuff.
00:12.400: It's instead of having the two gigabyte limit,
00:12.480: And
00:12.560: But.
00:12.720: Like Isotope is like a must-own.
00:12.800: Yep.
00:12.960: What should you do?
00:13.120: And
00:13.120: I remember
00:13.200: But
00:13.200: I've got
00:13.200: Later, later.
00:13.440: It is not.
00:13.680: And
00:13.760: But
00:13.840: That's awesome.
00:13.920: It's why.
00:13.920: Wow.
00:14.080: So