Episode 13
FCG013 - Same Day Edits (feat. Alban Egger)
Range Based Keywords, Rolls, Digital Signage and Same Day Edits in FCPX. Author of the FCPX Megatest, Alban Eggers is based in Innsbruck Austria and has been using Final Cut Pro X since 10.0.0. Alban tells multiple stories of doing harrowing short turn around jobs with FCPX for Red Bull and broadcast television in Europe.
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Featuring
- Chris Fenwick
- Alban Egger - http://www.eggermedia.com - @eggermedia
Transcription
00:00.001: Let's try one more time.
00:00.001: And it works, it just works.
00:00.080: Like Munikisen is an hour and a half north, and Verona is two and a half and a half south, and Tilly is two hours and a half on the west.
00:00.080: It's like really?
00:00.160: Let me think.
00:00.160: Anyway, I got hooked up with Albin.
00:00.160: training camp time especially.
00:00.160: And these are big markets and we're in this small in the mountains and there is no you know no film production like uh narrative films.
00:00.160: And they're just like, Oh, well, yeah, you know, there was just some work.
00:00.160: And I had one of the first online editing suites in Europe.
00:00.160: from for me very small coming out as a student.
00:00.160: a film on your on a thing that you could put in your backpack.
00:00.160: Do you know Fast, the editing system?
00:00.160: Well, it wasn't the first time I opened it, but the first time I put soft media into it.
00:00.160: trimming it and whatever.
00:00.160: So we had the documentary.
00:00.160: next to F's Final Cut 10, we also wanted to test the new F three and all the gamma modes and how it will work in sports and rain and whatever.
00:00.160: You had to do it in the finder and and hope for the best.
00:00.160: We could export roles, but then I had to go to seven to order them and stack them in the order they want them.
00:00.160: uh atmosphere we call it.
00:00.160: is that we were sort of tied to an old physical world metaphor of thinking of like let's say I used to do like twenty four track audio recording
00:00.160: car brand in Europe and we're following some ski teams around and they they had a discussion how do we speak especially the French are a bit tricky sometimes with English well the French just in and of themselves are a bit tricky
00:00.160: When you export it, it could be on again.
00:00.160: I've done Korea, I've done Portuguese, I've done Chinese.
00:00.160: When you export, you can tell Final Cut to export the roles within the quick time, but in a s uh the audio role in a certain uh track.
00:00.160: can be joined.
00:00.160: That's what's frustrating.
00:00.160: Yeah, I think that's what I'm gonna do too.
00:00.160: up to taste, you know.
00:00.160: What's what's uh very interesting about tempo.
00:00.160: And he has final content running.
00:00.160: And you're like ten percent or six seconds.
00:00.160: Well, knock on wood.
00:00.160: And on Twitter, I'm Alvin Ecker, simple.
00:00.160: what he had to say about different ways to of using roles for localization.
00:00.160: Localization is the act of taking a video asset that's designed to be used in one language and actually localizing it or translating it.
00:00.160: Find it in the store and click on the little thing, I can't remember what it's called, you know, leaving a review or review or comments or something like that.
00:00.240: Albin Egger.
00:00.240: Uh no.
00:00.240: And he was this guy who travels all over the world with his buddies and they shoot these amazing travel logs, travel documentaries.
00:00.240: Thanks for having me.
00:00.240: The roles feature.
00:00.240: And I've been wanting to get you on ever since then, and it's been busy and in the holidays, so you're finally here.
00:00.240: And the sister team and our mother team is the Oakland Raiders, where you are from.
00:00.240: you know, to get into this business in a small market like that, it's a whole different level of dedication.
00:00.240: You know, I mean, in the San Francisco Bay Area, you can almost fall into this business.
00:00.240: skateboarding, snowboarding.
00:00.240: The Digital Cinema Cafe, his business for many years was just doing snowboarding videos.
00:00.240: while snowboarding, if they want to come into the broadcast, like want to be seen anywhere, they have to p try new things.
00:00.240: Like now I'm an old guy already.
00:00.240: And it was an MJPEG board, you know, to get BetaCam SP into the computer as an MJPEG.
00:00.240: On it, start me up.
00:00.240: risking these things and getting into this technology stuff.
00:00.240: So I said, sure, UPS me the thing, and next day you have it.
00:00.240: That really was a point.
00:00.240: Final Cut had 10 and 10.
00:00.240: see how I can get that stuff into this new software.
00:00.240: The first game is happening and then Final Cut comes out and the second game is happening.
00:00.240: And then the next answer, you again give that range in the clip, that answer just one keyword.
00:00.240: pass play and maybe the quarterback's name also.
00:00.240: I mean, not entirely, but it is it is a great replacement for not being able to actually log a whole tape.
00:00.240: where you just can drag these into these various bins and that one piece of media will show up in multiple bins in multiple selection ranges.
00:00.240: And then I made two little projects, one for school, but a little project.
00:00.240: And we went there, we had with me was Stefan Krussbach, a guy who's living here near me and we do a lot together.
00:00.240: I called the networks and sold I will edit this on Final Cut ten and they said they don't care as long as the deadlines are holding and the quality check is fine.
00:00.240: Of course they don't, because if I fail It's on you, but it's on me anyway, so it it doesn't matter.
00:00.240: And that was really the only real problem we had.
00:00.240: two laptops because Stefan the other cameraman he was logging some of the stuff and others logging and then we merged the the events every day
00:00.240: different formats and and frame rates.
00:00.240: Some events together and moved the stuff in the finder, and suddenly everything was red.
00:00.240: I would have to read it up exactly.
00:00.240: Yeah, and I think that that's really kind of a common thing that, you know, truly to understand your tool makes it
00:00.240: But I wanted to make it work because I saw the potential in Final Cast 10 immediately.
00:00.240: With open eyes.
00:00.240: How are they implemented?
00:00.240: Uh it's just what you call atmosphere, like what FeilerContro rolls it as dialogue.
00:00.240: Natural sound.
00:00.240: You can select it in your bins, and I can't remember what window it's under, but there's a pull-down.
00:00.240: You know, the picture, like, say, on track three, which would mean that its two audio tracks would be on what tracks five and six.
00:00.240: Well, yeah, that was a physical thing.
00:00.240: And that jack on the back of the multi-track recorder was hardwired into track twelve of the multi-track recorder.
00:00.240: And so you have Spanish you you take the Spanish away?
00:00.240: for example.
00:00.240: Same with Italians.
00:00.240: So let me explain something.
00:00.240: So like let's say you do like you're saying, you've cut your piece, you have your lower thirds in there for English and your lower thirds in
00:00.240: for whatever localization that you're doing.
00:00.240: Click one checkbox, and because you've gone through and assigned each one of those Italian lower thirds to the Italian role, you can actually just turn that off immediately.
00:00.240: That works perfect.
00:00.240: Yep.
00:00.240: or secondary storylines, where people who are used to tracks, also with audio you can do that.
00:00.240: Right.
00:00.240: Right.
00:00.240: And people told me like half a year ago still, two years after Final Cut was out, that you can only export one stereo track.
00:00.240: Yeah.
00:00.240: uh zero nine I think.
00:00.240: big enough, it could work.
00:00.240: I think when some directors see it for the first time and they are suddenly like a live director, they have all four angles of that scene and they can actually like live directors say, oh, now give me the one, now give me the two, now give me the three in a dialogue.
00:00.240: The amount of dialogues and how many shoots they are how many takes they take on one scene, it's enormous.
00:00.240: central storage system, individual drawers.
00:00.240: Right.
00:00.240: And then like I had before, graphics, audio, whatever, all these things.
00:00.240: I want to do some experimenting and to and to see can I put a second library in that job folder
00:00.240: You can send the event to a new library?
00:00.240: My library, my my footage.
00:00.240: That's it.
00:00.240: that a second editor could open up and then link in the same media or maybe even maybe even duplicate the original library at the wi from within Final Cut 10, so all the keywords and stuff.
00:00.240: network with you, like a NAS or a SAN.
00:00.240: It will link back to your media and have the keywords that the editorial staff gave the interviews and you have it all set up.
00:00.240: And not only that, right about four selections down from copy event to library, there is merge events.
00:00.240: Brilliant.
00:00.240: And on the onset, somebody would go, Well, yeah, that makes perfect sense.
00:00.240: Pro with an old graphics card, and it is different than before.
00:00.240: It's funny that every project we start and it doesn't matter I mean, we we even did live production for the Youth Olympic Games in Innsbruck.
00:00.240: They said, oh, the guy who was supposed to be is not here, he's still skiing, but we have another guy.
00:00.240: to make a new project, be it music videos, films, live productions.
00:00.240: Yeah.
00:00.240: Final cut then we find workflows that are always better than what we found before, what we had before.
00:00.240: digital signage for first class hotels.
00:00.240: The primary storyline is where he lives, and then he connects some logos on top of it.
00:00.240: So I went back to my room, made him a motion template and and five minutes later delivered him this because over motion, I don't know if you know the workaround that existed before.
00:00.240: when even you're young and it doesn't really matter.
00:00.240: And final card 10 renders it in six seconds, so it's 0.
00:00.240: I don't know anybody who still uses his Max Pro with all the RAIDs inside.
00:00.240: Especially for us, because we do these sports documentaries and event documentaries where we have a mix of live and news plus a creative documentary a few weeks after.
00:00.240: Really makes a lot of sense.
00:00.240: I'm doing a a show in Vegas and one in Hawaii and one in New Orleans even in a few months.
00:00.240: Really?
00:00.240: And Germany's a great country and all, but all you gotta do is look at web stats and you realize all my software uh my from my iPhone on, also my kids, everything is in English.
00:00.240: So I couldn't even tell them what uh the the German commands would be on final Katen because it's all in English with me.
00:00.240: for additional markets.
00:00.240: Using the roles feature is a very interesting prospect.
00:00.240: Telling your friends it really helps if you can go to the iTunes and just click on the, you know, when you go to iTunes,
00:00.240: Other people find the show and ultimately helps people learn this application.
00:00.320: So on this episode, we're going to be talking about a lot of stuff.
00:00.320: Yeah, great.
00:00.320: Well, I'm in Innsbruck in Austria, which is a very small market.
00:00.320: Right.
00:00.320: Wow.
00:00.320: But kudos to them.
00:00.320: I s in 88, when I was in Santa Rosa, I saw the first mech I saw.
00:00.320: there was wires around.
00:00.320: It was crazy.
00:00.320: So that was the next step for us, or the easy step, to make that.
00:00.320: and all you've ever known is HDSLRs and Adobe Premiere or Final Cut 10 on your laptop.
00:00.320: like in post production.
00:00.320: Right.
00:00.320: Because on the sports productions we do a lot of times we need a very fast news cut.
00:00.320: And I experienced skimming and keywording.
00:00.320: writing down the player, the touchdown, you know, the that big place, whatever.
00:00.320: twelve twelve minutes, maybe, fifteen minutes, it was you know, it was not to the beat yet, but it was laid out.
00:00.320: Yes, of course.
00:00.320: Like in a game situation.
00:00.320: And that's it.
00:00.320: Did you did you see it?
00:00.320: They have it's like the the Tour of California.
00:00.320: Yeah, well the problem was, which we didn't know then, we had a MacBook from two thousand eight with four gigabyte of RAM.
00:00.320: Um I think in 10.
00:00.320: much better, of of course.
00:00.320: And we had two networks in our next, you know, and a client who wanted same day edits.
00:00.320: Inkjest backup, merge the events and make an edit till two in the morning and at six in the morning the next race starts.
00:00.320: even then you could not you had to have an open mind and to say, okay, what does final cut think?
00:00.320: if you look at it with open eyes and not trying to force it into something what you did before with seven layers or whatever.
00:00.320: You know that's why I contacted you, is the frustration we have of what people say.
00:00.320: seven voiceover and eight is the interviews.
00:00.320: A role, music, voiceover, and interview.
00:00.320: to this role.
00:00.320: But because I was having this discussion with a friend of mine just last night, you know, probably 90% of the time when you drop a clip into a timeline, you either want to hear the audio from it.
00:00.320: Or you don't at all.
00:00.320: We live in a virtual world of digits and screens and icons.
00:00.320: There's little check boxes, and you can disable an entire roll of data.
00:00.320: So there are several ways to do things in Final Katena like this.
00:00.320: 7, not QuickSim 10.
00:00.320: And you will actually see that in the file you will have a video track.
00:00.320: And that's what I contacted Apple about and said, please do something in the market in our business and tell the people that we actually can use it and we are using it.
00:00.320: So let's talk a little bit about 10.
00:00.320: with exchanging media around.
00:00.320: Because there are people who in every industry, a perception is worth a lot.
00:00.320: Right.
00:00.320: You know, you didn't listen to the rhetoric and the naysayers and said, nah, there's probably a way around this.
00:00.320: the other angles, so that's pretty good.
00:00.320: Because it's a multicam edit, let's see if that's a new workflow for narrative editing.
00:00.320: In the job folder, I make a media folder now.
00:00.320: and then put everything into my working disk.
00:00.320: Yeah.
00:00.320: Yeah, and then you have like Sunset, for example, in every one of them.
00:00.320: is that for so let's say, for example, the library would be we'll call it Megatest.
00:00.320: And you want somebody else or you just want the editor, the editorial crew to listen to it.
00:00.320: You merged them.
00:00.320: you know, little nuggets.
00:00.320: And I said, one of the huge features of Final Cut 10.
00:00.320: sync clips and multicam and that you can treat all the audio in a multicam just the same way that you would with a normal clip.
00:00.320: unless you had used 10.
00:00.320: that motion is much faster.
00:00.320: And we used Final Cut in a live environment with lower thirds and keyed the lower thirds into the live switcher, and it worked perfect.
00:00.320: Right.
00:00.320: And it has to go under an Olympic protocol.
00:00.320: There was no one glitch on the hurricane.
00:00.320: And since then he's working with this motion template.
00:00.320: I'm sure he'd well, he's an Apple freak.
00:00.320: which is a really good software.
00:00.320: And they bring new updates to like Mavericks, apparently, already improved speeds for everybody.
00:00.320: Right.
00:00.320: It's just going to be so good to have a small portable machine that really chucks out the stuff.
00:00.320: Right.
00:00.320: Because it was written in English?
00:00.320: Showing how to do that step by step.
00:00.400: Um tonight, this morning, whatever time you happen to be listening to this, um I have the distinct pleasure of being able to speak with
00:00.400: for something that he called the mega test.
00:00.400: That's for the Internet, that's a broadcast that's streaming.
00:00.400: The DV codec was good enough for standard definition satellite broadcast at the time.
00:00.400: Paying attention to that leading edge, paying attention to the new and upcoming is an important theme in this business.
00:00.400: Which Finalcat has now and Idios hate it and Fast hate it.
00:00.400: Well, what I do is when I get a clip in, every clip gets first it gets the whole clip, gets the keyword, the camera, C three hundred or Five for whatever.
00:00.400: Totally, totally.
00:00.400: different films to make.
00:00.400: Now that we are in a 10.
00:00.400: Audio tracks.
00:00.400: Is, you know, down there on audio trucks five and six, or in Final Cut 10, the audio
00:00.400: Will by default just live where the video clip lives.
00:00.400: If you really like kind of wipe your mind, you wipe your mind of the way things used to be and say, does it really matter that the sound for that
00:00.400: a worldwide campaign we were shooting.
00:00.400: I u I used Final Cut 7 to check it.
00:00.400: Yeah, they look at you like you're sacrificing babies before some god.
00:00.400: Apple in Works, what's it called?
00:00.400: is really helping a lot of people, especially those who work with other people, like with several editors working on the same jobs.
00:00.400: And I understand when some people, when you go to Creative Cow and they have people, they have special audio workflows that maybe don't work, or like Art, the guy you had on Final Cut Grill.
00:00.400: It could be interesting.
00:00.400: Yeah, but still Multicam before already was the most powerful multicam I know.
00:00.400: Open it as a timeline.
00:00.400: And he doesn't need any film experience or anything because it's so intuitive.
00:00.400: Right.
00:00.400: You know, AB, AB, AB.
00:00.400: And when I was young, I really liked to tweak machines and then order new graphics card and have a look, is this card faster or that card?
00:00.400: I mean, I'm not scared on the money because in five years it will pay itself for sure.
00:00.480: Hello, hello.
00:00.480: So so you're when you um it interesting concept.
00:00.480: He did a distribution for Seagate and stuff like that in Europe.
00:00.480: are willing to sort of flirt with that bleeding edge.
00:00.480: you know, I I was used to that already then.
00:00.480: had two games, the Eurobowl on Saturday and on Thursday an Austrian holiday, the Austrian Bowl.
00:00.480: During the touchdown run, you just arrange that touchdown out and call that touchdown and then number eight and then
00:00.480: And at one time we lost what I have to say also we had P2, we had Desone, we had EX, so XDCOM EX Codex, we had 7Ds, we had Nikons.
00:00.480: With all this is with 10.
00:00.480: That we just assumed everything was going to work exactly the same way.
00:00.480: Wow, yes, it has some jaggy something is wrong with the aliasing, but when this will work, this is the future.
00:00.480: We had to export eight tracks for the clients.
00:00.480: Yeah, it worked.
00:00.480: we were so tied to the concept of tracks.
00:00.480: No, French are great people, but there can be problems with English interviews.
00:00.480: you will see suddenly all these eight tracks come down.
00:00.480: Took that away and I just before you called I reconnected them and exported the XML from the event, the mobile event, which didn't work before.
00:00.480: It works before, but now it's much easier.
00:00.480: are much better than especially for dialogue editing.
00:00.480: Yeah, that's what we do.
00:00.480: What I don't like about that is if you have different events, the keywords will stick to the events.
00:00.480: That's the reason why I like that idea.
00:00.480: Export an XML from the event, don't have to make a project.
00:00.480: And what Stefan and me, like we do a lot of different stuff.
00:00.480: Yeah, we actually did a green key on it.
00:00.480: Any size.
00:00.480: Yes, and it's very easy to pack.
00:00.480: Yeah, I I guess it's four thousand uh you get a good machine.
00:00.560: this show and certainly on Digital Cinema Cafe, there are a lot of people that end up in this business that come from the extreme sports stuff.
00:00.560: It's Sarah Savos TV, it's actually owned by Redpull.
00:00.560: I report about the background and the bad guys and the guys who are last and walking at the end and you know, the real amateurs.
00:00.560: We had gold GoPros, everything.
00:00.560: Yeah, we have to with the audio, depending on the client.
00:00.560: So with especially with roles.
00:00.560: So yeah, that that's the role thing.
00:00.560: And then this will work.
00:00.560: And the celebrities changed so quickly.
00:00.560: And but then as times go busier, I'm happy now to have Apple and I don't think about it.
00:00.560: No, y most of the stuff is in English, I think.
00:00.640: it gives guys like you and I the ability to kind of stay relevant.
00:00.640: At the same day.
00:00.640: And then you can if you have an interview, for example, you can take one answer and when the answer starts you press in, when the answer stops you press out, and then you give that answer a keyword like weather.
00:00.640: And I have lots of interviews and then I was going away, so I just exported one event with some interviews into my mobile drive as proxies.
00:00.640: And swoop de boop, it's great.
00:00.640: That you were combining libraries together between your two editors.
00:00.640: And then, you know, instead of the Prince of Uganda comes the Prince of whatever, Denmark.
00:00.640: resolutions as you want, like different resolutions.
00:00.640: And they make it with software instead of plugging hardware in and out and dealing with that stuff.
00:00.640: That is like the farthest thing from what sounds like a a fun day to me.
00:00.640: You just say I'd rather have the machine rendering 10 seconds longer because let's be real, if you get an iMac 2012 and iMac 2013, on the benchmark it looks huge.
00:00.640: Or let's say it's more affordable.
00:00.720: we group up and see who does what best and fulfill our jobs like this.
00:00.720: It's a totally different thing.
00:00.720: It's a different market than where you are, or where most people are, because we're in the mountains and we're hidden a little bit, you know.
00:00.720: the NFL or the MLB, these guys, they have their working systems.
00:00.720: You're editing video in your laptop?
00:00.720: Who literally said, Ah, no, that's not for me.
00:00.720: with the mayor and everything, and they would like to show a highlight movie.
00:00.720: It's very hard to explain.
00:00.720: And maybe some people don't realize this, but if you take uh a QuickTime file and you hit Command, well, you got to be using QuickTime.
00:00.720: Actually, I would just call that make a test also.
00:00.720: at least in proxy.
00:00.720: Well, thank you so much for your time.
00:00.800: Well, on this show, yes.
00:00.800: Today is January 7th, probably about three weeks ago, and you had posted something about doing some RAM tests with Final Cut 10.
00:00.800: What is your experience with the application?
00:00.800: So all the the uh the net sound, the music, the voiceover and the interviews will all have their own track in the quick time file.
00:00.800: But I you know, it works before, it's just it gets better with every update they bring, and they bring them quite fast.
00:00.880: Like I'm producing and shooting and directing and editing.
00:00.880: He got into this because he was running around with a video camera shooting all of his friends skateboarding when they were kids.
00:00.880: That was like 95.
00:00.880: And then made the hobby to my profession and it worked pretty well because we soon made snowboard videos for Burton and stuff like that over here, because we are in the mountains.
00:00.880: It's not that even if it's a small project, it's on Final Cut seven it was a job and on Final Cut 10 it was a breeze to get through it.
00:00.880: You give the clips roles like a certain, it's how do you say it?
00:00.880: Not just a roll.
00:00.880: There's some interesting stuff I haven't experimented with.
00:00.880: And then the blade speed is awesome.
00:00.880: So I go there and it's a hotel director and he has final carton running.
00:00.880: On your editing sessions, it's five seconds, ten seconds, you know, when you export the file.
00:00.880: Yeah.
00:00.880: I have a website, Eka Media, E G E R Media.
00:00.960: Okay, so welcome to Final Cut Grill, and I appreciate you taking the time to do this.
00:00.960: That was so easy and so fast and I was like, wow, that went fast because then the club called and said the day after in Innsbruck they would have heavy reception.
00:00.960: And the client was this event and they wanted same day edits as well.
00:00.960: I was going to ask you about that.
00:00.960: We had to deliver an MXF with eight tracks and eight OMF tracks also, so we couldn't do that.
00:00.960: But you can actually have multiple video excuse me, audio tracks.
00:00.960: No NLE is perfect.
00:00.960: It actually makes perfect sense because you can set up a timeline, you could tell it to loop and just let that thing play all day.
00:00.960: So there you have it, Albin Egger.
00:01.040: I have to admit, I can't follow up with all your shows.
00:01.040: Yeah, well it's not so bad anymore.
00:01.040: Yeah, but but you can have it.
00:01.120: But also do live directing and we do some live football, American football.
00:01.120: It was like I would say seven thousand dollars at that time for this thing, so that was a lot.
00:01.120: I mean if you try to get your workflow from whatever you come from, even iMovie, I hated iMovie.
00:01.120: Yeah, the net sound.
00:01.120: Are there other tools that can read multi-track QuickTime files?
00:01.120: That's a great command.
00:01.120: And the problem was the results came so late, and then there's these celebrities who give the medals to the kids, to the winners of the ski race or whatever.
00:01.200: It was really crazy.
00:01.200: And I just waited for something that's combining actually the software used before Final Cut was IDIS.
00:01.200: Okay, so do me a favor, explain range-based keywording to somebody who has never experienced it.
00:01.200: And that's when I contacted April and I said, I don't complain about your product, but I complain about your marketing in our business.
00:01.200: I mean, it's so flexible now with these several events.
00:01.200: You will have their keywords back.
00:01.200: I mean, that's not an issue, really.
00:01.280: Yeah, yeah, I remember that.
00:01.280: So it it accelerates the editing process so much.
00:01.280: Final cut was a bit stuttering.
00:01.280: The rest of Europe is pretty easy in German and English.
00:01.280: Any size and aspect.
00:01.280: But for two fifty, you know.
00:01.280: I mean, you can.
00:01.360: Oh yeah, no, it's not it's not a problem at all.
00:01.360: In the lower left-hand corner of your user interface is the timeline index.
00:01.360: Because I don't know how it's for you, but for me, when when you meet somebody and say, so what will you use?
00:01.360: And if there comes an editing system where everybody talks about how bad it is and it doesn't do anything, then our clients are not too happy with us if we use it, or they are sceptical.
00:01.360: You merged them back together.
00:01.440: I'm twenty years in the business now, so I see the kids flying by me with their little cameras and glide cams and whatever, you know.
00:01.440: And I was like, what are you talking about in 10.
00:01.440: Oh, that's a great idea.
00:01.440: Yeah.
00:01.520: Now Albin is um he's from Innsbruck, Austria, and he's perhaps best known
00:01.520: Hello, sir.
00:01.520: When I was your age, we carried a big camera.
00:01.520: And then came the big test we made.
00:01.520: And we just copied the media back to another event, just into the, I think there were symlinks, and we just copied over the symlinks, and suddenly the stuff jumped on again.
00:01.520: What is the benefit?
00:01.520: The other advantage is that, frankly, your timeline is just a little cleaner.
00:01.600: And then I have to go on because so I had this experience with with this football thing and Final Cut 10.
00:01.600: Well, but you know, he has to try and then you have to see will this work for me.
00:01.600: We don't do too much.
00:01.600: And it works just as good as it works for our music video business.
00:01.680: That's a long ways from home.
00:01.680: Yeah, it's a totally different thing.
00:01.680: The blog?
00:01.680: And we wanted to make a fifty two minute documentary about it for sports film festivals.
00:01.680: 0 that the ability to re-link media was no nowhere near as elegant as it is today.
00:01.680: Albin, how do I want to say this?
00:01.680: Yeah.
00:01.760: Oh, next time come let me know.
00:01.760: Their website, Apple in Final Cut in Work.
00:01.760: You know, it's not the kind of stuff that people are like talking about.
00:01.760: Did you get the impression that he had found this as a solution for himself?
00:01.760: That's what intrigues me the most.
00:01.840: That was kind of a tipping point in the camera world where people could say, wow, this is really a great image.
00:01.840: We had two networks involved.
00:01.840: And I think that there was so much legacy with Final Cut 10 7 and 10 Before, you know, 10 classic, or excuse me, Final Cut Classic, anything bel before 10 that
00:01.840: It's one quick time file, it's not eight, nine files.
00:01.840: The whole idea of like swapping video.
00:01.840: You know, it's interesting you mentioned the portability of the Mac Pro.
00:01.920: So you're going to want to hear about that.
00:01.920: Yeah.
00:01.920: Six is voiceover I think.
00:01.920: One of the things that is talked about quite a bit in Final Cut 10 is that there's no tracks.
00:01.920: 0 point anything.
00:01.920: Well, I was a total militant Windows fan until 2008.
00:01.920: And like and this thing has nothing spinning.
00:02.000: 0.
00:02.000: But I have to say, this is like it started, I think, the fourth of July.
00:02.000: And if you do want to hear the audio from it, it doesn't really make a lot of sense in the old days where you would put the
00:02.000: So you have to double check that you actually V or like V is the key to disable reality the clip.
00:02.000: Right.
00:02.000: But if you hit Command J, you get into the item properties out at the finder, at the Finder level.
00:02.000: The baseball guy.
00:02.000: So so are you going to now put a library for each job in the job folder?
00:02.000: It for us it doesn't appear new, but apparently it renders faster on the same machines.
00:02.000: That's zero point six seconds.
00:02.080: Yeah, yeah.
00:02.080: And the good thing is if you have now several interviews where they talk about the weather, you just press on weather and you have all six answers you made through the day, and they're already there, and you take the three you like best.
00:02.080: Being in Europe, do you deal with more language issues?
00:02.080: We had like fifteen thousand uh views on it and uh I told him, you know, it there's fifty people from Germany and there's maybe I don't know how many hundred from the rest of the world.
00:02.160: Yeah, I do remember that.
00:02.160: And then I I what I did then is go to Ripper Training, got a bit of training from Steve Martin, of course.
00:02.160: And then uh so when you when the client wants different roles, they want uh track one and two is the full mix, three and four is like this net sound, five and six would be music stereo.
00:02.160: And like we used roles a lot for audio.
00:02.160: They they will need the media.
00:02.160: Gotcha.
00:02.160: Right.
00:02.240: You know, it was such a prototype, they didn't even solder it.
00:02.240: No, no, no, I know exactly what you mean.
00:02.240: It has to be a library in the job folder, and then I make in the chop folder a media folder.
00:02.320: And they need a few frames taken out.
00:02.320: And I'm one of the few people who didn't like Final Cut 7 or Final Cut Legacy or Classic or whatever they call it.
00:02.320: 1 era, it is a world of difference than what it was in 10.
00:02.320: You can give them a library on their laptop and then they can go through the interviews and come back with an event XML.
00:02.400: Hey, thanks for tuning in to another episode of Final Cut Grill number 013.
00:02.400: That track on the mixer would go down that cable in the room and plug into that jack on the back of the multi-track recorder.
00:02.400: That's definitely a lot of fun.
00:02.400: If you select a library and go file, copy event to library, new library.
00:02.400: It's very fast, very intuitive, and it was at that time already.
00:02.400: I mean, it's much smaller than the old machines.
00:02.480: I saw little bits about it, but I'd like to hear hear about it from you.
00:02.480: And we had to conform to fifty frames per second, twenty five frames.
00:02.480: And then like you can give rows like for tiles.
00:02.480: You know what I mean?
00:02.480: But I think with the new multicam where you now can the audio and multicam you since ten dot one you can flip out the audio in the multicam.
00:02.480: One thing that I've actually considered doing, because we do this on occasion, like in your Mega Test.
00:02.560: You know, skimming through a quarter of it was only one camera, it was easy.
00:02.560: Through everything at Final Cut, everything worked fine.
00:02.560: 0, so total the beginning of final cut 10.
00:02.560: one is I think uh also motion five dot one is under the hood.
00:02.560: Any resolution.
00:02.560: And that can take many different forms.
00:02.640: Vincent Urban, who we had from Germany on the
00:02.640: But but it it looks good enough.
00:02.640: 1.
00:02.640: Now all these what I logged outside on the mobile device is now back in my main system, and it works pretty good.
00:02.640: Before I just put everything in the event because at the same time it was a backup.
00:02.640: Yes, uh wait, because that's what I did with my interviews here the other day.
00:02.640: We just put a green background on and then but but the lower thirds, we prepared them in motion
00:02.640: And I went to Clyde in Italy and he says, Oh, I have a little problem here and and I said, Yeah, what is it?
00:02.720: I think in 10.
00:02.720: And you can actually just checkbox that and say, oh, turn off the Italian lower thirds.
00:02.720: Right, right.
00:02.800: Hey, Chris, I hope you hear me well.
00:02.800: Well, I am especially because we are right between Germany and Italy.
00:02.800: You know do you realize you're like one small step away from you know George Jetson being able to fold his car up into a briefcase?
00:02.800: And I was like, okay.
00:02.800: Yeah, there's some really brilliant tools in Final Cut 10.
00:02.880: And so they just they literally like almost fall into it.
00:02.880: So you can give different keywords to different ranges of clips.
00:02.880: Right, right.
00:02.880: How do you use roles in Final Cut 10?
00:02.880: Gotcha.
00:02.960: I know that.
00:03.040: Santa Rosa, if people don't know, is about what's it about like an hour, hour and a half north of San Francisco on the west coast.
00:03.040: When did you first see it, touch it, give it thought?
00:03.040: I've never thought of doing that.
00:03.040: By now we don't have to do it anymore.
00:03.040: What do you do?
00:03.040: And then you have a timeline in that resolution.
00:03.040: Precisely, thank you.
00:03.120: You know what I'm talking about?
00:03.120: So we had lower thirds prepared.
00:03.120: Editing wise, EDIS is probably the best I know after Final Cut 10.
00:03.200: Uh on the Digital Cinema Cafe we had Vincent uh Vincent Urban was his name.
00:03.200: We're going to be talking about ranged based keywords, which are very important in Albin's workflow.
00:03.200: You l clearly live in the future.
00:03.200: Fast had background rendering, real background rendering on Windows in in two thousand.
00:03.200: Right.
00:03.200: No tool is perfect.
00:03.200: Yes, copy event to library.
00:03.200: They have their protocol, so it was looking like a real Olympic prize giving, prize ceremony, but it was done for kids or for youth.
00:03.200: It more or less depends maybe the client.
00:03.200: Albin, thanks so much for being on the show.
00:03.280: And it's this blog post that he did a while back where he like did all kinds of A B tests with Final Cut 10.
00:03.280: I can't even remember how.
00:03.280: That's how we have our role stack.
00:03.280: Like what a good thing for roles, I could use for roles is the language.
00:03.280: Yep.
00:03.280: We do spots that are a bit of narrative editing, but it's nothing like a feature film.
00:03.280: But if he's uh like with us, they are very often away or they fly away.
00:03.360: And since since then, I'm always trying to be trying around new things and play with it.
00:03.360: What has the release of 10.
00:03.360: So something the media sometime the media has to be copied somewhere.
00:03.360: And that is the ability to you briefly mentioned it before, to be able to strip away audio tracks from
00:03.360: Were you just using w when you patch that into the to the live switcher, you just doing some sort of a luminance key on the switcher?
00:03.360: So and it's portable and it's small and you don't need a huge table, you don't need a lot of electricity.
00:03.360: And now I've noticed that some of the articles are in English and some are in German, or is there a little magic button I can click?
00:03.360: So, anyway, thanks for listening.
00:03.440: And we will come back to that anyway later, I guess.
00:03.440: And it was kind of ballsy for these companies to even sell this stuff.
00:03.440: One network wanted a race report, so who's winning the whole thing?
00:03.440: That's a great idea.
00:03.440: What Final Cut will do is it will make a new event in your library, which they will call Editorial Staff Looked at Your Interviews.
00:03.440: Yeah.
00:03.520: 0 for this project in with an eight-day old file card 10.
00:03.520: Anyway.
00:03.520: Right.
00:03.520: So all right.
00:03.600: It's coming out too fast and stuff.
00:03.600: It was Liquid Edition later.
00:03.600: But I don't have a big shared media storage.
00:03.600: A very good command now is you can send them to a new library.
00:03.600: And he was happy.
00:03.600: There you go.
00:03.680: I talk about this quite a bit that in the beginning of digital nonlinear editing, this stuff just barely worked.
00:03.680: And it's called the FCPX Megatest on the internet.
00:03.680: 0.
00:03.680: Yeah, I was actually very interested to hear you say that even back with 10.
00:03.680: But then there comes a time when the edit session is actually worth more than the session within the machine with screwdrivers and whatever.
00:03.760: So tell me um I first came across your name about
00:03.760: Alvin is also going to tell us how one of his clients is using Final Cat 10 for digital signage in a high-end hotel.
00:03.760: So he sent me the tape, I took the three frames out and sent it back, and that was it.
00:03.760: But if you had to have a second editor working on that media,
00:03.840: But anyway, what we s we started with was just trying to find out how this whole event and project thing works.
00:03.840: I like to have the the media in the libraries or in the events.
00:03.920: So I thought, well, I have nothing else to do.
00:03.920: That uh until I got 16 gigabits of RAM a few weeks after, I
00:03.920: Well, the list.
00:03.920: Yeah.
00:04.000: I think in any good tool, you'll find that there are several ways to do something.
00:04.000: The duplicate project snapshots.
00:04.080: I do broadcast.
00:04.080: This was still in 10.
00:04.080: I had to go through Final Kit seven in the end, but it worked and and we we could export OMFs and everything through some help with other software.
00:04.080: So explain to me roles.
00:04.080: Oh, I'm gonna put some new RAM in, or I'm gonna put a different that just
00:04.160: So we have to be very versatile where we are.
00:04.160: I graduated in law school actually, and so I come from a totally different field with my education.
00:04.160: And when we gave it to Eurosport, like the ESPN of Europe, they didn't see the difference.
00:04.160: Yeah, no.
00:04.160: Maybe with twenty terabytes a day and whatever.
00:04.160: He just has his graphics, his logo, puts them over over each other and he doesn't have to deal with tracks and anything.
00:04.160: 6 of a second.
00:04.160: I've been very curious about it too.
00:04.240: It still was four shooting days with interviews with shot with two cameras and external audio and you know
00:04.240: This these distances, but it's hobby bikes.
00:04.240: Right.
00:04.240: We're like, oh no, I have to put my nat sound on track five.
00:04.240: It's one file which has several tracks of audio in it.
00:04.240: There are trimming functions where you have several trimming windows popping up and you see
00:04.240: Right, right.
00:04.240: So you could make a clip in motion with 960 by 200, let's say.
00:04.240: It's kind of hard to call that cheap, but yes, I agree with you.
00:04.320: I think he contacted me saying, hey, can I be on the show?
00:04.320: And again, you do, but other people don't.
00:04.320: So we changed it very fast.
00:04.320: So is there ever going to be a day when we are not referred to as Apple freaks?
00:04.320: Oh, yeah, this is great.
00:04.400: I will let you know.
00:04.400: And then the one of the breakthroughs for us for me was I knew a guy who's
00:04.480: Because we do a lot of localization here in the States as well.
00:04.480: And they will just be stacked up just like you expected that.
00:04.480: Everything is outside.
00:04.480: So that brings us to one last question, Albin.
00:04.560: They won, and they won both games.
00:04.560: Okay.
00:04.560: And we were shooting till eight at night every day and then had to back up, you know, like
00:04.560: You just have to take what Javan, you just disable the role.
00:04.560: It you just export the quick time.
00:04.560: 1 is one of those ones where you wouldn't even know it
00:04.560: I mean, that was one of the keys.
00:04.640: I do, Alvin Eggers.
00:04.640: Right, right.
00:04.640: And so
00:04.640: So I opened a final cut first time.
00:04.640: Yeah.
00:04.640: To which I say, Yes, it does make perfect sense.
00:04.640: So what we did, we had final cut out through HDMI into our switcher and we played the lower thirds live.
00:04.640: But it just to go into an office like this, totally not creative film, whatever.
00:04.720: So you know, I I obviously live in a very large market, not
00:04.720: They understand it very well and they like they also talk back, but once the camera rolls, they get a bit nervous about that.
00:04.720: So what we do is mostly German and English.
00:04.720: That's the only thing you have to take care of.
00:04.800: Now, one advantage to this is it gets out of sync a lot less.
00:04.800: Right.
00:04.800: I just had I'm doing a documentary now about the Olympic Games in Innsbruck in sixty four, so fifty years ago.
00:04.800: And I'm actually going to do a tutorial on both on the Digital Cinema Cafe website and also on my own website.
00:04.880: And they also did Windows 95.
00:04.880: If I could do that with my online editing, because it's too expensive and too slow in Germany with the tape-to-tape stuff.
00:04.880: Keywording that and then putting down a three-minute highlight clip very fast with music.
00:04.880: And if you keep it for four years then, like the old one now is five years old with me.
00:04.960: That was not the problem.
00:04.960: So as you bring me, let me pause here for a second.
00:04.960: Let's go away from the audio.
00:04.960: What does make sense is to have an event for the project in the library because they will all end up in one directory on the finder level.
00:04.960: And he probably just trusted that whatever Apple brings.
00:04.960: There is no drive, there is no ventilation.
00:05.040: Since then I learned one lesson.
00:05.040: You have an event like interviews, for example.
00:05.040: I have a company that does digital signage.
00:05.040: Really?
00:05.040: So it opened my eyes a bit that people are really
00:05.040: I haven't really heard anybody talking about that, but it
00:05.120: It was by a company called Applied Magic.
00:05.120: They wired the stuff on top of it and glued it together with tapes and stuff and sold it like this.
00:05.120: Because if you're, you know, 24 years old, you know, kind of rolling out of film school or whatever.
00:05.120: And the old final cut couldn't do it because it doesn't have the top trim, tail trim shortcut.
00:05.120: 0, right?
00:05.120: You could put all of your different rows to different language titles.
00:05.120: And I don't like the idea what some people have.
00:05.120: And Multicam is a great feature in Final Cut.
00:05.200: And we're a group of several little companies that work together and depending on what project we have.
00:05.200: And then all of a sudden, a few years later, they're like kind of struggling.
00:05.200: Talk about living on the edge.
00:05.200: Because what you then do is so let's go on with that.
00:05.200: He does a lot of music videos and more creative stuff like that.
00:05.200: So, thank you so much for listening.
00:05.280: Yes.
00:05.280: And it's interesting you say that.
00:05.280: Well, roles has two benefits.
00:05.280: You know, you mentioned some of the audio things.
00:05.360: I I actually I was living in Santa Rosa for a summer in the eighties.
00:05.360: Anyway, when Finalcat came out, I think the twenty sixth of June or whatever, the Raiders
00:05.360: Some of our guests have actually said that the keywording basically alleviates the need to
00:05.360: Good grease, yeah.
00:05.360: Yeah, we merged events.
00:05.360: And you import this into your library, and you will have their keywords.
00:05.360: And then he said, Yeah, his problem is he wants a 960 by 400 or something like this header for his website.
00:05.440: And I have been there actually a few times already.
00:05.440: Yes.
00:05.440: And does the audio for that file really have to live in a certain place on the screen?
00:05.440: So you take everything away and only have the Spanish
00:05.440: I don't do a lot now.
00:05.440: Right.
00:05.440: I'm glad we were able to finally hook up.
00:05.520: You know, they want eight audio tracks on the master files.
00:05.520: 1 meant to you and your business?
00:05.600: Yeah, if you think back fifteen years, it's amazing.
00:05.600: So I will give NetSound
00:05.600: What we just have thunderbolt rates, and that's it.
00:05.600: It's and they say 10%
00:05.600: I agree.
00:05.680: And a lot of the other people we've talked to, you know, Alex McLean, my partner on Digital Cinema Cafe.
00:05.680: So I said, well, I already keyworded it, so I made another edit out of it, and it was, you know
00:05.680: And that's what Albin's talking about here is that you can all those tracks
00:05.680: Right.
00:05.680: How much RAM do you have in that machine?
00:05.680: You will anyway have to bring some external rates.
00:05.680: com.
00:05.760: Like Amiga had background rendering, real background rendering, not like Final Cut does now, but the real one.
00:05.760: But for us to understand when we have
00:05.760: And at that time, we did not know what was going on.
00:05.760: Everything 10.
00:05.760: It's like an adjective.
00:05.760: Like, how could I possibly work without tracks?
00:05.760: Anything you threw at it worked.
00:05.760: Right.
00:05.760: I'm doing some traveling.
00:05.840: I can't either.
00:05.840: I actually know people that, you know, graduated from school, had no intention of getting involved in any sort of media production.
00:05.840: And why should they change it?
00:05.840: Within four days they had two bowl games, two championships.
00:05.840: You just put all the languages in different compound clips, and the compound clip is as long as the whole project is, and then you can, just like layers, turn them on and off.
00:05.840: But every tool can do everything.
00:05.840: I would like to have one keyword collection, Sunset, for all three of these shoots.
00:05.920: And where you are, you have to you have to be really dedicated.
00:05.920: Thank you so much for being a part of the show.
00:06.000: And I came home and I bought an Amiga 500, and soon I had an Amiga 4000.
00:06.000: I'll just bring Final Cut along to Vienna, shoot this game and then.
00:06.000: So this was our week with the brand new software.
00:06.000: You know, one and two is stereo mix and three and four is audio, five is
00:06.000: And if you didn't catch that, or if you've never had to deal with it
00:06.080: So it was quite challenging.
00:06.080: So let's talk about roles for a second.
00:06.080: If you have a title and you have the same title but in different languages.
00:06.080: And you say, yeah, well, I use final cut ten and they look at you with their weird eyes and you're like
00:06.080: And that's Apple's problem, not our problem.
00:06.080: Yes, a hotel director.
00:06.080: You know, I think the thing that I was most interested in that interview, well, I mean, obviously, there's a lot of stuff, but I really liked.
00:06.160: 1.
00:06.160: That's a good point.
00:06.240: And and we get like four or five hundred clips every day together in
00:06.240: And it really didn't.
00:06.240: Now, part of the reason why I think
00:06.240: Now, the keys for me, I was already one year on it.
00:06.240: You buy a machine and it runs and
00:06.240: Hey, Alvin, I should let you go.
00:06.240: I'm I'm not very consequent with that.
00:06.400: Because you're from Oakland and our team is the Svarko Raiders in Innsbruck.
00:06.400: And the new kids, they try it, you know, and and
00:06.400: 0.
00:06.400: Never mu use use the finder for anything in in Final Cut 10.
00:06.400: I don't check it anymore in Final Cut 7.
00:06.400: They have this special website now on that site where you see all the other people who work with it.
00:06.400: And I think that literally over the next couple of months, we're going to start unfolding some of these
00:06.400: And we just played it out of Final Cut.
00:06.400: So I made him a motion template with that.
00:06.480: And the relays on the board that was stuck into my car, into my machine.
00:06.480: Just half a year ago, somebody told me, well, he can't use Final Cut.
00:06.480: But but Premieria has some good audio tools which are missing.
00:06.480: I don't know, but
00:06.480: So you could just copy them this event into a library.
00:06.560: Yeah, and I know people that kind of resisted the DV codec from the top end down.
00:06.560: All right.
00:06.560: So but skimming through and then
00:06.560: Yep.
00:06.560: It was sport sports films.
00:06.560: Yeah, for the digital signage thing, one of the nice new features is that you can make a composition in any
00:06.560: Really?
00:06.560: You just trust Apple.
00:06.560: Because we we work so much internationally, it wouldn't work in German anyway.
00:06.640: Yeah.
00:06.640: We started with Amiga at a SpeedRacer after and then
00:06.640: Well, the point was it's an eight day bike race, and it's a it's an amateur race.
00:06.640: So finally kind of that time is eight days old when we started this project.
00:06.640: Oh my God.
00:06.640: I'm not at all scared about the cables in the back.
00:06.720: Yeah, and you can give multiple and they all end up in the same bin.
00:06.720: The skimming and the keywording and it's like when you have the DSLR the first time in two thousand eight you you held the Nikon D ninety and you were shooting and you were like
00:06.720: If BMW brings a car, everybody thinks it's a good car without even driving it.
00:06.720: What uh b what is your take on the new Mac Pro?
00:06.720: I have some traveling coming up.
00:06.800: Am I the first non-English speaking guest on your show?
00:06.800: It's a very small country.
00:06.800: Because as you're watching it, you can just give something a keyword, especially a range-based
00:06.800: People will find it.
00:06.800: Crazy.
00:06.800: But the point is when.
00:06.800: We call it atmosphere, it's just the sound that's on the on the on the mic, on the camera.
00:06.800: Yeah, and there's a pull-down, and you say, I want to assign this type of audio.
00:06.800: We just have a project where I'm I'm just a cameraman there.
00:06.800: So I have the media on the drive.
00:06.800: First you're Union Street, then you're at the pier and then you're a candlestick and you make different time-lapse events.
00:06.800: It's my website, which is yeah, sometimes I write something.
00:06.880: That could be a problem.
00:06.880: When I was going on the road, I could uh select a part of my
00:06.960: And and but that came like a minute before.
00:06.960: What changed your mind?
00:07.040: We're actually number one in Europe with our football stream.
00:07.040: It works, you know.
00:07.040: Of course, the other Austrian network calls, not the one that wants a documentary, but the other one, they want a news cut.
00:07.040: From a data standpoint, how are you dealing with your individual jobs?
00:07.040: So that's pretty good.
00:07.040: So there's something under the hood going on and Final Cut is much more responsive.
00:07.040: Or was some consultant kind of pushing this on him?
00:07.040: It's more affordable.
00:07.040: Like sometimes they'll want to go in and change all the lower thirds in graphics, and sometimes it's just a matter of doing subtitles.
00:07.120: So I had nothing else with me.
00:07.120: And I was like, what are you talking about?
00:07.120: Yes.
00:07.120: And then and then the event would be called
00:07.120: Unless they are on the same shared
00:07.120: And you have no idea how frustrated I was before when I couldn't do that.
00:07.120: I mean, there's some great features that are back.
00:07.120: I mean, it's two point five years old now, and I don't know, I've done hundreds of films with it.
00:07.120: Do you have three drives in there, one for music, one for system and one for backup?
00:07.200: So I'm basically producing a lot of sports documentaries
00:07.200: Well, the good thing about these transports is they let you try things.
00:07.200: What do I need?
00:07.200: I don't know.
00:07.200: That's a really good point.
00:07.280: Right.
00:07.280: And I wanted to make a documentary where you see that people do it just for fun, not because they get paid or anything.
00:07.280: Okay, so.
00:07.280: We don't have too much of Scandinavian, Italian, or French in my job.
00:07.280: Well, not too much here because I was so busy since it came out.
00:07.280: And uh until ten dot one it definitely wasn't a good tool.
00:07.360: There's not many people who are pure cameramen or pure directors or pure editors.
00:07.360: Well, what I always tried was to have the top notch technology.
00:07.360: Because of skimming, because of keywording and the the way this works.
00:07.360: What does that mean?
00:07.360: And one network wanted
00:07.360: Before I experi before we developed this workflow, what we did, we made compound clips
00:07.360: So I like to have the keywords in my lab for this job.
00:07.360: And the idea of traveling with the Mac Pro is very intriguing to me.
00:07.360: We will be back next time with another episode of Final Cut Grill.
00:07.440: You don't accidentally bump something out of sync.
00:07.440: But we don't lost you there.
00:07.440: Yes, definitely.
00:07.440: Also, Steve Martin has this idea of if he has several time lapses from San Francisco to make an event for each.
00:07.440: Only 16.
00:07.440: There comes a time in your business when maybe this time is too expensive, that you know, it it's okay
00:07.520: And I said, yeah, let's talk.
00:07.520: No, and what I was going to say is that to
00:07.520: I don't know if you know that one.
00:07.520: And the launch of Windows 95, he called me, said he has a problem.
00:07.520: In audio, what we do for audio is you tell it it's music, it's a sound effect, it's an interview.
00:07.520: You may have a text track that has your time code you could have a time code track.
00:07.520: So once that new event comes back
00:07.600: Right.
00:07.600: So
00:07.600: And to be fair.
00:07.600: 0.
00:07.600: And then you can, if you want, export from Final Cut 7.
00:07.600: Yeah, because this is a great example of how
00:07.600: You just have to find a way how it works best for you and the jobs you do.
00:07.600: I mean, it's totally different.
00:07.600: Right.
00:07.680: And the final content is the same.
00:07.760: Easy, easy money, fast done.
00:07.760: One is, well, what you do first is
00:07.760: Right.
00:07.920: And also editing, because suddenly you had a codec that was very small.
00:07.920: This is literally the first time you've used it?
00:07.920: A lot of people know it.
00:07.920: He never in his life edited.
00:08.000: I just make it up.
00:08.000: Right.
00:08.000: It's what gives guys like you and I, who've been in this business for decades now,
00:08.000: And then and it was very
00:08.000: There's no tracks.
00:08.000: It does it doesn't matter.
00:08.000: And he would never have bought Final Cut Legacy for $1,200.
00:08.080: 0?
00:08.080: And as long as from the beginning could export this stuff like this.
00:08.160: And he had a brand new F3.
00:08.160: That's Spanish, yeah.
00:08.160: So when you drag this QuickTime file into Final Cut seven, just to check
00:08.160: Yeah, it's ridiculous sometimes when you read, oh, there's a new graphics card and it's ten percent faster.
00:08.240: And on the ga and the game, you would just like
00:08.240: And it's so intuitive
00:08.240: I trust Final Cut 10 to export the tracks.
00:08.240: Unt until now at least.
00:08.240: I was talking with a friend just last night.
00:08.240: I've read some I think Barefeets made somebody made a test.
00:08.240: So we use Final Cut in all different environments and we find whatever we try
00:08.240: Yeah, he has this new software and for the website they would like to make a new uh banner on top.
00:08.240: I mean, pretty amazing.
00:08.240: It's and I have to say, it's cheaper than I expected it to be.
00:08.240: You've been grilled.
00:08.320: I didn't like it because I knew all the other ones and I knew what would be possible or could possible or was possible 10 years before that.
00:08.320: They don't care what I use.
00:08.320: And then Steph and I said, you know, I pulled a plug, let's get the Final Cut 7 out and forget it, and let's do it next time.
00:08.320: 0 anything.
00:08.320: I was going to ask you about that.
00:08.320: You put all your interviews for a project, for job.
00:08.320: But nobody else had ideas.
00:08.480: We're also going to he's also going to tell us a really interesting way to use
00:08.480: It's a very common theme that I've heard from a lot of the guests that we've had, both on
00:08.480: So I had two
00:08.480: I haven't really had that discussion.
00:08.480: So as you bring media in.
00:08.480: I went to a client.
00:08.480: And all of that kind of feedback that you give really helps.
00:08.560: And so you have these things disjointed like that.
00:08.560: Thank you so much for doing this.
00:08.640: Yeah.
00:08.640: Well, I was an Edioist at that time.
00:08.720: I do remember that.
00:08.720: And one day we made a mistake.
00:08.720: It works fine.
00:08.800: Right.
00:08.800: I can't have my tracks.
00:08.800: Yeah.
00:08.800: Like some people say, it's going to be messy, but
00:08.800: I actually on my mega test I got bad grief from the Germans.
00:08.880: Syncing audio and several camera angles on an interview.
00:08.880: Right.
00:08.880: Wow.
00:08.960: Tell me a little bit about the kind of work that you do in your work and your business.
00:08.960: Right.
00:08.960: They send you an email.
00:08.960: Right.
00:09.040: The the VX one thousand was a big breakthrough, I think.
00:09.040: So I put it in.
00:09.040: Right.
00:09.120: So that brings us now to Final Cut 10.
00:09.120: And lots of undercranking, overcranking, time lapses.
00:09.120: Yeah, of course.
00:09.200: Yeah, that's right.
00:09.200: And f and fast had this single window kind of uh layered, very very much like uh
00:09.200: Right.
00:09.280: But but we oh, good grief, I have done everything.
00:09.280: I don't know.
00:09.360: There's short films, there's music videos and lots of commercials of course and news and that stuff.
00:09.360: Sorry.
00:09.360: 0 on your mega test
00:09.360: So I would put them in folders and not in events, but it's all
00:09.360: We do it
00:09.440: And I thought this it really works.
00:09.440: And you can give multiple keywords.
00:09.440: Tell us a little bit about the mega test.
00:09.440: Pure editing.
00:09.520: I'm always interested in talking to people that are using Final Cut 10 to its fullest.
00:09.520: And you can actually
00:09.520: So, what type of delivery
00:09.600: Oh, yeah, yeah.
00:09.600: .
00:09.600: Totally.
00:09.600: And it worked.
00:09.680: Clearly, the people who
00:09.680: Then it gets usually the cameraman.
00:09.680: I will now move back a bit.
00:09.760: So we had three films to make out of this.
00:09.760: And how fast does the dissolve render in HD?
00:09.840: Right.
00:09.840: When you look at it, the first time.
00:09.840: And I understand that the Evid uses Evid has some trimming functions that
00:09.840: I mean, they will always have to need the media somehow.
00:09.840: Oh, explain it, please.
00:09.840: What can break on this thing?
00:09.920: It was very expensive to get it.
00:09.920: And so clearly
00:09.920: That's how we did the first project, because Final Cut 10 we couldn't export MXFs.
00:10.000: Do do you think you you think you're going to replace your old tower?
00:10.080: And it's very interesting and there's a link to that in the show notes.
00:10.080: All the pro skiers and snowboarders live here.
00:10.080: Do you deal with roles regularly in your edits?
00:10.080: I'm happy with that.
00:10.080: But I don't have 4K material into it, so 16 is good.
00:10.080: Uh and never had to do anything with it.
00:10.160: I mean, there was no relinking.
00:10.160: It's for
00:10.160: If people want to know more about you and your company, how do they find you on the Internet?
00:10.240: Sonoma up there.
00:10.240: Amount of stuff coming in.
00:10.240: Put that into final cut 10.
00:10.240: I also have a blog on it, but I don't have too much time to write on it.
00:10.400: And I was shooting a documentary for an Austrian TV network.
00:10.400: We had to go at that time through Final Cut seven.
00:10.400: There's always a way around it.
00:10.480: They can, from this event,
00:10.480: Just
00:10.480: And everybody was on Final Cut and Apple.
00:10.640: Yeah, he was really, really interesting.
00:10.640: He has this spot from America.
00:10.640: Yeah, were you using the the ranged based keywording?
00:10.640: We merged some
00:10.720: It only can export two audio files.
00:10.720: Yeah, sometimes that's referred to as nat sound.
00:10.720: Do you know
00:10.800: We made for Garmin we had a
00:10.800: I think
00:10.880: Right.
00:10.880: Until now actually, because 10.
00:10.880: And that's when they also started now this
00:10.880: But I think the new library system will help a lot.
00:10.960: Right, right.
00:10.960: Maybe now it could work with if they have a shared storage.
00:11.040: It's no professionals.
00:11.040: The bot the bottom line is we don't live in that world anymore.
00:11.040: So, there you have it.
00:11.200: And if you think about it.
00:11.280: We didn't even have time to render them.
00:11.360: The Sister team.
00:11.360: In motion you you can you always could make uh
00:11.440: It's just
00:11.520: What I'm sitting on now is a two thousand nine Mac
00:11.520: Yeah, good point.
00:11.600: And
00:11.680: The Sony.
00:11.680: In the nineties.
00:11.680: What I will do now is I have a job folder.
00:11.760: It's just one one button instead of half an hour.
00:11.760: It happens, but not too much.
00:11.840: I mean you're living in the future if you're editing a f
00:11.840: Do you have a large
00:11.920: Let's go to the interview.
00:12.000: So we have to write
00:12.080: It's the spot you know with the music from the Rolling Star.
00:12.080: I think this library system is
00:12.080: The point is.
00:12.160: That's a good name.
00:12.160: They write it in English and is it
00:12.240: So we all do a bit of the same.
00:12.240: It's people who don't get paid to bike, but
00:12.320: Not one service, not one
00:12.400: Yeah.
00:12.400: Yeah.
00:12.480: Right.
00:12.480: You know San Francisco, I'm impressed.
00:12.560: Later, later.
00:12.640: 1 is a bit different.
00:12.800: So it it does work if you really want to.
00:12.880: So at any rate,
00:12.960: And
00:13.040: So
00:13.360: I think uh
00:13.840: But
00:14.240: And Stephen said, no, let's.