Episode 15
FCG015 - Episode 15 (feat. Scott Simmons)
Download
Transcription
00:00.001: It doesn't select that clip.
00:00.001: But if you haven't experienced dynamic trimming, like I will tell you flat out, I've never dealt with any dynamic trimming.
00:00.001: What sucks here is it sounds like there's so much more that I want changed, and it's only my ability to bitch and complain.
00:00.080: you know it's not going to shift everything in quite you know in quite quite the same way yeah i think i think one of my breakthroughs with 10 was when i
00:00.080: Because like you can tell nothing by a sequence called untitled sequence.
00:00.080: get dupe detection in the timeline.
00:00.080: Trim moving video because moving video moves and plays and you hear it.
00:00.080: Or something.
00:00.080: To me, it's totally understanding.
00:00.080: Yeah, like I never really made a favorite bend in Final Cutter Avenue.
00:00.080: Well Gee, if you Google keyboard manifestos, I wrote a blog post about this years ago about mapping your keyboard.
00:00.160: Sam Messman, who was actually a guest on one of the first shows, he's somehow connected to this.
00:00.160: You know, I suddenly have a range marked in the primary storyline, even though I may have a secondary storyline above that is the focus of everything.
00:00.160: I can put an audio track in the primary storyline, this is true, but suddenly I lose all that focus of the primary storyline.
00:00.160: But I don't want to change my timing past it.
00:00.160: I've purposely left a slug there so I'm not screwing up anything past it, so my stuff doesn't slip off my beats or my music hits, whatever.
00:00.160: push it again, timeline kung fu, push that back down into the primary storyline, and now I can keep going the way I was.
00:00.160: Suddenly I'm having to be way more conscious of throwing stuff out of sync because of the magnetic timeline.
00:00.160: I'll say that.
00:00.160: nicer, be cleaner.
00:00.160: you know what is it is it timeline tuesday i think it i think it is where people tweet on twitter yeah snapshots of their of their timelines and weston i don't know if you know weston woodbury
00:00.160: It was like really, really nice, but it was a map to his story, what he was telling.
00:00.160: But he tweeted this amazing After Effects timeline and it was gorgeous.
00:00.160: Lot different than the way we used to, and I didn't do much of it, but the way you would used to, you know, sub comp or what did we call it before?
00:00.160: I mean Final Cut 7 was kind of good, but then sometimes it didn't work real real well.
00:00.160: you know, a lot of times, just so I can see that, but then I suddenly have this, you know, kind of I I will get an unwieldy time line at some point if I have enough of those things that are that are all expanded.
00:00.160: There's a different word for it because nothing can be named normal.
00:00.160: In my keyword collection.
00:00.160: But it has to keep track of where it came from.
00:00.160: I'm not actually using as much as I could.
00:00.160: You know, I see what you're saying.
00:00.160: I just wanted to be fast and you know I want to be I'm a speed man.
00:00.160: And don't get wrong, I love it.
00:00.160: I didn't I mean, I don't bring it in, I just have to go back and re redo 'em.
00:00.160: Yeah, and it's good.
00:00.160: A clip in the primary storyline that has audio?
00:00.160: Okay, that's a pretty common thing that you need to do.
00:00.160: Finesse it even more, whereas in Media Composer, you just trim mode, hit the J the L button, and it just plays.
00:00.160: Well, no, I and I would agree with you.
00:00.160: a natural question of like, wait a minute, how come when I add an edit or I I selected an outpoint and why does it always go to the primary storyline?
00:00.160: that's the multi-step way to do it.
00:00.160: Split second, one second to do, whereas shift seven takes a split second.
00:00.160: To somebody, somebody will call me up.
00:00.160: Thing to do some edits and stuff like that.
00:00.160: And make selects.
00:00.160: It's my little fluid floater key.
00:00.160: The same.
00:00.160: Yes, got simmons.
00:00.160: Off your old NLE mind for a little while, you will be able to see some stuff that you really like.
00:00.160: Quarter here.
00:00.160: And he and I were talking about the whole colorboard thing.
00:00.240: When we sat down to talk with Scott, the conversation went long.
00:00.240: And I said, you know, this would be a great time to talk, you know, while it's all really fresh in your head.
00:00.240: You have to consciously make a dedicated effort to select a secondary storyline to
00:00.240: make an effort to go to the secondary storyline.
00:00.240: And a story edit is: I don't care how long it takes him to say this line, but I am going to be on this shot until he says it.
00:00.240: It would be nice to have another mode to go into where we go, Yep, I need to be able to lock things down to time.
00:00.240: Kind of locked in, and then but then there's always finessing that had to do, but you know, if I wasn't absolutely conscious of things like you know, adding a leaving a gap behind or
00:00.240: you know, how I made that certain trim, you know, all that stuff could shift and it would then suddenly, you know, I would I would lose all those those story beats that I built to that music.
00:00.240: And now I have a slug that I can either replace a new shot into or wiggle around something I like.
00:00.240: all that other stuff in sync.
00:00.240: That it really encourages me.
00:00.240: God-awful messes.
00:00.240: keep your timeline.
00:00.240: Yeah, I mean, I totally agree.
00:00.240: a few subcomps, but you know, it it was it was beautiful.
00:00.240: and you have expanded audio components and you made lots of split edits and you've done some kind of extensive audio editing within that secondary storyline.
00:00.240: Which can be kind of an important thing for a couple of reasons.
00:00.240: Suddenly, you have this secondary storyline that you cannot look at that and tell that you've done all this extensive audio editing.
00:00.240: You can't look at that secondary storyline and tell that you've done all of this extensive audio work in there.
00:00.240: look at it and see exactly what I've done just, you know, just by taking a t by taking a peek at it.
00:00.240: And I I you know, I wish there was some kind of more visual way to and then I just pretty much leave my leave my audio expanded.
00:00.240: I don't care.
00:00.240: I found myself going to that bin browser and using the fine and again, this falls under the category of I can work in the application, but I'm still learning it.
00:00.240: Wow, I can search for it right there.
00:00.240: Then the other thing is, and I don't know what it's called, but it's the little pull-down menu above.
00:00.240: That because that's something I don't program, I don't design my application.
00:00.240: Can I actually use that feature?
00:00.240: Hang on, what's that called?
00:00.240: I agree.
00:00.240: Yeah, I'm with you.
00:00.240: I thought there's a way you could sorta hide those things.
00:00.240: command that they have added.
00:00.240: seven because then you still have an indicator of what clips you have affected.
00:00.240: Yes, I agree totally.
00:00.240: God forbid it be added complexity.
00:00.240: I go out and I find the correct pronunciation, want to insert just that word into his audio.
00:00.240: Clicks to get rid of a word.
00:00.240: And God knows Avid is not an easy thing to learn.
00:00.240: End point, out point, delete, gone.
00:00.240: When you talk to somebody who has the kind of experience that you have.
00:00.240: And then I think about it and I go, Well yeah, that would be kind of nice, come to think of it.
00:00.240: That's command option S.
00:00.240: until you think about how many thousands, hundreds of thousands of times you've had to do this over your whole editing career.
00:00.240: Not necessarily.
00:00.240: Yeah, it's those four.
00:00.240: Well, but there seems to me in Final Cut 10 to be a lot more weird modifier key shortcuts than there is in Avatar Premiere.
00:00.240: Listen to this theory.
00:00.240: maybe I think I'm smarter than the programmers, but I really honestly believe I can I know what I need where I need it on the keyboard better than the people who write the program.
00:00.240: The editor's retreat in Savannah or whatever, and you're sitting in a room with a bunch of editors, and one of them turns to you and you go, You know, I heard you on that stupid Funnel Cut show actually saying you liked Funnel Cut.
00:00.240: It's an NLE for editing and is ultimately is getting you to the same destination as whatever it is that you're using, arrogant asshole.
00:00.240: kind of a new fun thing.
00:00.240: and how much more um how much more fluid it makes some of that stuff is a is a very good thing.
00:00.240: Sit down, have a drink someplace.
00:00.240: So that's something we've been doing in our office.
00:00.320: And I've really been enjoying some of the tweeting back and forth with both guests and listeners of the show.
00:00.320: So, I want to thank you for doing that.
00:00.320: Yes.
00:00.320: So at this point, let's rejoin our interview with Scott Simmons in progress.
00:00.320: Overwrite something to insert something into a secondary storyline.
00:00.320: I'm aiming for that secondary storyline than I do that I'm aiming for V2, V3, V4.
00:00.320: Yeah, so to me the white dot is it's it's useless now.
00:00.320: that selects the clip in the primary storyline.
00:00.320: Help me out here.
00:00.320: It's it's that's me to me that's too primary storyline focused.
00:00.320: that focus of the primary store?
00:00.320: You know, I have this many frames to put a thing, and I, you know, stuff that's more musically oriented, possibly.
00:00.320: Where this has to hit at this beat at this moment, or I have to be out to black at 28, 29, or whatever, or 29, 28, whatever.
00:00.320: And so it seems like most of the fluidity of our beloved what do they call it, the magnetic timeline, is really great
00:00.320: And so, to me, that is just evidence of, yeah, yeah, we're listening.
00:00.320: Yes.
00:00.320: This new clip into whereas, if I could just kind of override a connected clip, I could keep a more organized timeline.
00:00.320: The stack of, like, you know, 17 clips deep because, you know, I tend to, you know, cut the stuff long and then go back and
00:00.320: Just the storyline, I got to select all those clips and expand them all.
00:00.320: Yeah, nesting, where you'd have a bunch of crap nested in, and then you and this thing.
00:00.320: Make an effort to dig back in and see exactly what you know what you've done in there.
00:00.320: When you have a secondary storyline and you collapse all these audio components after you've done work, it's not the same as a compound clip, but in essence it's a little bit of a nest because you can't tell anything from it just by looking at it.
00:00.320: Yeah, that's a really good point.
00:00.320: look all around to actually find the clip that just matched frame two.
00:00.320: you know, and just randomly puts the playhead somewhere.
00:00.320: My multicam clip, which is not a bad thing necessarily, because there are times when you'd want to do that.
00:00.320: I've noticed sometimes that when I undo, like it deselects some clip selections, like I made some M's here.
00:00.320: to be good and sometimes I can't like I l you know, I like the fact I can make multiple clip selections But then sometimes I can't seem to get rid of them.
00:00.320: I don't think so, because it's pretty extensive.
00:00.320: Feels right.
00:00.320: Overlay, it's the weird word, but I'll use the Q key to overlay it where I need it, select it, jiggle it, comma and period, slide it back and forth until it
00:00.320: And I did something similar.
00:00.320: That's way too many steps.
00:00.320: you know, track-based, avid, you know, mofo needs to just turn Final Cut off.
00:00.320: Think or react.
00:00.320: They just don't know any better and they don't care.
00:00.320: And then it's like, oh, well, that is kind of neat.
00:00.320: Sometime quite often with this application.
00:00.320: Suddenly, it's like, whoa, wait a minute.
00:00.320: So it kind of goes both ways, where you see the good side of that one and you see the good side good side.
00:00.320: If I have a complex timeline with multiple layers and audio and all this kind of stuff, and then I'm realizing, you know what, I want to delete
00:00.320: You know, delete the entire every layer, every layer of audio, every layer of video, and just close that gap.
00:00.320: Be sure that I make my timeline smaller.
00:00.320: I never did.
00:00.320: Now that you mention it, I know that it could do it.
00:00.320: My my find in browser or whatever, my match frame is mapped to F7 instead of Shift F.
00:00.320: Yeah, so it just dawned on me why I remember all my keyboard shortcuts.
00:00.320: if you think about the genesis and the why what was Apple trying to do with Final Cut Pro 10?
00:00.320: I was just saying, like, you know, shift F being the match frame, I put that to F7, because that's always been my static place for match framing.
00:00.320: My fr I think of the the post was called My Friend F12 because F12 was a key that I that I always kept fluid.
00:00.320: put that on F twelve, my friend F twelve.
00:00.320: I don't understand, you know, Scott.
00:00.320: Cool, very cool.
00:00.320: Reaching the limit of what you can and can't do.
00:00.320: Thursday it will post.
00:00.400: to a certain point.
00:00.400: to consciously put something into a secondary storyline than it is to put something onto video track two, three, or four in a track-based system.
00:00.400: Yeah.
00:00.400: Does that make sense?
00:00.400: Overwrite a connected clip.
00:00.400: when you collapse the components back down, collapse audio components or unexpand audio video
00:00.400: Audio editing I've done for say a little bit of a B-roll story underneath my interview.
00:00.400: The what?
00:00.400: Match frame back to the source file from a multicam clip.
00:00.400: Right?
00:00.400: You did?
00:00.400: Should have been mapped to the keyboard that you have discovered and said, oh, I need to use this?
00:00.400: Premiere has that cool little, they show you a line or something, there's some, I can't remember what it is now, but there's a little indicator that says there is a plug-in on this clip.
00:00.400: And you can't add a because so let's say you were going to put, I don't know, let's say we're going to put a vignette on every clip.
00:00.400: What has some effect on it that had to be rendered?
00:00.400: You know, peel it back, so to speak, to get rid of the old bad word.
00:00.400: Which I mean, I would definitely call Funnel Cut 10 a disruptive application.
00:00.400: Let me explain why I would.
00:00.400: The people who have made the app, one of two things is true.
00:00.400: a very deep timeline where I've got you know multiple video layers, graphics, as well as several layers of audio.
00:00.400: Well, we could debate that, but it's interesting because when you said, oh, I can't do that, I'm like, yeah, I can.
00:00.400: The process that I outlined, blade all, blade all, select, delete, I was like, that doesn't seem so hard, but you have more experience.
00:00.400: I have and I have said this to many people over the years, I have a bizarre ability to retain basically every keyboard shortcut I've ever learned.
00:00.400: Well, no, I'm an idiot, Savant.
00:00.400: And I remember getting really into it for a while.
00:00.480: in um in January uh is the FCP Works um event in LA on January twenty fifth of of uh twenty fourteen
00:00.480: If you're in the LA area, you may want to go to that.
00:00.480: To what extent.
00:00.480: But like even a range selection, if I hit X, that's going to mark the range selection of the primary storyline, even if I have a secondary storyline where my little magical white ball sits.
00:00.480: Really encourages me to say, yeah, we should be talking about the things that we want to see better.
00:00.480: So, you would connect a clip, suddenly it's on top.
00:00.480: A cleaner editor.
00:00.480: Yeah, trim stuff up or override something with my next my next B-roll clip.
00:00.480: Yeah, but that subclip could only live in one bin.
00:00.480: Yeah, no, that makes sense.
00:00.480: that if they add a new keyboard command that didn't exist before, that my custom keyboard mapping does not see that new
00:00.480: it was because I was using that ProCut X keyboard set and it didn't recognize.
00:00.480: Okay, that's such a simple thing you need to do all the time.
00:00.480: 17 seconds right there.
00:00.480: If something that takes me two or three steps to do, or why is my
00:00.480: I use an iPad app called Actions that I've mapped a lot of the things like lift from primary storyline, expand audio components.
00:00.480: Amalgamation of making it very similar over the years, and I have yet to haven't tried that with Final Cut 10 yet.
00:00.480: And the reason F isn't match frame anymore.
00:00.480: I map that to F4.
00:00.480: All right, so that's Scott Simmons.
00:00.480: was the keyboard customization tool in Final Cut Pro.
00:00.480: But be looking for it.
00:00.560: So there's multiple sessions.
00:00.560: I kind of came up with the term in my head of timeline kung fu.
00:00.560: Event.
00:00.560: Once recently, and it dawned on me that I forgot, and this is slightly different, but
00:00.560: I'd like to know that.
00:00.560: Well, yeah, but see, it was really easy before.
00:00.560: But it is, you know, it's like any LE, it does the same, they all do the same things in a slightly different way.
00:00.560: or they're the the programming management side of them are saying, yeah, we haven't got to that yet.
00:00.560: I'm just not a fan of it, mainly because I move about between multiple machines a lot.
00:00.560: It will post, and I'll keep that up as long as we can.
00:00.640: That he would like to see changed.
00:00.640: Okay, let's think about this.
00:00.640: Whereas like X is mark an IO at this clip.
00:00.640: when we are doing story based editing.
00:00.640: I always forget that in my bin browser, there's a little find command right there.
00:00.640: Okay, Apple, so we're hoping you're listening.
00:00.640: D-E-E-L.
00:00.640: Right, right, right.
00:00.640: Which is blade everything.
00:00.640: Last sue the stuff you just cut through and hit delete.
00:00.640: My Premier Avid Final Cut 7 keyboard is just all you know, it's kind of all over the place because it's sort of it's constantly fluid, it changes, it fluctuates, because I may realize, like, well, I really need that kind of key a lot.
00:00.640: So let me ask you this then.
00:00.720: kind of an emotional story, so the story built.
00:00.720: In the magnetic timeline than I do in a non-magnetic timeline.
00:00.720: And move the clanked clip down on top.
00:00.720: I think there is an element of that, yes.
00:00.720: I just want it to work.
00:00.720: Start to scroll around.
00:00.720: I hate that analogy because.
00:00.720: I mean, Premiere has got it really, really good now because it works on audio, it works on video.
00:00.720: You're saying you want to push everything down 17 seconds?
00:00.720: You know, and I would shift elite.
00:00.720: Yeah, you will.
00:00.800: I don't know what this says anymore.
00:00.800: Yeah, like I bought that ProCut X iPad app, and it had its own keyboard set.
00:00.800: Well, that's a good point.
00:00.800: Separate the audio and then cut the audio cut the audio track and then
00:00.800: No doubt that some of these things will happen.
00:00.800: Match frame is Shift F or whatever find an event is shift F.
00:00.880: That's kind of cool, except that if the white dot is on a secondary storyline, how come when I do an insert edit, it goes to the primary storyline?
00:00.880: Okay, what else do we have on the Scott Simmons laundry list?
00:00.880: All the layers are gone.
00:00.880: On the one sense, it seems way more about everything else.
00:00.880: I would like to.
00:00.880: Remapping tools that really aren't accessible unless you know about them.
00:00.960: It's too the primary storyline is the basis of Final Cut 10 of a timeline, right?
00:00.960: There is no good reason as to why it is.
00:00.960: In Avid, and you begin to trim by playing media back, which you can't dynamic trim in Final Cut Did.
00:00.960: Final Cut 7 had it just didn't work very well.
00:00.960: You should give it a whirl, come to it with an open mind, but just realize there are things that will drive you bonkers if you know another NLE.
00:01.040: I think one of the things that happens whenever you have a disruptive piece of technology
00:01.040: The other problem with the disruptive technology is that it's one of those things where and I hate to sound like a generalization, but the kids
00:01.040: We know that because we've had better match framing in other applications.
00:01.040: So it really is ultimately getting to the same thing.
00:01.120: Those comments that you do, it makes a big difference for the show and it helps in the rankings.
00:01.120: And you can have a very pretty well organized Final Cut 10 timeline.
00:01.120: The the keyword collection that it was originally edited from.
00:01.120: So now, not only do I have to keep, does the timeline actually have to keep track of all the clips
00:01.120: Work in progress.
00:01.120: tv, that's my uh my uh my website, Editreel.
00:01.200: I have to move the mouse over that clip and then hit C to select that clip.
00:01.200: But I mean, I've seen some timelines.
00:01.200: So if I have a raw event, yes, I agree.
00:01.200: Yes, I I could search out that way, but you know, it sure is easier to push one button and have that clip right there than to like
00:01.200: Like if I if I'm in here now, if I type remove I get remove all keywords, remove analysis keyword unrate delete.
00:01.200: But the the quick way of favoriting now, you have a new little like um asterisk almost that that exists in Final Cut 10 that's great because I can just like, oh, that's really good favorite.
00:01.200: I mean, you know what?
00:01.200: So I enjoy the process of going through Final Cut 10, you know, quite a quite a bit because it has some really nice features in it that we don't get in other in other NLEs.
00:01.280: So it's going to be in Culver City.
00:01.280: What does the letter C do?
00:01.280: There are things I'd like to see different, and I think that seeing the way that they responded to the project slash library issue
00:01.280: If you're on my keyboard.
00:01.280: But when I open in the angle editor, it doesn't actually go to the frame upon which I am sitting in the timeline.
00:01.280: And let's face it, they fixed a lot of stuff with the whole multicam stuff with all the audio, stripping audio away and stuff like that.
00:01.280: So like every time an update comes out, I have to make a brand new key command set.
00:01.280: I love show use many ranges.
00:01.280: I wish it would still show me a different color little render bar there.
00:01.280: I think I got so wrapped up in, oh, but what about and there were exceptions to rules and stuff.
00:01.360: So I think that these fall under the category of it's not that it can't do it or it shouldn't do it, but I think that the
00:01.360: I I will be out there for sure.
00:01.360: It's expensive too.
00:01.440: And like you can, you can tell nothing by looking at the timeline.
00:01.440: Damn it.
00:01.440: MVI underscore 3214.
00:01.440: I'll tell you one.
00:01.440: So you were just mentioning about match frame.
00:01.440: Oh, and by the way, another thing, I think I've determined that I'm gonna keep doing this show two two episodes a week, and we're gonna do one on Friday morning.
00:01.520: Yeah, yeah, no, no, no.
00:01.520: They're a mess.
00:01.520: So I would really like to be able to just match frame reveal in browser event whatever back to the keyword, 'cause that's
00:01.520: You know, I found it, put it underneath.
00:01.520: Hey, what's that keyboard shortcut?
00:01.520: Okay.
00:01.600: So what you're saying let me just let me just say this a little slower.
00:01.600: And that's got to be something that's coming.
00:01.600: How how you didn't you wouldn't end point, out point, shift to leap?
00:01.680: If you're in a keyword collection, you just make a mark and you overwrite.
00:01.680: That would be nice.
00:01.680: And then, in terms of cutting out the other one, what I would probably do is just range it and pull it down.
00:01.680: I mean, I wish that in at least in Final Cut 10, when you rendered clips, like the orange render bar goes away.
00:01.680: Are you going to editor's retreat?
00:01.760: I'm going to make a grotesque generalization here.
00:01.760: I think your timeline is your map to your story.
00:01.760: Okay, I will agree with, I think that that's very true what you're saying.
00:01.840: And again, it's a frame of mind that I think that, you know, I was so pleased the way Apple responded to the whole project and library thing.
00:01.840: Okay, there's that clip right there.
00:01.840: Multicam is great.
00:01.840: If the timeline itself would would have colored show media ranges, we'd be awesome.
00:01.840: And I'm sure people will Twitter me and they will comment on the um on the uh the on the uh Grill website that I'm a fucking idiot.
00:01.840: But in a again this goes back to the old school way of thinking I guess in a normal timeline
00:01.840: I just want to get I just I'm just trying to get it done as fast as I can.
00:01.840: And then the other one will be Monday morning.
00:01.920: So that's FCP Works January 25th.
00:01.920: Let's see here.
00:01.920: That's really nice.
00:02.000: But then you hit like the option X, that kinda gets rid of them.
00:02.000: I think all these annoyances that we've been discussing there, I don't think I have asked for anything that's somewhat unreasonable.
00:02.080: Then let me ask you a technique question.
00:02.080: There are plenty of detractors.
00:02.080: My primary, my two secondaries, my titles that I dropped over it, and the two or three storylines of audio underneath it.
00:02.080: Yeah.
00:02.080: This is the real interesting thing that when you talk, you know, I consider my friend Scott here a real editor.
00:02.160: And it's just like, you know, do you keep your room like that?
00:02.160: Because how useful is it?
00:02.160: Like there's a lot of keyboard commands in there.
00:02.160: I don't have to click and drag to extend that shot.
00:02.160: It's more like, but but yeah, I mean, like, I am always, you know, command, shift, option, you know, and I don't even think about it when I have to say it.
00:02.240: Well, we've never done this before.
00:02.240: So instead of pulling it out, I lift it out of the primary star storyline, which is a command option up arrow.
00:02.240: And that brings me to another Final Cut 10 Beef, if you will.
00:02.240: But wait, that's command shift S.
00:02.320: There's some way to sort of overwrite the connected clip that you already have in the timeline.
00:02.320: I can't find, and tell me if I'm just missing it, if I have several filters added and I've done transforms and all that, and rotations and lots of stuff.
00:02.320: You know, there's no way, you tell me if there's a way to easily endpoint, outpoint, delete
00:02.320: Because all the time I just want to add and edit, add and edit.
00:02.400: Yes, s somehow I want to get back to that source file.
00:02.400: So, by definition, anything that's disruptive is going to change the way people
00:02.400: Play down to where you want to stop deleting.
00:02.480: I t I'm I'm with you, I'm with you.
00:02.480: So if someone says, oh, well, you just made make a storyline, yes, you can.
00:02.480: Three hours later, all right, it's time to move to this part of editing.
00:02.480: Let's wrap up with this.
00:02.480: You know, one thing I want to really encourage people to take a look at, we mentioned it a little bit in this segment.
00:02.560: Like for example, I can, if my mouse is up in the gray area above a storyline and I hit the C button
00:02.560: And frankly, you know, let me say it like this.
00:02.560: I've talked to some, you know, some editors who are especially, you know, teaching Avid, who have come from Final Cut 10, and you look at some of their and they just have these these timelines are just
00:02.560: Why?
00:02.560: This is very interesting.
00:02.640: You know, you're going out to mix, or if you're, you know, even if you're if you play by and you're like, wait, that was weird.
00:02.640: Thank you so much, Scott.
00:02.640: I would love to go, but I haven't been able to go yet in my life.
00:02.720: One last thing before we get to the interview.
00:02.720: So that would then add an edit to that clip.
00:02.720: Okay, sorry.
00:02.720: I love that.
00:02.720: I got my teaching assignments the other day, so I will be there.
00:02.800: I wish, as Art has said in his episode, like there should be some way to lock stuff down, just to lock it down to that point in time.
00:02.800: You know, I tend to, my timelines are much cleaner than they used to be.
00:02.800: I want it to be faster.
00:02.800: That's a pretty, you know, that's a pretty simple one there.
00:02.800: Yes, there's a keyboard command for that.
00:02.800: And it may be a matter of when you do move between multiple apps, it does make it more difficult because, like, my avid Premiere Final Gut 7 keyboard is very similar.
00:02.800: And I wish there was a way to audition colorboard on and off.
00:02.880: Yeah, you can put a clip in any number of keyword collections.
00:02.880: I love that analogy.
00:02.880: It's a lot of steps for something that you have to do a lot.
00:02.880: I really like the way that works.
00:02.880: Call me crazy.
00:02.880: At any rate, that's another episode.
00:02.960: When I match frame out of a multi-cam.
00:02.960: They will definitely happen.
00:02.960: Right, so now I'm having to three key command.
00:02.960: I just never did it.
00:03.040: So I don't have any idea of where that frame is that I was just looking for in the time line.
00:03.040: Yes, there is no remove attribute that I have been able to find.
00:03.040: Like, that's something I just like to know.
00:03.040: Yeah.
00:03.040: And I go, oh, I don't know.
00:03.120: Like, if I if I if I match right into this massive event, I don't even see where I match where I I have to pause and
00:03.120: I'm wondering now, why didn't I just make a favorite bend all along and just throw that perfect stuff in there?
00:03.120: And then I just, I tired of it.
00:03.120: How could you like that application?
00:03.200: Sam Mestman, Alex Van Herkman will be there, Alex Grossman, and Bryce Button from AJA.
00:03.200: I think, I mean, I'm not a huge fan of the magnetic timeline overall.
00:03.200: But I could pull multiple subclips from that bin, or you could, like an avid, you can do you can take a clip and you can then like drag it to another clip and sort of make a duplicate of that.
00:03.200: Yeah, yeah, yeah.
00:03.280: C is the select clip.
00:03.280: I highly recommend going in there and doing that.
00:03.360: Now, before we get to the interview, I just want to do a bit of housekeeping.
00:03.360: And I think there might be a web aspect to it as well.
00:03.360: What I would do, I've had to do this before.
00:03.360: Yeah, whatever.
00:03.440: It needs some kind of name that you can recognize.
00:03.440: It works very well.
00:03.440: Incredibly awesome.
00:03.520: I could care less because in Final Cut 7 I could have a subclip.
00:03.520: I can, you know, just type the last couple characters of the file name.
00:03.520: But don't take away my horse, yeah.
00:03.520: It's extremely difficult to learn.
00:03.520: So basically midnight Sunday night.
00:03.600: Like, you know, you're um you have more happening than just in the primary storyline.
00:03.600: You know, as as the music changed, you know, the music turned and built on itself, the story changed.
00:03.600: Right, right.
00:03.600: Like, why?
00:03.600: But that's probably just a position of ignorance because I've never experienced it.
00:03.680: You know, Scott had a lot to say, and it was very interesting.
00:03.680: Now, you got to either make a storyline or you got to drag in the seven-second clip so the other clip drops down.
00:03.680: You, as always, my friend, make a good point.
00:03.760: And I don't mean just like audio lips going out of sync.
00:03.760: You throw a connected clip in that's 17 seconds, seven seconds long.
00:03.760: I would agree.
00:03.760: Then I gotta like, all right, don't don't click anything and click away, go down and expand my little thumbnail thingy or go to the thumbnail.
00:03.760: What's favorite?
00:03.840: I think that one of the things that possibly Apple has lost focus on is the fact that there are there's essentially
00:03.840: I'm going when I when I when I find in browser, whatever you want to call it, that goes back to my
00:03.840: I really I always look forward to times we get to chat.
00:03.920: We're actually cutting this episode into two parts.
00:03.920: Keep going.
00:03.920: Yeah, that's a very good point.
00:03.920: I would agree.
00:03.920: And you're right, it may be just a priority of, you know, it may be like, that's on the list, we haven't gotten to it yet.
00:03.920: Oh, but that's just option S.
00:03.920: One hitting one button takes a split second, whereas hitting the modifier key takes a whole second.
00:04.000: It doesn't really do anything.
00:04.000: You know what feature I would like to see that Premiere has that Funnel Cut 10 doesn't?
00:04.000: Sure.
00:04.000: How come Final 10 doesn't do that?
00:04.000: No, I just want to if I have multiple layers of stuff, I just want to, you know, select five seconds, delete everything.
00:04.000: And that's fine.
00:04.080: Yeah, and and I think that and I and the my experience has been you know I kind of go back to the sort of Henry Ford.
00:04.080: Yeah, put the cursor where you want to start your delete.
00:04.080: Yeah, the option brackets, I think it's like an option left and right bracket are basically tops and tails.
00:04.080: No, no, no, no.
00:04.080: No, I'm I that one I couldn't work in.
00:04.160: I mean, I you know, that you know, the audio lives under the timeline.
00:04.160: What's wrong with that?
00:04.160: Yeah, this is very interesting.
00:04.160: It has many new features that actually, I've heard several people say, like, you know, it kind of makes editing fun again, and it does make it kind of fun.
00:04.240: There's certain things that you do where you say, well, I want to pull this out.
00:04.240: I guess I can I never tried the export and import thing, I should maybe try that, but um
00:04.240: So yes, I don't but I don't think that's um I don't think I'm asking for anything that's out of line from my from my nonlinear editor.
00:04.240: I don't know that it is going to be long-term, and that we have enough room on the server, but we'll see how that works.
00:04.320: I mean, I've had some pretty sloppy timelines that I just sometimes will pause and like, all right, secondary storyline, secondary storyline, drop that I want to go into, because I just want it to look.
00:04.320: I didn't nest very much for that for that very reason.
00:04.320: Sometimes if you just dig around, you kind of find them.
00:04.320: You know, that's one of those, like, an editor didn't make this paradigm because they would realize, like.
00:04.320: Why can't it just hit F to match frame, right?
00:04.320: If you so you go to, let's say you go to like
00:04.400: I often discuss with students: if I can't look, like, if I walk by and I see their sequence is called Untitled Sequence, I'll delete it.
00:04.400: It was so beautiful.
00:04.400: Wait, I have one of them that's not selected.
00:04.400: 3214.
00:04.400: Either they're saying, oh, yeah, we didn't we've never thought of that
00:04.480: Which, if you hear people who say, oh, trackless timelines are worthless now that I have Final Cut 10, it's more of an effort to
00:04.480: Like I had some nesting problems over the years, so I didn't nest very much.
00:04.480: I mean, I don't, I don't, I rarely like if I want to reject something, I just want it gone totally.
00:04.480: I have to look at the keyboard.
00:04.560: I wish when I match framed, or what's what do they call a match frame?
00:04.560: So you match frame back into the browser, but the problem is that, and I think I know why this is, but it's still, it doesn't help us.
00:04.560: I just, I never did it.
00:04.560: F4, F4, F4.
00:04.640: And I and I when I see a timeline that's just all splattered, it's like, uh
00:04.640: It's too much work.
00:04.640: Like now when they render, they just go away and I can't look at my timeline and have any clue what at all what has
00:04.640: The younger mindset are looking at it going, yeah, but look at all the cool plugins I have.
00:04.640: You don't click and drag moving video, you watch moving video.
00:04.640: No, no, no, no, I get it.
00:04.720: But there are times I want to get back to that exact source file.
00:04.720: Yeah, and then probably make a compound clip out of it, which is what I did just that, make the compound clip.
00:04.720: And yes, I can do that.
00:04.720: Because yeah, I understand that.
00:04.800: Um, you know, if I'm just if I'm playing along and I just uh have a uh I've m ap mapped the blade like the F four, which is basically an add edit, you know, that's gonna add edit to the primary storyline unless I
00:04.800: Because I mean, you know, I do some pretty extensive stuff with Nat Sound, especially, you know, to help with my story.
00:04.800: I mean, and maybe that's just, you know, I don't know why I like to know this, but
00:04.800: If I was desperate, what I might do is actually
00:04.800: Now, because they don't have 10 or 20 or maybe like me, 30 years of experience, they're like, that doesn't seem hard.
00:04.800: And this goes back to something I've said on, you know, I probably just say the same shit over and over whenever I'm on a podcast.
00:04.800: It's favorite.
00:04.800: What do you say to that guy?
00:04.800: Thanks again for listening.
00:04.880: No, I C is actually select it.
00:04.880: I mean, you know, n nesting in Final Cut 10 was
00:04.880: I was one of them, you were one of them, in the beginning that said, oh, this is crap.
00:04.880: Uh edit blog on Twitter or ProVideocoalition.
00:04.960: Yeah, I've never been able to go, so maybe we'll have to do our own someplace someday.
00:05.040: Right.
00:05.040: Same thing happened with 10.
00:05.040: Oh, yeah, and I'm not saying that the kid don't get me wrong, I'm not saying that the kids are necessarily right, but it
00:05.040: And I was like, you know what?
00:05.120: Coming up this month, January 25th, if you're listening to this.
00:05.120: I'm sorry, Sam.
00:05.120: There are two types of edits: Fenwick gross generalization.
00:05.120: I mean, I keep my room neat because I like to be, you know, neat as I can sometimes.
00:05.120: You just have to do it.
00:05.120: I will say that and I you and I were talking about this on Twitter a few few days, weeks ago, whatever, that um I find that 10 actually makes me
00:05.120: But that adds more complexity to the app because suddenly someone might be like, wait, why is there a green render bar instead of an orange render bar?
00:05.200: And so the conversation was basically two parts: what he liked about it and what he would like to see change.
00:05.200: But you know, don't take away the basic, simple things that need.
00:05.200: Yeah, I don't see the way to.
00:05.200: Wonderful feature to have in the browser.
00:05.200: What's that?
00:05.200: I would do top and tail a lot.
00:05.200: This is where you and I differ.
00:05.200: I get it.
00:05.200: But an important thing to remember is that there's a lot of functionality in those
00:05.280: I believe it's there's both a you know in a face-to-face.
00:05.280: There is nothing keeping me from doing any kind of edit I need to do in the app.
00:05.280: Because, like, I, as an editor, I know what I need to do the job the fastest and best that I can.
00:05.280: Yep.
00:05.280: And he says, Oh, there is.
00:05.360: Which to me just seems counterintuitive of the magnetic timeline if it's magical and keeps everything in sync.
00:05.360: And and um I don't know, there's something about the way the clip selections are working that seemed to bug me.
00:05.360: Because when I click and drag, I then have to click and drag and play it back.
00:05.360: I'm gonna need this a lot, so I'm gonna put that on F twelve.
00:05.360: Yeah, great.
00:05.440: So you're in your time line and you want to do the match frame, which is Shift F in Final Cut 10.
00:05.440: Oh, wait, I wasn't in my event.
00:05.440: So I'm like, alright, so I'll do the next best thing.
00:05.440: And it's not so much that I'm a big fan of remapping keyboards.
00:05.520: And obviously, I get nothing out of that.
00:05.520: I mean, I may have several hundred clips in my raw event and maybe 10 clips in my
00:05.520: That's like match framing back to a bin, because you'll always match frame back to the bin that the that the fact that
00:05.520: This bugs me more than anything else.
00:05.520: And I would never even begin to say it's super duper simple.
00:05.520: But on the other hand, I do a lot of stuff at the keyboard that I kind of am doing without really thinking about it, like the whole option bracket.
00:05.520: Cool.
00:05.600: But if I have a secondary storyline with the white ball right there, how come when I hit C?
00:05.600: What else do you want?
00:05.600: And I can look at a good clean timeline and and tell something about that from looking at it.
00:05.600: And I'm constantly zooming out and looking at it as a whole.
00:05.600: Like everything was color-coded and it was like.
00:05.680: Good point.
00:05.680: I'm like, I'm an idiot.
00:05.680: Oh, it's let me think.
00:05.680: I love favoriting.
00:05.760: It doesn't reveal back to my keyword collection.
00:05.760: Okay, so I got a couple of and again, this falls into the category of workarounds, but I was dealing with this.
00:05.760: And so you take the basic and bring in yours, sure.
00:05.760: You're as real of an editor as I am.
00:05.760: I get it.
00:05.760: I get it.
00:05.840: If I'm just, you know, bebopping long and I hit an end point
00:05.840: It doesn't do as much as it should do.
00:05.840: But then I now have to be conscious it goes back to our early conversation.
00:05.840: Part of the reason why it's you wouldn't?
00:05.840: And that's just general of all the NLEs.
00:05.840: But from some of the Final Cut 10 users that have been in there are very frustrated often with how Avid works and why it won't do this easily and this and that.
00:05.840: It's a big thing to ask me to do to like all that stuff.
00:05.840: But you did that in Final Cut 7 all the time.
00:05.840: Shift F, that's a modifier key that takes, you know
00:05.840: Fundamental difference between Scott Simmons and Chris Fennell.
00:05.840: For sure.
00:05.920: Can I please go to the actual
00:06.000: He had just finished a big job that he had chosen to do all in Final Cut 10.
00:06.000: 1 because they added the u the the uh show used media ranges thing.
00:06.000: What I have found from the AVID classes that I've taught
00:06.000: You know, tell your friends.
00:06.080: I know you're part of this and I don't know exactly.
00:06.080: Oh, yes, yes, yes.
00:06.080: If you have a secondary storyline that you've created,
00:06.080: And I think that that's what you're going to see.
00:06.080: Never mind.
00:06.160: That's too much work.
00:06.160: Yeah, totally.
00:06.160: I still think it could have used
00:06.160: It's just a multiple-step thing.
00:06.160: So there are many great things about it that I like.
00:06.160: You know, that was a discussion that we had.
00:06.240: Actually, you know what?
00:06.240: Yeah, I totally agree.
00:06.240: You watch it play, you listen, and boom, I stop right there.
00:06.240: Yes.
00:06.240: Cool.
00:06.320: Because Apple actually made a huge about face on that project metaphor.
00:06.320: It's like, hang on, let me select everything.
00:06.320: And it's sort of a treasure trove for an advanced editor.
00:06.400: Because I don't care about time as much.
00:06.400: Because I mean, I've been going through, you know, V-rolling stuff, and I'll look down, I suddenly have, like, you know
00:06.400: Yes, this is true.
00:06.400: I never did it.
00:06.400: I get it.
00:06.480: Well, I'll give you an example of something similar: the fact that you can't
00:06.560: How would you do that?
00:06.560: Yeah.
00:06.560: You have to go in and re-edit that and make a new keyboard shortcut for that.
00:06.640: Thanks again for all the comments on the iTunes.
00:06.640: So when I do expand audio, that one didn't expand.
00:06.640: I should probably launch the app while we're chatting.
00:06.640: What I have noticed is that every time a new update comes out
00:06.720: So if a clip was in multiple keyword collections, which keyword collection would it match frame back into?
00:06.720: I think I've made the decision to actually definitely go this year.
00:06.800: I'm never going to go back and make edits in my music.
00:06.800: I mean, you know, this thing I work on last week, you know, there were two music cues in it, and it was a.
00:06.800: I go, Yep, I need this here, and then
00:06.800: 'Cause it sounds it sounds like that from 'cause we're but we're just going through we're going through annoyances and grievances, right?
00:06.800: I got you, I got you, select, drag around, and if I have, you know.
00:06.800: Favoriting is a good thing.
00:06.800: And I mean, I think, you know, and maybe this is just my, you know.
00:06.880: It's going to go to the primary storyline.
00:06.880: Yeah, X still does that.
00:06.880: You know, if it's I do a lot of HCSLR stuff.
00:06.880: I would always change it all the time during the day like, you know what, I'm now for the next three hours going to be doing a lot of this and I'm going to need this one button.
00:06.880: I had way too much work in the first
00:06.960: And so
00:06.960: Have we checked the keyboard shortcut zone?
00:06.960: Yeah, if you if you search for uh the word attribute, you only see paste attribute.
00:06.960: Is it not?
00:06.960: And I think what the first the first time I had an application where I could remap the keyboard, I think it was Media 100.
00:07.040: Welcome to Final Cut Grill episode 01.
00:07.040: No, I agree.
00:07.040: Because I match frame so often, I don't want to, I don't want to hit shift F every time.
00:07.040: I try to speed up those modifiers.
00:07.040: Okay, so I hope everybody knows where to find Scott Simmons online, but why don't you tell us?
00:07.120: I mean once I built my story and it's always hitting all these musical beats.
00:07.120: I mean, you know, if I have some pretty complex
00:07.120: Let's say, for example, I have a dialogue, an interview, and the guy mispronounces a word.
00:07.120: What I would probably do is
00:07.120: Now, I, you know, Scott, as always, I always appreciate the ability to sit down and talk about.
00:07.120: We could have the same conversation about Avid or Premiere for sure, and they're way more successful than it is to keep
00:07.120: And maybe I don't know, any chance I'll see you at NAB this year?
00:07.200: I say, well, first of all, guy.
00:07.280: I have to make more of an effort to make sure
00:07.280: Okay.
00:07.280: We just need
00:07.280: And all of a sudden, you can glance at your timeline and go, oh, look at that.
00:07.280: Command Shift B.
00:07.280: What am I missing?
00:07.280: I know it could.
00:07.280: Because it was too much work.
00:07.360: So at any rate, that is put on by FCP Works.
00:07.360: But that's what I want to get to.
00:07.360: So I was using that one time when an update came out, and everybody was talking, came out, and everybody was talking about they added this, and I'm like, I don't have that keyboard command, and I've really
00:07.440: So that's been really fun.
00:07.440: But you are consciously making them clean as you go along.
00:07.440: I was in a I got you.
00:07.440: Yeah, that was a very powerful thing in seven, for sure.
00:07.440: Command shift B, I think it is.
00:07.440: That's for sure.
00:07.440: I just, I have other things I need to think about.
00:07.520: But, you know, basically you're kind of
00:07.520: I mean, would it not be easier if we could like literally overwrite a piece of audio into
00:07.520: Because Final Cut 10
00:07.520: I'm not going to keep you.
00:07.600: Right.
00:07.600: I mean, that's an example of like
00:07.680: Otherwise, I would have been prepared and said something more intelligent.
00:07.680: Right, so it's kind of like.
00:07.680: Like that doesn't seem to
00:07.680: And close the gap or not close the gap?
00:07.760: And when it's higher up in the rankings, it just means more people are listening and Final Cut X is getting more traction in the community.
00:07.760: I think Final Cut 10 is too focused on that primary storyline because
00:07.760: I will then, from the timeline, open in the angle editor.
00:07.760: I wish it would turn green like the way it used to work in Final Cut.
00:07.760: I can't remember that stuff.
00:07.760: So
00:07.760: And then finally, I just said, you know, I'm just going to use the default setup.
00:07.840: Otherwise, sometimes it's two or three steps to take away that piece of the connected clip that you don't want.
00:07.840: I can look
00:07.840: com for the blog.
00:07.920: Totally.
00:07.920: I got you.
00:07.920: I mean, I would much rather hit one button instead of a three key modifier thing.
00:08.000: Why can't it go to a secondary storyline easily?
00:08.000: That's like, I can't remember this.
00:08.000: They were trying to build this whole like metadata, database, searchy, findy metaphor.
00:08.000: And I would just, you know, change F twelve all the time.
00:08.080: I think it has its place and it's kind of fun to work in.
00:08.080: That'll mark the range selection.
00:08.080: And I have to feel my hands.
00:08.160: What was that sound?
00:08.160: It's um
00:08.240: That seems to be counterintuitive to having a secondary storyline as well as this white ball.
00:08.240: Five seconds in, you're like, ooh, what?
00:08.240: So I can't quickly and easily get back to my source file from the um from a MonteCam clip.
00:08.320: And again, this is the things I'd like to see changed portion of the show.
00:08.320: Why not?
00:08.320: Not a big deal.
00:08.480: And this is really mouse work that should not.
00:08.560: And God forbid I'm doing a music video where the most important thing is to be able to work to the music.
00:08.560: As opposed to a time-based edit where
00:08.560: I can't remember, you know.
00:08.560: It reveals back to my
00:08.560: They all do things.
00:08.560: Or it's like, oh, you know what?
00:08.640: And I feel like I have to be way more conscious of stuff falling out of sync.
00:08.640: I like to be able to find stuff.
00:08.640: That's that my trim is done.
00:08.720: And we've got this little white dot that jumps around now.
00:08.720: I know you can you can hide Was it no not
00:08.720: And, like, oh, wait, I didn't drag enough, or I drove way too much.
00:08.720: Yes.
00:08.720: In point, out point, make, subclip, make sure it goes to the right bend.
00:08.800: So, but by definition, it's already disrupting something.
00:08.800: I can only work in one application at a time.
00:08.800: It's kind of a neat little, like, it's almost like.
00:08.800: What would it be like to wander around in the mind of Scott Simmons for a day?
00:08.880: I've never had it.
00:08.960: And, you know, I had all that kind of
00:08.960: That didn't sound right.
00:08.960: All clips, hide, rejected, favorite.
00:08.960: Suddenly I have to
00:09.040: Let me right-click.
00:09.040: I believe I can't remember what the guest was now.
00:09.120: And now I've left
00:09.120: Let me go back and expand that one.
00:09.120: It sort of opens up
00:09.120: Cool.
00:09.200: My music track stays as it is for a music video.
00:09.200: I don't care if it takes me a few more
00:09.360: It's really great to have those.
00:09.360: I have to be much more conscious of making sure that storyline is selected and ready for me to edit
00:09.440: You know, whereas a non magnetic time line, you don't have to worry about that 'cause it's not going to
00:09.440: And thankfully, they give us the ability to map our keyboards, and that's why
00:09.440: I don't know what the episode is going the next episode is going to be.
00:09.520: The white dot should be the focus.
00:09.520: This goes before this and this goes after that.
00:09.520: I like to be able to be a little more organized.
00:09.520: That's a good point.
00:09.520: mister Editor using another NLE who won't try this one.
00:09.520: I think that's
00:09.600: Let me think, does it say anything?
00:09.600: Right there, I want to cut to another B-roll clip.
00:09.600: So you're going, yeah, but you realize that in some systems, I can just go mark in, mark out, delete.
00:09.600: Try as I might, I can't remember it.
00:09.680: I got you.
00:09.680: Even though I like the button
00:09.680: But whenever we get into dynamic trimming,
00:09.680: Thanks, Cool.
00:09.680: So if you find yourself kind of
00:09.760: And so it's like, oh, there it is.
00:09.840: There are story edits and there are time-based edits.
00:09.840: It would seem to me, if you were, say, in the position tool, maybe for example, if you had that selected and you did an override.
00:09.840: I'll give you another example of match framing.
00:09.840: So maybe we'll have to
00:09.920: I've never felt I needed it.
00:10.000: So this is part two.
00:10.080: But I think I don't sort that as much.
00:10.080: Yeah.
00:10.080: Because all my keys were full, but I left F twelve kind of open as, um
00:10.160: Okay, I can't right-click the
00:10.160: Like that seems like many people probably wonder that.
00:10.160: But I get it.
00:10.240: Yep, you're right.
00:10.240: We really should have a good idea.
00:10.240: You're an old man, and it's hard for you to learn new things, but if you just turn
00:10.320: But some of these Final Cut 10 timelines I've seen
00:10.320: Close the gap.
00:10.400: And I'm forgetting some of the power of
00:10.480: What do we got here?
00:10.480: I have to feel the muscles in my hand and go.
00:10.560: And to me,
00:10.560: .
00:10.640: Yeah, yeah, exactly.
00:10.640: But
00:10.640: I think I've asked for things that come from sort of, you know
00:10.640: All right, Scott.
00:10.720: So if you can listen to any of them, I'm probably saying the exact same shit.
00:10.800: You're more than welcome to give me keyword collections and skimming and all.
00:10.800: And there's if you Google
00:10.880: I mean, I think
00:10.880: I'm kind of a hack.
00:10.880: So, that's it.
00:10.960: So it's suddenly like you got to
00:10.960: If I had given them what they wanted, I would have given them a faster horse.
00:11.040: I get if I type delete
00:11.040: Yes, Apple, we need remove attributes.
00:11.040: This clip doesn't have any plugins on it.
00:11.120: I think there was something there they added that I didn't have the keyboard shortcut for.
00:11.120: I'm okay with that.
00:11.200: 5, 0, 1, 5.
00:11.200: I don't care.
00:11.280: If you're going to add the white dot, make that the focus.
00:11.280: Yes.
00:11.360: The part
00:11.360: And that's how you can.
00:11.360: So I'll tell you another thing.
00:11.360: I don't know where to put it, I just know I want to use it somewhere.
00:11.360: I just, I couldn't.
00:11.360: So like basically midnight.
00:11.440: Right.
00:11.440: Thanks a lot.
00:11.520: Now I've got to go back and
00:11.520: It's a much more natural way to edit moving into trim.
00:11.520: That's way too much work for favoriting.
00:11.680: Thanks for listening, and we'll be back again next time.
00:11.760: Suddenly, I lose that.
00:11.760: Okay, you can't.
00:11.760: There's some really fun stuff that you've never done before that's like a new.
00:11.840: And that's another tool that I am
00:11.840: Yes.
00:11.840: Now,
00:11.840: I just want, but that's like, you know, instead of Command B to Blade, I or.
00:12.000: And then
00:12.000: I'm not asking for anything that's an old man asking.
00:12.000: I appreciate it.
00:12.080: And
00:12.080: Yes, it's in sync, but it doesn't keep
00:12.080: And it can be some pretty good.
00:12.080: Oh, it was Ben Consoli.
00:12.240: And just the enjoyment of using those features and how much easier
00:12.320: And this is Scott Simmons Part 2.
00:12.480: No, I think I think soul out.
00:12.560: It's like
00:12.560: When it comes to like the match framing,
00:12.560: How
00:12.640: Take care.
00:12.720: Remove attribute.
00:12.880: But it seems like
00:12.960: I don't know what I'm doing.
00:12.960: You're a savant.
00:13.120: I may have missed the vignette.
00:13.120: I'll just subclip.
00:13.360: And you know, you can put
00:13.360: That would be nice, thank you.
00:13.600: So favoriting is great for that.
00:13.600: I could be wrong about that.
00:13.680: Yeah, but you know, that's not a whole
00:13.680: Oh, come on.
00:13.840: But then you get to certain things.
00:13.920: I'm an old school
00:13.920: But.
00:14.000: Yes.