Episode 19
FCG019 - All New MacPro’s and FCPX (feat. Tony Gallardo)
4 MacPro’s in a workgroup all running FCPX. So you say it can’t be done? Tony Gallardo walks us thru the thought process and some of the particulars of how they are moving their 4 suite facility from older Mac Pros all running FCP7 up to a much more modern 2013 MacPro environment all running FCPX and what it took to convince their staff of editors that this was, indeed, the way to go. Tony is forward thinking and you’ll see why by the end of this chat.
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Featuring
- Chris Fenwick
- Tony Gallardo - jehproductions.com - @tomiga2
Transcription
00:00.001: I don't have to re-import it.
00:00.080: Tony, welcome to the little show here.
00:00.080: Corporate and vice versa.
00:00.080: There are you know, people's MacBooks guys are coming in their MacBooks and they're outperforming our machines.
00:00.080: You know, it's like cursing like a sailor and pounding on the Steve, he's working, you know.
00:00.080: Texas.
00:00.160: Because you push it out to the internet.
00:00.160: and he always tells the greatest old stories, but he does like uh, you know, Indian casino commercials.
00:00.160: Tony, what is your experience?
00:00.160: and whatnot?
00:00.160: Why do you want to spend three, four hundred dollars from it's gonna help me a lot?
00:00.160: where you could run a nine-pin cable between them and on the recorder you could mark an in and out
00:00.160: Are you guys like an avid house, a final cut house?
00:00.160: In Texas, and I was just trying to find any link or whatever.
00:00.160: Digitize a video and export it out and it was horrible.
00:00.160: You know, software-wise.
00:00.160: and just kept studying things and I saw things that I liked.
00:00.160: That seemed kind of fun.
00:00.160: Beefs from day one that they use the word project totally different.
00:00.160: Final Cut Suite and he kind of went over who we are and what we did and what's our workflow and what we deal with.
00:00.160: Four guys doing eight streams at a time or something like that.
00:00.160: It was like Fred Flintstone's parrot was in there jotting down ones and zeros on a tablet, you know?
00:00.160: Early pre-release, you know, knowledge.
00:00.160: and you can load and unload into Final Cut at your own convenience.
00:00.160: To transcode three days production later on versus just capturing it there.
00:00.160: It was it was kind of a fiasco.
00:00.160: buying them, I gave them the list, and so it was just kind of a a big mess.
00:00.160: Final Cut ten that you've that you're really excited to start implementing and using more?
00:00.160: batch renaming and the control that you can have over it.
00:00.160: I wasn't sure if I was going to like the skimming feature.
00:00.160: control of all of the assets, all of the RAM, all of the stuff.
00:00.160: for multiple time lines.
00:00.160: And then it ends up screwing up your other time lines.
00:00.160: But in my experience, it's been like, yeah, you know what?
00:00.160: Well, in a case like that, when a time in your time crunch, instead of a two-hour render, now you're only looking at a 15
00:00.160: Minute render just to go on.
00:00.160: In Final Cut 10, you can choose whether or not you want to import all your media into the library or not.
00:00.160: render to here folder, right?
00:00.160: I'm writing that down.
00:00.160: I take it in the After Effects, and it could still change, but yeah, Fluttershop is key to all that stuff.
00:00.160: Take the duh off.
00:00.160: I'm making one step at a time.
00:00.160: how the transition is working.
00:00.240: Today we're going to talk with a guy named why is my level solo?
00:00.240: and Tony has made the executive decision to move everything to Final Cut X with an interesting I will I will tease as an interesting choice for networking, and I'm very anxious to hear how all of that works out.
00:00.240: a Monday episode, although this episode would have been re easily ready for a Monday push, if you will, in the podcasting world.
00:00.240: And with more cost, it gives us the ability, or at least it gives the grill here, the ability to do more shows, a constant two shows a week.
00:00.240: I think that that's the thing that I like to encourage younger people is to like
00:00.240: Yeah, oh you know what the uh when I first started out, I was working for a a production company that was owned by an advertising agency.
00:00.240: It totally does.
00:00.240: Yeah.
00:00.240: And then you could toggle over to the player.
00:00.240: You could mark in and out and preview and perform and stuff.
00:00.240: Kind of that sort of thing?
00:00.240: And it was a nice setup, but you know, this new kit on the block with the CineWave deck and all these other things, you know, card, you could do all this cool stuff and it's uncompressed and it's not
00:00.240: Yeah, something like that.
00:00.240: workgroup environment.
00:00.240: So they're but four stable stations.
00:00.240: Was going to change the world.
00:00.240: finding any link I could to see what was going to happen and seeing the promo stuff and it was like, okay, this looks promising, this looks okay, yes, but but there's a lot of questions
00:00.240: You know, Alex and I from Digital Cinema Cafe, we've been sort of finalizing and trying to figure out what we're going to do because we are going to go to NAB this year.
00:00.240: Exactly, yeah.
00:00.240: There are so many Yahoos out there with their little cameras and mics and stuff.
00:00.240: So you and you've been kind of monitoring the Final Cut 10 world.
00:00.240: the mess, if you will.
00:00.240: Right.
00:00.240: And it you know, it's cool.
00:00.240: And but you also said he didn't have a very great a very good Mac.
00:00.240: So I didn't know, we're trying to plan for upgrading these machines and what software we're going to go with, and everybody's telling me not to go with Final Cut X.
00:00.240: So in November I decided, let me download the trial version.
00:00.240: and they could easily jump on.
00:00.240: you know, trying things out and what's this feel like?
00:00.240: And so that was frustrating trying to do that that final finessing.
00:00.240: I'll give it a shot.
00:00.240: and we FaceTime like three, four hours every day.
00:00.240: Cool.
00:00.240: I don't have any of it, and it's killing me.
00:00.240: Like, why can't you get here faster?
00:00.240: the fact that we're close proximity, all of our guides are very close.
00:00.240: I forget I think it's thirty feet, but it's like a $400 cable, so we're not going to go that route.
00:00.240: at Magic Feather.
00:00.240: Uh, it I'm first of all, I'm very interested.
00:00.240: Using the Thunderbolt networking?
00:00.240: Four editors, you know, we have four, three other guys working, me and two other guys working constantly, but I may be doing After Effects work, and somebody else is doing editing, and somebody else is doing.
00:00.240: At the very most, we'll have two guys concurrently working on editing.
00:00.240: Dude, this job's going to be in this room.
00:00.240: So this is I think it's gonna be really good for us because uh we keep it unified if it works and uh be able to shift guys around
00:00.240: much easier.
00:00.240: I read it twice, and I'm going to reread it again.
00:00.240: this document explaining some of the new abilities and capabilities of ten point one and different ways that you can use the XML in a work environment.
00:00.240: that you're excited about implementing?
00:00.240: That blew my mind.
00:00.240: I don't have the big hand of God that it appears that you have with your guys, but I have been given the responsibility from my boss to say
00:00.240: I'm going to put this on your table.
00:00.240: And you're going to have to have Photoshop and After Effects.
00:00.240: But after, you know, several weeks, I will say, he finally comes down to lunch one day and he's like I get it.
00:00.240: type of project and budget and whatnot.
00:00.240: I don't we we thought we would get the MagPros sooner and did you purchase the MagPros with it like preinstalled?
00:00.240: At least 10.
00:00.240: in November, it was ten dot nine or nine.
00:00.240: But the ability from Onset, I mean, we're going to use Final Cut Onset to start logging, capturing, meta taking it.
00:00.240: And does it can it go straight to an FTP site?
00:00.240: And Vimeo is one of the destinations that you can export directly to.
00:00.240: It just seems like your machines are from the Stone Age, Tony.
00:00.240: Right.
00:00.240: And that is that it has the ability to really take over your cores.
00:00.240: gonna be loving it.
00:00.240: They seem to be genuinely even if they're lying about being excited about moving to 10, at least they're going to have like totally modern machines, you know, and they're going to be stoked about that.
00:00.240: Another room, and it's coming.
00:00.240: From FCP7 to AE, there's a couple of scripts you can get that will take the timeline in there if you need to.
00:00.240: Thank you, Check.
00:00.240: In my editor.
00:00.240: if you look at the way people demo software, and I know this because I've been on a few demo stages myself, and I've been hired as a demo artist, and I realize
00:00.240: Demo well, right now.
00:00.240: But I'm with you.
00:00.240: And then we need to send out station dubs in thirty minutes or whatever, you know.
00:00.240: Make a new approval, send it out.
00:00.240: There is a tutorial that I do about what I call, it's like a poor man's dynamic link between Funnel Cut 10 and After Effects.
00:00.240: Adjustments that I've made to my workflow over the years, that's just it's mind-numbing when you realize how much time it saves you.
00:00.240: I have to touch it once in the fight in the finder, and then I toggle into Final Cut, and it's boom, it's just there.
00:00.240: So everything that I kick out of After Effects, excuse me, everything I kick out of After Effects, I kick it into a folder called NMRenders, okay?
00:00.240: Well, what I've come to do is that in that folder, I've created another folder that's called render to here.
00:00.240: And I put it into the root of my Anim Renders folder.
00:00.240: At that point, I can lay them into the timeline.
00:00.240: So, what After Effects will do, yeah, it'll kick up the number, right?
00:00.240: And like wiggle it in and line it up exactly the same way.
00:00.240: Oh yeah, quite well.
00:00.240: It's crucial because it all adds up, and that's that's a good one.
00:00.240: whatever version that number whatever version number that is yeah it's it's it's that one it's like it's but it when it pops up it says source up five I will tell you I will tell you right here on the Final Cut Grill
00:00.240: All you have to do is click off that layer so it's deselected, you know, and then toggle back to Final Cut 10 and boom, it's there.
00:00.240: And yes, I am telling you, you should buy the Creative Cloud just for that feature right here on Funnel Cut Grill.
00:00.240: And I still am, you know, uh the artist side of of things.
00:00.240: the mice running in the in the computers, they they're getting to their retirement is coming very clo very soon.
00:00.240: Tomega 2, Tomega 1, but I'm rarely on it.
00:00.240: All right.
00:00.320: So basically, he's running a facility.
00:00.320: Offer out an informal poll here.
00:00.320: But we are open to the idea of doing some ad type stuff or some sort of revenue generating thing to help cover the cost of doing all this, because I got news for you.
00:00.320: So, um, I ask your permission to continue this venture.
00:00.320: I don't I promise you it d it'll never be you know hit the hit the playback and play a you know a pre-recorded thing from the sponsor um I'd like it I'd like things to be
00:00.320: On iTunes, as I always say, those do help.
00:00.320: So we did we only the commercial work we did was only for that advertising agency.
00:00.320: It's different as an art form, but as a business, there are many ways to be connected and actually bring money in the door.
00:00.320: FCPX grill thing, and they check it out, and you know, the community grows.
00:00.320: Exactly.
00:00.320: Sorry.
00:00.320: Take images and put it on a moving tape and then play it.
00:00.320: just started doing everything from school projects to the church projects to my uncle was in the police in the police force and did stuff for him.
00:00.320: just playing one and knowing the delay by the time I hit the pause button to start the record, I could match We know my own And it was it was great.
00:00.320: whatever version two or studio, you know, version two or three.
00:00.320: whatever the avid compression was.
00:00.320: And all this stuff, and I'll set it up.
00:00.320: Yeah, yeah, whatever.
00:00.320: Who climbed up the eucalyptus tree behind the dorm, climbed way up there with an antenna, ran a coax down into his dorm room and ran like a little one watt FM station from his dorm room.
00:00.320: Giant.
00:00.320: We have four, four that we use consistently.
00:00.320: And then just the implosion and all the stuff that happened the Mayhem.
00:00.320: with with all the social media, we have so much more power to actually like run into people face to face.
00:00.320: of moving multiple suites from Final Cut 7 to 10.
00:00.320: do anything.
00:00.320: And I wanted to give it a chance, but I just felt like, man, it seems like it's just such a you know, it's just it's so s such a baby of a product
00:00.320: they have the Adobe CC.
00:00.320: Just what they had it and they're like, hey, let's let's try it.
00:00.320: he needed it for the house, for his home, for his own personal stuff.
00:00.320: Are cutting in Premiere.
00:00.320: And in November of this past year, we've been looking we need to upgrade, we need to change and we're right now we're sneaker netting everything around, so we've been looking at getting a server.
00:00.320: Paid project.
00:00.320: you know, just the old way of me thinking my muscle memory for FCP seven was just so you know, it was just there.
00:00.320: And I realized well, after doing a couple of different versions of that project and just trying to break it, I realized it's like it's really good up front when you're just throwing stuff together and you're just kind of
00:00.320: The tagging, all the keywording.
00:00.320: Let me actually real quick recap.
00:00.320: Or I really like them.
00:00.320: I forget who it was, but uh, Neil pinged me back and right away, which I was surprised, and said, Hey, let's get on the phone, let's chat and we did, and I told him, so this is the situation.
00:00.320: And the guys we bought it from were just got the base twelve gigabyte RAM.
00:00.320: for Photoshop and for After Effects, and we'll use Final Cut.
00:00.320: Right.
00:00.320: who is he all his responsibility is for cataloging, data management, um deli web delivery, all that stuff.
00:00.320: feels like about our company maybe in a year and a half.
00:00.320: ProRes HQ ten eighty is where we primar primarily live.
00:00.320: And we have one of those on each of the edit systems.
00:00.320: where for whatever reason, it's like, ah, I got to bump you into the little suite because we have a big job coming in for two days or whatever in the big suite, whatever.
00:00.320: is once you start doing stuff on Thunderbolt or even the USB three trays, that Firewire 800 just feels like molasses.
00:00.320: When ten point one when I saw ten point one, I was super glad that there was libraries and everything was kind of independent independent
00:00.320: really helpful in that from that point of view because I could really lay out and see what how we could do it as a company.
00:00.320: Yep.
00:00.320: You know, and I will say this: that for people that are like on that fence, the bottom line is: anybody who edits in the 21st century, you have to have an NLE.
00:00.320: Training, you know, I said, Here, let's watch these together.
00:00.320: You know, pull out your iPhone, shoot 10 shots around the mall, and take them home and cut them.
00:00.320: how fluid it works.
00:00.320: which is a HDSLR 4K.
00:00.320: We've all done it, but do we really have to keep doing it?
00:00.320: But uh so yeah, that's what we do.
00:00.320: feel a difference.
00:00.320: It just felt really, you know, I don't know, stilted.
00:00.320: and said, Here's this button, here's that, here's you know, take this footage and do and he got it, like right away.
00:00.320: breaking everything everything down and it we're ready to go in post.
00:00.320: Yeah, no, it I was really unsure.
00:00.320: movie a ProRes file out, and then we convert that in compressor, and then we have put a bunch of our time.
00:00.320: with Premiere, and I absolutely hate it.
00:00.320: Yes, we're going to have to upgrade those after it would just came down to a budget thing.
00:00.320: And so you're obviously very comfortable with the handoff After Effects, Final Cut, Final Cut, After Effects.
00:00.320: I'm pretty sure it works great for other people.
00:00.320: What you do and do not do when you're doing heresy.
00:00.320: Is not facilitated really well.
00:00.320: So, you know, in situations like that when time is very critical, we have to get that sliver, cut it in.
00:00.320: And you should take a look at those because there's nothing like groundbreaking about them, but they're just little.
00:00.320: Now, so let's say I got twenty name keys that I got to do.
00:00.320: Michael Garber.
00:00.320: 'Cause we're always making little adjustments and tweaks.
00:00.320: And if you haven't messed with generate asset, it's awesome.
00:00.320: You you want to know what version of Photoshop I work in?
00:00.320: Yeah.
00:00.320: Photoshop that you might want to make like a PNG out of with transparency and alpha and everything, all you got to do to that layer is add the suffix.
00:00.320: It is absolutely worth it, even at fifty bucks a month, which I hate the subscription thing.
00:00.320: And when you turn on generate asset, it magically puts a folder right next to that file called My Cool Photoshop document hyphen assets.
00:00.320: Yeah.
00:00.320: But ever since I started running the company, it's been like, hey, I think we can hold off a little longer on this.
00:00.320: Hey, I want to give you an update on how the transition has gone because this is good.
00:00.320: Everything's gone.
00:00.320: Really?
00:00.320: Yeah, I gotta try that out.
00:00.320: My boy does, not me.
00:00.320: Even if you never say a word, I mean, literally in the last three years, every major news event that's happened in the world, I learned off of Twitter.
00:00.320: You know, I mean, and the other thing that's really cool is if there are people that you respect, you can go, hmm, who's that guy following?
00:00.400: And but now we're back to doing corporate and it's it's not bad.
00:00.400: So you were doing more commercial work.
00:00.400: Well, I convinced my dad, you know, like, I really need this thing.
00:00.400: And showing my professors how to run the beta decks, and I didn't even know how to run beta decks.
00:00.400: The nineties and nineties premiere, right.
00:00.400: and been on Final Cut seven.
00:00.400: on uh Final Cut and Avid and just kind of kept an eye on what who what everybody was doing.
00:00.400: I didn't it didn't feel I've I felt like, you know, I know I could probably learn this tool, but Final Cut 7 just seems still better than this.
00:00.400: And imported footage, had to go back to the YouTube to look a couple tutorials real quick.
00:00.400: I realized that, holy, you know, I could cut I cut a spot pretty quick.
00:00.400: And then the other guy who said And he's thinking, Damn, I need to work And the other guy who told me the final cut was bad, he was like, If you think it's good, then
00:00.400: So we're so we're literally like an ink stain away from signing on with this bar to get a sand.
00:00.400: I've only used it for the past like three or four weeks.
00:00.400: And yes, I'm 51 years old, and I just said for reals, like my 12-year-old niece.
00:00.400: Just one.
00:00.400: one guy is really good at you know motion graphics and and this and so we we move stuff around a lot and
00:00.400: He told me this past week, actually, like, I'm ready.
00:00.400: you know, user interface of 10 point of Final Cat 7.
00:00.400: After two seconds, I'm like, this is wow.
00:00.400: and after eff after effects and how great it is.
00:00.400: And you have to just change one little piece.
00:00.400: week with Michael Garber.
00:00.400: And if you turn on the generate asset feature, which is under the file menu, what it's going to do, like you have a file on your hard drive called mycool Photoshop document.
00:00.400: Is that crazy?
00:00.400: And we'll be up to date and up to speed with the rest of the world.
00:00.480: Whatever.
00:00.480: a commercial company, but with the way that the Internet has taken over everything, we're pretty much back to doing corporate videos and a lot of stuff for the web and whatnot.
00:00.480: Just always be looking.
00:00.480: they were on Avid, so I started I learned on Avid.
00:00.480: and he was looking for a system, so I basically used him as a guinea pig and said, let's buy Final Cut and let's buy a new Mac Pro, and we'll get the CineWave card
00:00.480: All right.
00:00.480: And said, you know what, this is just not, I'm too busy right now.
00:00.480: What was drawing them toward Premier?
00:00.480: And we're literally like about to sign the like yes, here, we're going to plunk down all this money, we're going to get a sand.
00:00.480: How has ten point um how has ten point one further influenced you?
00:00.480: the sharing of projects and moving and I say projects, I mean a hope.
00:00.480: Yeah, and we chatted for a little while.
00:00.480: And upgrade all of our Macs to Mac Pros and Final Cut 10 and use Thunderbolt 2.
00:00.480: And so we're going to link all of them together to Thunderbolt and do a shared access point.
00:00.480: you know, the type of company, well, what we deal with mainly pro res.
00:00.480: So that'll be his machine.
00:00.480: IMAX, the first generation of the thin ones.
00:00.480: And on those occasions, because of the speed of the Thunderbolt, and frankly, gigabit isn't that bad, we'll just sort of plan ahead.
00:00.480: I'm a freak and I just keep researching and researching and researching.
00:00.480: About two years now.
00:00.480: And so that was really the kicker for me.
00:00.480: just this past week, the the other editor that really has been super reluctant just to to go and I've been telling him you should start looking at videos and I went ahead and got the Larry Jordan
00:00.480: I get it.
00:00.480: You know, transcoding is a thing of the past.
00:00.480: Two seven, I was like, this thing is this what is this archaic technology that was that cavemen used?
00:00.480: Yeah, exactly.
00:00.480: How are you dealing with that?
00:00.480: On camera here, Tony is crossing both fingers next to his face, throwing dice across the screen.
00:00.480: So, thanks for listening.
00:00.560: So that's in the interview in just a moment.
00:00.560: Or universally, they were like one-man bands.
00:00.560: You probably made the right choice.
00:00.560: Yeah.
00:00.560: attempt to use uh Thunderbolt bridging.
00:00.560: Yeah, I'm really curious about that as well.
00:00.560: So I'm interested to catch up with him and hear how that's going.
00:00.560: Machine that that does get work, but it's not going to be a heavy lifter.
00:00.560: Right now, we kind of all independently manage that, and I oversee it all.
00:00.560: I can find it because we use it's called Disk Tracker, and we just we're constantly scanning drives.
00:00.560: It's a company in England, a company called 10.
00:00.560: mad respect for people like that.
00:00.560: We we shoot well, you know, it just depends on actually no, I should double check.
00:00.560: But what we do what we do try to do is unify it all onset to an Aja Key Pro.
00:00.560: Forty to sixty percent when you're just kind of throwing things together.
00:00.560: And we actually have I don't know if you've ever heard me talk about it, but we actually have a custom PHP software thing that we've written and designed.
00:00.560: Our IMAX have thirty two gigs of RAM, and some of our older machines also have 16.
00:00.560: You're bringing up a really good point that I think a lot of people kind of stumble on.
00:00.560: And some of us are light After Effects users.
00:00.560: will send out an approval.
00:00.560: Now, I toggle back to final cut.
00:00.560: CS5?
00:00.560: That I'm gangbusters in it though.
00:00.560: What you've done is really smart.
00:00.640: Tweet us.
00:00.640: those companies begin to realize that, yet this isn't as good as I was hoping it would be.
00:00.640: corporate internal training videos for corporations and whatnot, and then left that company, started my own company company with my partners now.
00:00.640: I had to convince the owners that it would work.
00:00.640: And just saw the whole craziness that was happening on the internet universe
00:00.640: To FCPX, like around 10.
00:00.640: But, you know, he was like, it's bad, and I don't, we can't use it, and it doesn't want to work and do anything.
00:00.640: type of thing and use that as our editing, and we'll see how that goes.
00:00.640: I've seen some demos, but I haven't spoken with anybody who's using it in the field for reels.
00:00.640: And I think the cables we're going to go with are like eighty bucks each, and they're ten feet or nine feet long.
00:00.640: Black magic voodoo, you were doing work.
00:00.640: And we also have some portable drives, and we also have some single mechanisms, just bare OEM mechanisms.
00:00.640: Is there.
00:00.640: I run the company with another partner, and I also direct.
00:00.640: No, my trials ran out.
00:00.640: highly customized for our type of work.
00:00.640: and he can put it into his Vimeo behind a password.
00:00.640: Absolutely well.
00:00.720: Yes.
00:00.720: I was pushing him into the deep end, and then you'd close the door behind him.
00:00.720: So all that stuff, making sure it's all there, organized ahead of time.
00:00.720: So, but if you can leave it alone, it flies.
00:00.720: You know, uh Illustrator 5.
00:00.720: Photoshop to final FCPX, I think.
00:00.720: No, that's one of the things you know, it's a tough one.
00:00.800: All of our peripherals and whatnot.
00:00.800: Once I have to be once we feel it's pretty stable.
00:00.800: the growth works for you because I might be calling you up for some notes.
00:00.800: The USB three trays, and then some of the some little utilitarian type stuff we still do on, like, let's see, 800s.
00:00.800: But it really you know, I I know that there's things in Final Cut that I I'm not grasping yet.
00:00.800: It is my belief that 16 gigs of RAM is like the minimum I would want for Final Cut 10.
00:00.800: Not too crazy complicated After Effects thing.
00:00.800: So now I have a change.
00:00.800: And inside there, there will be a file called my lower third.
00:00.800: And you don't have that in Texas yet?
00:00.880: conversational.
00:00.880: A nameless, faceless, anonymous zoo.
00:00.880: So I ping whoever the e whatever email is on there, and I kind of lay it out.
00:00.880: 1 to 20.
00:00.880: You know what?
00:00.880: No, put the duh back on.
00:00.880: You know what?
00:00.960: Workgroup environment, shared env somewhat of a shared environment now.
00:00.960: To just, you know, just doing different things.
00:00.960: So what changed?
00:00.960: a stand.
00:00.960: it's getting in there and be able to media manage well, not I don't I say media manage, but the batch renaming, the control you have over metadata, I thought was really was just great.
00:00.960: We then flag the original folder as we append the file name with do not use, and then the other one
00:00.960: So if you have those other three things, those Adobe apps, you can always drop back and punt on Premiere if must be, if need be.
00:00.960: And it's got great controls.
00:00.960: I want to reach across and grab you and just hug your hand.
00:00.960: Tony is kind of our guinea pig, and we'll check up with him in a few months when he gets all those fancy new boxes unpacked and unloaded.
00:01.040: And it was uh you know, I I was always uh always ever since like high school did ham radio.
00:01.040: We still had four machines that were working just fine, making money.
00:01.040: So we'll it's a we'll still have our other systems as well, so we'll kind of wean off of them.
00:01.040: It will blow you away.
00:01.120: Yeah, absolutely.
00:01.120: Yeah, hence, you know, what is it now?
00:01.120: So Because this is a r this is a really interesting problem.
00:01.120: Like three versions, three OS's ago.
00:01.120: see, what else is there that's really I'm looking forward to the exporting.
00:01.120: Well, I I do all my designing even if it's going to move in Photoshop.
00:01.200: Let us know.
00:01.200: Yeah, yeah.
00:01.200: Okay.
00:01.200: And will it be one of the working machines?
00:01.200: So, I'm kind of looking forward to just going straight from Final Cut using a compressor setting or even bundles and just sending stuff straight out.
00:01.200: I want that stuff baked in.
00:01.200: You know, if the Thunderbolt networking worked, you know, there's a whole lot of stuff to yeah.
00:01.280: I work at a company.
00:01.280: My wife hates, you know, because she's like, Are you coming home?
00:01.280: Well, I started out when I was a teenager.
00:01.280: And I just knew I had to do this.
00:01.280: Right now it's just such a pain with sneaker netting.
00:01.280: I don't have to re-trim it.
00:01.360: And it's really interesting given, you know, sort of a 21st century version of trade showing, if you will, if I can make a verb out of that.
00:01.360: And then we're always we're constantly scanning our drives into a database so we can if we it's like, oh, where did I put that project?
00:01.360: I was like, it I've been saying that, you know, I've gotten to the point, because I've been using 10.
00:01.360: This is uh that was really interesting.
00:01.360: The saying is now when we're rendering in After Effects, we all put our heads back and be like, this will be much faster, it'll be done already if we're on the Mac Pros.
00:01.360: That's a good point.
00:01.360: Quite well.
00:01.360: I just couldn't figure out like how was this relevant going to work?
00:01.440: Yeah.
00:01.440: That's right.
00:01.520: If something did go bad, it it it was an easy fix.
00:01.520: So I just kind of shelved it and just kept an eye on FCP I'm sorry, on Premiere and then on
00:01.520: What was it like when the guy when you started telling the guys, Yeah, I think we're going to do this?
00:01.520: limitation of doing Thunderbolt networking?
00:01.520: After like the fourth day of using Ponoca, I did put the second viewer on and then I took it right off.
00:01.520: It's the big file.
00:01.520: Yes, we'll let you know either if we've survived or not.
00:01.600: Ultimately, it doesn't really matter.
00:01.600: SVHS was a format that was meant to be left behind very quickly because that stupid little YC connector was just trash.
00:01.600: I mean, a lot of I don't I don't I I've talked with a lot of people so far doing this show, and the people that jumped in right away are
00:01.600: It was Sam Messon's company, the LumaForge.
00:01.600: My choice is actually media composer or media compressor.
00:01.600: And I only want to change one time line, and I go back to After Effects and change that project, then it ripples down and changes my all my other time lines.
00:01.600: You know, everybody said you can't do it.
00:01.680: Software-wise.
00:01.680: I we're on the Facebook, and we have one of those things called a website, and that's about it.
00:01.760: So I just jumped right in there and built that.
00:01.760: What is this?
00:01.760: We were trying to purchase it right at right d in the holidays, Christmas and New Year's.
00:01.760: No, you're right.
00:01.760: Yeah, no, it's a giant purchase.
00:01.760: Yeah.
00:01.840: And I'd also like it to be stuff that I completely believe in and preferably use.
00:01.840: Pretty much.
00:01.840: So I did.
00:01.840: I was able to jump right on into Premiere and kind of look around and just go with the client.
00:01.840: Yes.
00:01.840: Save as PNG.
00:01.840: My name is Chris Fenwick, and y'all have been grilled.
00:01.920: Yeah.
00:01.920: Yes.
00:01.920: Oh, wow.
00:01.920: Yeah, oh, yeah.
00:01.920: No, Photoshop 5.
00:01.920: I just, okay, so the past two days.
00:01.920: Yeah.
00:02.000: Um the problem was uh my internet account was full.
00:02.000: AC units that you can put up in a tent to, you know, all sorts of things to doing training videos
00:02.000: AVR twenty five or whatever the cool AVR was.
00:02.000: So it wasn't like I was doing you know, everything was writing on it.
00:02.000: Full page pro project, brand new client.
00:02.000: I liked it.
00:02.000: I just followed you today.
00:02.080: More and more and more, people need to be on the internet with video.
00:02.080: Good.
00:02.080: So I go in and I make the change, I hit render.
00:02.080: But there's a trick in Final in Photoshop CC called generate asset.
00:02.080: Check out the tutorial on my website.
00:02.080: I'll be there.
00:02.080: Well, that was Tony.
00:02.160: Uh, so we got 4 Mac Pros, uh, six core mid-range graphics cards.
00:02.160: We still shoot a whole lot of HDSLR.
00:02.240: So were you the classic I'm leaving Avid because I can get four Final Cut stations for the cost of one Avid station?
00:02.240: Oh, it changed the world, all right.
00:02.240: I really just jumped right into that and it didn't seem like it didn't seem foreign at all.
00:02.240: You're going to be here for two weeks, and the producer's going to be in every other day, and that's the way it's going to be.
00:02.240: And and, you know, we'll see how it goes.
00:02.240: I hadn't thought of that.
00:02.240: Client will come back and say, great, can you fix this one piece?
00:02.240: Now I'm all good to go.
00:02.240: I think a lot of people fall into the trap of, I got to have the new this, I got to have the new that.
00:02.320: Hello, hello, welcome to what's this cable in my way?
00:02.320: Let me know what you think.
00:02.320: What did you see that made you go, hold on, I think we're going to go a different direction?
00:02.320: You're right.
00:02.320: So I apologize if anybody is tired of hearing this this workflow.
00:02.320: mov.
00:02.400: It's called JEH Productions, and it's in South Texas.
00:02.400: I mean, at the place I was at, they had two they had a Media Composer and they had an Avid Express, and they had a machine room.
00:02.400: And then once I realized, oh, this is awesome, it's going to work, went out to the company and said, let's switch to Final Cut.
00:02.400: So they've been cutting on Premiere off and on.
00:02.400: Okay, that's cool.
00:02.400: He's built out his whole office with ten gig Ethernet.
00:02.400: You know, it's one window and I know that a bunch of people have been making a big hailstorm about it doesn't have our traditional viewer and all this other stuff.
00:02.400: Got plumbing last month.
00:02.480: Alex McLean and I have always said that we are never going to take advertising for Digital Cinema Cafe.
00:02.480: And so we started going down the list of all the different the vendors and vars and whatnot, and we kind of settled in on one.
00:02.480: And in the summer of 2012, it was kind of my seminal moment.
00:02.480: And what is your workflow for getting stuff back and forth?
00:02.480: I think another issue with Dynamic Link that a lot of peop that I never really hear discussing is that we all use After Effects in different ways.
00:02.560: And it was like this whole thing.
00:02.560: And it's okay if things get a little sloppy.
00:02.560: I hope it works well, but there are you know, there are other fallbacks if it doesn't work.
00:02.560: So we'll do some encoding and some exporting from there, but nothing too heavy lifting.
00:02.560: You know, I feel really bad.
00:02.560: I don't have to relay it in.
00:02.640: You know, it's fun.
00:02.640: Neil has he said he's done it.
00:02.640: We primari we shoot a lot on the C three hundreds and five hundreds Canon, and we shoot on HDS the One D C love the One D C Canon One D C
00:02.640: But if you watch carefully and you realize what's going on on a simple
00:02.640: I'm gonna have to take that from you.
00:02.720: I mean, seriously, it doesn't matter.
00:02.720: I mean, what what's your history with equipment?
00:02.720: And so first actually, the first question is, how many edit suites do you have?
00:02.720: Our machines are old.
00:02.720: Yeah.
00:02.720: Yeah.
00:02.720: I know it's coming.
00:02.720: No, you don't.
00:02.800: So, Tony, it you're really nightmare.
00:02.800: That cable.
00:02.800: Oh, I can't wait for that.
00:02.800: And then we shoot on red, the epics and whatnot.
00:02.800: It's the big file.
00:02.800: I want to render it.
00:02.800: Boom, boom, it's already there.
00:02.880: It was just uh it's ridiculous.
00:02.880: Right, I was doing the same thing to watch it.
00:02.880: You yourself are saying, eh, it kind of feels like Final Cut 8.
00:02.880: And so I'm talking to him and we're trying to finalize this.
00:02.880: The only downside on a Mac is I can't make a WMV, and some of our clients still want WMVs.
00:02.880: Yeah.
00:02.880: We're getting that.
00:02.960: Hey, dude, thanks.
00:02.960: What what what do you uh what have what have you been working on?
00:02.960: And then I started really pushing it harder around the office.
00:02.960: If you have any questions, we're gonna watch these at lunch for the next two weeks.
00:02.960: And the guys have used it.
00:02.960: And I will say, because I have friends that work at Adobe and they're good friends, and I don't want to this the point of this show is not to pan Adobe.
00:02.960: Then we can go back and re-render the whole thing.
00:02.960: And now the finder will say, hey dude, you already have one of those and I'm like, that's cool, write over it.
00:03.040: Nineties premiere.
00:03.040: Do you know specifically?
00:03.040: The magnetic timeline was really cool and then really frustrating.
00:03.040: They obviously respect your opinion.
00:03.040: And will actually be in proximity to each other.
00:03.040: Now I haven't been a I haven't had a chance to speak with him post ten point one.
00:03.040: That was a brilliant document, and I thought it really helped me.
00:03.040: We can uh you know what we're still running on?
00:03.040: It seems really and it could just be our machines that are just machines are clunky and stupid, but uh
00:03.040: They give you some outrageous deadline.
00:03.120: It sounds like you've like you're you feel like it's somewhat defeating to say you're doing corporate stuff.
00:03.120: So that was in November.
00:03.120: Now, are you going to put a Pegasus on each of the four Mac Pros or just one?
00:03.120: Apple dropped a big old knowledge bomb on his lap, but he very, very meticulously has written
00:03.120: 1, which is no relation to 10.
00:03.120: If you don't know your way around Photoshop, After Effects and probably Illustrator, you're not really an editor in my world.
00:03.120: Yeah, it's going to be like a whole new world in South Texas there.
00:03.120: I didn't know how to do it.
00:03.200: Um that guy that I was telling about that's doing the meta the metadata tagging and all that stuff and media management, he he's a a greenhorn.
00:03.200: But if I'm in After Effects, I want to bake something in and bring it into my editor.
00:03.280: You know, you weren't going to see anybody you knew.
00:03.280: Not that there's anything wrong with that, but they can control the
00:03.280: Right, right.
00:03.280: But in our world, in a corporate world, you've got to know all four of those things.
00:03.280: You're doing are you so you're doing four of these all at once?
00:03.280: I everybody talks about dynamic link between Adobe and
00:03.280: Cool.
00:03.280: Very much enjoyed talking to him, and we will follow up probably in a couple of months and see how Tony's installation is going and how the
00:03.360: He's the president of a little company down in South Texas.
00:03.360: Today is I don't know what day it is.
00:03.360: So I mean, I had VHS, two VH Panasonic 1980s.
00:03.360: And we've been on Final Cut seven, like I said, and whatever it was two years ago or two and a half years ago when Apple announced its new product
00:03.360: And you can watch the really the only reason to go to a trade show nowadays, and I say this
00:03.360: Agreed.
00:03.360: We're not spread across multiple hallways.
00:03.360: So, anyway, that's it's it's it's exciting.
00:03.360: I just I get angry.
00:03.360: Some of us are very heavy After Effects users.
00:03.360: Okay, now I drag that into my anim renders folder.
00:03.360: Or it's like dual.
00:03.440: Okay, so the reason that we got together tonight to talk is you sent me an email talking about how you guys are like on the verge, on the cusp.
00:03.440: So that was 2011 that you were there when you saw the demo?
00:03.440: I'm really glad we did.
00:03.440: And currently we're using I believe they were the early twenty or the late twenty twelve
00:03.440: You'll find that when you get those new machines, actually, Tony, those fifteen minute renders will be more like two minute renders.
00:03.440: So then all of a sudden, people start coming in and they start coming in with mistakes.
00:03.440: It'll give it an underscore 1 or underscore 12.
00:03.440: Okay, so again, check out this tutorial.
00:03.440: That boy said, waiting six years for new computers might be a little too far too long.
00:03.520: I actually used to do, like back in the mid-80s, I actually used to do a lot of editing between two matic decks back then.
00:03.520: I'm doing this thing.
00:03.520: I've been on it for four hours and I'm sold.
00:03.520: I have I ordered one of the new Mac Pros and I'm it's bugging me too.
00:03.520: And then when I tried it out in November, but I know there's still th ways I'm not thinking about how to really utilize things.
00:03.520: And I make my template, I flow in all my stuff, and I hit my renders, I toggle back to final cut, I do some cutting.
00:03.520: And sometimes they're just horrible typos and stuff like that.
00:03.600: It helps the ranking.
00:03.600: No matter what it is, I I enjoy it, man.
00:03.600: And then right around when Fin I I'm not sure what what version it was, but we did we switched to Final Cut.
00:03.600: So I said, you know what?
00:03.600: Where do we go?
00:03.600: Everything's bigger in Texas.
00:03.600: I don't know about going straight to FTP, but I was talking to Michael Garber the other night, and he actually uses Vimeo for all of his online approvals.
00:03.600: Yeah, oh, it's total heresy.
00:03.600: I got on Twitter when it first started, and then I just jumped right off.
00:03.680: Hello, hello.
00:03.680: The one guy that did that started it is because he
00:03.680: But what we're going to do that's kind of you know, it's still risky is we're going to
00:03.680: Have you taken a look at there's a great document that was produced by a company 10.
00:03.680: And it's just that you don't realize that and you go back, oh, yeah, I need to update this.
00:03.680: Snoop.
00:03.680: Well, Tony, thanks for your time.
00:03.760: It's like 9 o'clock at night on a Saturday, and I'm still here working.
00:03.760: They're all like 2007, 2008.
00:03.760: Yeah, we're not, you know, chopping out just nothing but live action content.
00:03.760: Right, right.
00:03.760: And then you gotta then you gotta delete the other one.
00:03.760: You can't install Final Cut 10 in a workgroup environment and you can't work effectively.
00:03.840: And then one last thing I want to mention here is again, thank you so much for the comments that you've been leaving on
00:03.840: Like, yeah, I'll be home in like 10 minutes.
00:03.840: I've never tried the software ever.
00:03.840: But I'm trying to get one guy who now just that's his job.
00:03.840: I worked like this.
00:03.840: But yeah, so I'm pretty stoked about it.
00:03.840: I don't have to replace it.
00:03.840: I promise you, it'll blow your mind.
00:03.920: So he ended up using Premiere at home because he didn't have a fast enough Mac, so he had a PC.
00:03.920: You can imagine me trying to explain that to the guys.
00:03.920: Yes, the way we're currently working is we have an R6, Pegasus R6, in each of the three edit rooms.
00:03.920: I'm still we're still on seven, dude.
00:03.920: I will get I will tell you, based on your machines, I'm going to say CS three.
00:03.920: We just got rid of the horses, so I don't have to run outside for water anymore.
00:04.000: Hey, no problem.
00:04.000: So, uh, yeah, I know, but from there to uh going to the local community college
00:04.000: Right.
00:04.000: Or is that going to be a dedicated server if you were to?
00:04.000: This is this, let's do this.
00:04.000: I mean, Apple went through all the hassle of rewriting the code and adding the second viewer.
00:04.000: I want it to be just another clip in my timeline.
00:04.000: I just want that thing rendered.
00:04.000: Yeah, definitely.
00:04.000: Gangbusters in it.
00:04.000: Awesome.
00:04.080: I do like one commercial a year, if that there's this, there's this one producer that comes in.
00:04.080: And it was like 4.
00:04.080: Yeah, I I've just gotten to the point where when I have to open up an old legacy project, I have to look at that stupid gray
00:04.080: So I realize you haven't done a whole bunch on it.
00:04.080: I don't have to think about where it's rendering because After Effects isn't too cool about rendering over a previous file.
00:04.160: Capture the soul of human beings and put them in a box.
00:04.240: Yeah.
00:04.240: Yeah, saw it and then, you know, NAB is in April, and then they released it, I think, that summer.
00:04.240: But once you start getting to that last twenty percent, where you start to need to have things locked down and finesse
00:04.240: Told the guys we have we're moving to Final Cut 10.
00:04.240: And they have some storage and whatnot.
00:04.240: And we got a thirty two terabyte Pegasus RAID.
00:04.240: So I'm going to ask you then.
00:04.240: Well, there's also there's also the issue if you're older machines, maybe I don't know if you can even put Mavericks on it, and you do have to have Maverick to get
00:04.240: It really takes over the machine well.
00:04.240: Another thing that I wanted to mention, and I'll say this now because you might want to modify your order.
00:04.240: Boom, it's there.
00:04.240: It's like a magic it's a magic feature that honestly, Photoshop should have had twenty years ago.
00:04.320: Sure.
00:04.320: Right.
00:04.320: Well, you know, it's fairly inexpensive, and you might want to just buy a few copies.
00:04.400: It all interchanges now.
00:04.400: My dad got a video camera for my mom, and that was it.
00:04.400: And that's sad.
00:04.400: But yeah, I mean, there are options.
00:04.400: And all morning long, you'd hear like these big, like
00:04.400: And yeah, we you know, it's a normal thing at the end of the day where you kick out that Texas Master and then you throw it into
00:04.400: We're pedaling as fast as we can.
00:04.480: Today we're going to talk with Tony Gilardo.
00:04.480: And so big jobs usually get planted in a room.
00:04.480: Most anything that we shoot that we shoot when we have control over it, we do it on 5D3s.
00:04.480: Uh it was it was like snappier on my old machine.
00:04.480: I just get my blood boils.
00:04.480: To me, I don't like it.
00:04.560: Yeah, trade shows are almost, you know, from a tech standpoint, trade shows are almost superfluous these days.
00:04.560: But I grabbed the footage, jumped right in, and said, this is it, this is live or die right now, right here.
00:04.560: Gotcha.
00:04.560: I'm not exclusive to our stuff.
00:04.560: Then I drag those into my keyword collection called Anim Renders in Final Cut.
00:04.560: 5?
00:04.560: Or yeah, I think it's Photoshop to FCPX.
00:04.640: Is it okay if we do some some ad stuff?
00:04.640: Yeah?
00:04.640: Yeah, you're really setting yourself up here.
00:04.640: I don't know if he's done it as an installation, but he said he's done it.
00:04.640: And um we don't always have
00:04.640: 1.
00:04.640: You've been save as PNG, save as PNG, save as PNG.
00:04.640: I am on the Twitters.
00:04.720: So, tell me about the company you work at and what you do there.
00:04.720: What do we do?
00:04.720: So we just it just depends.
00:04.720: So I'm actually really, really looking forward to that once we get to Flanica 10.
00:04.720: And so you can actually take your time line and go spit this out to Vimeo, go
00:04.800: Like, what did you start with?
00:04.800: Um, and then have been cutting off on a cut f f since of then, left that company, started my own company
00:04.800: This is not something I can jump into.
00:04.800: Called back called Neil back up again and we walked through the whole process.
00:04.800: It might be CS3.
00:04.880: It controls one deck, and I can play, and I can tell it to he's like, What is this black magic you were talking about?
00:04.880: I'm like, well, let's see here.
00:04.880: And I'm one of those stations.
00:04.880: There was no you know, they were churning or churning projects in and out.
00:04.880: They're more nimble to be able to do things, turn things around.
00:04.880: 6 or something.
00:04.880: No, he he didn't he didn't, but he was on somebody else's machine.
00:04.880: Well, I at least he does.
00:04.880: Sorry about that world.
00:04.880: Yeah, so you know, um, has LumaForge done this?
00:04.880: So that right there was huge.
00:04.880: When you embrace it and you realize how you can use it and when you don't have to use it, it's really magical.
00:04.880: And you have to re-render the whole thing now versus just going in and re-rendering that one piece of piece.
00:04.880: So yes, every time I see a new toy, I'm like giddy like a schoolgirl, like, we have to have this
00:04.880: If people want to follow you, Tony, and keep in touch with what you guys are doing there, what's the best way to find you guys on the Internet?
00:04.960: More people see that green icon and they go, oh, what's this?
00:04.960: So um so uh what in di di in the digital realm, what have you been watching?
00:04.960: They're going to throw in another four gigs for us, so we'll have 16 giga RAM.
00:04.960: That's crazy.
00:04.960: They're like, I don't want to use Funnel Cut 10.
00:05.040: But man, it I mean, that was like the guys, we have to do this.
00:05.040: Sure.
00:05.040: And then the other one, and I won't go through all of this one verbally, but go check this out on my website.
00:05.040: I really appreciate it.
00:05.120: So if you have that dynamic linked and you go back
00:05.200: So a couple of things.
00:05.200: Yeah, I remember, you know, back in the day I used to go to NB all the time, and I just haven't been in a couple of years.
00:05.200: Yes.
00:05.200: No, nobody.
00:05.200: And but for the last two years, you guys have remained all Final Cut seven?
00:05.200: So and we're you know, we we're heavy After Effects guys and we all can jump in and out at After Effects and Photoshop and and whatnot.
00:05.200: So are any of you guys currently doing anything in Final Cut ten?
00:05.200: Yeah, and there's, you know what, there's some applications that just
00:05.200: Yeah.
00:05.200: Yeah.
00:05.280: I don't mean a timeline, but sharing of it.
00:05.280: Gotcha.
00:05.280: I mean, this is a, you know, four suites, the work group environment that everybody says can't be done.
00:05.360: You know, it was mostly out of uh
00:05.360: I cannot wait for that.
00:05.360: That's one of the things.
00:05.360: It's you just it's super fluid and fast.
00:05.360: You know what?
00:05.360: It's just boom, it's there.
00:05.440: I'm going to download it.
00:05.440: So I'm I'm very interested in watching how
00:05.440: I may be calling you back right, you know, days after the streaming.
00:05.520: They were just on the verge of getting a sand with their old Final Cut 7.
00:05.520: It's like we do stuff for broadcasts that goes to
00:05.520: I'll do like one of those a year and I think he's even gone to some place else.
00:05.520: And I look back at the clock and three hours later, I'm like, oh my gosh.
00:05.520: Tony and I are recording this with cameras, so I'm doing all these hand gestures.
00:05.520: Really ballsy.
00:05.520: Now the beauty of what you're doing
00:05.520: I'll tell you what the key to Twitter is, and here we are getting into tech stuff.
00:05.600: Our exporting just takes time right now.
00:05.600: And so if you're trying to run Media Encoder in the background and then you switch over to do something else, your OS is going to like blow chunks.
00:05.600: I don't know if you've seen it, but on my website, chrisfenawick.
00:05.600: It will blow your mind.
00:05.600: Well, you know, I will tell you this, and just this is just a little business one oh one
00:05.680: Yeah, all that all that stuff.
00:05.680: So I was freelancing for the guy that I'm partnered with now.
00:05.680: You know, I've been looking at it, and the farthest I've seen
00:05.680: Yeah, totally weird.
00:05.680: I'm excited about it.
00:05.680: You know, and that's the other thing that blows me away: is just
00:05.680: We do that and then we encode it and then we upload it to our web
00:05.680: Well, I mean, here's another thing.
00:05.760: I absolutely love it.
00:05.760: Okay, so what is your have you how much of that process have you done so far?
00:05.760: Was everybody like looking at you cross-eyed?
00:05.760: This is what we're looking for, this is what we're doing.
00:05.760: Yeah, we used to work on FireRight 400.
00:05.760: What's it called?
00:05.760: We're getting it.
00:05.760: That's why my Twitter count is going through the ceiling.
00:05.840: So everything else was corporate.
00:05.840: And he was really pumped, and I told him, I said, I'm completely down for Final Cut 10.
00:05.840: I will be very interested to hear how that works.
00:05.840: Physical, physically close together.
00:05.840: Yeah, yeah, yeah.
00:05.840: We're running on Snow Leopard.
00:05.840: We're going to get a bunch of other stuff as well.
00:05.840: Yeah, no, it is a crazy cool feature.
00:05.920: Welcome to another episode of the Final Cut Grill.
00:05.920: It's Friday the three, four, five, six Friday the seventh.
00:05.920: No, no, absolutely not.
00:05.920: So that machine is I'm training a guy right now who's
00:05.920: It was like that kind of speed.
00:05.920: It works okay in the timeline once you get it back.
00:05.920: Okay, bogus.
00:05.920: And it's a really quick way of working.
00:06.000: 1, 4.
00:06.000: And I've been saying, this is where we want to go.
00:06.000: We bring in directors or DPs based on the
00:06.000: So we'll have a bunch of stuff coming in.
00:06.000: Like, because I do a lot of, you know, my rule is: if it moves, I do it in After Effects.
00:06.000: I uh I think my name is Tomega.
00:06.080: I couldn't even get the, I couldn't even
00:06.080: Now you're telling me about one of the editors saying, Oh my god, this is horrible.
00:06.080: And well, we're working on a project, the timeline project, not our project.
00:06.160: If you turn it on and then you do this
00:06.160: You're you're telling me that some of your guys are are
00:06.160: And I had, you know, I
00:06.160: Are are you do you guys shoot as well?
00:06.160: It's not, or CS4.
00:06.160: Yeah, so generate asset is crazy because, like, basically, what you do is any layer that's in
00:06.240: Really?
00:06.240: Excuse me.
00:06.240: So, first of all, for people that are listening.
00:06.240: I I've never been a fan of Vimeo.
00:06.240: It does a good job at ticking
00:06.240: Four all at once.
00:06.240: We don't need to get it.
00:06.240: So Well, Tony, uh on that note, I'm gonna say in a couple of months, uh if I forget, please ping me, let me know, say
00:06.240: So I'm very interested in hearing how it goes.
00:06.320: You know, how did you get started?
00:06.320: Hey, it was cool.
00:06.320: There's so many people that are like, Oh, yeah, Final Cut 10 can't work.
00:06.320: And he came to me and was like, Oh my gosh, it's horrible.
00:06.320: And then little jobs we'll put either on the the single OEM drives and just drive them off of the um
00:06.320: And I think that, you know, if you.
00:06.320: And it happens to be a render, you know, a render file.
00:06.320: And I play and think and build stuff in there.
00:06.320: We're getting it.
00:06.320: We'll be in touch, okay?
00:06.400: I don't know what that means, but he said it a couple of times.
00:06.400: I'm going to do the trial version and I'm going to s jump right into a project.
00:06.400: No worries.
00:06.400: Right.
00:06.400: The the for some reason, I really am excited about the metadata and the batch
00:06.480: They're super old machines.
00:06.480: Yeah, he's doing the Thunderbolt to that adapter, right?
00:06.480: So, what are you shooting with?
00:06.480: See what I did there.
00:06.560: And it wasn't too bad.
00:06.560: Well, it was still in its own isolated world because I had my guys cutting other spots.
00:06.560: 0 for about
00:06.560: And I think that really you do kind of have to jump in.
00:06.560: And I tried getting the guy and they weren't ready.
00:06.560: Right, managed media versus unmanaged media.
00:06.560: The Creative Suite, CC, Creative Cloud, whatever they're calling it.
00:06.640: Okay.
00:06.640: Well, so um
00:06.640: Well, you know, speaking with Neil, and I think.
00:06.640: There's different ways to do this.
00:06.640: We'll get things going, wean off of them and jump right in.
00:06.640: I kind of like the magnetic timeline.
00:06.720: So, with that, no further ado, let's go to Tony Galardo down there in South Texas.
00:06.720: So Yeah, I always say it beats work.
00:06.720: How many stations will you have to build?
00:06.720: Okay.
00:06.720: And he was like, if you have any doubts or any questions about who we're going with, call them and just find out.
00:06.720: You have to know an Enerlite, After Effects, Illustrator and the Photoshop.
00:06.720: Yeah, I had one guy in our office who
00:06.720: I will also say that Media Encoder one of the biggest advantages of Media Encoder is also one of its downsides.
00:06.720: You know, this could be done already.
00:06.720: It's so funny.
00:06.800: So I'm just gonna
00:06.800: And then they start seeking out professionals
00:06.800: So they asked me, hey, can we do it?
00:06.800: But
00:06.800: It's very interesting.
00:06.800: Let's go over it together.
00:06.800: I think it's either I think it's Photoshop 5.
00:06.800: That lower third, it's changed.
00:06.800: I'm buying a new computer every season, and there is no way to make a profit in this business if you do that.
00:06.880: And I don't know even I don't even know how that's going to manifest itself.
00:06.880: Wicked fast, yeah.
00:06.880: What we're going to do is we're going to actually keep the computers close together.
00:06.880: So we'll always have ProRes.
00:06.880: So you
00:06.960: 2, 5.
00:06.960: I I didn't go there.
00:06.960: Yes.
00:07.040: So I did infomercials, everything you know, from selling
00:07.040: So building my own antennas and and building little radios and stuff.
00:07.040: And I'm just going to wait.
00:07.040: At least that one guy did.
00:07.040: Um, right, yeah, I did a whole interview with John Davidson.
00:07.040: But that document was really great because I kind of had an idea, okay, this is kind of the same workflow that we're doing now.
00:07.040: File naming conventions I'm a stickler for.
00:07.040: Media encoder.
00:07.040: And I can tell immediately the difference.
00:07.040: And you know, it
00:07.040: Like, literally, you just have to change it in Photoshop.
00:07.040: No, yes, we are all going to get we're all going to get CC
00:07.120: I can't believe I remember that.
00:07.120: And then we'll have sometimes a need, we'll bring in one or two guys, and they'll bring their computers in.
00:07.120: And somebody who obviously had some
00:07.120: And then, you know, after about two months of that, and it and he was reluctant and you know, old salt.
00:07.120: I I did once the trial ran out and I had to go back to
00:07.120: I was like, there kinda is no point for it.
00:07.120: Rather, I drag it out of my
00:07.120: But yeah, it's that weird tight balance of when to upgrade.
00:07.200: And I'm like, hey, you know, I see this other company.
00:07.200: I'll have him there just
00:07.200: So I think that's possible now with 10.
00:07.200: Right.
00:07.280: So uh at back in the day, I started on Premiere back in
00:07.280: It was really cool.
00:07.280: It's really more about the face-to-face, the meeting.
00:07.280: You know, in the eighties when I first went to NAB, it was just
00:07.280: I just told the guys to park it, and you guys can still work in Premiere and Final Cut.
00:07.280: Never.
00:07.280: I just went through this last
00:07.360: And Tony reached out to me on Twitter and he goes, Hey, you know, I might have an interesting story.
00:07.360: And the bigger you are, the less nimble you are.
00:07.360: Yeah, that's one of my big that's one of my biggest
00:07.360: Apologies accepted.
00:07.360: Or you go back to something else and you change the date or you change something.
00:07.360: And at that point, you now have a new file that you have to bring into your timeline.
00:07.440: We'll keep the computers close together and just run lines out for monitor and for
00:07.440: But you know, it's funny though, putting when I did try Final Cut.
00:07.440: And I think my guys are too.
00:07.440: Replace, you see, it sounds like you're replacing the render, the old render with the new render at the finder level.
00:07.440: So I render out the file and it's still called, you know
00:07.440: Okay.
00:07.440: And I'm slowly trying to get back into it.
00:07.520: Wow, this is amazing.
00:07.520: And I'm I'm talking with I have another partner.
00:07.520: This is at LumaForge?
00:07.520: And
00:07.520: Like, yes, this is, I couldn't, this particular job I could not have done on anything else.
00:07.520: It really is like it's just that whole step.
00:07.520: I can't remember which one that is.
00:07.520: We export a full res
00:07.520: You know, because the guys have been using the media encoder for
00:07.520: It's a you know, we have crazy deadlines all the time, and so we'll get something and
00:07.520: Y'all, Texas.
00:07.600: So I ask your permission.
00:07.600: We're pretty much just a
00:07.600: Sold.
00:07.600: And we primarily deal in
00:07.600: No, we didn't.
00:07.600: And he's never he's not an editor, you know.
00:07.600: So I render those out.
00:07.600: Yeah.
00:07.600: But it is the generate asset feature in Photoshop.
00:07.600: Hey, man.
00:07.600: And you can go see who he's following.
00:07.680: 0, something like that.
00:07.680: You know, I was able to get in.
00:07.680: And then we'll work that job off of that pegasus.
00:07.760: I've done a million tutorials and watched a million and followed everybody's blog in the world.
00:07.760: And I still don't know what we're going to do
00:07.760: He just does data management and does make sure everything's backed up and all that good stuff.
00:07.760: Yeah.
00:07.760: And obviously I'm not on the software, but just I th I feel as though of all the stuff I've been reading and just constantly
00:07.760: Gotcha.
00:07.760: Any little adjustment you can make that saves time is
00:07.840: Okay, so I'm sorry to interrupt you.
00:07.840: There's no reason to do anything.
00:07.840: And it's so funny to hear that and see her super old.
00:07.840: Okay, so then so and this is in November, this is before 10.
00:07.840: Like, did I use this?
00:07.840: png because you added.
00:07.920: I was actually at back it was here.
00:07.920: 400, I know, I know.
00:07.920: Somebody's not getting a new car in 2014.
00:07.920: And that
00:07.920: So everything in my After Effects workflow renders to render to here.
00:08.000: And I was like, wow, that uh
00:08.000: Your company
00:08.000: And he's been looking at it and
00:08.000: Encoder, yeah.
00:08.080: This program is just.
00:08.080: Does Photoshop isn't the the they have a they play nice together though, don't they?
00:08.080: Take care.
00:08.160: So uh
00:08.160: Have they done any installations?
00:08.160: We call that a Texas master.
00:08.160: I like my I like me some Adobe softwares, right?
00:08.160: I know.
00:08.240: Okay.
00:08.240: No uh we shift projects around a lot.
00:08.240: Like I said, it's good for that first
00:08.320: Probably spent a little time at, like, what would it have been, Kenstone.
00:08.320: I can't use it.
00:08.320: So tell me about the gear that is on its way, or do you have any of it yet?
00:08.320: And I've got some of the other editors here, like, they're dialed into it.
00:08.400: Ever since I discovered that you could actually
00:08.400: It's not worth it.
00:08.400: And it's like, oh, at the end of day of end of day Monday, I'm going to push this project up to the other suite.
00:08.400: Infrastructure wise.
00:08.400: It's jehproductions.
00:08.400: Have a good one.
00:08.480: System Y, that's where we're going.
00:08.480: You know, it's although it's not on a central server like you're going to have.
00:08.480: He's like, if that's where we need to go, then let's do it.
00:08.480: Like, I know.
00:08.480: Correct.
00:08.480: So we will see
00:08.560: And yes, they can do a lot of it themselves, but I think that
00:08.560: I hope so.
00:08.560: Or are you purely post?
00:08.560: So then my guy in New York, he ended up
00:08.560: You know, there is a second viewer now.
00:08.560: com, and actually I think on the Digital Cinema Cafe website.
00:08.640: Yes, something like that.
00:08.640: And then there's another one that's even cooler between Photoshop and After Effects.
00:08.640: You know what?
00:08.720: And he convinced kind of convinced me to not buy a sand.
00:08.720: What are some features of
00:08.720: You know, it's like I'm to the point now where I can kick my renders out of After Effects.
00:08.720: There's one more.
00:08.800: It's animation or design or stuff like that.
00:08.800: And those are easy because you can just carry them around.
00:08.800: Like, I really used this
00:08.800: So in the unmanaged media, you're leaving things in the finder.
00:08.880: Is that okay?
00:08.880: So
00:08.880: And even the XML exchanging was I didn't think about using XML.
00:08.880: And that's been key.
00:08.880: I'm not a big fan of Vimeo either.
00:08.880: Can you fix this one piece?
00:08.880: We have to wait for days to get rendered.
00:08.880: Yes.
00:08.960: And we were only commercials 'cause commercials was the thing, you know, you were much better off doing commercials.
00:08.960: So I did.
00:08.960: It was like, hey, this is Final Cut 8.
00:08.960: And I think he already has at least one Mac Pro, new Mac Pro.
00:08.960: Really?
00:08.960: Is that
00:08.960: It was like, wow, I can f
00:08.960: Oh, my name keys are done.
00:09.040: I think they're they're
00:09.040: Yeah, yeah, yeah, yeah.
00:09.040: Later, later.
00:09.120: Like, I remember some of the muscle memory stuff.
00:09.120: There was a guy when I was in college who
00:09.120: I'm like, sure, go ahead.
00:09.120: I mean, I started off
00:09.200: S VHS players.
00:09.200: I didn't know what I tried importing and nothing would work.
00:09.200: So um
00:09.200: I know that you're getting twelve and you're adding your four.
00:09.200: The key to Twitter is who you follow.
00:09.280: So what is the cable length
00:09.280: 1.
00:09.280: I know that there are cutters out there that just cut dramatic content.
00:09.280: Really?
00:09.360: This is episode, what is it?
00:09.360: So I just had a knack for it and
00:09.360: Yes.
00:09.360: One guy just kind of looked at me and was like, Yeah, okay.
00:09.360: This is at LumaForge.
00:09.360: Here's a question I have for you.
00:09.440: Yeah.
00:09.440: Tony, how did that thunderbolt
00:09.440: And yes, I wanted to put all thirty two in each of them.
00:09.440: Yep, I'll take some of that, some of that, some of that.
00:09.520: 2011, you were at the office, but
00:09.520: I'll hear that from the
00:09.600: And if I end up using that render file
00:09.680: And then there's a lot of people out there saying, Oh, Final Cut 10 can't work in a workroom.
00:09.680: We have uh two of the guys, they have uh um
00:09.680: Oh, yeah.
00:09.680: png to the layer name.
00:09.680: And so definitely keep in touch, okay?
00:09.760: It's adding up.
00:09.760: Yeah, no, I mean the beauty of this business is there are so many I mean, as a business
00:09.760: It was the best thing in the world shooting on S V H S and doing tape to tape editing and
00:09.760: He lives in New York.
00:09.760: And then we'll upgrade to Adobe CC and then get
00:09.760: And we have some of these USB three data trays.
00:09.760: Yes.
00:09.760: It is, yes.
00:09.760: And then from there
00:09.840: And then once I got involved with an actual production company,
00:09.840: It's just
00:09.840: And then that
00:09.840: And we do that because on it's a pain in the rear.
00:09.840: png
00:09.840: Yes.
00:09.920: And I think that
00:09.920: And he liked it.
00:09.920: You're not suspecting that you're going to have.
00:09.920: You got to cut something, you know, and literally.
00:09.920: Yeah.
00:09.920: Hurricanes, storms, political upheaval around the world.
00:10.000: And they have four edit suites.
00:10.000: Can we begin the talks to figure out how to do that?
00:10.000: I'm waiting for that to show up.
00:10.000: I gotta say, I love Twitter.
00:10.080: I've had this hospital client that we've been
00:10.160: I didn't.
00:10.160: And I did.
00:10.160: I was still a little nervous about
00:10.160: And he jumped right on there and got it.
00:10.240: So I just I went at it with an open mind and dude, like, literally
00:10.320: But you know, it was it's the data management.
00:10.320: Yeah.
00:10.320: Do you guys do a lot of little patches?
00:10.400: And if you listened to the last episode, you heard me mention that I could not put out
00:10.400: And I've jumped on there once or twice.
00:10.400: I'm very anxious to hear how.
00:10.480: But yeah, in this industry, it's like dinosaur!
00:10.480: I don't think its playback quality is anywhere near as good as YouTube's.
00:10.480: Oh, yeah.
00:10.480: com.
00:10.560: I can't remember.
00:10.640: I know, yeah.
00:10.640: The finder will allow me to do that.
00:10.640: Search for
00:10.640: But we definitely have to upgrade now.
00:10.720: If it's stationary, I do it in Photoshop.
00:10.800: They've got a great
00:10.800: It was like
00:10.800: I don't really need it.
00:10.880: So I've always been kind of
00:10.880: Yeah, there is.
00:10.960: I remember that.
00:10.960: No.
00:10.960: I go to my render to here, and I pull it out of that folder.
00:10.960: psd.
00:11.040: Number 19, 019.
00:11.040: The problem is
00:11.040: And yep, we've all done it.
00:11.040: No, I hate.
00:11.040: Okay, good.
00:11.040: Okay.
00:11.120: Is that what you're implying?
00:11.120: I jumped into we had we're doing a like a paid project or just
00:11.120: It's wicked fast.
00:11.120: Sorry.
00:11.200: Exactly right.
00:11.200: And he actually jumped on to a
00:11.200: Now, there are occasions
00:11.200: It's my favorite place to keep in touch with the world.
00:11.280: What are some highlights from that document?
00:11.360: And we got to talking.
00:11.360: Um just you know
00:11.440: So it was like itching and scratching.
00:11.440: So
00:11.520: But I know nobody who uses it.
00:11.600: You never know.
00:11.600: So, um
00:11.600: Sorry, Al Mooney.
00:11.680: And I got good at
00:11.680: Nobody's on Twitter there?
00:11.760: So
00:11.840: net or yeah.
00:11.840: Are you kidding me?
00:11.920: So we can we're starting to feel it.
00:12.000: So I was still covered.
00:12.000: And that was really interesting.
00:12.080: We're about to buy buy a sand, yada yada.
00:12.080: I'm going to be totally happy with just that.
00:12.080: They're like, oh, yeah, that's quick.
00:12.240: And I threw him on Final Cut with me.
00:12.240: There's no doubt about it.
00:12.320: And that document was
00:12.320: So
00:12.320: It's just
00:12.400: That way, it just kicks up in the middle.
00:12.480: Ten and Photoshop?
00:12.560: But
00:12.560: 1.
00:12.560: After Effects will not.
00:12.640: I was like, Yeah, this is interesting.
00:12.720: Titles to and they've been like take
00:12.880: Because that's my life, dude.
00:13.360: And I have
00:13.440: Whatever they're calling it.
00:13.600: And uh
00:13.600: So, here's the trick
00:14.400: So, Tony
00:14.480: We're a