Episode 115
FCG115 - I Have a Confession (feat. Kenny Park)
Confessing you are cutting in FCPX may be a career limiting move, but for Kenny Park it all turned out ok. After working on a feature documentary for an extend period of time at home, Kenny decided that it was time to tell the director that he had left Premiere Pro behind. Although Kenny is forced to use Avid in much of his work in Glasgow Scotland, his clear preference is FCPX.
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Featuring
- Chris Fenwick
- Kenny Park - thefinalcutbro.com - @thefcbro
Transcription
00:00.001: For Final Kat when he worked for Apple.
00:00.001: I'm talking about working in a facility.
00:00.001: You're either going to go, oh, yeah, I could get rid of some of my render files of those old takes that I'm not using, or you would petition for getting more data allotted to your job.
00:00.080: Good morning, good morning, welcome, and welcome to another episode of Final Cut Grill.
00:00.080: Park the funnel cut, bro.
00:00.080: Vashi Nidomonski, or I don't know how to Vashi, I don't know how to pronounce your last name, but I know that he's famous for like he's kind of popularized the pancake editing style where he opens up two very thin timelines and he
00:00.080: Not last, but uh, the the Mali documentary.
00:00.160: I noticed his little icon on Twitter because it's the FC Bro.
00:00.160: I thought it would default to whatever the system was.
00:00.160: So, anyway, that'll be fun.
00:00.160: but they thought that they would at some point decided to sell it to the public.
00:00.160: I'll get it.
00:00.160: And this thing is it's like a sniper picking his name out of the phone pick.
00:00.160: Yeah.
00:00.160: No, um, one of the interesting things they talked about in the movie, um, uh, uh, what was the last one he did?
00:00.160: I'm sure you can find them on the internet.
00:00.160: Copies and pastes stuff.
00:00.160: Clock cycles or whatever, all all the cycles that we're going into, calculating how not to have
00:00.160: It took me like probably an extra twenty seconds to figure out, oh, Homer had left it in position mode instead of the select mode.
00:00.160: That was a total Freudian slip.
00:00.160: I obviously I used to trim in Avid all the time.
00:00.160: Your trim, and then you come back out of it again, and that's just the way that works.
00:00.160: Appeal to him, it doesn't speak to him, it doesn't connect with him in some way.
00:00.160: That was a biggie in Final Cut Ten.
00:00.160: And he just said, right, so we open on this sunrise, and then we go to this scene, and we have him say that.
00:00.160: You know how people always go, don't ever upgrade your software in the middle of a project.
00:00.160: Yeah.
00:00.160: Yeah, it's been enormous fun.
00:00.160: and we talked about this project called the Interview Project by David Lynch.
00:00.240: I followed him on Twitter.
00:00.240: And it's it was Sunday afternoon here.
00:00.240: So we will be there at the pool table at 11:59.
00:00.240: I got a mix minus going to you so you can hear.
00:00.240: That's what I learned on and um I became uh au fait with Final Cut.
00:00.240: the one hundred and fiftieth episode of the Digital Convergence podcast, which is interesting because he's done fifty episodes since he told us he was canceling the show.
00:00.240: It is indeed?
00:00.240: Well yeah, I mean I would I would work exclusively in Final Cut 10 if I could.
00:00.240: Don't do it.
00:00.240: occurred to me, Final Cut Bro.
00:00.240: Apparently it's uh one of Stanley Kubrick's favorite movies.
00:00.240: It's the interview with Mike Carroll on DCC twenty-four about the Emac and Kubrick.
00:00.240: So imagine like a legal size piece of paper and a box that's maybe, you know, four inches tall or something like that.
00:00.240: whatever.
00:00.240: And so there's the scene where Tom Cruise goes to the Hooker's house and he's in, you know, Lower Manhattan or whatever, and there there's this red door and the you know, the colors red and blue are hugely symbolic in that movie.
00:00.240: So the guy sent back like, you know, maybe two hundred photos of different doorways.
00:00.240: in terms of not tracks, but you you literally just post, you know, attach clips to each other in a kind of floating bubble way.
00:00.240: You know, they don't have the balls, if you will, to say, nope, I know this is not popular, but for us, this is better.
00:00.240: I think that I know for a fact that I was given an enormous amount of license and rope, clearly enough to hang myself.
00:00.240: So briefly, the best example is our video home tours that we do.
00:00.240: And in that library is all of the material, all of the assets that go into that home.
00:00.240: At the end of each home, there is a brief summary about the neighborhood.
00:00.240: And I'm okay with that because I know that at any time I can pull one of these jobs out and launch it and make it work.
00:00.240: You can like peer into it, but you can't open it.
00:00.240: you know, interplay and lots of assistants, just data wrangling the whole time.
00:00.240: It's just another bin in my project.
00:00.240: He currently works at Apple Inc.
00:00.240: Personally, the thing that I think is most compelling is the way the library structure now works.
00:00.240: Mouse clicking.
00:00.240: Repositioning media screw up, and it was all about remembering how many frames were involved in this
00:00.240: And then when you moved it, you you had to remember that something was going to go so much out of sync, but it was easy enough.
00:00.240: No, I I would agree, and I think that I've used the term and I've promised this a million times, and I really have to do it.
00:00.240: you know, the whole interface changes into a trim interface.
00:00.240: This is a this is a lot more like Final Cut.
00:00.240: Is that a lot of times in product development, we get, or they, the developers, I don't develop anything, you get into this fear of
00:00.240: But you get into a way of thinking, and then instead of that classic thinking outside the box buzzword, you say, well, how can I put this in my box?
00:00.240: You're right, it would be crazy for them to think to do as Apple did and think, well, these people may come back, but for a period of time, every one of our customers is going to be looking around to see what replacement they're going to use.
00:00.240: And it really wasn't, I don't think it was, it really wasn't until the Mini Cooper job that I did in the summer of 2012, which is three years ago now almost, where I realized I could not have done
00:00.240: Yeah, no, I remember the the ITV theme from from that.
00:00.240: that's he's comfortable in Premiere, doesn't see the need for all the pain of rewiring his brain and
00:00.240: Mali to the middle of the desert to open a gold mine, or to try and start a gold mine, just him and his wife and his two sons.
00:00.240: And I said, if I can work from home, I'll end up giving you more time, but I'll be able to work odd hours rather than turning up to your facility and clocking in and clocking out.
00:00.240: Because unless until I did that, I just everything click, make a coffee, it would happen.
00:00.240: The spirit of the movie, and just send you scripts along, you know, with I know because he knew all that happened.
00:00.240: I thought I'll just maybe see I'll just maybe, you know, do a bit of intelligent assistance, you know, seven to ten magic.
00:00.240: and you'll save a bunch of money.
00:00.240: I can just go back to Premier and no harm, no foul.
00:00.240: It's like, okay, so that's not really realistic.
00:00.240: You're your data manager, you know, and you have to be able to do all those things.
00:00.240: but you're also not really managing your data well.
00:00.240: You know, so speaking of focus, as if you listen to the show, you know that I'm going to be at NAB in the FCP Works
00:00.240: and they updated their library or their their project files into libraries in the middle of the film and finished it on time, on budget, et cetera, et cetera.
00:00.240: And then one morning I could come in and say, well, we've kind of got our projects back.
00:00.240: And I can't wait to I mean, who knows what will be revealed, if anything, at the more info Apple product session at NAB.
00:00.240: Well, another thing, and we made this announcement last week, at the also at the FCP Works presentation suite.
00:00.240: As well.
00:00.240: I can't remember whether there's they found I think they have found a distribution agent for international release, but it's not available to Wats just yet.
00:00.240: Slash family gold mine.
00:00.240: Oh, bugger.
00:00.240: And I know that the Clip Exporter does wonders with that functionality, but I just you know, that would be very nice.
00:00.240: the intention is, but I don't know.
00:00.240: cannot usurp what is in Final Cut 10.
00:00.240: very, very simply.
00:00.240: Yeah, if that's the way the philosophy takes it, I can live with that.
00:00.240: Okay.
00:00.320: Before we get going, I want to encourage you to check out PremiumBeat.
00:00.320: So, Alex McLean and I will be there.
00:00.320: And come by, hang out, have a slice, meet.
00:00.320: So that's that.
00:00.320: old Final Cut, which was three, I think back then, um, for a side project.
00:00.320: it had evolved in fits and starts and some of the things some of the ways it went about things were kind of counterintuitive.
00:00.320: So I've always kind of kept that going.
00:00.320: San Francisco Bay Area, and you fancy yourself as a video editor, and you're looking for work
00:00.320: Contact me because you immediately have a leg up if you're Final Khaten proficient.
00:00.320: So we'll work on that another day.
00:00.320: And now you're on the the final.
00:00.320: And the Emac, I want to point out: if you go back to episode 24 of the Digital Cinema Cafe, there's a really interesting interview with our friend Mike Carroll.
00:00.320: Kind of behind the scenes stuff that Vivian Kubrick shot.
00:00.320: The way his mind worked.
00:00.320: They, in the process of making the documentary, they found, I guess the I wanna s I'm gonna say I know I have this wrong, but it's like the British Film History Museum or something like that.
00:00.320: And they donated the the Kubrick estate donated them or maybe sold them, I don't know.
00:00.320: Okay, we'll go with it.
00:00.320: I'm just curious.
00:00.320: The other alternatives.
00:00.320: The so-and-so neighborhood is close to these schools and close to, you know, blah, blah, blah, and this freeway, and short drive to San Jose and San Francisco.
00:00.320: We like to keep all assets for that job in one folder.
00:00.320: Actually, open them.
00:00.320: Or all and you can you basically say, right, I want that sequence from within the project to open in the current project that I'm in.
00:00.320: Is it still referencing the media in that other job?
00:00.320: it's certainly as I've experienced it.
00:00.320: Not my job, you know.
00:00.320: and I've just opened up um uh a bin from a central project called, say, Neighborhoods.
00:00.320: And I can open the bin or folder from there within my project, and it just lives there.
00:00.320: any or all bins, and it's just a consolidate command.
00:00.320: You know, not impressed with my knowledge.
00:00.320: I became hyper aware, even within Final Cut VII, of all the kind of um uh all my brain power.
00:00.320: And suddenly I was thinking, that's all irrelevant.
00:00.320: What is it now?
00:00.320: in Final Cut of Old, Legacy or whatever, so quick that I didn't ever feel the need to even sp I mean, the whole thing is you go into another mode
00:00.320: Utterly happy with that, it's the way it works, and the way I'd learned, and the way I I I the only way I knew at a certain point.
00:00.320: you know, final cut classic.
00:00.320: And I just want to put that out there for the world.
00:00.320: You know, don't rock the boat.
00:00.320: I think the Matt cast is what it's called.
00:00.320: Late 2011, and we just went off on it.
00:00.320: severely hosed by Adobe Premiere on a couple of projects, and it became a a n a non-starter.
00:00.320: And I made the choice and I said, I don't need to be working at 100% on this.
00:00.320: So I will take that extra amount of time and put it into learning the software.
00:00.320: What actually happened is I finished the projects way ahead of schedule.
00:00.320: So it became kind of that for me was a shock because this was early 2012, like January, February, March, April maybe.
00:00.320: you know, very much the whole format of the Prisoner was for American commercial breaks.
00:00.320: But um so yeah, I I'll be in there I'll be in the BBC this weekend working on Avid.
00:00.320: revelatory Final Cut Ten experience because he was not entirely convinced and he's very much premier guy, just just like you were saying.
00:00.320: as a color correction, color finishing grading tool.
00:00.320: So yeah, a whole a whole different um so let me back up because I love I love um talking about the problems.
00:00.320: uh kind of fascinating tale of a um a French a kind of French guy, very charismatic, who takes his family to
00:00.320: there was this kind of Islamic extremist uprising, you know, coup, civil war, and the French had to
00:00.320: There came a point where we had a re-rethink of the whole thing, and he said, You'll tell you what I'm going to do.
00:00.320: And he was over the moon with what I was sending him.
00:00.320: You know, use the tool that works best for you.
00:00.320: You know, another plane of existence, definitely.
00:00.320: Maybe it wasn't any web-based.
00:00.320: You know, you've used all your data.
00:00.320: This job is a lot bigger than you thought it was going to be.
00:00.320: That they would never have discovered otherwise.
00:00.320: To rejoin physically the director and us be in the same room, and we're working away, it was prior to 10.
00:00.320: Oh, yeah, we did exactly the same thing on that feature documentary I was talking about.
00:00.320: And he kept saying, Oh, I can't believe there's no project.
00:00.320: Giving us updates.
00:00.320: You know, it's not going to be.
00:00.320: So that'll happen at 10 a.
00:00.320: If you can get to NAB or if you're going to be there rather, go ahead and register for the sessions that you would like to see because they have very limited space.
00:00.320: No, no, no, no, no.
00:00.320: Then I need to have that same motion tracking in Final Cut X.
00:00.320: Just to quickly jump into motion with just the clips you need.
00:00.320: Do the do the track, export my text with alpha and import that back in.
00:00.320: And then you have a blog too, correct?
00:00.320: At the final at the DCC meetup at 11:59 Tuesday night at NEB, that would be April the 14th.
00:00.320: Whatever, get over it.
00:00.400: That he's cut, and he's asked me to say, put the kind of Fenwick polish on the music because he wants to see how I use the music
00:00.400: So, um but uh I'm gonna be doing uh the 150th episode with him tomorrow morning.
00:00.400: Of Mr.
00:00.400: You know, don't fall into any of the usual traps.
00:00.400: Right.
00:00.400: So this is it's Avid V final cut in beverage form.
00:00.400: Yeah.
00:00.400: Would save slips of paper and photographs and things from researching for movies and stuff.
00:00.400: I imagine there was a there'd be a clause saying you can preserve it, but don't show anyone Well, I don't even know that I don't even know that they don't want to show people, but they just, you know, you can't have paws on it and people be lifting stuff and whatever.
00:00.400: By my boss, when he said, The call is yours.
00:00.400: On an avid, how would that work?
00:00.400: MXFs to go into and that and I can make them all live in one central place for archiving as a copy.
00:00.400: And so I think, you know, if you're an avid editor, I think that from a structural standpoint, and there's multiple ways of looking at this application, and I think that the thing
00:00.400: Right.
00:00.400: Same here.
00:00.400: iTunes.
00:00.400: I don't want to change the way I think.
00:00.400: Who knew your cell phone was going to be tied to your iTunes account, right?
00:00.400: A hellfire mission to get them to improve their trim tool.
00:00.400: You know, I mean, I just got a tweet or the meerkat, Jason Wingrove, said something about Fenwick fails to capture.
00:00.400: You know, so if we're going to put it, if we're going to build this, how do you build it in the box?
00:00.400: and the success of the iPhone made it possible for Apple to say, you know what, our livelihood does not come from our video editing tool
00:00.400: Interestingly enough, what I found was that even though I suspected I would be just barely getting the job done because I would be working a little bit inefficiently, and therefore I would have to stop and figure out how to do things.
00:00.400: Or right next to them, there's a there's a sort of commercial channel called S T V.
00:00.400: ten.
00:00.400: with being able to say I'm comfortable in Premiere.
00:00.400: Like, for example, you need to understand the library system.
00:00.400: There's that.
00:00.400: Right.
00:00.400: And tell a different story.
00:00.400: you had an extra two terabytes available to you.
00:00.400: Apple will be making a special presentation Monday, Tuesday, and I believe Wednesday morning.
00:00.400: Although no.
00:00.400: uh presentations will be posted eventually.
00:00.480: Tuesday night at 11:59 p.
00:00.480: The meerkat.
00:00.480: who's a fan of Final Cut 10 and working in Glasgow.
00:00.480: And he talks about in that interview how he cut his first feature-length film on an Emac.
00:00.480: I'm talking to everybody else.
00:00.480: What am I looking for?
00:00.480: Which, as I understand it, was very final cut yeah, but it uh the the timeline was very final cut ten-esque.
00:00.480: Run the risk of getting the flaming arrows in your back.
00:00.480: Yeah, and that's massive.
00:00.480: Okay, fine.
00:00.480: Another problem.
00:00.480: I think you've talked about this before, where the avid editor looks at the timeline and doesn't think where the stuff is coming from or where it's destined for.
00:00.480: will be sort of in that place as a copy without affecting the original stuff so everything is getting copied into that place.
00:00.480: or I guess the appropriate way for us to say this given the the the time marching on.
00:00.480: And the idea of ripple paste and ripple delete.
00:00.480: If you embrace the iTunes model and just say, you know what, in this particular instance, I'm going to let Apple win.
00:00.480: You know, and maybe that's the problem.
00:00.480: The true excitement of watching someone listening.
00:00.480: that doesn't necessarily help us as users because you kind of you get into I'm going to call it a rut, that sound that has a huge negative connotation.
00:00.480: They were remote field edits that allowed me to just concentrate on what I needed to do.
00:00.480: This documentary in Mali over a number of years, including when they had a coup, and it was basically a war zone, which wasn't part of his story, but became part of his story.
00:00.480: you know, send troops in and it became very scary.
00:00.480: About being a Final Cut 10 editor.
00:00.480: Excuse me, is part technician, part storyteller.
00:00.480: Continue.
00:00.480: will influence the story.
00:00.480: And for the first time publicly, I think Michael is going to be able to talk freely and openly about all of the issues and things that they did and how they went about it.
00:00.480: And on Monday morning excuse me, Monday afternoon at 2 p.
00:00.480: Yeah.
00:00.480: Um well, they can on Twitter it's at the FC Bro FCBRO.
00:00.480: I'm looking forward to taking a look at that.
00:00.560: For the last couple of weeks.
00:00.560: and a PC.
00:00.560: And uh and so I sort of went in g y a kind of parallel trajectory with both of them and I started my own company
00:00.560: I'm kind of, you know, what do you call it?
00:00.560: The uh, what did I call them the other day?
00:00.560: So it was a per a particular weight of cardboard.
00:00.560: But one of the interesting stories in that, I know this is nothing about Final Cut, but although I like to believe Stanley Kubrick would be cutting on Final Cut 10
00:00.560: Professionally.
00:00.560: And um and they had Kubrick had phoned a photographer in New York and he said, Go shoot doorways
00:00.560: Because it goes back to the old thing: nobody ever got fired for buying an IBM PC.
00:00.560: We understand that there are many copies of the shot of downtown San Jose on our hard drive system.
00:00.560: So in Final Cut 10, I can drag stuff.
00:00.560: I want to lift a shot out of my primary storyline and I want to move it down someplace else, but I don't want to screw up my timing
00:00.560: Which I kind of understand, except for the fact that it's worked so well for me, I can't imagine it not working for other people.
00:00.560: And uh I mean, it's I I never felt the need to go into a whole separate trim mode the minute I touched Final Cut Classic.
00:00.560: Kevin Monaghan, who works at Premier, Premier, Adobe, Adobe.
00:00.560: All things that you can do in Final Cut 10, but for whatever reason, it just doesn't
00:00.560: That job on any other platform.
00:00.560: So to this day, he doesn't want you talking about the documentary as being cut in ten?
00:00.560: just make don't make it a poster movie for Final Cut 10 because he wasn't it had its issues and and he basically said to me that he bizarrely enough he loves the grading and he would use it as a
00:00.560: severely, my daily rate, if I could work from home.
00:00.560: And because I've because of ten to seven, I thought, well, I can see my way back.
00:00.560: Yeah, using two of your four wheels.
00:00.560: The the URL is the final cut bro.
00:00.560: At 11:59 p.
00:00.560: It's going to be a lot of fun.
00:00.640: Smiley Dave with this silvery, you know, peppery hair.
00:00.640: Slightly different than what he's doing.
00:00.640: And after he passed away, they started going through these things and they're like, you know, to most people, it would be considered trash.
00:00.640: We're going ten.
00:00.640: I couldn't figure what's going wrong.
00:00.640: And I sat down at the computer that he was.
00:00.640: And then the other thing that happened was like the next day I was looking over his shoulder and I was watching him work, and he was just completely content working in the position mode.
00:00.640: Which, if you don't know, kind of makes it act more like Final Cuts 7 or Premiere 8, or I'm sorry, Premiere Pro.
00:00.640: It's there are times when you're better off just saying, Okay, I'm going to give this a try.
00:00.640: You know, and I said, Well, you know what?
00:00.640: I mean, you weren't a fan of Final Cut 10 when it when it was.
00:00.640: I had a client who we had I had two projects successively that I did not have to share responsibility with any other editors.
00:00.640: If I ever get asked about this, you know, is there anything you don't want me to mention?
00:00.640: kind of just use Avid with the same kind of blankness as they as they began the process.
00:00.640: Presentation suite, which is at the Renaissance Hotel immediately adjacent to the the L V C
00:00.640: And it will be first come, first serve there.
00:00.640: I think it's weird that it's now so close to motion in terms of the way it it's kind of back end and how you can make all your templates and that's all fantastic.
00:00.720: like the BBC, you know, they were they've always been very friendly to Final Cut, except in Glasgow.
00:00.720: Steven Bays FCPX.
00:00.720: You know, that's that that would be insane for anyone else, you know.
00:00.720: And I was not ready to say we're going 100%.
00:00.720: market.
00:00.720: So, anyway, go check out FCPworks.
00:00.720: To make filters and plugins and modifiers, and not a place to work on media.
00:00.720: International appeal.
00:00.800: Okay, so Kenny, tell me a little bit about yourself.
00:00.800: I became I started working professionally in two thousand four.
00:00.800: with a guy I knew, and we were very much Final Cut based, and we did some corporate work and a couple of dramas.
00:00.800: And all the time if I get hired for T V here in Glasgow, it was always avid.
00:00.800: So then why did you choose the Moniker the FC Bro for Twitter?
00:00.800: I'm just saying if you're here, don't come here.
00:00.800: Such a Southern California thing, though.
00:00.800: a packaging company that was in near that li that was near where he lived.
00:00.800: Was that for some of our clients, and clearly one of the features that we use the most is
00:00.800: We draw on, we shoot all these homes.
00:00.800: a director.
00:00.800: Right.
00:00.800: will save your life.
00:00.800: That's awesome.
00:00.800: So many more iterations of a scene and discovering moments and effective kind of elements.
00:00.800: They got it all done, and they even had to start the project prior to the 10.
00:00.800: Yes, we will, Mood Swing.
00:00.800: Sam Mestman from FCP Works worked very closely with Michael to develop the workflow.
00:00.880: We will be meeting at the Cosmopolitan Hotel on the it's like the third or fourth floor in the casino.
00:00.880: I thought I was going to really, really cinch this opening.
00:00.880: Where are we now?
00:00.880: But at the time it was that was unheard of for you know a Mac.
00:00.880: It is interesting because we just had this conversation around our office just the other day because we're at the point where I got news for you.
00:00.880: It's like, have you seen, you know, well, of course you have.
00:00.880: This ability to drag things out of different libraries and then consolidate down into your current library.
00:00.880: The Avid system works.
00:00.880: mistake of pointing out the position tool to one of our freelancers that is not happy cutting in Final Cut 10.
00:00.880: And he's a different type of editor.
00:00.880: Yeah.
00:00.880: And that meant that I could work a little bit less efficiently.
00:00.880: It doesn't really jive because if you think that you're just telling a story
00:00.880: I would love to see that.
00:00.880: No, the 10-1 update last two Decembers ago was fantastic.
00:00.960: immediately loved it.
00:00.960: Final Kutque powered by Skype, Meerkat, and Pepsi.
00:00.960: And Mike Carroll is I can't remember his name.
00:00.960: He wanted the lid to fit just exactly the right way and he wanted it to fit a certain thickness.
00:00.960: was not popular.
00:00.960: And he's the Fonocha 10 product manager.
00:00.960: The only difference was you had to know the option key to hold down to make it work.
00:00.960: I mean, I'm embarrassed at some of the stuff I said, and I made personal attacks on Stephen Bays.
00:00.960: Not going to go back to final cut seven.
00:00.960: And if you topped out your data usage, and again, this is, I'm not talking about the guy who's like sitting at home in his boxer shorts at his iMac in the second bedroom.
00:01.040: Where I would go if I have half a choice or any say in the matter, you know.
00:01.040: They've always been resistant.
00:01.040: A few years ago, and I suddenly just you know, my mind wandering as I'm doing some kind of repetitive task.
00:01.040: And so, from and you learn this because of the trove of information.
00:01.040: Final content, the Kubrick editor.
00:01.040: You can select don't bother if it's already there.
00:01.040: And when you wrap your head around it and you get it, it's like massive.
00:01.040: Where there's little tricks that you get used to doing.
00:01.040: I just classic, yes.
00:01.040: But so when people were talk comparing it to FinRock at 10, I mean, I it's even more fluid and even easier and even faster to work right within the time line.
00:01.040: appropriately trained to have the thick skin that an Apple employee needs to have.
00:01.040: to get around some of the seemingly illogical and I want to stress seemingly illogical reaction that the magnetic timeline has if you are not accustomed to it.
00:01.040: I just did a featured doc in Final Cut Ten that had its premiere.
00:01.040: Without telling him, he was when it looked like it was going to take a lot longer, I made a deal with him that I would cut my rate.
00:01.040: And when you did that, it gave you access to all the media on the central server, and every job had a finite amount of hard drive space allotted to it.
00:01.120: But he edits his way.
00:01.120: Stock exchange.
00:01.120: Usually at the moment, either the BBC, who have a large facility in the centre of Glasgow
00:01.120: Well, we did.
00:01.120: And they had a then, I don't know what they have now, and I'm sure there's all kinds of systems like this, but they would have a web-based interface.
00:01.120: Yeah, no, you may be right.
00:01.200: Yeah, I thought I heard a little bit of that.
00:01.200: Podcasts like yours are a complete ambrosia.
00:01.200: So let's say you open up that second time line.
00:01.200: You just figure it out if you, and I've said this many times on the podcast.
00:01.200: And but it was a few extra clicks and also things could go hideously wrong if you didn't if you didn't properly plan it out.
00:01.200: So, if I just lift it up and move it, everything's going to ripple down by default, right?
00:01.200: There are times when you really just want to embrace something, you know?
00:01.200: But no, I absolutely hate it.
00:01.200: You know, they wanted to sell to the to America as and you know, the the the idea of showing it in Britain was a would be a nice little offshoot.
00:01.200: But now with and they actually did finish the project.
00:01.200: That's the other thing that I should have expected.
00:01.280: Oh, I know.
00:01.280: And I'm just going to change the way I think and the way I work.
00:01.360: But I don't know that it's I'm I'm sure it's not available to the public to go rummaging through there.
00:01.360: I can import from them, but I can't open them.
00:01.360: That's interesting.
00:01.360: Is that the ITV theme?
00:01.360: wanting to move to premiere from Final Cut 7 because it was so similar and he found he was he was comfortable in it.
00:01.360: I'm using motion to make tools and plugins and filters and bears oh my, then the feature set that is in motion
00:01.360: Thank you very much.
00:01.440: That's a really cool story.
00:01.440: I I I love the way it works with audio.
00:01.440: I'm actually going to be working the next morning.
00:01.520: So yeah, we're doing ridiculous stuff here.
00:01.520: Park in the Mix Minus.
00:01.520: Oh, one thing about Kubrick and his likelihood.
00:01.520: Five, eight years ago, coming up on eight years ago, when the phone came out.
00:01.520: Whereas Avid clearly, their livelihood comes from their video editing tool.
00:01.520: And I knew that I could work a little bit inefficiently and still get the job done.
00:01.520: Delving into the world of the magnetic timeline, I still finished the project way ahead of schedule.
00:01.520: No need to for slice X or anything.
00:01.600: Yeah, if I could afford to jump on a plane, you know.
00:01.600: And he's like, You sure?
00:01.600: We'd had the shall we go with Premier or Final Cut 10 and he was very enthusiastic about Premier.
00:01.600: So in the avid world, how does that work?
00:01.680: 12, 11, 12 years?
00:01.680: And what paid off in our situation was, and we just had this discussion last week.
00:01.680: And I think for me, if I'm going to sit here and spew on about Final Cut 10 all the time, I think it's better when I know a little bit about the
00:01.680: That was an ITV production, I believe.
00:01.680: You are yes, you're an editor, but you're not like an editor.
00:01.680: That being said, that being said, I think the motion team needs to say, okay, if the intention is that
00:01.680: So I haven't updated it in a while.
00:01.760: It's a disconnect.
00:01.760: Kubrick, Stanley Kubrick was an unbelievable pack rat, and he
00:01.760: I could do with adding a string to my bow.
00:01.760: Oh, I hate iTunes.
00:01.760: Yeah.
00:01.760: When you sit down at a workstation, you would have to log in with your name and the job number that you were going to be working on.
00:01.840: Yeah, yeah, that was a that was a British show, I think, Channel 4.
00:01.840: Yeah.
00:01.840: I don't know yet.
00:01.840: Maybe I don't understand.
00:01.920: I did not mean to say that.
00:01.920: Why do you think that you use?
00:02.000: He was already following me.
00:02.000: I was like, Hey, let's let's do this thing.
00:02.000: I almost said competition, but whatever.
00:02.000: I don't know what's going on with them from a business standpoint, but for a while there, it was looking horribly bad.
00:02.000: And he liked this idea.
00:02.000: I made the joke last week about Final Cut 13 being announced on April the 13th.
00:02.000: All right, man.
00:02.000: m.
00:02.000: And Kenny turned me on to that.
00:02.080: It looks exactly the same.
00:02.080: Previously he worked at Boris Effects, Media100, and Avid Technology.
00:02.080: Love it.
00:02.080: So, thank you, Kenny.
00:02.160: But here, so uh here's how I think it I would do it uh in Avid.
00:02.160: It's even just in the organization of media.
00:02.240: But if you max out your data usage, you'd get a nastygram from the server that would send you a little email going, Hey, Fenwick, I don't know what you're doing over there, but your hard drive is full, essentially.
00:02.320: At that point, Apple just came out with their EMAC, which was a version of their iMac, but kind of just didn't look as nice and it was designed for education.
00:02.320: The Oakland Painted Ladies, and you happen to know Final Cat 10.
00:02.320: And see, that's the thing, like, you know, I'm just a storyteller.
00:02.320: I need another two terabytes.
00:02.320: And it's interesting what the focus guys are saying about being able to try
00:02.320: And again, we picked that time because we didn't, we couldn't figure out if midnight was a.
00:02.400: Oh, and again, thank you, Premium Beat, for making all this stuff happen.
00:02.400: You have it's a big facility.
00:02.400: I just never ever even bothered opening the the the trim mode because it just seemed so unnecessary because I could work in the time line so quickly.
00:02.400: And I can live with it the way it is.
00:02.480: And I thought I should just change my Twitter name to that, you know.
00:02.480: And this happened a mere three years later.
00:02.480: Well, I mean, there is a way to do it.
00:02.480: And I started to really resent all the mental effort that had to be done.
00:02.480: I would love to see that.
00:02.480: Take it easy.
00:02.560: And thank you, Premium Beat, for supplying the music to do all of that.
00:02.560: And obviously made the transition the gloriously painful transition to Final Cut Ten when it came out.
00:02.560: That's the name of the movie.
00:02.640: And quite exhaustive, you know.
00:02.640: And I don't know, and actually, Kenny, maybe you can tell me because I'm just curious.
00:02.640: I apologize beforehand.
00:02.640: And he was great.
00:02.720: And to be clear, this is not, I'm not digging on avid.
00:02.720: But by then when I was in avid mode, you'd go into the I was just used to going into the to trim mode to to to finesse a cut and then come back out.
00:02.720: then you have to you have to be able to get your head around the whole thing.
00:02.800: Maybe I just you know, it was kind of like the whole dynamic trimming smackdown that happened a couple of months ago with Austin Flack.
00:02.800: No, I think it's interesting.
00:02.800: You know, he puts it all in the timeline and he shuffles it around and he puts stuff out at the end and he comes back to it.
00:02.800: I mean, I was having a conversation, I think it was on Meerkat the other day, or maybe it was earlier today.
00:02.800: You need to understand the power of the library system.
00:02.800: And, you know, I don't.
00:02.800: m.
00:02.800: I do.
00:02.800: Kenny, thanks so much for taking the time today.
00:02.880: And I've been meeting new people.
00:02.880: And you know, we had some initial chats with it, and like already he was like, oh, yeah, I didn't think about that.
00:02.880: Right.
00:02.880: You know, it just seemed to even back then, it was it sort of threw into sharp relief how kind of old Avid was in terms of its thinking and how
00:02.880: It was not successful.
00:02.880: And so he wanted Adobe to get the trim tool right.
00:02.960: We'll see if that works.
00:02.960: Seriously.
00:02.960: And I said yes, I'm sure.
00:02.960: Yes, mood swing.
00:02.960: I don't totally understand that.
00:02.960: The way that the tool would change depending on context.
00:02.960: What are we going to do?
00:02.960: And I've still been the email somewhere where I confess
00:02.960: Monday morning and also 10 a.
00:03.040: We're going to be using premium beat music on an edit that I'm going to be doing with Dave Dugdale from LearningDSLR Video.
00:03.040: Yeah.
00:03.040: So, Kenny, what kind of projects what do you work at?
00:03.040: Take care.
00:03.120: Yeah.
00:03.120: I'm not promising you a full-time job.
00:03.120: You remember the jerk, the Steve Martin, where he gets his name in the phone book and he's like,
00:03.120: Why do you hate iTunes?
00:03.120: So you're not going to be able to do that.
00:03.120: And your hard drives won't be as full.
00:03.120: And that was quite interesting because what it would do is it would force you to go, like, one of two things is going to happen.
00:03.120: Is that available to be seen somewhere?
00:03.200: We started chatting back and forth.
00:03.200: I need doorways.
00:03.200: We create a library for every one of the homes.
00:03.200: Get over it.
00:03.200: Like, oh, Apple doesn't know what the hell they're doing.
00:03.200: Can you talk about that?
00:03.200: Yeah, yeah.
00:03.200: So they're telling a I mean, you'll never know if it's a better story without going back in time and have them
00:03.200: So, if I'm going to be working and up at midnight, you can be there too.
00:03.280: Yes.
00:03.280: I know, I know.
00:03.280: Which frankly is not too surprising.
00:03.280: He's not a full-time editor.
00:03.280: Don't screw up our user base.
00:03.280: Um although the the director of that, I I should point out, he asked me not to advertise the film as a as a kind of focus, as a sort of
00:03.280: Yet they even changed versions in the middle of the film.
00:03.360: This is episode 0, uh, not 0, 115 with Kenny Park, the Final Cut Bro.
00:03.360: And he goes, Yeah, I'll stay up.
00:03.360: I got a four third feed going to the recorder, and then I got a feed going to the
00:03.360: No, that's everybody says exactly that.
00:03.360: Am I this thick?
00:03.360: But but the funny thing is, there was a there was a si very similar trim mode in in Final Cut Studio to the Avid one that I never touched.
00:03.440: You know, it'd be great to meet people that are listening to the shows.
00:03.440: There you go.
00:03.440: Advocate, fanboy, evangelist.
00:03.440: Yeah.
00:03.440: I believe the intention is to stream them live as well.
00:03.520: Just amazing.
00:03.520: Just want to or track X, just want to track a bit of text, a wee bit of handheld camera, tiny bit of shake.
00:03.600: How long have you been in this business?
00:03.600: I think it was good because I found working in the timeline.
00:03.600: Oh, no, I was I was clearly in the forefront of bashing it.
00:03.600: Family Goldmine.
00:03.600: So like for example, there's motion tracking in motion.
00:03.680: So again, I'm not giving you any secrets here.
00:03.680: You know, maybe I'm just a hack, but I don't get it.
00:03.680: And so that actually just made it a lot easier to say, yeah, here we go, let's do this thing.
00:03.680: New enough.
00:03.680: I think it will be fun to hear from Apple in person like that.
00:03.680: com.
00:03.680: It's clearly not a technical choice.
00:03.680: I've got a thousand drafts.
00:03.680: Cheers.
00:03.680: Also, I want to mention one other thing, and I'm going to put it in the show notes.
00:03.760: There is going to be a DCC meetup on
00:03.760: Feel like I'm listening to one of the extras from a Mel Gibson movie.
00:03.760: Seriously.
00:03.760: He calls himself like the oh, the naked filmmaker because he strips everything down to the naked core or whatever.
00:03.760: Let's see.
00:03.760: I was a guest with, I believe, Richard Harrington and somebody else years ago.
00:03.840: Not 11:58.
00:03.840: But anyway, Stanley had these boxes made and they made hundreds of them and he had them in a barn.
00:03.840: So it does come down to storytelling, but the road you take
00:03.920: It doesn't work.
00:03.920: First of all, I can open multiple libraries, which I think is massive because even Premiere doesn't let me
00:03.920: Oh, good.
00:03.920: You know, that's that's most people are not cutting that way.
00:03.920: m.
00:03.920: It's just that if there's one shot and I want to do one particular thing to it
00:03.920: So we will be back next time with another episode of The Grill.
00:04.000: So it's crazy.
00:04.000: I've told the story in the past of a friend of mine who used to work at Digital Domain back in the late 90s.
00:04.000: I think we've talked about that before on the show, and I'm not willing to say publicly what I think.
00:04.000: It's called interviewproject.
00:04.080: m.
00:04.080: Jesus.
00:04.080: To hear your Scottish accent being, you know, I'm the final cut bro.
00:04.080: This is this is that this is that scene.
00:04.080: I mean, God, it would take 10 guys, 100 years to go through it, you know?
00:04.080: Final Cut 7 is dead, confirmed.
00:04.080: And so I started sending him quick times every day of what I'd cut.
00:04.080: Okay, fine.
00:04.080: Click on the NAB tab up at the top, and you can see the whole list of things.
00:04.080: Bye, nah.
00:04.160: Full metal jacket I just discovered was cut on montage.
00:04.160: If they're bleeding into one another for archiving?
00:04.160: But just embrace something.
00:04.160: And in Avid, it's you know, you know the shortcut in your sleep, you know, you do it a million times a day, up it comes, you do your
00:04.160: As a matter of fact, I think I did a podcast on
00:04.160: No, Sam Esmond is like, BS, we're going to do it.
00:04.160: And, you know, hmm.
00:04.240: com.
00:04.240: Um full head of hair, may I mi may I remind you.
00:04.240: That sounds a hundred times better.
00:04.240: So let me think then.
00:04.240: Yeah, you can bring it the import window shows you, I think, from memory as well, though, all the sequences.
00:04.240: He just said, well, look, I don't understand Final Cut 10, but I like what you've been doing.
00:04.240: And, like you said, when I asked you about, you know, how do you do this in Avid?
00:04.240: , we are going to Sam Messman and I are sitting down with Michael Matzdorff, who was the assistant editor on Focus.
00:04.240: And I think if you if you go to the finalcutbro dot com, it redirects there.
00:04.320: And I said, Hey, let's, you know, do you want to be on the show?
00:04.320: Oh, I'm 10 minutes into it.
00:04.320: Yes, it is.
00:04.320: Can I then copy if I copy clip seven out of Timeline two and paste it into Timeline One
00:04.320: And at any point, I can just take all my clips from any bin
00:04.320: And it's very nice, and it's dynamic, and you can time it on instinct and all that fine.
00:04.320: So we took a long, hard look at final cut 10, and I did, you know, my process was
00:04.320: You know, are you a Final Cut?
00:04.400: Okay, I can turn myself up too.
00:04.400: Christ.
00:04.400: I mean, apparently there's hours and hours of it.
00:04.400: What should we cut in?
00:04.400: But in terms of the archiving, so I've got my project with the house, particular house, and I've gone onto the network.
00:04.400: It's out there.
00:04.400: And actually, it was, it was on the drive over here today, and I was thinking that, you know, that doesn't.
00:04.480: So, if you are a fan of either the Digital Cinema Cafe or the Funnel Cut Grill, or you just want to hang out and have good pizza in the middle of the night, because why not?
00:04.480: I thought I, you know, I know everything.
00:04.480: It was not mainstream.
00:04.480: So, so you mean for
00:04.480: If I want to archive everything I see in front of me, and I just choose what folder I want, all the crazy
00:04.480: Okay.
00:04.480: So there's a guy, my friend Steve, who works at Apple.
00:04.480: You know, I mean, other my friend
00:04.480: Can you talk about it?
00:04.480: And I had to buy to get Premiere on my iMac to work, I had to max out the RAM.
00:04.480: Sam likes to say, Sam Esmond likes to say, if you don't expect a lot, you'll be pleasantly surprised.
00:04.480: That's a whole nother thing.
00:04.480: I know it's late, and I appreciate you staying up late to kind of chat about our favorite little piece of software here.
00:04.560: So I went over to the office and we um and we uh hooked up.
00:04.560: I said, yeah, you know, I have a large admission to make.
00:04.560: We'll give you more terabytes.
00:04.560: I just you know, and w why on earth would you do it this way?
00:04.640: It's very anti Final Cut and always has been for some reason that we I can never fathom.
00:04.640: Yeah.
00:04.720: Bro, no one says that in this country.
00:04.720: Yeah.
00:04.720: And one you know, they wanted to show it across the Atlantic.
00:04.720: Is that still in festivals?
00:04.800: And Kubrick then went through them and said, Ah, this is what I want her doorway to look like.
00:04.800: That was a shock.
00:04.800: It's usually for T V.
00:04.800: Yeah.
00:04.800: Because I used ripple paste and ripple delete all the time.
00:04.800: But you know, like I've had this chat with Jason about Final Cut 10.
00:04.800: And who was it?
00:04.800: There's my request for what it's worth.
00:04.880: Kind of a lonely place.
00:04.880: That's very interesting.
00:04.880: Well, it doesn't sort my stuff the way I want.
00:04.880: m.
00:04.880: So that's an interesting thing.
00:04.960: They've been very generous to support us.
00:04.960: Shoot tons and tons and tons of doorways.
00:04.960: So interesting subject matter.
00:05.040: You know, breaking your heart so we don't have to.
00:05.040: And yeah, the most amazing thing.
00:05.040: You know?
00:05.040: Two things happened.
00:05.040: Yeah.
00:05.040: I mean, they did a there were a lot of companies that that made shows for ITV with but designed the show for the American
00:05.040: Interesting.
00:05.040: So yeah, I mean, you you may be able to get to the end of a cut, but without understanding it.
00:05.040: Tuesday morning and possibly Wednesday morning.
00:05.120: It totally is.
00:05.120: I know that the premiere people that you can through the browser, and actually, I think Dave Dugdale is might be still watching.
00:05.200: And I just thought that was cool.
00:05.200: Oh, God, no.
00:05.200: So that sound that sounds like Avid has a a system that's actually very similar.
00:05.200: Like, for example, you know, the concept of
00:05.200: And I, and I will say, I think that clearly the iPhone
00:05.200: True.
00:05.200: Got it.
00:05.280: Don't come here.
00:05.280: And then I thought, I wonder if it's available, finalcutbro.
00:05.280: How do I okay, now that's the premier thing?
00:05.280: He certainly knows how to tell a story.
00:05.280: And he said, um, just just don't s say that it was
00:05.280: I'm going to send you script based on my memory, and I'm going to channel
00:05.280: So make sure you do that.
00:05.360: I'm walking the dog.
00:05.360: You know, yeah, and let's also say, you know, the montage picture editor, I think is what it was called.
00:05.360: And so for that reason, a lot of people
00:05.360: If you were a power user in Final Cut 7, you did that anyway.
00:05.360: And then not long into the edit, I secretly started working on Final Cut instead.
00:05.440: But if you are here and you're one of those guys living in the Oakland
00:05.440: But to this so so the the the trove of information has been saved
00:05.440: And I like day one, he was like, okay, the short you're looking for is in this other project.
00:05.440: Yeah.
00:05.440: And I think that's why they banned them from social media.
00:05.440: UK wide there's you've got I T V, independent television since the fifties.
00:05.520: And it was only about six hundred quid, which I suppose that's great British pounds.
00:05.520: And it's with that situation where the
00:05.520: Massive change with Ten one, greatly improved with Ten Point one point two.
00:05.520: Yeah.
00:05.520: I can be working at 60% efficiency.
00:05.520: And he w he was humming, hoing, going back and forth.
00:05.600: And I know what people are saying, Scott Simmons.
00:05.600: Now I will say that especially in that era where I was trying to learn the software, this concept of what I call the timeline kung fu, these little tricks that you can do,
00:05.600: Click, go and read the paper, it would happen.
00:05.600: And I think you can get by, but you will be.
00:05.600: Because once I was forced, well, not forced, but once it became appropriate for me to.
00:05.680: When Final Cut 7 died.
00:05.680: All assets.
00:05.680: The first time I used Premiere, you know, the guy, I was using it because.
00:05.680: And so it's just.
00:05.680: You know why I know it.
00:05.680: But he would cut in Premiere in going forward in the future.
00:05.680: Yeah, true.
00:05.680: That's the other thing.
00:05.680: But the um I I miss the send to motion
00:05.760: If anybody knows, and this is and this is I'm not giving away any company secrets here, but let me just go wiki
00:05.760: No, no, no.
00:05.760: Because we had our first child on the way and we had just moved house and there was a lot of organizing to do.
00:05.760: com.
00:05.840: Okay?
00:05.840: And then I sort of figured it out and I said to him, Do you do you realize that you can't open more than one project?
00:05.840: One, I sat down at the computer that he had been working on all day, and I was like, oh, what?
00:05.840: He wanted it, you know.
00:05.840: And I think that from a product mark, a product development standpoint, I think that's the most difficult thing.
00:05.840: And so even though I was learning a new application, and even though I was
00:05.840: And then, you know, some technician guy could set that up and just go click click, and all of a sudden.
00:05.920: It's too expensive.
00:05.920: Um, yeah, so to the people on the Meerkat stream, I don't think my uh my audio patch cord did what I thought it was doing.
00:05.920: They're commenting on drinking Pepsi here.
00:05.920: And then, you know, and you know, people have heard my story.
00:05.920: Anderson?
00:05.920: Hold on.
00:06.000: That would be crazy town.
00:06.000: So interesting that you mentioned Kubrick.
00:06.000: Don't rock the boat.
00:06.000: If you want to know more.
00:06.000: Oh, I shouldn't have known that was coming up.
00:06.080: No, no, no, no, you're good.
00:06.080: So I kind of, you know.
00:06.080: Yeah, I remember watching that movie in college, just laughing so hard.
00:06.080: I'm just doing simple stuff on the web.
00:06.080: As long as you knew that, you could move it back, and all this and things I didn't think about because it was the only way to do it.
00:06.080: And, you know, the real purists will say, it doesn't matter what you're cutting in, you're just telling a story.
00:06.080: Fine.
00:06.080: 1 release.
00:06.080: But I mean, it's not a big eat, and I can
00:06.080: So, Kenny, thanks again for being a part of the show.
00:06.160: Professional.
00:06.160: And he went and he that they interviewed the guy who made the boxes and he's like, oh, yeah, Stanley was a pain in the butt because
00:06.160: Go for it, embrace it.
00:06.160: Sometimes you'll be really pleasantly surprised.
00:06.160: And I thought, well, I thought, well, since we're starting again, I thought.
00:06.160: I don't think it's n that it's impossible.
00:06.160: Or is it dotco.
00:06.160: David Lynch.
00:06.240: I know all the pitfalls.
00:06.240: Nice.
00:06.240: So, let's now go to Glasgow, Scotland.
00:06.240: Oh, wait, are we recording?
00:06.240: I know that the idea of rippling
00:06.240: But when final when I went to Final Cut of Old
00:06.240: If you're hovering over a cut, it would change into a trim tool.
00:06.240: Wow.
00:06.240: Absolutely.
00:06.320: I think, God, I'm not going crazy.
00:06.320: We work for this Bay Area based realtor.
00:06.320: And you would you would design your whole process around that.
00:06.400: And one of the people I ran into is this guy named Kenny Park.
00:06.400: Great.
00:06.400: It's no big deal at all.
00:06.400: You know, when I was getting a kit at home, it was sort of uh instead of getting Avid D V or Avid Express
00:06.400: I mean, God, if that could ever see the light of day.
00:06.400: And clearly, a lot of people feel a certain amount of comfort in sticking with something that is mainstream
00:06.400: I apologize.
00:06.400: He'd shot everything.
00:06.400: And Sam has said that the workflow worked great
00:06.400: Is it Final Cut Bro or F C Bro?
00:06.480: Yeah.
00:06.480: I'm a huge fan
00:06.480: So the neighborhood material gets repurposed over and over.
00:06.480: I'll do I'll cut for a while, and if he's really unhappy
00:06.560: Well, the first caveat is that in the avid world
00:06.560: They will have their own kind of central storage server, Isis
00:06.560: I'm doing a few home projects and final cut.
00:06.560: m.
00:06.640: I mean, it was fascinating, but all that footage they had from Full Metal Jacket, you know, that making of Shining-esque
00:06.640: Now, if you don't like the magnetic timeline, I mean, that's just.
00:06.640: They actually
00:06.640: But there was no question I wouldn't update.
00:06.720: So anyway, Digital Cinema Cafe, our other show, and it's
00:06.720: or p.
00:06.800: When did you get started?
00:06.800: Glasgow is up in Scotland, yeah.
00:06.800: I mean, but for some reason, I just thought, and I thought this is going to turn my life around.
00:06.800: Amazing.
00:06.800: Final Cut 10 has a system that's very similar to the way the
00:06.800: And it may very well be that it doesn't work for you.
00:06.800: We agreed to work on this film.
00:06.880: Speaking of Kubrick and um
00:06.880: Anyway, so let's talk about final content.
00:06.880: And it's just interesting how different people edit differently.
00:06.880: So but you're right.
00:06.880: Can't do this.
00:06.880: Um, it's just still in festivals, and they're um uh
00:06.960: You're good.
00:06.960: And I suddenly thought, well, I could do that.
00:06.960: We're interested in Final Khaten editors.
00:06.960: And who knows, maybe they are or are not back on the NASDAQ.
00:06.960: Let's do it.
00:06.960: You know why I know it.
00:06.960: And yeah.
00:07.040: Twenty three, two thousand four.
00:07.040: Right.
00:07.040: So, you say that professionally in your day job you're working in AVID.
00:07.040: Actually no, it premiered in Copenhagen a few months ago, but we're doing a Glasgow Film Festival at the moment.
00:07.040: Just he's happy for me to talk about anything.
00:07.040: In more and more and more, you find that today you are your own assistant editor.
00:07.040: You said, well, you know, there's some guy that manages all the media in another room and a big giant ISIS server.
00:07.040: m.
00:07.120: You hear mostly Fenwick.
00:07.120: For some reason, you know
00:07.120: And he was very particular about these type of boxes.
00:07.120: Well, kind of, yeah.
00:07.120: All the wasted psychology that's going to be thrown away doing stuff that should have been a lot easier.
00:07.120: Kevin Monaghan came from Fonica Classic.
00:07.120: And I think that that doesn't necessarily
00:07.120: com.
00:07.200: So I thought, oh, I'm going to talk to this guy.
00:07.200: They're going to be putting us up at the NAB.
00:07.200: Aha, it's now showing levels in Skype.
00:07.200: I mean, Glasgow for T V work is, and to this day, avid only, you know.
00:07.200: But if the name, the Twitter name, is a funny thing because I was working.
00:07.200: I don't cut an avid, I did many years ago, but not anymore.
00:07.200: I don't know if Steve remembers those or if he was.
00:07.200: Because I think in the 21st century, an editor is
00:07.200: Very cool.
00:07.200: And
00:07.280: Have you ever seen the documentary Kubrick Boxes?
00:07.280: So for my purposes
00:07.280: And I was like, oh, I'm so glad I just trusted iTunes because
00:07.280: uk?
00:07.360: But at 11:59, we will be at the pool table.
00:07.360: Go check out Premium Beat.
00:07.360: I'm just doing it for the third feed.
00:07.360: And in Glasgow, that kind of singles you out.
00:07.360: So, anyway, 11:59 p.
00:07.440: He's recording already.
00:07.440: It's amazing how that works.
00:07.440: I should
00:07.440: Sure.
00:07.440: But I was watching him work and realizing
00:07.440: Yeah.
00:07.440: After the interview, Kenny and I chatted for a bit.
00:07.520: There is a pizza parlor.
00:07.520: We have a job folder for every one of the homes.
00:07.520: I have my stuff in my folders.
00:07.520: When he started at Adobe in 2010, he was on
00:07.520: And so that means you need to understand the
00:07.520: 1
00:07.520: That's what I'm calling it, the presentation suite.
00:07.600: And he saved them all and he put them in these boxes.
00:07.600: So Stephen came from Avid.
00:07.600: It's weird.
00:07.600: I've been told that the schedule has not been updated on the website, but that may indeed be happening.
00:07.600: Yeah.
00:07.680: So I'm sure the magnetic timeline would appeal to old Stan.
00:07.680: That being said.
00:07.680: That being said,
00:07.680: So now let's say I do kind of who is it?
00:07.680: Jerry Anderson, who went on to do Space 1999.
00:07.680: I suppose a million people have probably said it, but I can't say, you can't say audio mixer next.
00:07.680: I haven't actually read it yet, but it's interesting.
00:07.760: Here we go.
00:07.760: We will see you then later, later.
00:07.840: Just because you prefer the the software?
00:07.840: And this that pun
00:07.840: And he's like
00:07.840: And you know, there's a couple of ways around that.
00:07.840: Very cool.
00:07.840: All right, Kenny, how do people follow you on the Internet and stuff?
00:07.920: Yeah.
00:07.920: I think you might be pleasantly surprised.
00:08.000: Oh, I've just finished a Pepsi.
00:08.000: So the question then becomes
00:08.000: Apple had the luxury of doing it and and exploited it, you know.
00:08.000: They will be coming into the suite and talking with us
00:08.000: I mean, to it, that's a good example.
00:08.080: And the company went under, unfortunately.
00:08.080: It is brilliant, you know.
00:08.080: com.
00:08.080: So if I can motion track a clip in motion and you don't want me to send a clip to motion,
00:08.160: Uh and we're going to be doing a music edit to one of his pieces
00:08.160: And you had to be able to stack four or five of them high without them crushing.
00:08.160: When you step out of the norm, you
00:08.160: And that is it wasn't interesting enough.
00:08.160: And he he was
00:08.160: Dot com.
00:08.160: I appreciate it.
00:08.240: Very impressed.
00:08.240: Yeah, if you listen to the first episode with Carl Olson, who I'm actually going to be doing a show with this Monday morning, he's doing.
00:08.240: And it took me a year to say, I've decided.
00:08.240: Just a chat coming in on the Meerkat.
00:08.240: Okay, so that material gets repurposed.
00:08.240: They also were not horribly difficult.
00:08.240: But i in their opinion, they seem to think they told a better story with this tool than they would have done with another tool.
00:08.320: And I think that
00:08.320: So and I don't know how that works.
00:08.320: Right.
00:08.400: It is
00:08.400: Just a quick on that, you know.
00:08.400: So he said, you know, going back, it's a bummer that they had to do it in 10.
00:08.400: You're like, brilliant, this solves a million problems.
00:08.400: If you can't make it to NAB, these
00:08.480: So anyway, uh
00:08.480: And I said, yeah
00:08.480: But
00:08.480: It was so slow on my pitiful four gigs.
00:08.480: And if you and you're the editor, if you want to do that
00:08.560: Hey, so if you haven't been watching, I've been playing with the Meerkat software, the iPhone streaming app.
00:08.560: And then suddenly Final Cup opened up and
00:08.560: And he's he's no dummy.
00:08.560: And the last question I wanted to ask you.
00:08.560: But I think that the intention is that motion is becomes a tool.
00:08.640: And I was an avid guy at first.
00:08.640: So
00:08.640: Hey, Steve.
00:08.640: Kenny, if you could add a feature to Final Fit 10, what would your feature be?
00:08.720: And if anyone out there is uh
00:08.720: And then I just save the the project and it's as you describe.
00:08.720: I've used the term timeline kung fu.
00:08.720: I want to leave it.
00:08.720: And he was the one where I said, Okay, well, I'll do it your way, because I could do with
00:08.720: So, you know, can you do this by yourself?
00:08.720: And when you'd sit down
00:08.800: I'm trying to think if there's something cool I want to tell you about Premium Beat.
00:08.800: So
00:08.800: You know, he doesn't, he doesn't want to hear it.
00:08.800: From The Thunderbirds.
00:08.880: What do you call it in computing the uh muscle memory?
00:08.880: So yeah, yeah, a lot a lot of stuff traveled.
00:08.880: It used to work so beautifully with Final Cut 7 projects.
00:08.880: But if God bless you yeah, yeah.
00:08.880: But there is a Facebook page which is I think it's just facebook.
00:08.960: Now, Kenny is a
00:08.960: It's a buy the slice thing, bottle of beer, slice of pizza, and it's right by a pool table.
00:08.960: I'm not the most highly technical of editors.
00:09.040: So he was actually kind of winding down his day.
00:09.040: I love Jason's work.
00:09.040: But understanding it will take you to
00:09.040: I'm looking forward to seeing all of you, not all of you, but maybe some of you.
00:09.040: m.
00:09.120: We say I I would call it a barn.
00:09.120: Oh, yeah, yeah, yeah.
00:09.120: He'd been shooting
00:09.120: I think if you think of it that way, it probably makes the most sense.
00:09.200: And Mike Carroll is a huge Kubrick fan, for one.
00:09.200: It was one of the things where after the the first announcement of Final Cut ten,
00:09.200: Yeah.
00:09.200: And where's the stop button?
00:09.360: Actually, I'm not going to Glasgow, but Kenny was there.
00:09.360: I was watching it in the middle of the night and I was afraid I was gonna wake everybody else up.
00:09.360: The Eyes White Chunk, yeah.
00:09.360: I know you listen.
00:09.360: So these British shows, like The Prisoner was one.
00:09.600: What?
00:09.600: And I can remember, like.
00:09.600: I got.
00:09.600: And I kept saying to him, you've got to you don't understand.
00:09.680: I'm starting a Coke.
00:09.680: Well, I doubt it.
00:09.680: Right, right.
00:09.680: You know, if I just want to track text.
00:09.680: It's a pain just to take this one three second shot into motion.
00:09.760: His name is De Leon, D E L E O N, Daleon Realty.
00:09.760: I was talking with somebody recently about
00:09.840: And it took me like.
00:09.840: He literally wrote the book.
00:09.840: He's just
00:09.920: Obviously, it's not going to be that.
00:10.000: And so apparently, I guess.
00:10.000: And all I got to do is go to his LinkedIn profile and it says previous
00:10.000: There's no non-disclosure.
00:10.000: Um you said he had some issues
00:10.000: And yeah, it seems crazy and late, but
00:10.080: com.
00:10.080: But if you're a Kubrick fan, it is this amazing treasure trove of
00:10.080: You can go into the position tool.
00:10.080: I was like, you know what?
00:10.080: While they were there
00:10.160: Uh okay, I'll turn up more
00:10.160: If you're in the Bay Area.
00:10.160: He goes and he interviews like average normal people all over the United States.
00:10.240: In fact, just last week, I met the only other guy I've ever met.
00:10.320: And it's by far
00:10.400: And he actually contracted a
00:10.400: And S T V is the Scottish kind of branch of that.
00:10.480: It's about a thousand bucks US
00:10.480: You know, Sam was also the
00:10.560: I just miss the these clips, I need to send these to motion.
00:10.640: I think the point of that documentary.
00:10.720: So it's length.
00:10.720: And I was like, how do you open it?
00:10.800: It was really more of a converted storage room off his house, his mansion or whatever.
00:10.800: If you were going to do the same type of thing.
00:10.800: And when Avid introduced smart tools, I kind of thought
00:10.800: And so
00:10.880: And I thought, oh, this is becoming more like
00:10.960: What kind of facility are you working in?
00:11.040: I have to listen to myself.
00:11.040: Now, for the sake of archiving,
00:11.040: And he's like, Oh, really?
00:11.040: We'll solve that problem another day.
00:11.200: So
00:11.200: Yeah, but you can
00:11.200: I don't want to hear it.
00:11.280: He wrote one of the first training manuals.
00:11.280: He says, I don't know what they're showing, but.
00:11.360: And if you and if you're going to be doing it yourself,
00:11.440: Even companies that are UK wide
00:11.440: Let go of that.
00:11.520: You know, this name, this pun.
00:11.600: Right.
00:11.680: He's, you know, eight hours ahead of me.
00:11.680: There you go.
00:11.680: But if you can get um
00:11.920: You know, I made the
00:12.080: You know, I like Adobe.
00:12.160: It just had it its screening.
00:12.160: And then
00:12.240: I still am, really.
00:12.240: So the Kubrick boxes, if you haven't seen it,
00:12.320: I know that you can
00:12.320: But I said
00:12.560: But since you're doing yeah.
00:12.560: Final Cut 10 will
00:12.640: And a lot of them did come back.
00:12.880: I can open up and all my media
00:12.960: 09.
00:13.200: And let's check in with Kenny Polly.
00:13.280: But
00:13.440: So that was a
00:13.680: com.