Episode 14
FCG014 - 10.1 Break Down (feat. Scott Simmons)
Triple threat, veteran editor, Scott Simmons joins us on The Grill and we go thru the new features of FCPX 10.1 with fresh eyes and examine in detail just how well Apple did with this massive upgrade to Final Cut Pro X. A brutally honest look at Final Cut Pro X. We try very hard not to be seen as “Fan Boys” at FCPX Grill so, ss we are known to do from time to time we take the gloves off and are completely honest and frank about misgivings and short comings of the application. Scott Simmons is extremely well versed in Avid, Adobe and Final Cut, both X and Classic. Because of this has a unique ability to see thru the hype, Scott can ask questions about functionality that very few people can.
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Featuring
- Chris Fenwick
- Scott Simmons - http://www.scottsimmons.tv - @scottsimmons
Transcription
00:00.001: He had just finished a big job that he had done all in Final Cut 10.
00:00.001: Or maybe was it last year, right after NAB, you found out that you had gotten laid off from a job or something was downsizing or rightsizing or whatever they call it?
00:00.001: I mean, I could see, you know, if you're doing s a certain type of project and you know, like, I need this, you know, this is done, this version is done, this, you know, these lower thirds are like they need to be, you sort of duplicate a snapshot and you lock that in time, you always go back and have that one no matter what you do.
00:00.080: you know, a full-time wife and all that kind of stuff.
00:00.080: You know, I did, and I actually took an iPhone photo of my two-year-old playing with the with the tangent element, 'cause, you know, it's just, you know, balls and rings and he was just he just like gets there and spins them around and I you know, I think I made a
00:00.080: particular client.
00:00.080: RAID plugged up, all your um praise of this machine to me is worthless because I'm no one is going to be editing their media off that internal SSD.
00:00.080: It's hilarious hilarious.
00:00.080: Spiral thingy to it.
00:00.080: in that source monitor when I want to get very specific in and out point marks.
00:00.080: You know, I can I can apply an EQ all at the same time.
00:00.080: you know, who don't edit for a living because that paradi that construct of how projects used to work, time lines, you know, and how you duplicated them and where they were located was just
00:00.160: But the thing that's interesting to me about Scott Simmons is he can flow very fluidly between Avid Premiere Pro and Final Cut X.
00:00.160: It's you know, it's not a fluid show.
00:00.160: went into work that day.
00:00.160: a bit of a shock when you you know, when you walk in in the morning and at the end of the day you're like, done, done, done, done.
00:00.160: 15 minute commute in, you know, right after rush hour is a forty minute commute back home during the night of rush hour.
00:00.160: He'd show up at the studio in his BMW, um, in the passenger seat, napping.
00:00.160: He'd throw his bags in the trunk, get in the passenger seat, go back to sleep, and then drive from like the San Francisco South Bay up to San Francisco and do an evening news broadcast.
00:00.160: Corporate communication stuff, be they five-minute things here, there, 10, 20-minute programs there.
00:00.160: industry that we have here.
00:00.160: anywhere from um you know a fundraiser for Vanderbilt 'cause they're trying to raise a couple of billion dollars to what were just some um almost talking head interviews with a lot of um you know heavy thinkers in the healthcare industry.
00:00.160: to throw around.
00:00.160: It's a big deal.
00:00.160: is going to be the next thing that pops in our country, and it's going to be ugly.
00:00.160: going to film school after that, which is why I came here to Nashville in 'inin' seven and then just got into post-product.
00:00.160: That's what they were using was AVID.
00:00.160: It was a dog and pony show, right?
00:00.160: reviews that are coming out now.
00:00.160: Yeah, it was like a s was it six and a half minute um corporate piece.
00:00.160: I would love to be on your show and discuss my product.
00:00.160: Or what do you think that is?
00:00.160: for Christmas and um or back one.
00:00.160: be it editing or making titles or whatever plug-in or color or whatever.
00:00.160: As opposed to doing motion graphic things, which is weird.
00:00.160: Right.
00:00.160: Expressions, what in God's name is this?
00:00.160: Well, I was listening to one of your your rival podcasts on the drive home today, and they commented on green screen stuff that you can, you know, wait, wait.
00:00.160: Because I didn't like After Effects and I thought, This is what I'm going to devote all my time to.
00:00.160: keying and compositing.
00:00.160: But that's a whole nother story.
00:00.160: you know, you just want to sometimes slit your wrists and bleed to death on your keyboard when you see how many hours of footage you have to go through to do this really short, simple, quick little edit.
00:00.160: is good.
00:00.160: your editing career.
00:00.160: You know, just to avoid that double-click, scrub, double-bull, click, scrub nightmare of going through individual clips in a bin
00:00.160: I stopped doing that years ago just by stringing out all my b-roll in one timeline.
00:00.160: Clips and not auditioning with a capital A, which is a whole feature, but when you were like trying different things, it's like, oh, I want to go back to that clip.
00:00.160: You know, in my bin window, if you will.
00:00.160: Somewhere.
00:00.160: Or exactly what I wanted to undo.
00:00.160: That you like.
00:00.160: Someday somebody's going to be able to do it.
00:00.160: That idea that you can do all that at one time is is a very good thing.
00:00.160: Not do that because you know you'll get escorted to the door.
00:00.160: And I duplicate it, it's going to call it version zero one space and the number one.
00:00.160: I'm gonna call this version two.
00:00.160: Whereas just adding the space one Oh, no, you know, this is I mean, I've I've complained about this to some people I know, and I'm like, you know, you got to give us more credit than you are because we're not that dumb.
00:00.160: I mean, because you know, editing it's not rocket science, but then again, if you're if you have more than just, you know, a couple of clipshot on your iPhone, it can get relatively complex, you know, as far as tracking what all of that is.
00:00.160: So, I just want to say it's a pleasure bringing you these episodes, and make sure you listen to the next episode.
00:00.240: So here we are for another episode of the Final Cut Grill.
00:00.240: Fascinating guy, and I think the thing that I appreciate most about Scott Simmons is, and I'm I bet a lot of you have heard Scott before, he's all over the place.
00:00.240: It went really long.
00:00.240: I could say next week, but I've been doing about two of these a week.
00:00.240: uh legitimate beefs that he has with the application.
00:00.240: Input.
00:00.240: But even those people that are kinda like on the fence, because I gotta tell you, in the last couple of months, there's been a lot more people kind of like
00:00.240: Currently working out of your house, you want to get out of there because it's kind of hard.
00:00.240: It well, yeah, I'm sure someone would I'm sure someone would call it right-sizing.
00:00.240: There's been murmurs, murmurs in the Final Cut community.
00:00.240: Facebook comment or an Instagram comment about that, but it's more like, No, don't move to a different profession.
00:00.240: and he would unload all of his bags of gear and adapters and stuff out of the trunk.
00:00.240: No, she was a very understanding woman, I will say that.
00:00.240: Nice.
00:00.240: I know you do some music videos.
00:00.240: Don't quote me on this, but you know, like the way it kind of works is if you get in and you can't afford it, instead of taking on a big debt, you kind of get a you get a grant from them to pay for your school.
00:00.240: you know, if you're in the middle class, you're getting screwed with healthcare.
00:00.240: non-linear was the thing to do then, and this was back in ninety seven.
00:00.240: like it used to be.
00:00.240: pretty cool.
00:00.240: in those days when an ed editor was a was a bre quite a specialized skill, especially in a you know, avid editing was a quite a specialized skill and you can make you can make some really good money.
00:00.240: Actually, let's back up a little bit.
00:00.240: Everything is going to have a problem.
00:00.240: I think that the idea that it was that it could be that drastic of a change from from Final Cut 7 and not
00:00.240: that was uh that was right there when it when it opened up.
00:00.240: you know, it's probably like a two-hour thing he was trying to make a D V D out of.
00:00.240: Range select, delete.
00:00.240: literally just chopping out sections of um of something like that.
00:00.240: Okay, I don't care.
00:00.240: work it, but um he was on a MacBook Pro, I was on my Mac Pro.
00:00.240: It just ground to a screeching halt.
00:00.240: I'm probably guilty of not asking that question enough because I tend to do about, you know, if I go over 10 minutes, it's pretty rare.
00:00.240: Are you bringing in elements from after effects?
00:00.240: Okay.
00:00.240: Some stuff about editorial, or at least working on Avid.
00:00.240: been a professional editor, you know, a full-time editor.
00:00.240: If you learn that from the start, you don't know any different.
00:00.240: three three steps to get to what should literally be literally there's literally be one step.
00:00.240: you know, does did need some tweaking.
00:00.240: A week or two, my mind would just melt down.
00:00.240: What often moves me to one thing or another?
00:00.240: you do green screen.
00:00.240: And I thought, I'm going to try and key this in Final Cut 10.
00:00.240: But it was done.
00:00.240: which you still do in Final Cut X, just in an albeit a different kind of way.
00:00.240: Suddenly, when you're in the source monitor, there, your scrubbing is skipping over more frames than if you have a shorter sequence, if you will.
00:00.240: you know, to me, is actually better than the skimming thing because you have the best of both worlds and the fact that you can hover scrub, you know, until you see that frame that you want, you double-click
00:00.240: On the source clip, why do I want to monkey around with the ones of the timeline, throw exactly what I want in the timeline and be done with it, as far as that clip goes?
00:00.240: You know, looking through 75 clips at a time, one at a time.
00:00.240: But I think where the the lack of the old s old timey ins and outs was like when you were like auditioning different
00:00.240: go all the way over to where I'm like at a half second or a one second um film strip view because then suddenly like I've seen so so little in
00:00.240: your timing of a th of the thumbnail view down to like, you know, what is it, like up to a second or something like that, down to like a few frames.
00:00.240: But when I'm looking at individual clips, you know, like, oh, where's the outdoor stuff?
00:00.240: when I'm looking at individual clips, I tend to toggle over into the list view because I get to see my clip for the width of the window, whatever it is.
00:00.240: Show up as part of the undo.
00:00.240: You know, though everybody talks about metadata, metadata, metadata.
00:00.240: Awesome.
00:00.240: I mean like really Avid and Premiere and Old Final Cut?
00:00.240: And don't get me started on the fact that it's called a project, it's a fucking timeline, but the fact that the way it used to be was one of those examples of like, okay, this was designed by people who don't edit.
00:00.240: But for all intents and purposes, Apple basically had to admit: yeah, we made a mistake.
00:00.240: projects, but you can the whole duplicate and duplicate a snapshot, like that's that's two different ways of versioning as opposed to just having, you know
00:00.240: Duplicate move on.
00:00.240: So I think let me ask you about a question about that because this is something that it just dawned on me I think recently when I was doing one of my new 10.
00:00.240: I mean, I think maybe in Final Cut 10, because Apple wants to make this as easy to understand as possible, that if you have a number, you duplicate it and it automatically incremented that number might be too confusing for some folks.
00:00.240: Absolutely.
00:00.240: forced to stay in seven.
00:00.240: just feels so much better.
00:00.240: You know, and that's not even saying, you know, again in Panunka Tin, and it has a real fluidity to it that Premier
00:00.240: Feels more fluid for the most part, but Premiere has a really, you know, it it feels so much better than seven.
00:00.240: Time marches on and time.
00:00.240: and I will say quite legitimate um complaints about the software and some some uh some ideas of some things that he'd like to see.
00:00.240: work a little bit more smoothly.
00:00.320: Was way too casual to make a show.
00:00.320: In half, I sound like a magician, cut an episode in half and made it into two shows.
00:00.320: So, before we get into the interview, again, I want to say thank you for all of the iTunes love you guys have been showing the show.
00:00.320: You know, I was freelance up until, you know, from 85 to 2010.
00:00.320: I should have done screen crab of them.
00:00.320: Feast or famine is always what people say.
00:00.320: locally, which is the professional way of saying I'm working out of my house, is you you do gain a lot of life back because you're not commuting.
00:00.320: when I was freelance before, I commuted to to a basement 'cause that was a dedicated studio and now I'm just, you know, getting thrust back into freelance.
00:00.320: as well as country, you know, music capital of the world.
00:00.320: even though talking heads are somewhat boring, you know, building stuff out of talking heads, but you're you're some pretty smart people trying to figure out some pretty major problems and it uh it helped my um helped me form even stronger opinions about our health care system.
00:00.320: Well, I'm just glad that somebody like yourself has the spare time that you can help the Vanderbilts raise some money.
00:00.320: But I want a percentage.
00:00.320: major, major problem.
00:00.320: My background was um undergraduate school in radio and film t in yeah, radio and film no, I'm sorry, radio and television and then um
00:00.320: Right.
00:00.320: 'Cause Nashville was all avid until uh until Final Cut Pro, like ver you know, around version three or something like that.
00:00.320: you know, trying to find something to use at home back in sort of the early DV days and was using you know, there's a program called Edit DV that was really up
00:00.320: Like Premiere 4.
00:00.320: this is very Avid-like.
00:00.320: Like it's the greatest thing.
00:00.320: You know, just how big of a change it was.
00:00.320: Yeah.
00:00.320: one of the camera ops was was was pretty bad.
00:00.320: not ready for prime time.
00:00.320: You know, various systems thumbs up, thumbs down is one.
00:00.320: You know, long form, short form, but also, you know, I describe projects as, you know, long and tall.
00:00.320: and animate them in the timeline.
00:00.320: I love many aspects of it.
00:00.320: And there are things that are like I can't believe no one writing this program, you know, figured that out, thought about thought about fixing that.
00:00.320: And Apple was faulted for trying to reinvent the wheel.
00:00.320: goes there and I got to put something after it.
00:00.320: I don't know.
00:00.320: Well, but I seem to enjoy my After Effects work, you know, if it's not like just doing like lower thirds or whatever, it seems to be going in there to doing like, you know, paint stuff and, you know, logo removals and, you know, that sort of tedious kind of
00:00.320: how can I do this?
00:00.320: Yeah, see, smoke, um smoke defies my ab well, like apparently like many things, it defies my ability to wrap my head around it.
00:00.320: And then I start feeling comfortable.
00:00.320: Yeah, or dollars, yeah.
00:00.320: Yeah, I think so too if you're learning it.
00:00.320: And normally that would be like kick everything out to After Effects, and it's just like, wow.
00:00.320: you're like amazed that they didn't think to put a feature in.
00:00.320: Well, I do believe that in our modern day digital world of so much G D footage that
00:00.320: But it's just the way that you do it in 10 and the way you can then search for those things and sift those things and sort those things once you've done it is that's a total rethink, which was great.
00:00.320: two clicks, third click to move the scrubber bar and then move left and right, just to kind of get a quick glance of on what you know, what is in that in that clip there.
00:00.320: So, you know, you get the benefits of an easily skimmable bin without having to go through the pain of loading a sequence here or setting up a sequence there to do your selects.
00:00.320: that and then suddenly you get that very frame loaded into the source monitor for some more you know some more detailed marking of in and out points.
00:00.320: I think Final Cut 10, one of its weaknesses in my mind is the whole range selection.
00:00.320: And I have to often, you know, one, two, three, four, five, you know, right arrow, right arrow, right arrow to get to that right kind of frame.
00:00.320: I want to save my trimming for more precise, more finesse kind of trimming.
00:00.320: And you know, it's nice to be able to have both options.
00:00.320: Undos and redos don't honor the moving of your range selection, your ends and out points.
00:00.320: to where your undo happens.
00:00.320: We can't do that.
00:00.320: Ludicrous, and you know, they have made it right.
00:00.320: And a pain in the butt workaround.
00:00.320: is the fact that for all intents and purposes and Apple won't do this because they don't speak publicly about these things
00:00.320: In general, worked, and someone up there had to be like, all right, this is stupid.
00:00.320: Well, totally.
00:00.320: the way projects work in 10 now is the fact that not the fact you can have quickly and easily make multiple
00:00.320: Description, understanding, or your usage of duplicate as a snapshot.
00:00.320: You know, in a new kind of way just yet, but I know it's there, and I know that they, you know, they have thought that through and said, you know,
00:00.320: In Final Cut seven, when you were doing your log and capture tool, you used to could hit that little slate thing and it would increment.
00:00.320: I think you just have to get into a modern a modern app and just feel how much better a modern app can feel.
00:00.320: Feels different.
00:00.320: I just yeah, I don't you know, I I think you're I think you're doing a disservice to your, you know, to yourself because life could be your soul.
00:00.320: you know, ki isn't doesn't have exactly, but Premiere is it's a pretty damn snappy application.
00:00.320: Yeah, I I was telling somebody today that I think it was New Year's Day.
00:00.320: to not start any Final Cut 7 projects this year.
00:00.400: And um it was great because we you know, we got to talking and you know I I've known Scott for a little while now, so um the beginning the beginning of the show was um
00:00.400: Making these extreme color changes, and he's like, That's I like that.
00:00.400: love to not have to drive to work every day and be able to drive for my own pleasure.
00:00.400: Unless you can have someone else do it for you and you can work during that 30 or hour long commute.
00:00.400: a billion dollar fundraiser video for Vanderbilt, and they had they raised the billion so quickly we had to come back and revise it so they 'cause they wanted they tacked on another billion.
00:00.400: By having that specialized skill.
00:00.400: really, really usable in a very good way.
00:00.400: And then Final Cut 10 came along.
00:00.400: During that announcement, and we were both kind of like, wow, that's cool.
00:00.400: There's some really great stuff, and there's some really weird stuff.
00:00.400: When you start to listen to one person's comment about something, you know, oh, this is horrible.
00:00.400: Between apps.
00:00.400: I can learn something from that.
00:00.400: Per application.
00:00.400: Which I've been on many times.
00:00.400: Over to the source thing and then scrubbing underneath the um the uh the source the source monitor there.
00:00.400: to to you know to pare my stuff down.
00:00.400: footage.
00:00.400: Yeah, I think, you know, when it comes to like, you know, trimming, marking, laying into the timeline, I basically do everything from the keyboard and I mark all my ins and outs, you know, either in real time or very close to.
00:00.400: More than I work in the um I think I I think I think when I'm searching for a theme, let's say, I I go to icons
00:00.400: Is marking a range selection.
00:00.400: Very freely say that I have yet to really understand all that this app can do.
00:00.400: And I think it's going to I'm going to grow into it, and I just keep lighting up behind it.
00:00.400: Words to that at the same time, but you don't that's not reflected in your timeline.
00:00.400: Oh my gosh, how you know, how come no one else thought of this kind of thing before?
00:00.400: You know, the whole libraries thing that came in in 10.
00:00.400: That the libraries have solved a whole lot of problems for people.
00:00.400: snapshot version stays the same.
00:00.400: and give it a one, but then you're still working on your old version.
00:00.400: It takes the original name and version number.
00:00.400: Which I always thought was good, because if you knew that it could do that, then you would be able to take advantage of that.
00:00.480: And being the fact that he can edit on Final Hit 10 well, I thought, hey, we should have him on the show.
00:00.480: this big final cut 10 job last week and he was like, you know, what do you I was actually doing the color in Resolve and he like wanted to h have my little tangent element panel I'm testing here and I had that thing in front of me and he's like, What is that?
00:00.480: And you know, and that was good because it was affordable.
00:00.480: be like a swift kick in the butt for a lot of people was you know, I think you were a bit d delusional if you if you could if you looked at what they were doing up there interface wise and
00:00.480: But you know, it's like this will be a great test case for this thing.
00:00.480: And I think that's an important thing.
00:00.480: wonderful.
00:00.480: I want real world.
00:00.480: what's his name, Randy, would probably punch me in the face when he sees me in person.
00:00.480: Well, yeah, and there's nothing wrong with trying to reinvent the wheel.
00:00.480: that the idea of keyword collections and just the whole logging procedure, just how you can organize and get your footage into a state to go to work editing.
00:00.480: And the fact you can set multiple range selections can be, you know, is a good thing, because it used to be you, you know, you clicked off and you lost like where you marked your in and out point.
00:00.480: it's it seems like a much it's much more imprecise marking ins and out points via the Final Cut Tens sort of range selection sort of thing.
00:00.480: sort of you know the the the the longer film strip you get in list view and I know you can adjust your your um
00:00.480: That's way better.
00:00.480: No, and you know, I think Final Cut 10 is made to be easy to learn, and there are lots of people using Final Cut 10 that never edited before.
00:00.560: Tell some detail of his history and stuff and how he got started messing with Final Cut 10.
00:00.560: Yeah, and you gotta I mean, you gotta be able to do all that stuff.
00:00.560: Yeah, and that's I mean, half of my time is spent at other clients' places and then half has been spent working out of my own stuff.
00:00.560: Much more lucrative these days.
00:00.560: And you know, they would and y you they would announce something and you would get just these screams and hollers from the from the audience.
00:00.560: Have you seen the I think it's called the Edit Button?
00:00.560: I want to try this hit film thing that's that just came out, you know, on Mac.
00:00.560: I think if you have a singular goal, like, okay, I know where I'm at, I know where I need to be.
00:00.560: As I'm playing along, I'm like, ooh, out point, out point.
00:00.560: I'm like, where did the playhead go?
00:00.560: And I know, you know, some people would say, well, then you just always work on the same one and always just duplicate to stay old.
00:00.560: When you duplicate a timeline or project in Final Cut 10
00:00.560: Because isn't the way Afterfix does it, like, and I can't remember how Premiere does it because I haven't used Premiere in a few years now.
00:00.560: I think more of them than not would be people who have had some editing experience or who are a little bit smart.
00:00.560: So there you go.
00:00.640: And then she would pick him up at the news station at midnight or whatever and take him back home.
00:00.640: You know, I've been accused of being a Final Cut 10 hater many times and the old fart who can't change his ways and doesn't want young people, young whippersnappers coming in to take my business.
00:00.640: Neat, but you know, what's uh you know, where where what's it's great, but, you know, that's neat, but.
00:00.640: And there are people that demo really well also.
00:00.640: review yet with the proper rate, everything's playing off that internal drive, which of course is going to be super fast.
00:00.640: That weren't, some of them have improved with Final Cut 10.
00:00.640: But now back in Final Cut 10, instead of having to select sequence, I would have just had a keyword collection that I click on, and it's just like a regular bin, but it's only those select.
00:00.720: Stuff you never see.
00:00.720: Done.
00:00.720: Three, four minutes, and then you have to like do like little you know reposition pops on it, you know, to cover the jump cuts.
00:00.720: It's the ones where you have to pull multiple keys and then you have to mat out part of the screen and pull a different type of key on that one.
00:00.720: that one little several frames there can live in multiple places.
00:00.720: almost two, that I'm very comfortable using it and I can do what I need to do and I want to do, but I fully realize there is so much more for me to understand.
00:00.720: Using the tool that would have never used it before only because the whole project thing.
00:00.720: You know, it definitely is.
00:00.800: Pre-Premiere Pro, like you say, Premiere 4, Premiere 5.
00:00.800: And of course there was Avid, you know, which has always been very strong since, you know, like 90 well, 1990, I think.
00:00.800: I think I remember seeing an email I think it was Automatic Duck that morning had the first email that went out that I saw that that it had dropped because they had one of the f you know, they had a translation product.
00:00.800: Well, I think it comes down to I ask questions of everything, no matter what they are.
00:00.800: That is a good thing because that in itself cuts down on literally hundreds of thousands of mouse clicks over the course of you know
00:00.800: I totally agree.
00:00.880: Wow.
00:00.880: And uh the later came Sinistream and um there's something else that I used for a while and then Final Cut Pro One came out and that was like, Okay, wow, this is
00:00.880: I just I mean I don't know.
00:00.880: I have, but my understanding of it is that the main reason of it is the main thing it will do, will do things like it'll freeze a compound clip in time, so if you change the compound clip later, that
00:00.880: What bugs me about in Final Cut 7 was the same way, and so is Premiere.
00:00.960: But again, that'll be next episode.
00:00.960: And you know, I mean, I think Vanderbilt's being doing something very admirable as they're attempting to not have incoming students take on debt.
00:00.960: And it was it was just kind of fun, you know, plus there was work in it.
00:00.960: So I'm like, all right, Final Cut 10 is perfect for that.
00:00.960: They all need that kind of thing.
00:00.960: You know, a bunch of clips and then change metadata all at once.
00:00.960: I mean, you know, you can get in Premiere and you can get in Av, and you can apply a comment or a description bin column.
00:01.040: That was my that was my last day.
00:01.040: You have to have the mindset for it.
00:01.040: So so you're I know that part of your story is a bit like mine.
00:01.040: That's awesome.
00:01.040: that's a better way.
00:01.040: I can just change the camera name all at once.
00:01.120: The client of this client ended up getting some federal grants to the feature length version.
00:01.120: Or should there should be a way to do this?
00:01.120: Like it wants you to do your finessing in the time line.
00:01.120: Let's get to the bad things.
00:01.200: It's a pretty important subject and it's kind of actually kind of an interesting project.
00:01.200: First of all, you're you know, that's silly.
00:01.200: how nice the Final Cut 10 step is.
00:01.200: And I think to Apple's credit, what they are often able to do is to s look at it and be like, all right, now let's take that feature and turn it around and make it even better.
00:01.200: It feels snappier.
00:01.280: I mean, I contrary to what I think I said that before, is that I've been accused on several blogs of being a Fanuka Tin hater, which I am far from a Fanuka Tin hater.
00:01.280: It's just like, this is just beyond my intelligence level.
00:01.280: They rethought that because that needed rethinking.
00:01.280: Yeah, I you know, I hate to take anything away from Final Guide 7 because it was a wonderful program and man, I made good money off of it and did so many big projects.
00:01.360: Yeah, you know, I I th that's my was was my thoughts exactly, but we actually did a smut shorter version of it a couple of years ago and this this
00:01.360: This is before, you know, Final Cut Pro came along.
00:01.360: It was meant to showcase, highlight the best stuff, and it did and it did.
00:01.360: there's just some stuff they're not telling us because they right they skipped over a number of things.
00:01.360: No, I I this this this is like a repeat of of Art Guillermo, Art Googs show, because I was listening to that actually on my drive to Cleveland.
00:01.360: Like, you know, it's like you can read all the books in the world and do every freaking YouTube tutorial tutorial until your mind explodes.
00:01.360: I get really frustrated sometimes.
00:01.360: And I was like, oh my goodness, because this particular job, it's a the thing we do for one of our clients where we do like, you know, guy rambles for a half hour.
00:01.360: If I can get the source frame exactly where I want it, I'm one step ahead than having to throw it into the time line and then finesse it in the timeline.
00:01.440: And then it was just like at one point I was like, oh boy, this is going to be two episodes.
00:01.440: Is that what you're saying?
00:01.440: Range select, delete, range select, delete.
00:01.440: Yeah, and I mean and you your ins and outs will stay set now, but I th I don't know, it just maybe it seems to me the fact that, you know, I seem to work in list view more than I work in the thumbnail view.
00:01.520: That's yeah, that's that's for that's a good good gig if you can get it, I suppose, yeah.
00:01.520: A lot of people have a lot of it.
00:01.520: But the real editors were going, Yeah, but I don't know if it's even a real editor.
00:01.520: I mean, w the one of the worst things when I get back into AvidNow, as I've been in you know, I'm in AvidNow for probably a month and a half on this long form, this documentary, is everything has to be for the most part double click
00:01.520: And some workflows are, you know, you you can't help what the boss has purchased or, you know, the install of fifty Final Cut 7 suites.
00:01.520: That brings us to the end of Scott Simmons, Part 1: The Good.
00:01.600: And then not long after that, Avid came out with Express T V to kind of compete with that.
00:01.600: I mean, I've tried to.
00:01.600: And I I don't I don't know.
00:01.600: I don't really see too much of a problem with it.
00:01.680: What did you think at the announcement?
00:01.680: I totally agree.
00:01.680: The key word in there is past tense was, yeah.
00:01.760: It's a totally different kind of kind of couple of assista a couple of little miniature assistant editors running around?
00:01.760: 2 or something like that to this short film for a scholarship to film school.
00:01.760: And I'm not even talking features missing, features being there, but it was just the act of cutting
00:01.760: Move on.
00:01.760: And the large majority of them are it's awesome, super fast, wonderful.
00:01.760: Okay, so I think one of the things that fascinates me about you, Scott, is your the seeming fluidity with which you can move
00:01.760: You know, what is the law, the rule about the 10,000 hours?
00:01.760: I think they've kind of they thought it they thought about it and made it a little bit better.
00:01.840: There's always going to be something to complain about, something that could be better.
00:01.840: That just seems ridiculous to me.
00:01.840: I think I don't know for certain.
00:01.840: And you know, he said, Yeah, I'm like him, I I kind of get bored in the same thing.
00:01.840: If I have to put two keys on it, I'm compositing.
00:01.840: So let's get back to the editorial aspects.
00:01.840: Why it doesn't honor that in undos and redos is just one of those like this was not designed by an editor thing, because it seems to me like that's an important thing to do.
00:01.920: I've always thought, because I've done a few like fundraiser videos for like churches and things like that, and I've always thought it would be an interesting business model to say, I will do this for free.
00:01.920: It's uh I to me, and I've said this before, it's a very kind of a schizophrenic application and my feeling of it is very schizophrenic.
00:01.920: Like, really?
00:01.920: I just know that, okay, something happened I don't want.
00:02.000: Oh, yeah.
00:02.000: You're cutting that right from that super fast internal SSD drive, which isn't a media drive.
00:02.000: Yeah.
00:02.000: Yeah, it's a great book.
00:02.000: And you never realize how much how useful and handy that feature is until you're as a matter of fact, my solution has always been
00:02.000: It's smart.
00:02.080: But I mean, I you're still three-point editing whether you're in Final Cut 10 or Avid or Premiere, and because uh that doesn't change because you still have to choose that piece of the clip
00:02.080: I like this workflow.
00:02.160: And this was not a complex project.
00:02.160: There's a podcast about post-production?
00:02.240: What other what other kinds of things do you work on?
00:02.240: So so what did you start on?
00:02.240: Like that's if you can reinvent that, then man, you're a genius.
00:02.320: You have to be able to manage your time and your finances.
00:02.320: If the driver is probably a train engineer and/or a bus driver.
00:02.320: Totally.
00:02.320: I mean, I I I like how we you know, we do have these two options now.
00:02.400: Yep.
00:02.400: Clearly, one of the as an editor, one of the plus sides of working.
00:02.400: You know, it's not quite like that anymore, but you can still it's still a good business.
00:02.400: And then there's the Final Cut 10.
00:02.400: I mean, I'm I feel like I'm on a constant search for the best tool for any kind of job.
00:02.400: No, hold on.
00:02.400: Like, I don't know.
00:02.400: Like, that seems not good.
00:02.400: Hey, so Scott, what would you say?
00:02.400: It feels better.
00:02.400: So once again, thanks for tuning in.
00:02.560: It kind of starts a little abrupt, um, and then it went long, kind of like this open.
00:02.560: And it's I mean, it was cert certainly different freelancing when I was single and I had just gotten married versus freelancing now, you know, with a couple of you know, a couple of kids and
00:02.560: Oh, yeah.
00:02.560: If you're poor, you get it paid for.
00:02.560: What was your first take?
00:02.560: Like, you expand an audio thing.
00:02.560: It thinks for you a little bit.
00:02.720: So in this episode, you're going to meet Scott.
00:02.720: Yeah, it is.
00:02.800: And it would have been cool just that.
00:02.800: So there's a I've done a lot of healthcare stuff.
00:02.800: And I think to not think there was going to be some problems or some stuff that was just not right, I think you were kind of, yeah, you were deluding yourself a little bit.
00:02.800: You know, the math equation you're asking me to copy and paste in, and then link a little, you know,
00:02.800: I had a girlfriend at the time as a teacher and got me the student version, so I could learn on that.
00:02.800: I have a great green screen story.
00:02.800: I can change from, you know, stereo pair to dual mono all at one time by selecting multiple clips.
00:02.880: Yeah, I think I you know, we're getting off of the subject here, but in my opinion, I think the student debt bubble
00:02.880: That's actually a very interesting, unplanned segue.
00:02.880: And I think I I think I had finished the job that morning, so I downloaded it that afternoon and started messing around with it and was kind of like, oh, you know
00:02.880: And, you know, he he needed to go through and sort of cut out the unfunny stuff.
00:02.880: Exactly.
00:02.880: And I'll get like a response with an expression, which just like totally fucking blows my mind.
00:02.880: And I searched I go into the little effects bin and I go into search for cure and I get the simple cure thing and I drop it on.
00:02.880: Nah, nah, I like the other one better.
00:02.960: Avid was king of the castle and and y you know, that graphic design world translated pretty pretty easily into the editing world.
00:02.960: But I think that once it got out to the public and they heard the vitriol that people were throwing at this thing, they're like, gee, who maybe I should have said something.
00:03.040: Demos are such loads of crap.
00:03.040: I absolutely cannot do what you do.
00:03.040: And until then, it's just like, ooh, weird new road.
00:03.040: Maybe it's just an old school way of thinking that I always want to see more clips in my bin as opposed to less.
00:03.120: So so yeah, I was thrust back out into the freelance world.
00:03.120: And it was just it was a painful, painful process.
00:03.120: So what is your real world experience with Funnel Cut 10?
00:03.120: But if you do know there can be a different way, it's like, wait a minute, why you know, give me a little bit of that better way here instead of what's, you know
00:03.120: And I I think, you know, y y y you can't fault them for that because, you know, the the the paradigm we've used forever
00:03.120: Is an After Effects idiot somebody who doesn't know After Effects?
00:03.120: Like, I didn't even touch it.
00:03.120: Right?
00:03.120: 1 finally is makes good sense.
00:03.120: I haven't used it s specifically for that necessarily.
00:03.200: This is episode 014 with Scott Simmons.
00:03.200: Put them in After Effects, give me an MOV with an alpha, bring it in, done.
00:03.200: I have done things that are 45 minutes in Final Pet 10, and it seems to do okay.
00:03.200: Like, for example, I would never take five parts of a lower third.
00:03.200: I used to be a graphic designer.
00:03.200: I mean, I think I just I get overwhelmed by After Effects sometimes.
00:03.200: And I was constantly either either loading the select sequence in the in the source side of Premiere and or making a pancake timeline where one timeline stacked on top of the other and just dragging stuff down into my edit.
00:03.200: Metadata is good.
00:03.200: I think that's something that we are I won't say we.
00:03.280: So, anyway, enough of me rambling.
00:03.280: You're never going to do that in the real world anyway, for the most part.
00:03.280: I'm going to become an expert in combustion, I'll be great.
00:03.280: Let's start with the things that you really like.
00:03.280: I had a huge job in August that we did in Premiere where I had 70 hours of footage or something like that, and I made tons of different select sequences.
00:03.280: So if I undo something, I want to move chances are I want to move back to what that undo was and maybe do something there.
00:03.280: I can add a you know, a take or a comment or something like that.
00:03.360: I mean, you know, there was um I mean, there was a time, you know, and this is this I'm sure I would be one of those people that
00:03.360: Exactly.
00:03.360: I'm staying here.
00:03.440: In the next episode, you're going to hear Scott go, you know, click for click, problem for problem, with
00:03.440: I think that would be awesome.
00:03.440: I mean, jumping into Premiere, which is you know, Final Cut 8, if you will
00:03.520: I mean, yeah, I at first I was kind of yeah, there was you know, I meanly sat down and um
00:03.520: And I feel that if I'm going to really understand an application, I need to do 20, 30, 40, 50 jobs in it.
00:03.520: It just feels different.
00:03.600: So I had to lop some of that off.
00:03.600: So uh to my friends at Apple, please listen to that one carefully and apply some of your magic and fix some of those things.
00:03.600: It's pretty funny.
00:03.600: I know it's been on PC for a while, but I'm like, Okay, wait a minute, maybe that's a better way to do effects stuff, 'cause I'm I'm such an After Effects idiot that maybe that would uh
00:03.680: That looks really good, Dad.
00:03.680: So now, and the types of stuff we've talked before, but to tell us again.
00:03.680: He's been too busy writing editing applications since like 1991.
00:03.680: I don't know.
00:03.760: I agree totally.
00:03.760: Did you start on Avid?
00:03.760: Right.
00:03.760: It's easy to learn, it's simple, he'll be able to use it.
00:03.760: I think that was ripe for reinvention, which they did, and which is great.
00:03.760: And that may be part of you know many people will say that Final Cut 10 wants you to finesse in the timeline and not do any sort of precision editing out of your source.
00:03.760: But what do you think of that?
00:03.760: You had texted me today saying, I got a laundry list of things I want to talk about.
00:03.760: Yeah, I mean, Final Cut 7 did not.
00:03.840: So he had, you know, a lot.
00:03.840: We were working off uh Fireway Hundred drives, but you know, once I got everything sunk up and in there and then this compound clip
00:03.840: Um you know, interviews, B-roll, music, um, some graphics here and there.
00:03.840: And yes, there's a lot of us that have gotten around it with the workarounds.
00:03.840: I tweeted I tweeted out on the Twitter.
00:03.920: If you're rich, you can afford it.
00:03.920: And I actually had a, I think it was about a week later, I had a friend who's a comedian, he did a three-camera shoot at a comedy club.
00:03.920: 1, especially.
00:03.920: So it dawned on me: I wonder if that's some sort of a patent thing.
00:04.000: Do you think you have some weird skill that allows you to do that?
00:04.000: You know, it's the the library way you do it now is so much, so much better.
00:04.080: So, so, yeah.
00:04.080: How bad, how hard can it be?
00:04.080: Like if I have, you know, my great video underscore version zero one.
00:04.160: You have to understand that you're going to have slow days and you're going to have days where you're working 20-hour days.
00:04.160: I love reinventing wheels.
00:04.160: So you mentioned that there are things about Final Cut 10 you really love, and there's some things that, you know.
00:04.160: Thanks for listening.
00:04.240: I hope you at least took an iPhone photo or two.
00:04.240: She would leave.
00:04.240: What about that?
00:04.240: I mean, it looked very intriguing.
00:04.240: But it's like, you know, I think that it was engineered with people who weren't editing, they weren't editors.
00:04.240: I would think that would be like something I would be good at and enjoy doing.
00:04.240: And then sometimes you hit one and you're like, wow, that one went really well.
00:04.240: What do you say to those people when you get a chance?
00:04.320: Um, I thought there's some really cool looking stuff in here, but
00:04.320: I do okay.
00:04.320: The idea of, you know, I've got a clip.
00:04.320: I mean freaking how long were we not able just to add an A cam to the name?
00:04.400: I didn't call it that.
00:04.480: It was a painful cluster.
00:04.480: I have seen the Edit button, yes.
00:04.480: Undo, so my out point goes back.
00:04.480: I'm like, that's that it it needs to get back there so I can see exactly, you know, I can be back in that spot.
00:04.480: Yeah, I think it's pretty clear that the
00:04.480: It's you know, move differently.
00:04.560: It's you know, we're it's going to be it's right along up there with health care and the cost of health care and how that's screwing over
00:04.560: And that's when like in this market and where I am, you know, it was like a lot of the AVIDs just suddenly fell, became final cut systems and people were shooting DV.
00:04.560: So that was not fun.
00:04.560: It was long, two hours, three cameras, and one camera was maybe six or eight clips, and I think the other two were maybe two clips.
00:04.560: I do know, like, for example, well, you know, Stephen Bays, who's the product manager, he used to work at Avid.
00:04.560: I mean, there are just certain things that aren't, in my opinion, a better way to work.
00:04.560: But you know, I don't think that anybody could I don't think, you know
00:04.560: I mean, and Premiere's hover scrubbing thing
00:04.560: Like I I I like how avid when you duplicate in the timeline, that new version is what is loaded that you're working on, 'cause I've often you know, we duplicate to get to load the damn thing up.
00:04.560: And then like the next day I went into the office and I had to open a Final Cut 7 project.
00:04.640: And I think it was about two years ago
00:04.640: Um well, a little of everything, lots, you know, quite a few music videos, not as many of those as I used to do.
00:04.640: I would take a fraction of a percent of the billionaire.
00:04.640: Right.
00:04.640: I know.
00:04.640: There are.
00:04.640: You don't see the note column in your timeline, you see the name of the clip.
00:04.720: I'm trying always trying to find the better tool because they they always, for the most part, in theory, they should always be getting better with updates and new
00:04.720: Here it is.
00:04.800: Act last year they did a ton of healthcare stuff for several different companies and the you know rains in the
00:04.800: Yeah.
00:04.800: Well, how do you do this?
00:04.800: Just today I was working on just a very simple, you know, talking head over green, well shot.
00:04.800: I was like, really?
00:04.800: Yes, I agree.
00:04.800: Let's change it.
00:04.800: I think in the Advid it calls it like copy one.
00:04.880: But so it's actually a a a very important subject in our um U sh you know, shitty US healthcare
00:04.880: But if you're in the middle, that's you know, it's it's a it's a huge, huge expense.
00:04.880: And you can always pull multiple subclips.
00:04.880: Undo it, take me back to where I was.
00:04.960: He's going to tell you some things about Falcotten he really likes.
00:04.960: There's actually quite a few, come to think of it.
00:04.960: And then I want to get to your beefs.
00:05.040: And it's like, Yeah, go to town, man, knock it out, you know, and made these crazy
00:05.040: He'd do his ten hours or more.
00:05.040: I'm not sure I don't know how many wives would go for that, though.
00:05.040: Avid was not affordable.
00:05.040: I know.
00:05.040: Like, I'm going to cut this thing on Avid, and next week I'm going to work in Final Cut 10, and then I'm going to go to Premiere for
00:05.120: But it worked out really well.
00:05.120: What did you start on?
00:05.200: And I've never done that before.
00:05.200: Yeah, no one knows a Tuesday after NIV when I went into
00:05.200: I it's I like the change like the change of interface, the change of you know, dynamic, and that's that's
00:05.200: But then I tried smoke with nodes, and I'm just like, oh, just shoot me now.
00:05.200: What are some things that you really dig about the application?
00:05.200: Metadata is wonderful, though I think the majority of us are absolutely clueless into how to really use it properly.
00:05.280: Oh, wait.
00:05.280: If I do the same thing in After Effects, it actually goes, Oh, look at that, I can see that you had a version one.
00:05.280: So, tell me about some things that you would love to see different in Final Cut 10.
00:05.360: But Nashville is a commuter town.
00:05.360: Did you take a look at it the first day when it was available to download?
00:05.360: Then the next question is: well, what are you cutting?
00:05.360: And yes, I know you could work in a compound clip, you didn't have to work in projects, yeah, blah, blah, blah.
00:05.440: So Nashville is kind of the health care like administration capital of the world, what I'm told.
00:05.440: Media 100 was fairly big in some regions.
00:05.440: It's just like, you know, anybody who's a cynic and/or been doing it for long enough, you know, it's like nothing is perfect.
00:05.440: I have done many of them, and I know how deceptive they can be.
00:05.440: You often hear Premier talk about the hover scrubbing that Premier came up come came up with, which is their sort of answer to skimming in Final Cut 10.
00:05.520: And I also want to apologize.
00:05.520: 97, your choices were
00:05.520: But then, yeah, once I got into film school, that's what they
00:05.520: And, you know,
00:05.520: Are you talking about a demo you saw?
00:05.520: I I wish I was a better compositor.
00:05.520: Well, you get a green screen that's shot well, you know, most all the I mean, Premiere and Avid both have really good gears, and if it's shot well, it's a pretty quick little
00:05.520: Let's make it more user-friendly.
00:05.520: Share with your friends.
00:05.600: He had his Final Cut 10 chops were, you know, very fresh, very fresh.
00:05.600: Let's go to Scott Simmons in Nashville.
00:05.600: And then Exp Avid Express Pro and then, you know, about Final Cut 3 it became
00:05.600: Yeah, I think one of the um one of the things that gets lost in a lot of the discussions about
00:05.600: Um, I don't think Randy has ever
00:05.600: And then combustion died.
00:05.600: Like you don't necessarily have in and out points the same as you used to.
00:05.600: And that's something we haven't had before.
00:05.680: I was a graphic designer before, like between college and film school and uh and editing, you know, that was
00:05.680: And oh, that looks really neat.
00:05.680: We we all like first looked at it and we're like, ugh this I ugh, I can't work like this.
00:05.680: You don't get any faster than that, but that's not the real world.
00:05.680: Well, totally, yeah, yeah.
00:05.680: Oh, this is the shot, go.
00:05.760: I mean I I freelance for many years you know prior to that job.
00:05.760: Look, I'm cutting 16 streams of 4K red in real time.
00:05.760: I found the limit of Scott Simmons' mind.
00:05.760: I don't want it to I don't want to trim at a sort of a macro level in the time line.
00:05.760: So here's a library.
00:05.760: If I'm working in a timeline now and I hit duplicate, it's going to duplicate it in my keyword collection.
00:05.840: And then, primarily in this episode, you're going to hear what he likes about Final Cut 10.
00:05.840: And it was like, man, if it can't handle that, then it's
00:05.840: As long as you don't make it an octagon, because the ride will be very bumpy.
00:05.840: I I I I I think that I think that's often said because I can't I can't be as precise marking my ins and out points on my source media.
00:05.840: And that seems so silly.
00:05.840: I mean, the project, the old project way.
00:05.840: You know, you can do things different.
00:05.920: I don't know when this comes out, but there's a quarterly payment due.
00:05.920: And she basically just drove him between places so he could sleep.
00:05.920: And then you know, I I've asked questions on Twitter before, like in After Effects, you know
00:05.920: I feel like I need to touch something.
00:05.920: I don't want to do that.
00:05.920: So that's good.
00:06.000: Now, it was very interesting when I brought Scott onto the show.
00:06.000: I'm working right now on a feature-length documentary on health information exchange systems.
00:06.000: Yeah, totally, yeah.
00:06.000: Have you used that much?
00:06.080: I don't see how that could ever change.
00:06.080: I can't seem to dial it in as quickly as I do in, you know, in a Premiere or in an Avid by having it in that
00:06.080: I mean you know, the the other thing that bugs me is the fact that
00:06.160: You know, but it's like typical any I mean, I'm always a skeptic on everything.
00:06.160: I cannot seem to get a beta of that to try that out.
00:06.160: I don't know After Effects.
00:06.160: But like, you know, why?
00:06.160: Like I think or I can change the audio level.
00:06.240: Here, here, here's my checkbook.
00:06.240: Right.
00:06.240: Really?
00:06.240: If you don't have a Thunderbolt,
00:06.240: But when I'm looking for
00:06.320: I've never actually cut somebody in half.
00:06.320: I've made, you know, a spare bedroom into into my edit suite and it yeah, it's like I I as much as I love automobiles and cars, I would
00:06.320: Now I know you just finished, I think it was like a short dock, long dock.
00:06.320: You know, if once you have 10,000 hours doing something, you can call yourself a pro.
00:06.320: It'll be very interesting to hear what Scott has to say.
00:06.400: So, in this episode, you're going to hear Scott
00:06.400: I mean, subclips are a great thing, you know, that's we've subclip forever in NLEs and we you have to be able to.
00:06.400: Next episode, you're going to hear a lot more from Scott, and you're going to hear him talk about some really interesting
00:06.480: 'Cause I think that's when I went freelance the first time was about Final Cut Version Three.
00:06.480: You can still do pretty well, but it's not quite
00:06.480: What are you cutting?
00:06.480: But I think when I think metadata, often I like the fact that I can select
00:06.480: But I like to duplicate, give it a later number.
00:06.560: How did you um how did you learn your craft?
00:06.560: Final Cut 10's wonderful.
00:06.560: But then the problem with that being that if you have a timeline that's four and a half or five hours long,
00:06.560: Final Cut 10 is is snappier and it
00:06.640: There's several that.
00:06.640: I mean, I really, I really enjoy that.
00:06.640: Even though it has I'm sorry, go ahead.
00:06.720: But beyond that, it's like the first question to ask after that is
00:06.720: Undo.
00:06.720: What would you say to somebody?
00:06.800: And his wife would drop him off, get out of the car, Fred.
00:06.880: So I mean, I had I I think I had used um
00:06.880: I've never heard never thought about that before.
00:06.880: There was no multicam at the time, but you sync it up, make a compound clip, then all he's got to do is go through, you know.
00:06.880: I said, hey, can we all just agree?
00:06.960: Scott Simmons lives in Nashville.
00:06.960: Oh, gotcha, gotcha.
00:06.960: And I was I was sitting next to Walter Biscardi of Biscardi Creative Media in Atlanta, fell fellow Southerner.
00:06.960: And I mean that's the that's where the After Effects stuff can come in.
00:06.960: Like, I can apply a custom name.
00:07.040: Exactly.
00:07.040: I didn't I mean, I didn't know what I knew what I thought was funny, but he needed to kind of go through and let me know what needed to come out.
00:07.040: Or at least drawn to.
00:07.120: But how do you get better at it?
00:07.120: There's no reason you can't do the same thing in Avid or Premiere in a bin.
00:07.120: I mean, that's a pretty important operation that you're doing.
00:07.120: Even like just appending the name of your clip with ACAM.
00:07.120: But if you could ask everyone who's using Final Cut 10 right now,
00:07.200: And yeah, it's not commuting is not fun.
00:07.200: She'd come she'd pull into the driveway of the studio
00:07.200: Yeah, well that I years ago, it was probably eight years ago maybe, I remember did a um
00:07.200: I mean, not so much that he couldn't.
00:07.200: Or
00:07.280: I mean, there's no public transit's terrible, so I have no choice but to have to have to commute.
00:07.280: And we see all these Mac Pro
00:07.280: So I want to get to that.
00:07.280: And in fact, I think it's really hard inside of Apple to sit in a conference room or in a meeting room and say, Yeah, that's really stupid.
00:07.360: Oh, yeah.
00:07.360: I don't know if I want to walk down it, you know?
00:07.360: So you can shuttle, shuttle, I-O-E, drop it in, you know.
00:07.360: But like I seem to find that when I'm in thumbnail view, I'm pretty much always I'm always on all.
00:07.360: No.
00:07.360: Oh, yeah.
00:07.360: Like if there was a number on the end, it would just see that number and give you one number higher.
00:07.440: And
00:07.440: I mean, that's that's certainly a skill that I wish I could, you know, make it in my brain.
00:07.520: And, you know, it's from my understanding that
00:07.520: Really?
00:07.520: You know what I mean?
00:07.520: I think
00:07.520: Oh, look, my ins and outs are still set.
00:07.600: Exactly.
00:07.600: Who's the rival podcast?
00:07.600: That's getting into the bad things, though.
00:07.600: I would say, unless you're being.
00:07.600: Because if you're that stupid, if you're that dumb, you're probably using iMovie or just not editing at all.
00:07.680: Go into banking, play with the checkbook.
00:07.680: I'm just talking about Final Cut 10.
00:07.680: So to be able to change the name of the clip in a batch way, little thing, but
00:07.680: But I think the thing that's the most amazing thing about the library structure
00:07.760: That'd be great to be able to type during that whole time, but you can't type a drive.
00:07.760: It'll work with any format you throw at it.
00:07.760: Well, you know, I don't do that.
00:07.760: So it's literally you know one two
00:07.760: I mean, even the sixty-four-bit Avid
00:07.760: You can scrub differently.
00:07.840: We had some problems with the technology.
00:07.840: Next episode, it'll be a little bit different.
00:07.840: That was definitely the big thing.
00:07.840: And the tall ones are, of course, the ones that have a lot of layers and graphics.
00:07.840: They just came out with a version 2.
00:07.840: I'm like, oh my exp
00:07.840: I've gotten to the point for the last year and a half.
00:07.840: I mean that just seems so stupid now that we can't
00:07.840: I mean, I'm sure that, you know, once they, you know, when people started using it, that was such a common complaint: you know, the whole way the way project.
00:07.840: But
00:07.920: Yeah, well I I did have my four-year-old was like, you know, I was working on this j
00:07.920: Yeah.
00:08.000: Okay.
00:08.000: I mean, I know it, but I just can't.
00:08.000: I'm like, Oh, that was a waste of, you know, however many hundreds of hours.
00:08.000: I think one
00:08.000: I will I will
00:08.080: Yeah, yeah, and like no warning either.
00:08.080: And, um
00:08.080: Much, much better off in the end, yeah.
00:08.080: Because we all know these people.
00:08.080: Tweet about the show.
00:08.160: And um I mean, I've said before, I mean, I I I honestly believe, you know, and I'm sure that
00:08.160: Maybe I'm just, you know, stupid in that sometimes, you know, I like to kind of, you know.
00:08.160: So I think I'm probably not I probably haven't beg begun to use the sort of snapshot
00:08.160: Who would have ever thought that a computer could read a number and add one to it?
00:08.240: I mean, I think I only worked on Media 100 maybe once.
00:08.240: Right, right, right.
00:08.320: But I mean, I
00:08.400: You gotta do it.
00:08.480: Yeah, I actually knew an audio engineer years ago who would.
00:08.480: I mean, between insurance and, you know, what insurance doesn't pay for and those that can't afford insurance.
00:08.480: But you have to ask those questions or you have to know those answers
00:08.480: I was really impressed.
00:08.560: And primarily are you doing
00:08.560: Now, if you remember the earlier versions, they wouldn't remember those things.
00:08.560: There's a few things that don't
00:08.640: Oh, yeah, absolutely.
00:08.640: And, you know, it was one of these like
00:08.640: There are things I love and things that I hate.
00:08.640: It's awesome.
00:08.640: We cut it down to.
00:08.640: Yeah.
00:08.720: I think it's at the third week of January there.
00:08.720: And um, it was just, you know, it's it's a
00:08.720: They didn't work in the real world anymore.
00:08.720: You know, it's kind of like
00:08.720: Who's that?
00:08.720: So that's why I s I tend to I think I tend to work in list view.
00:08.800: I mean, the idea that
00:08.800: You've got these range selections.
00:08.800: What are some other things you enjoy?
00:08.800: Yeah, let me ask you about that.
00:08.880: Tell your friends, obviously, if they're Fannel Kit users, Fanoka 10 users.
00:08.880: You know, so there's some applications that just demo really well.
00:08.880: There's still good things.
00:08.880: You can trim a lot easier and better.
00:08.880: But it's you know, things
00:09.040: If I know exactly what I want
00:09.040: Yeah, but that was a workaround.
00:09.120: But yeah, it was you know, it's always kind of a
00:09.120: Well, let me ask you about the kind of work that you're doing.
00:09.120: Part of where that money goes.
00:09.120: I haven't been able to get it.
00:09.120: I mean, whatever.
00:09.120: And it's kind of the same with After Effects.
00:09.120: I can select twenty-five clips and pull the volume down, you know, minus ten dB if I want to.
00:09.200: And the playhead often won't move back there.
00:09.280: So
00:09.280: 0.
00:09.280: I just not good at it.
00:09.280: It's that post-show.
00:09.360: There's a limit, and I do that too.
00:09.360: Leave comments on iTunes.
00:09.440: He's a big time editor guy.
00:09.440: And I think that I myself.
00:09.440: Yeah, yeah, you know, I was just going to say, it seems like we've kind of gotten onto the bad things.
00:09.520: It was shot with three kind of odd cameras that were thankfully I think maybe one was an off frame rate if I remember correctly.
00:09.520: I mean I can do stuff in it and I do a lot in it.
00:09.520: I would say one change in in essence means I think there are people now who can see
00:09.600: A lot of corporate stuff, you know, a ton of uh
00:09.600: But they're not very complex things either.
00:09.600: And the fact that in now Premiere and and Falcon Con 10, you can just move the mouse over it.
00:09.600: You can apply multiple.
00:09.680: There's a bunch of upgrades to it.
00:09.680: It's like, oh, kill me!
00:09.760: I think in my own world, when it comes to
00:09.840: Well, yeah, just because there's a lot of folks out there with a lot of cash to
00:09.840: Because I may have forgotten exactly where I was.
00:09.920: You know, that's much better.
00:09.920: You know?
00:09.920: We gotta know what it's like with with a um a proper RAID hooked up to it.
00:10.000: What what's your background?
00:10.000: Later, later.
00:10.080: Exactly.
00:10.080: Not your rival, but you know, another post-production podcast.
00:10.080: It's total.
00:10.160: I want to hear your
00:10.160: So what are you cutting in?
00:10.240: Can I try?
00:10.240: There's too many too many knobs out of place, if you will.
00:10.240: I lo you know, it's
00:10.320: So
00:10.320: You know, some there are things that are like, I can't believe no one has thought of that before.
00:10.320: He actually tweeted me today, and he goes.
00:10.320: I make select sequences all the time.
00:10.400: 1 tutorials.
00:10.480: And like, oh, that's well, that's kind of nice.
00:10.480: Just like when you undo, oftentimes your playhead and the timeline doesn't jump back.
00:10.560: 'Cause I was getting a lot of people asking me.
00:10.560: Just ask my wife.
00:10.560: There are just certain things that aren't a better way to work, and there are certain things in Funnel Cut 10.
00:10.560: I want to mark what I want, throw that in the time line and then move on.
00:10.640: But they were talking about, like, you know, how do you get better at doing green screen?
00:10.720: I don't and maybe that's just me, that I always seem to have it takes me longer
00:10.800: And he's so he's like, you know, monkey around and clicking the curves with the mouse and
00:10.800: But like, you know, there was a time back
00:10.800: All that stuff really helps.
00:10.960: I don't think there were there were several of them in Nashville, but not a lot.
00:11.040: Yeah, I've always said to people that um
00:11.040: Where's the limit of your understanding of After Effects?
00:11.040: Exactly.
00:11.120: Now, in the next episode.
00:11.200: I almost feel like that way.
00:11.200: And I'm sure that metadata will rear its heads
00:11.280: It's so much, so much snappier.
00:11.360: Because I think Scott has some really good um
00:11.360: You mean actually having a driver?
00:11.360: I mean that that that to me is the difference between
00:11.440: And it's you know, I it's it's
00:11.440: Yes.
00:11.440: Yeah, one would think.
00:11.520: He does a lot of music videos and corporate and stuff like that.
00:11.520: Are you doing stuff in the timeline?
00:11.520: I'm still in seven.
00:11.600: And sometimes it just seems to randomly move
00:11.680: Years ago I remember buying Discrete Combustion.
00:11.680: But a good example of
00:11.760: Yes, there's a total workaround.
00:11.760: And I think now with
00:11.760: I think it was the one about how to upgrade to 10.
00:11.840: Right.
00:12.000: And it's it's kind of actually and some interesting stuff.
00:12.000: And a lot of people were.
00:12.000: And um you know, because I like that really long
00:12.080: So here's a guy who does know.
00:12.080: It's clearly an exercise in organization.
00:12.160: I feel like I'm more of a
00:12.240: I will say that.
00:12.240: But the idea that
00:12.400: 'Cause student debt.
00:12.480: That post-show.
00:12.560: I understand that you're.
00:12.640: 'Cause I mean, I I had you know, I had been using
00:12.640: Yeah.
00:12.960: It was well shot, nice background.
00:12.960: Like I rarely ever
00:13.040: Yeah, it's a really, really
00:13.120: Like that
00:13.520: But I don't think I've seen a
00:13.920: What are some more of the good things?
00:14.320: 1.