Episode 119
FCG119 - Video Literacy & 3D Text (feat. Alex Gollner)
Trying to figure out Apple Marketing is tough. Alex Gollner and I try to decipher what happened at NAB 2015 and take a close look at what the new 3D Text in Final Cut Pro X and Motion really mean and ask the question, Do we really need it?
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Featuring
- Chris Fenwick
- Alex Gollner - alex4d.com - @alex4d
Transcription
00:00.001: To have already flown home.
00:00.080: It represents editors, don't necessarily represent people who actually use File Cut Pro 10, which is a little bit ironic.
00:00.080: simulated three D objects in motion.
00:00.160: Now, if you were following along on Twitter a couple of weeks ago at NAB, you'd notice that Alex not only was he not at NAB, but he was a little quiet, and the reason being that he was being sequestered in a hotel room, I believe, in Cancun, Mexico.
00:00.160: is curated even one more step.
00:00.160: Alex Skolner, this is uh call hold on, I was doing some math earlier.
00:00.160: Turns out that tracks are just not the right thing.
00:00.160: But that was the one that kind of pioneered it.
00:00.160: with reflections, which means that instead of thinking about, oh, look, who's the writer or the director, you start thinking, well, we're flying over the entrance to some harbor and we can see the water reflecting.
00:00.160: So, I want to do that too.
00:00.160: and fold them together into one massive super app.
00:00.160: Them plug-in of my own that I use the most.
00:00.160: Mac that's a couple of years old and really shows that the GPU and the CPU are working together really well in Final Cut Pro slash motion because it's the same kind of app as you know motions inside FileCut Pro 10 with a headless version of Motion.
00:00.160: Motion inside a final cut.
00:00.160: But it's not sexy and exciting and you can't say, Hey, look, you can put something else after color correction.
00:00.160: How stupid is that?
00:00.160: EQing is the kind of thing which is the thing that one of the first things, maybe the third thing you learn if you want to make your audio a little bit better when you're
00:00.160: person sound like they're on the phone or make them sound like they're on a terrible hotel connection from Mexico or whatever you wanted to do as a Sampie's audio.
00:00.160: iMovie doesn't email movies.
00:00.160: A little script that says, Go get this effect and set it like this, go get this effect and set it like that, and go get this effect and set it like this.
00:00.160: In the UI, the metaphor is to stack them all together and make them into a thing that they can be applied to lots of other things.
00:00.160: It doesn't make any difference to them particularly w about NAB and making those announcements, which is quite strange from their point of view.
00:00.160: from external tools to actually create palettes inside fi inside Premiere, which is really cool for workflow and keeping control of stuff and passing things on.
00:00.160: I think the programmers have finally got the marketing folk to understand it is actually important to invest in inside the core of Hervid.
00:00.160: they'll eventually go to any resolution like other apps did back in two thousand two, two thousand three, because it wasn't really a priority for Avid in those days, but now
00:00.160: This is the cut down version of Avid that doesn't really have as many features.
00:00.160: of the color picker, but most importantly, you can create your own custom palettes for individual clients.
00:00.160: Is thinking based on modern thinking, based on the way people really are and the way they really use technology and how it fits into Apple's wider philosophy and why it's going to be with Apple for years and to create a kind of foundational
00:00.160: Right.
00:00.160: to say, okay, we're going to do it for free, we're going to do it properly.
00:00.160: This is yet to come out and that the later this year, that kind of stuff.
00:00.160: Weirdly enough, demand lasts after January, and then they say we have a few copies left.
00:00.160: If you're looking to get an average upgrade, wait to the end of quarter two, twenty fifteen and maybe there'll be some average upgrades coming on, so their figures look good.
00:00.160: Yeah, you know, we may not be making the money, but we're certainly changing the world just as much as you guys are because we're helping people change the world through software and through tools that you know other people can't have nowhere
00:00.160: you're normal folk who work in offices, who work in lots of different environments, who talk to each other, people know what Photoshop is.
00:00.160: And the worst File Cut Pro, people say maybe Apple File Cut Pro sometimes, but it hasn't got MindShare.
00:00.160: Six months later, they realized that's a total flop.
00:00.160: So more of a kind of motion after effectsy type show, like the kind of stuff that maybe you might be involved with, yeah.
00:00.160: And in very astute observation in the Alex Golner universe, you always ask that question.
00:00.160: Just left over from the fact that they're so used to it being totally secret and private and stuff like that.
00:00.160: You see a couple sometimes, and then every time one of the people just raises their hand to scratch their forehead, the other one flinches, that kind of thing.
00:00.160: And that leads me to the one last question.
00:00.160: were actually tracked and pinned in three D space, like you mentioned from the the movie The Panic Room.
00:00.160: Because what you ideally want is to have a video clip in motion, have it playing, and for say a camera to be flying around, to be moving around an object, and then for motion to look at where that camera was.
00:00.160: But what you've had in motion since at least twenty eleven, I think maybe even before that, but I was not really into motion before the version five.
00:00.160: And what you can do in motion, as you know, is you can say, okay, I'm going to pin a 2D shape and put it on top of that table.
00:00.160: Plugins, the most recent five or six plugins that I've done are there.
00:00.160: 50 or 60 ones that still work in Final Cut Pro 10.
00:00.160: They actually don't realize that the coming version graphic design is a milestone away.
00:00.240: I actually was much closer to NAB than he was, but because I was being sequestered in a hotel room next door, I also didn't get to see anything from the show floor.
00:00.240: But that doesn't mean we don't have our opinions to share.
00:00.240: He is a visionary and he is the guy that knows how to crack the packages open and read what's going on.
00:00.240: Before we get into that discussion with Alex, I want to encourage you to go check out PremiumBeat.
00:00.240: And you know, I talk all the time about how Premium Beat is curated music.
00:00.240: On the site.
00:00.240: thrilled or excited as some of the people that were actually in the presentation suite.
00:00.240: And you know, just recently I was able to pull two separate cuts of music out of my playlist and cut them for a client recently.
00:00.240: Anyway, let's catch up with Alex Golner.
00:00.240: that are in motion and make them available in Final Cut Pro and get people used to using the concepts of behaviors in Final Cut Pro 10.
00:00.240: which is a bit like a behavior, just like Final Cut Pro 7 used to do, then say, Hey, if you want to do more with behaviours and have even more fun with them, then come over to Motion.
00:00.240: 3D text is a thing that actually helps motion users.
00:00.240: But then to say, and you can three do three D text.
00:00.240: you know, that they just want titles.
00:00.240: The idea was no, let's actually have a thing where our type is like the old days.
00:00.240: the initial shots from the movie to set mood, like the nineteen seventies and stuff like that.
00:00.240: Let's have separate worlds.
00:00.240: But I do think that, you know, from a storytelling standpoint, does it really help?
00:00.240: the try againability of them as opposed to using keyframes.
00:00.240: Well, instead of doing a demo of having sixteen clips playing at the same time, like they used to have, the standard sixteen HD clips or four HD clips playing back in real time and how good the Mac was, now this is saying now we've got real time rendering and
00:00.240: your take on this stuff because you're always sort of reading the tea leaves, if you will.
00:00.240: Update was effects presets.
00:00.240: you know, the thing that they were going to hang the whole upgrade on, you know, update rather.
00:00.240: When you're over a clip, just hit Command 6.
00:00.240: And that instance of the color corrector is now applied to that effect.
00:00.240: I don't know, options Command six, and that brings up the audio corrector, which is maybe generally EQ and works in exactly the same way.
00:00.240: It automatically applies the color corrector and takes you to the color board.
00:00.240: So you can create a complex system of maybe EQ gain limiter noise reduction that you use a lot.
00:00.240: I mean, I like the idea of hopefully working with FX Factory or FX Factory working with other plugin developers so that instead of having a plugin that's very complicated
00:00.240: and then having lots of other plugins which are really the same plugin with just different settings.
00:00.240: Plugin developer demonstrates all the things that plug in can do.
00:00.240: you can have these plug-in presets and the combinations and say, this is how my plug-in works with a standard plugin, and show the combination working really well together as well, and having them affect each other really coolly.
00:00.240: Yeah.
00:00.240: use a special keyboard shortcut to get to the library.
00:00.240: It would be nicer if it was more inside the application.
00:00.240: I would be shocked to think that they are not currently working on a version of Final Cut for the iPad or the iOS.
00:00.240: By the way, once you say yes, automatically you get the say these FX presets are actually transferred over to your account via email because in other words, the workgroup management within FileCut Pro ten
00:00.240: Right.
00:00.240: I'm inviting you into my time line.
00:00.240: And you could actually just open those up and then say, oh, here they are.
00:00.240: stack effects on top of each other and to effectively that's what you kind of do in Avid when you're com making compa combined effects together because they're much more
00:00.240: and they're very much led by NAB, which in a way is quite odd given the fact that how many people are actually on Creative Cloud even know what NAB is.
00:00.240: smaller T V stations and stuff like that.
00:00.240: Avid are going after what they call tier three.
00:00.240: when you have a shareholder announcement, then they have their shareholder kind of a results conversation in which they have industry analysts talk on the phone to the bosses and stuff like that.
00:00.240: And quite a lot of their discussion was saying, look, we're going after indie movies and smaller productions.
00:00.240: Adobe kind of saying, okay, do you want modern programming for your editing tools?
00:00.240: And the scary thing is, hey, the good things that I bet are doing.
00:00.240: There are I'm looking at a chart from two thousand last year, December twenty fourteen, saying that it is over 3.
00:00.240: But you can also have just one app, I think, for less money.
00:00.240: I mean, to some extent, it makes sense that Adobe want to create their separate graphic design operating system that isn't Windows or isn't Mac, it's their own operating system.
00:00.240: OS devices or Android or whatever, it actually doesn't particularly matter because you're in Adobe world.
00:00.240: And we got it across and said, Look, we're actually going to be out in public explaining this stuff to you, and why our thinking
00:00.240: Photoshop and even Illustrator most of the time.
00:00.240: People would have yelled in pain and complained horribly.
00:00.240: You know, one of the theories that I heard bandied about at this at this NAB was that part of the reason why Apple doesn't have a booth at NAB
00:00.240: Black Magic.
00:00.240: And the Avid stand was four computers, three of which were showing Pro Tools.
00:00.240: new markets associated with other aspects of the people don't even consider what video is used for, which is very good.
00:00.240: I would guess.
00:00.240: A meltdown of the features that don't actually exist in the free Avid.
00:00.240: I mean, I don't even look at the features of Pro Tools Free.
00:00.240: And also you can distribute your through your videos through this through this new ABBID thing.
00:00.240: So let's talk briefly about Adobe.
00:00.240: I can't quite remember what it was.
00:00.240: If they want to go for indie movies, what they sho of course should be doing is saying, yeah, use Premiere, use File Cut
00:00.240: Well, they're certainly not doing what you said earlier in terms of Adobe producing a super mega cool single app that does everything.
00:00.240: Avid making money out of hardware?
00:00.240: But come to us for doing all the hardware support and the management and all that kind of stuff, the bit that they make money out of, and the bit they're actually good at.
00:00.240: Cool.
00:00.240: corporate relationships or what all the kind of relationships that they have and then feeding something else through it, which is hardware, which they can make good margin on in conjunction with Black Magic, which is interesting.
00:00.240: I mean, I'm guessing this their new bit of hardware, their ingest hardware, is phased from Black Magic.
00:00.240: Final Cut Pro in a business as large as Apple.
00:00.240: in the couple of hundred million dollars that FileCut Pro ten has made, Apple, hey, I'm sure Adobe would be very happy with that with some FileCut Pro Ten money, and so would Avid.
00:00.240: Now Premiere came out five years after Photoshop or something like that.
00:00.240: and work out what the problem is because we really want to make change the world using video.
00:00.240: Fusion.
00:00.240: they don't have too much competition.
00:00.240: Shindig last week.
00:00.240: To be extremely frustrating in the FCP Works suite when they were demoing, and actually when we were rehearsing and doing all the tech tech specs of everything for the presentation, Luke.
00:00.240: Actually, let me put it this way.
00:00.240: Apple internal, you know.
00:00.240: Fluidly and quickly, unlike the 3D apps of the past.
00:00.240: At the concept of 3D titles and the way it could be used, even in the type of stuff that I do.
00:00.240: If you were sitting in the room, you could see it.
00:00.240: reaction when I saw the three D titled demos that were presented by Ripple Training and Steve Martin and Mark Spencer.
00:00.240: And I found it odd, and I said, You know, could you show me how to do that?
00:00.240: But he says it can all be done inside of motion.
00:00.240: And what you can do is make it so that you can have an effect and you can have that effect can be positioned to follow the parallax and the corner pinning of
00:00.240: What you could also do, if you've got three D type, is have that three D type be pinned in a very similar way.
00:00.240: But what he's done is because Blender is free, it's a kind of open source, he's written a conversion tool that says, okay, I've animated this three D stuff like a
00:00.240: Cool.
00:00.240: Hey, so uh how do people find your plugins?
00:00.240: change who you are, become a motion graphics designer, they'll say, well, screw that, I'm not going to go and use motion.
00:00.240: Thank you very much.
00:00.320: Overreaching themes mean for us in the industry.
00:00.320: And you're going to want to make an account.
00:00.320: Then there's a better way of getting people into motion than using 3D type.
00:00.320: You're happy with using text.
00:00.320: Down.
00:00.320: Obviously, the kind of the big shingle on the wall, the big bullet point, the headline, if you will, of Final Cut 10.
00:00.320: And so I think that we have to assume that Apple is responding well, hold on.
00:00.320: Now, whether or not there are enough people out there saying in the Apple comment section
00:00.320: What's the grandest example of titles that we could think of?
00:00.320: It is strange because as I tweeted before, this is the influence of that title sequence from I don't know when it was, at least ten years ago, from Panic Room.
00:00.320: So the David Fincher movie, which starts off with beautiful skyline shots of Manhattan, but with 3D type floating in midair.
00:00.320: which for that movie makes sense because it was just very strange stuff floating in midair.
00:00.320: what does this do for storytelling?
00:00.320: But it is very interesting that we're starting to see some of the motion user interface tools, primarily this rotation tool, inside the timeline.
00:00.320: Hey, look at this great technology.
00:00.320: And then, you know, if you talk about, you know, my complaint that, you know, 3D was slow and cumbersome, and when you were done with it, you still didn't like it.
00:00.320: They have radically optimized our code to give us immense power and performance right there in my timeline.
00:00.320: but I do want the performance increases.
00:00.320: for some reason this seems to be a marketing feature to some extent because what it is saying is saying, look
00:00.320: tools into our time line?
00:00.320: It's really good at saying you and I know we could put fifteen or twenty H.
00:00.320: We don't have that catch with 3D.
00:00.320: And it and it's true, unfortunately, marketing is still about grabbing people's attention.
00:00.320: And because they kind of have to do that, otherwise they won't get any press, or worse yet, they'll get bad press.
00:00.320: No, absolutely.
00:00.320: But those of us who have sat here and looked at the old effects rendering pipeline and go, really?
00:00.320: Now, you have to like go into the thing and say, Here's my effects.
00:00.320: getting people to really understand what a compressor does.
00:00.320: different kinds of color grading, you've got the general color grading and then you've got your uh creative color grading.
00:00.320: Yeah.
00:00.320: Okay, we're going to ke hide the file system from you, and we're going to have everything your hard drive is going to be you're going to manage everything in File Cut Pro 10.
00:00.320: I think that we're going to see that over time.
00:00.320: Which is it is very strange that on the one hand they want you know fi almost four years ago, the plan was
00:00.320: I think that and in that respect, you're going to need to be able to move things like that around within the app because it's nearly impossible to get into the file structure of an IOS device.
00:00.320: that there is a future where we will have a pretty powerful video editor on an iOS device.
00:00.320: how it really doesn't fit into the narrative of both Avid and Adobe.
00:00.320: means that can't really work that way because of course you've got to do big launches.
00:00.320: usually in April to save it's going to be in Creative Cloud.
00:00.320: Because if you think about the one point five, two, three, five million people using Photoshop and then say, oh, I seem to have some other apps on here.
00:00.320: Getting into the XML-type workflow with people like Katemo and other people like that, so they're actually doing workflow and providing access to
00:00.320: The stuff that used to be done in Premiere and Final Cut.
00:00.320: And the scary thing about what Avid are doing is they're saying, Okay, we're doing Avid for free.
00:00.320: that the reason why Tier three, indie movies, T V shows, small groups of people, individuals, they're even talking about using Avid for people making YouTube videos.
00:00.320: So they're saying that and they obviously think by this change that the r they think the reason why people who make YouTube videos or professionals who need to make videos, get them made, the reason why they don't like Abby is that it costs too much.
00:00.320: But I think three point four million is rather small given the number of offices around the world marketing folk who are using Photoshop.
00:00.320: I think that's quite I was quite surprised by how small that number really is.
00:00.320: You can't you know, the there's there's no uniformity in the color picking even.
00:00.320: I don't know.
00:00.320: the if it's possible to say use the Apple color picker over the Adobe color picker.
00:00.320: And then that way, that color palette appears in all my apps because I can use that.
00:00.320: We're just visiting you, you pros, to say, look, we're kind of leaving you behind, but don't worry, in the long run, we're going to raise the game for everybody when it comes to telling story, and that includes you guys who are doing it professionally, NAB.
00:00.320: than Black Magic, but in actuality, what do they have to show?
00:00.320: the twenty five or fifty people that want to sit and watch the demo for forty minutes?
00:00.320: They didn't have Adobe had their own kind of theater, but they didn't really have a stand.
00:00.320: would guess, and nobody tells me anything.
00:00.320: really reminded me of evidence from law enforcement type videos or from dash cams and stuff like that.
00:00.320: People come to expect when they sit down at an avid.
00:00.320: this is the what the pros use.
00:00.320: That's what the documentation seem to apply.
00:00.320: I don't know why you'd get avid to just distribute your videos, but in theory, that's what they're offering as well.
00:00.320: my video of my cool short story distributed by Avid themselves, then the pros who use Avid will see my short story and I'll have the chance to be you know I'm my short film, I'll have the chance to be a pro video editor, which kind of
00:00.320: keeping the shareholders happy, and they seem to be working quite hard on that and trying to I noticed this is maybe slightly uncharitable, that the deadline for getting the upgrade to
00:00.320: the dollar the the revenues brought in by Final Cut Pro, as important as it may be to us, is really the bottom line is it's insignificant to the company.
00:00.320: They had in the last thirty five twenty five years they actually managed to make Photoshop a verb that most middle class people heard about.
00:00.320: You know, when somebody sees a mistake?
00:00.320: But you see what I mean?
00:00.320: what iMovie zero nine was, I think that was the version that had the the magnetic timer on first, was to say, look, we really want to crack this video literacy thing
00:00.320: Yes, I think the Foundry are doing something with Nuke or some of the one of these high end compositors is going again for a student edition, which is very much like
00:00.320: You can tell the UI is terrible, but the thing is, hey, you have to come to us.
00:00.320: Exactly.
00:00.320: Well, it's just finished last night, so I'm kind of all the flights were used up by the delegates going home, so that means I have to wait a little longer before I go home.
00:00.320: to do nothing while I wait for them to take all the full flights away to various parts of the world.
00:00.320: then you get to come and be in Mexico with people like me and doing stuff on big screens, motion graphics, that kind of stuff.
00:00.320: Yeah, I'm actually doing something quite similar to that, although it is very much a video edit, I believe, next month in Maui, I believe.
00:00.320: I would say from the under the skirts of the wider Apple, and I was to say that it is safe, come out.
00:00.320: Did you get the impression of did they ever talk about why, about what their priorities are?
00:00.320: And you add the functionality of 3D titles, it's the best way to show how powerful this is.
00:00.320: That is a demonstration of a bunch of 3D titles.
00:00.320: It was stunning.
00:00.320: And it kind of opened up my mind, and I went, oh, I did not know I could, you know, it's not that I you don't know.
00:00.320: Virtually throw my hands up and say, Yeah, I don't care, I don't do that.
00:00.320: And yet it was being in that room for that 45-minute presentation that made me caused me to take a new look.
00:00.320: So the other person is so they're so used to flinching, they're so used to doing that thing in which they don't share anything that they don't do it, that you're going to see this from Apple folk, that wait a minute
00:00.320: I said, really?
00:00.320: and be able to create a 3D camera in motion and make it so that you can make it so that you can have that 3D camera motion move around your 3D object.
00:00.320: Yes, is that what you're doing is you've got a 2D tracker in motion, and what it's really doing is it's detecting parallax.
00:00.320: You're using features in 2D video and creating 2D tracks.
00:00.320: What he's done is made it so that you export that three D render of an iPad flipping around, but what you can do is export the camera track the actual physical three D camera from Blender.
00:00.320: That means you go into motion, you import the video as a background, then what you do is you have your 3D objects all
00:00.320: More in the realms of what you're talking about, if you see what I mean, but not what you want.
00:00.320: an iPad flipping and moving around and flying around an iPad, for example, and the camera moves around.
00:00.320: I was caught off guard because I had never seen it.
00:00.320: I none at all.
00:00.320: So that's the thing.
00:00.320: about our video literacy and what does it mean in today's day and age?
00:00.320: Are you literate at this tool that we call video?
00:00.320: You know, Sam is still ahead of you, so you might want to step it up.
00:00.400: We're going to do a little sort of we're going to not talk about features and this and that, but we're going to talk about what these overall
00:00.400: Thank you very much for having me on again.
00:00.400: You were not there, so you were not doused by the Kool-Aid, so to speak.
00:00.400: and being able to have, say, for example, effects that last through part of the duration of a clip, then once people get used to effects applied to part of the duration of a clip
00:00.400: I really want to do 3D text with scratches and better lighting and rounded bevels and square bevels and inset bevels and
00:00.400: was saying we want to do more in our timeline, I think.
00:00.400: And that, you know, for most of us, you know, people like you and me, we're just going, like, yeah, you know, I mean, that's really pretty and all, but I don't really have that occasion to need to do that.
00:00.400: You know, the end result of somebody working really hard to give us really high quality 3D text.
00:00.400: Apple are not in a position to have any threat from anybody on the technology, even in the old version.
00:00.400: you know, you have a clip, and it used to be very easy to just go over to the inspector and start, you know, yanking around on all of the color settings
00:00.400: you know, learning starting out.
00:00.400: It would shock me if I were to find out that as of this date, which is April 19th, 2015,
00:00.400: an effect preset for between machines.
00:00.400: I mean, of course, the way you're talking about that, of course, reminds me how this is quite evident.
00:00.400: You may you may I think you're right.
00:00.400: I was in Illustrator over the last couple of days, the i Illustrator twenty fourteen, and it's I don't know.
00:00.400: It's extremely irritating, especially if you think, you know, if that is indeed the case, then why is it that we have different color
00:00.400: So Final Cut Pro ten point two, I cut I kind of was almost hoping that I release an update just to show to show how ab above or below or to the side of NAB they were.
00:00.400: Well, those the very moments you want for evidence are just with people speaking.
00:00.400: So let's talk briefly about what you saw.
00:00.400: What?
00:00.400: Whereas the idea of software with the size of the team they must have, it must be much harder for them to make the margins on that.
00:00.400: Avid at a much lower price.
00:00.400: gets Apple's heartbeats racing in a wider sort of sense.
00:00.400: Adobe took.
00:00.400: Okay, let's go for the digital hub concept instead, and that's going to work a lot better.
00:00.400: so people can really learn how to use it.
00:00.400: But anyway, Alex, I'm just curious.
00:00.400: It was a very straightforward type of event, a sales incentive event.
00:00.400: They did this is the flashy the excuse me this is the flashy implementation
00:00.400: of the current advancements.
00:00.400: From Apple, who was the gentleman that demoed the software.
00:00.400: And I was like, actually, that's really nice.
00:00.400: saying, you know, slowly beckon them out and trying not to run after them with pitchforks.
00:00.400: Am I doing this in public?
00:00.400: Camera move that's done in 3D in a 3D rendering program is also imported into motion, and then motion is then making that 2D
00:00.400: Video look like it's playing on the iPad, which is flipping around and moving around.
00:00.400: If you haven't checked out the rest of our NAB coverage and again, we're doing things a little bit different around here, you can check out last week's episode and the most recent episode of Digital Cinema Cafe as well, where Alex McLean and I, different Alex
00:00.480: type actually interacted with footage for no good reason in title seekers from then on, especially over water.
00:00.480: And I don't know where I heard this rumor.
00:00.480: Well, I would say says the guy who's coming in over the noisiest Skype connection I've ever had.
00:00.480: This is a commitment that you made over a year ago.
00:00.480: a monkey path because you have to go through the library you have to dig pretty deep into the library folder in order to move your effects presets between machines.
00:00.480: is going to require this kind of management side of things without the people as soon as the person says yes, then Final Cut 10 on their machine will say, oh, updating with new effects presets that this project requires.
00:00.480: Well, one thing that it's safe to say or it's important to remember is that an effects preset is nothing more than
00:00.480: We know what's wrong with it or what's wrong with it, but what's right with it.
00:00.480: A little ironic.
00:00.480: I don't know.
00:00.480: In a way, in the roundabout sort of way, it makes sense, but I don't think it's going to happen.
00:00.480: saying coming soon.
00:00.480: I can't for the life of me figure out how, but you know, whatever.
00:00.480: maybe eventually people will be paying for File Cup Pro when all the other apps are free because of weird marketing policies to do with Avid and Blackmagic and
00:00.480: App how come Adobe couldn't do that?
00:00.480: for File Cut Pro 10.
00:00.560: But of course, there's so much coverage of what's going on.
00:00.560: By making an account, you get to fully implement all of the playlist functionality on the website.
00:00.560: I don't think anybody's actually asking for that, but somewhere along the line, the interpretation that they got from users
00:00.560: That's really interesting because I hadn't thought of that at all.
00:00.560: And Apple made a really big deal about showing that you can indeed save effects presets and share them with people.
00:00.560: It is very but that's why the Final Cut Pro 10.
00:00.560: Because by making the free version, the implication is they think it's the price that's been the problem, and they may discover it isn't the price
00:00.560: So that's a lot of people paying fifty bucks a month.
00:00.560: picking or color wh why is it we don't have Adobe Illustrator swatches in Photoshop and After Effects?
00:00.560: No, I mean the thing is that, but I don't want to criticize creative cloud too much because I don't use it enough to be able to say
00:00.560: I mean, I think they think that the frustration will mean that people but what's really cool in AbidFree, as far as I can tell, at least according to that page, is that you can buy new features within the app itself.
00:00.560: As I said, I just I like how Apple really does not care whatsoever as far as I can tell what Adobe and Avid do, because they really are just not in the same world as each other.
00:00.560: They're nowhere close to be able to do the same thing and change the world using their tools because Avid to some extent isn't really changing the world.
00:00.560: Well, the thing is that the kind of motion tracking that motion does motion tracking motion does is that it is
00:00.560: I don't think it's the kind of stuff that you get with Mocha that is used in TrackX and SliceX.
00:00.640: it just feels strange.
00:00.640: I think it's kind of odd.
00:00.640: The rendering potential of motion, and they're giving it to us with this kind of performance right inside the final cut.
00:00.640: Effects presets, which frankly, I'm a hundred times more interested in effects presets than I am of 3D titles.
00:00.640: channel strip, if you will, that I put on basically everything.
00:00.640: Because that is required essentially for the time line to be shared and for proper twenty first century type collaboration as opposed to bin locking, which is rather old fashioned.
00:00.640: is that it would be embarrassingly small considering the number of products that they would have to show and talk about compared to, like, say,
00:00.640: Editors, like us, are saying, what, you're going to cut out the bits that actually matter, the pauses, the emotional moments, you're just going to make it so people are just speaking?
00:00.640: But I think it's pretty cool from the point of view of having essentially an app a post production app store built into your own app and to have its own ecosystem built into Abbot, which of course, as you know, it's already got.
00:00.640: Well, I mean, I know that they've got separate apps that do various things as well that they say are part of CC, but really what they are are kind of psychological kind of separate projects that they're now adding to the
00:00.640: Yard sale of apps.
00:00.640: So then the answer is why we have to appeal to Apple's philosophy.
00:00.640: So that's why because of what Dason Ortiz is doing with Blender, which is a free three D rendering program.
00:00.640: it's not huge and sexy, but when you start realizing how you can apply it to things, it really, really is absolutely every effect
00:00.640: I liked what he called what he called it the video literacy.
00:00.720: You know, I don't know.
00:00.720: Right.
00:00.720: That is one way that you could quote unquote move an effects preset between two machines.
00:00.720: size is for the creative cloud.
00:00.720: Well, thanks for inviting me and Fend.
00:00.720: Take our sort of unique look and you know, musings about what happened at NAB.
00:00.800: Coming over and working for one of his clients there.
00:00.800: You know, I gotta say that when I first when I first saw this, I was like, eh, you know, I mean, I don't really care.
00:00.800: What we're beginning to see here is the promise of what was rumored back in the early days of Final Cut 7.
00:00.800: Yeah, I think I've got Mexican hotel syndrome.
00:00.800: Well, Adobeo continually adding new features and responding to the community and adding them all and they're competing with
00:00.800: storytelling from Apple about their story and editing.
00:00.800: That is the sign of pro.
00:00.800: And I said to them, I go, Oh, who's doing the 3D tracking?
00:00.880: An area.
00:00.960: How does three D text improve video literacy?
00:00.960: Was that I think what we're beginning to see here, and Sam had a very astute viewpoint.
00:00.960: No, I mean that sounds really cool, that eventually they may happen with an audio corrector.
00:00.960: And they do two big ups a year despite people in theory, the idea, of course, with Creative Cloud was whenever the feature's ready, we'll update.
00:00.960: So Black Magic has this gigantic, enormous booth.
00:00.960: It is strange because they want to popularize their policies to say, look, we really want students and cool people and people who want to dip their toe into this kind of stuff to really just jump in and say, look.
00:00.960: Are they going to actually monetize the videos and handle all the money and the paying of it and stuff like that?
00:00.960: All right.
00:00.960: What's the other company, The Foundry, making Nuke Free, the compositor and stuff like that?
00:00.960: You know, theirs too was inspiring, not quite as inspiring as the Apple presentation.
00:00.960: At least to me.
00:00.960: Thanks for taking the time out of your spare day in Cancun to talk to the audience here.
00:01.040: And don't get me wrong, I'm not saying I want to cut video on an iPad.
00:01.040: I don't even know.
00:01.040: Well, I've already got work that I should be getting on with in London, but I'm having to wait here before I can get back to doing it.
00:01.120: So and I think I've said it multiple times.
00:01.120: In the States you'd have for law enforcement, because law enforcement is a big deal.
00:01.120: So yeah, I mean I the life of the life of the traveling editor.
00:01.120: Looking forward to it.
00:01.200: I mean, the idea of changing controlling where color correction comes in the pipeline of when you're processing.
00:01.200: Thank you.
00:01.200: So I think Apple could have had a reasonable stand.
00:01.280: Excuse me.
00:01.280: It is a tiny, tiny little amount of money that it basically looks like a drop shadow to the iPhone money when you look at it on a graph.
00:01.280: That is in Final Cut 10, you can have either a shape or a color mask applied to it.
00:01.360: It's not like Pond 5 where you just go, Hey, I got some stuff.
00:01.360: I find it kind of annoying.
00:01.360: So what they do is they've got a new bit of hardware to sell.
00:01.440: I love these guys.
00:01.440: And I think that this is a classic example of, and this may very well be where we are headed.
00:01.440: But obviously, they were doing good jobs.
00:01.520: the competition can't do this, and Apple don't usually care about the competition, and these marketing features don't particularly matter because what it is saying is saying
00:01.520: You know, I mean, we kind of look at it and go, Okay, that's dumb.
00:01.520: Because the thing is that you and I know this is a very horrible marketing term, but yeah, Adobe's got mind share amongst normal folk.
00:01.520: If Apple can fool editors into becoming a little bit of motion graphic designers without having to them to change their identity, it's very important.
00:01.600: Good morning and welcome to another episode of The Grill, episode 119, with our good friend, returning guest, and superstar among men, Alex Golner.
00:01.600: Whereas what you said, you know, Fincher's movie was about architecture, and maybe it was like a new, like, hey, you know, if you want, we could do this.
00:01.600: Say, for example, you had a table and you have a camera moving around a table, and you film that table, but you can see maybe three or four points at once.
00:01.680: I think it's slow and cumbersome and you know you sp you spend a whole lot of time on something and then you get to the point where you go, Yeah, I spent all that time on it and I still don't like it and it but it took me four hours to render it.
00:01.680: I hadn't really been paying attention for it, but I remembered just the feeling of being impressed by it.
00:01.680: They like it to be hard to use.
00:01.680: Oh, what a terrible life I'm leading.
00:01.680: I don't really believe it.
00:01.760: I'm not quite sure how what Apple is communicating with it.
00:01.760: The type isn't a separate world.
00:01.760: I think that this is a little bit, and there's three ways of looking at this.
00:01.760: But if they're giving us this kind of a pipeline, this kind of a conduit, if you will, from the power and
00:01.760: He says, yeah.
00:01.760: Bye bye.
00:01.840: I think it would be interesting if Avid made the free version of Avid limit your time line to fifteen seconds less than you actually need.
00:01.840: So I like the idea of them rebadging and taking Blackmagic stuff and then marketing it to their big accounts they already have and the accounts they hope to get as well.
00:01.840: And I'm like, but why?
00:01.920: So they're using 3D to demo their pipeline, their modern GPU-related stuff.
00:01.920: They're constantly, of course, saying this is the favorite tool used to make the T V programmes and feature films that you watch.
00:01.920: It was really beautiful.
00:01.920: Clues that you can still give all of us the same clues that you gave me last night when we talked.
00:02.000: Instead of having a separate animated sequence, which was the fashion up to that point, you know, from things like Seven and Fight Club and stuff like that.
00:02.000: Yes, so I would say compressor.
00:02.000: And as I said before, this usually means mid June, because I imagine that's when the majority of CC apps are going to be ready for their new stuff.
00:02.000: Yeah, and I don't want to belittle Adobe too much.
00:02.000: And that's obviously to do with stuff to do with the the the timeline and also they're not they're kind of coming out very grand
00:02.000: And a snappier user interface in our timeline.
00:02.080: It's the stuff that I like.
00:02.080: Why can't you email these combinations to people and have Final Caprot do it?
00:02.080: So Adobe are going after parts of Avid's organization uh or kind of market in that respect.
00:02.160: This was his last night in Mexico and in Cancun.
00:02.160: Yeah.
00:02.160: So he runs through his thing kind of quickly to make sure everything is working properly.
00:02.240: My favorite version of Illustrator in Photoshop are CC3.
00:02.240: Oh yes, that was point.
00:02.240: But you know, I'm not even going to bother looking for it online because I know it's not going to be online.
00:02.240: And what he does in order to make these the 3D animations is he uses a free app called Blender.
00:02.320: And FileCut is going to be very welcoming in that direction.
00:02.320: I think you're right about that.
00:02.320: And you have your three D camera move around those objects in motion so that essentially you've got a two D graphic and you could put it on the screen of the iPad.
00:02.400: They've been very generous to support what we're doing here.
00:02.400: So and I was listening, I was reading along some of the tweets that you were getting involved with with other people, and it was like, mmm, okay, so you're not as didn't appear to be as
00:02.400: We're going to see more and more things married to the application.
00:02.400: I don't even care specifically that much, but I do think that it's very important that people know that the free version of Avid that they're giving out, it's a hobbled version.
00:02.400: But as we know, you can tell an app is very high end if it's really hard to use.
00:02.400: Sure, maybe it doesn't get out to the other million users, but at least to me, I should know that.
00:02.400: But hopefully, you'll be able to try them out just as I'm trying them out to see how those various effects look with the masks that Infinal Cart Price points out.
00:02.480: We're now going to give you an expressive new tool to use, which is video.
00:02.480: the first, you know, show off the first instance of them showing off the performance that we have here.
00:02.480: So if you decide yes, I really do need to do a dissolve for a couple of bucks, you can buy a dissolve icon.
00:02.480: All right.
00:02.560: As part of inviting me into my time line, and for you to have these various permissions, like saying, okay, I'm going to let you create auditions based on these compound clips on my time line.
00:02.560: And then pros like it because that means that they can learn the software and then bring the drawbridge up behind them and then when new people come along
00:02.560: And the current advancements are a highly optimized data stream in
00:02.560: I said, I how do I not know that?
00:02.640: I'm going to tell you, you're going to want to make an account even if you don't buy any music.
00:02.640: You know, we can do all this stuff and we can do it really fantastically.
00:02.640: Are Soho Editors to do lots of presentations on File Cut Pro ten, even though, of course, the company Soho Editors who rents out
00:02.640: Funnily enough, it was the same as the quarterly deadline for the last quarter for Avid.
00:02.640: And I want to plug back into the World of Final Cut Pro 10.
00:02.720: I it's interesting.
00:02.720: I know I read it online someplace, but there would be a super app that took all of the the um tools that are in Final Cut Studio
00:02.800: Layers and tracks are not the right thing for normal folk who want to tell their stories.
00:02.800: He said it modestly.
00:02.800: The world would go, uh, I don't care.
00:02.800: That's really, really nice.
00:02.880: All you got to do is make a simple library with a bunch of instances of the type of effects presets that you need.
00:02.880: And the amazing Alex Snelling was one of the people doing a very cool presentation there, for example.
00:02.880: What was your take on Adobe offerings?
00:02.880: We say it, but that verb is being used for something else, to be fair.
00:02.960: And somebody took the word titles in, you know, an Apple meeting and said, well, what's the
00:02.960: And I'm intrigued by what it means to have more of the motion user interface inside my time line.
00:02.960: And that's what they're saying to their investors, which, hey, if they want to go for it, quite cool.
00:02.960: And then the other team goes, No, we're not going to do it like this, we're going to do it like that.
00:02.960: Well, rat's nest, I suppose you could say, or you could say more positive way of looking at it is a wonderful set of Legos that you can put together and make wonderful things with.
00:02.960: And I think it's partially due to the UI and partially because there hasn't been real push for video literacy.
00:02.960: It's they're insecure little people who actually think that learning the technology is better than actually knowing how to use coming to telling good stories.
00:03.040: And then that's an interesting idea.
00:03.040: And I'll tell you for that, this is a little Fenwick tip, if you will.
00:03.040: Do you know how to go about doing that, to actually do the three D pinning of something as a camera arcs around it?
00:03.120: But then, if Adobe had actually sorry, Apple had actually turned up, but then talked about the why of what File Cut Pro 10 was and really explained the story of it.
00:03.120: I know this is being talked about, and my first name is being mentioned, but I still can't quite handle it.
00:03.120: So very interesting.
00:03.200: I imagine Pro Tools Free is good.
00:03.200: It's it otherwise it's completely full featured, but the TRT will be limited to fifteen seconds less than you actually need.
00:03.200: And also, if you there's a menu at the top of the screen that it goes to my old plugins, which is
00:03.280: It's a separate world from the sense.
00:03.280: They meshed to make Photoshop into a verb, to Photoshop something.
00:03.280: That's not really working.
00:03.360: It's the good stuff.
00:03.360: And he goes, You know, to be honest, I haven't done it in a long time, so I don't want to fumble around.
00:03.360: Go to alex4d.
00:03.440: And so he's up it's the middle of the night there, and he's talking to us on Skype from his hotel room in Cancun.
00:03.440: So yeah, these are just the things that popped into then the EQ.
00:03.440: But then so but, hey, Adobe's looking good.
00:03.440: And of course, Blackmagic make hardware that all the freelancers and everybody else think is really cool as well.
00:03.520: He was able to keep in close contact with the details.
00:03.520: It is more confusing, whatever.
00:03.520: It was very nice.
00:03.520: And I know I'm going to slightly put you on the spot here.
00:03.600: And usually both last year and the year before, it was either June the eighteenth or june the nineteenth until the features actually become available.
00:03.600: I mean, it's it's really beautiful, and frankly, it was inspirational.
00:03.600: Well, as always, it's always a pleasure to have a chat with Alex and see what he thinks about what's going on.
00:03.680: That's what's so good about behaviors.
00:03.680: So that didn't really quite pan out that way.
00:03.680: And of course my joke was, ah, the new features for iMovie are now being described.
00:03.680: Our UI is terrible.
00:03.760: I thought it would be very interesting to chat with you about the Final Cut 10.
00:03.760: I mean, we could do effectively, it is possible to publish all those behaviors and I grow shrink my
00:03.760: I think you could turn it on in Illustrator as well.
00:03.760: But hey, it's an interesting psychological idea in terms of Avida getting into video distribution
00:03.760: I think maybe they're just waiting for some sort of reaction and some other people to waiting for you and me to tell them what to do.
00:03.760: It seems to me that Avid are getting into the hardware business and of course and the management business, the support business for Posted a little bit more and trying to get more people to do that.
00:03.840: And it's stuff that I'm like dying to cut to is more like as a better way of putting it.
00:03.840: Here is my five audio things all stacked up.
00:03.840: I didn't see it, but I heard it was huge.
00:03.840: 2.
00:03.920: It's just little things while I just dip my toe in every once in a while to check it out.
00:03.920: Nothing.
00:04.000: I don't know if even people who make YouTube videos would be calling out for three D text.
00:04.000: Now I think it's interesting that I I don't think there's gonna I don't think we're getting rid of motion
00:04.000: Is that what it's effectively a very simple motion behavior?
00:04.000: But then I see the demonstrat, I see the demonstration file.
00:04.000: So Dasonal T's at Motion Muscle Templates has made that conversion thing.
00:04.000: So that's actually the cool thing that Apple are doing.
00:04.080: It's better to create behaviors
00:04.080: And what does it do for video literacy?
00:04.080: But now that I can, it's like, oh, that's really great.
00:04.080: So it really reminded me, funnily enough, some Adobe features seem to be very much associated with
00:04.160: So we're going to do that.
00:04.160: It's you know, they very carefully handpick the artists that they feature on
00:04.160: And let's, you know, let's hit it hard and let's hit it at the very top shelf.
00:04.160: And what it does is it opens the color board.
00:04.160: I've got these terms from their shareholders report kind of conversation in which they you know how the
00:04.160: They're trying to create a modern compositor.
00:04.160: I haven't tried them all, but now with extra masking features, which I spent very hard a lot of time making them maskable.
00:04.240: So it's at least twenty years old, if not old not older.
00:04.320: Anyway, we'll be back next week with more on the grill.
00:04.400: Does it really move the story along?
00:04.400: I mean, obviously, there are lots of different kinds of Creative Cloud subscription as well, as well as to have the whole thing, which they strongly suffice.
00:04.400: You know, you what you do, of course, is you would do File Cut Pro 10 for
00:04.400: You've mentioned the Freyad Avid, and I noticed that I believe it was Monday morning, you had already posted sort of a
00:04.400: How does somebody who works on the ProApps team, who goes to the cafeteria at the Muse Space Station campus say
00:04.400: I'm going to change gears here a little bit.
00:04.480: So I just find it as a kind of a.
00:04.480: It should be in the UI of the program to say create effects bundle and email it to, because it's not like
00:04.480: And what do Avid got?
00:04.560: Here you go.
00:04.560: But we have this universe where these two apps, and yes, there is a headless version of
00:04.560: And I scroll down to color, and in there is one called color correction, and I apply that to the clip.
00:04.560: I'm very excited that the effects presets also appears in the audio tab.
00:04.560: Final cut ten point two and three D text.
00:04.560: We had some computers down the side of it.
00:04.560: It is very strange.
00:04.560: They've got given the fact that Pro Tools is the default tool that everybody uses, I'm sure I've been much more confident about that, so it's much less hobbled.
00:04.560: Okay?
00:04.640: The type is overlaid onto our
00:04.640: So I but I know I'm going to get catch hell for saying that.
00:04.640: And guess when the new deadline was?
00:04.640: In other words, if you did your sales were really good in 2014
00:04.640: And I could do that.
00:04.640: But if they say, oh, okay, I think I do want to limit this effect to part of the screen
00:04.640: Very important very important philosophy theory to consider.
00:04.720: This is your fifth count it sixth appearance if you count the episode one hundred.
00:04.720: No, there were quite long sequences, but the difference was the type actually interacted with the footage
00:04.720: You just have one plugin and also the FX Factory manages all the FX presets that are that the
00:04.720: I will a little bit.
00:04.720: It turns out that iMovie, however good it was even in those days, isn't really getting video literacy working.
00:04.720: I have yet to really see it.
00:04.800: com.
00:04.800: And it was architectural because it was about architecture to some extent, Panic Room and it's about secret things and stuff like that.
00:04.800: 264 clips on the timeline at the same time, and it'd all play in real time on a
00:04.800: And now the new version is noticeably faster.
00:04.880: If you pick some of the apps, you can have a smaller I mean, obviously, one app in these cases means Premiere and its associated apps and stuff like that.
00:04.880: And that would have been such a curveball for Avid, who's trying to be like Adobe and Adobe, who's just trying to be like Avid.
00:04.880: Yeah.
00:04.880: It's very hard to use and there's no documentation.
00:04.880: Having to work and be flown from place to place and never being paid for all the time.
00:04.880: I'm the guy with the podcast about Fanaka 10.
00:04.880: You see what I mean?
00:04.960: I I'm personally not a fan of the iPad at all.
00:04.960: Am I?
00:04.960: And I think that one of the things that we are that we've talked about is that the
00:04.960: They're just not used to it.
00:05.040: And quite frankly, just from the bottom of my heart, I'm going to encourage you to go check out their site.
00:05.040: And I think that
00:05.040: Funnily enough, the new Adobe feature to do with compressing time
00:05.120: Do we have now a pipeline or a framework with which we can pull more of the motion
00:05.120: Yeah, to be clear, Alex is currently so he just finished a big job in Cancun, which is part of the reason why he couldn't be at NAB last week.
00:05.120: 2 update is just odd to me.
00:05.120: And the more people go into Adobe world and other people beckon them in and say, Hey, join us, it's actually really cool, it's really fantastic, it makes sense.
00:05.120: And I'm just talking about one thing
00:05.120: I went up to him and I said, well,
00:05.200: And all you have to do is make one tiny little adjustment to anything in the colorboard.
00:05.200: Right.
00:05.200: And now I can apply it as an effects preset.
00:05.200: Do you know anybody or do you yourself subscribe to the concept of trying to abandon Adobe 100%?
00:05.280: How does it improve storytelling for folk who you want to say come into the world of video editing, you're happy with when using Photoshop?
00:05.280: I guess.
00:05.280: That's why it is about video literacy.
00:05.280: And I said to him, Wow, that's really great.
00:05.360: So Alex didn't actually get to be at the event that we call the NAB.
00:05.360: It's not earth shattering in to any great degree.
00:05.360: And to a certain degree, this is a little bit of shiny objects and jangly keys.
00:05.360: In the case same with EQ, you want to say, Okay, make this
00:05.360: So then what you do is you just say
00:05.360: So what do you d describe the narrative that you're talking about?
00:05.360: Nobody's heard of it.
00:05.360: And yes, I will mention Alex.
00:05.440: It's like a kind of a representation of a result of a battle, internal battle with an avid, obviously, to bring that thing out.
00:05.520: Imagine audio correcting shortcut, in which what happens is that you've got a
00:05.520: I mean, I think compressing and actually equalizing the sound all the way across a time across a time line is pretty important.
00:05.520: I think I've heard there's some changes over the last seven days.
00:05.520: com and you'll see there's some
00:05.600: And Alex is always you know, he's a soothsayer.
00:05.600: But what if
00:05.600: So I think part of
00:05.680: Out of curiosity, what would you call the first two things to make your audio sound better?
00:05.680: That was it.
00:05.680: What do Avid have?
00:05.680: You can animate the camera in 3D and Blender.
00:05.680: If you're young or just getting out of school, do you
00:05.760: So I want to get your take on it.
00:05.760: But the thing about the funny thing is that three D text to me to some extent is it gives good demo
00:05.760: Yeah, so it's not what you want
00:05.840: As you know, they are my go-to place for audio, for music beds.
00:05.840: No, this is stuff that they have chosen because they like it.
00:05.840: Woo You know, that's that's not going to get anybody's attention.
00:05.840: Well, I mean, in the there was a UK Trade Fair early this year, which is called BVE.
00:05.840: But obviously, SOHO editors make money out of teaching people File Cut Pro 10 to say you can be a professional, but doesn't necessarily get those people those jobs.
00:05.840: So the idea is that hey, you're a YouTube star
00:05.840: So the idea is you're I think they're supposed to think that we're that new editors will think, wow, if I get
00:05.840: It's no it's I don't think it's any different from that in the case of motion.
00:05.920: I think what we're seeing here is it's an example of, well, we can do it, so let's do it.
00:05.920: You know, to go back to our comment about how many Adobe Creative Cloud subscribers are there.
00:05.920: But there's a lot of beautiful content being made with Adobe.
00:06.000: Now it may very well be
00:06.000: Maybe I don't want the 3D text.
00:06.000: It's kind of hard to call it an upgrade when you're not actually paying for it, you know?
00:06.000: And the scary part of it is they think
00:06.000: So and the final cup pro is all about that.
00:06.000: But I thought it was odd that they would not share that with the public.
00:06.080: It's just very noisy, but it's not your fault.
00:06.080: I think that's a fair comment.
00:06.080: It is avid-like to actually stack
00:06.080: I you bring up an interesting question.
00:06.080: So Avida going for
00:06.080: So wouldn't you imagine that Apple would have a bigger booth?
00:06.080: We do this?
00:06.080: Yeah, I mean, obviously, Avid is
00:06.080: Well, I suppose the reason why that is, is just a reflex action from Apple to say that.
00:06.160: So it's interesting from the point of view of welcoming in wavering, avid folk into the World File Cup pro.
00:06.160: And I think that when you do that
00:06.160: And I have to say
00:06.160: And I think that's the kind of thing.
00:06.160: He goes, Oh, it's done in it's done in motion.
00:06.160: So that's it.
00:06.240: And I like your phrase: does it improve video literacy?
00:06.240: They're finally going to 4K.
00:06.240: It's just a weird new thing.
00:06.240: I will also say that I had a similar, but not quite so poignant.
00:06.320: So he'll have some interesting insight into what's going on with our favorite application, FunnelCat 10.
00:06.320: And I was, let me turn my headphones
00:06.320: Because if 3D type is about getting people into motion
00:06.320: Those are the ones I kind of like.
00:06.320: And it's not the kind of stuff that's used in three D software quite as advanced.
00:06.400: Which is a it's a very quick it's a cool little shortcut to get to the color corrector much quicker than it is to dig through the effects panel.
00:06.400: But it's important to have something uniform like that.
00:06.400: Adobe are being very smart with that.
00:06.400: So you'd have to remind me in the case of the.
00:06.400: What exactly are you working on in Mexico?
00:06.400: But I do think that I really think that what it boils down to is
00:06.480: What if we do that?
00:06.480: The end of quarter one, the end of quarter one twenty fifteen.
00:06.480: They may and the fact is that Adobe were quite smart in putting the word Adobe in front of it.
00:06.480: So a little bit of motion work, not much Final Cut Pro 10 work, weirdly enough.
00:06.560: I think those of us in the know look at it and go, eh, yeah, okay, but look at some of this other stuff that it's doing.
00:06.560: And what happens is they announce stuff
00:06.560: Let's touch on some of those.
00:06.560: Hey, can't you just Photoshop it?
00:06.560: And he gets to the point where he has to play a video.
00:06.640: And I caught him before he was headed out to the airport the next morning.
00:06.640: Very good.
00:06.720: And the idea of being able to very easily transfer and for shared working, to say, look,
00:06.720: And you could just save it on that local machine.
00:06.720: Hey, workgroups of people for T V shows and for I suppose what Avid would call tier two, which I think is news editing and
00:06.720: And I do that all the time.
00:06.720: What they have are relationships with T V stations and movie studios.
00:06.720: We can it's safe to come out.
00:06.720: So what happens is, say you've got a three an object that's moving around
00:06.720: So I'm on the prowl.
00:06.800: And the reason for that is
00:06.800: That's why my tweet was: what's the why of it?
00:06.800: And because there's no color corrector applied to that effect yet,
00:06.800: It's very kind of I find it funny
00:06.800: Okay?
00:06.800: I remember is this the usual thing that happens a week before NAB.
00:06.800: That's an interesting ploy to get a vacation out of a trip.
00:06.800: I think the important takeaway is that there are ways to use these titles that I don't think we're really thinking about.
00:06.800: We'll be back next week with another episode of The Grill.
00:06.880: And you do what I do.
00:06.880: So I know that Apple uh didn't want their um the their presentation to be recorded at the F F C P Works um
00:06.880: And I now have the tool to do it.
00:06.880: And that's okay.
00:06.960: So
00:07.040: There might so take, for example, something like
00:07.040: Apple's sock puppet there was Soho Editors, so essentially they must have funded
00:07.040: And then you it looks like the result of a battle that was kind of lost by both sides with that.
00:07.040: So I don't know.
00:07.120: That's why our movie File Cup Pro doesn't have them.
00:07.120: And so, in actuality, if you did want to move
00:07.120: But on the first scary, go ahead and finish.
00:07.120: No, no, they didn't.
00:07.120: Now, the other thing that I will say that I found
00:07.200: They are going down the providing new features for people who want them.
00:07.200: Because people
00:07.200: And, you know, we have an audience walking in in three minutes.
00:07.200: Yeah, I was just taken off
00:07.280: It's it's just a full EQ, and that adds the same effect.
00:07.280: I don't really know what they are.
00:07.280: I have to go in and turn it on, but I can use it in Final Cut, I can use it in Motion, I can use it in
00:07.280: Yeah, hardly.
00:07.280: You just get used to that person in their life.
00:07.360: But I think the third thing, and this is the thing that we haven't really discussed, I discussed it a little bit last week with Sam Messman.
00:07.360: So faster is better in terms of doing anything else.
00:07.360: I always, you know, being a Mac user, I always go in and invoke
00:07.360: You know, that takes one stage and you know enough room for
00:07.360: And Blackmagic was huge as normal because they've got a huge number of products because their software sells their hardware in lots of different ways.
00:07.360: That's why it is about helping people tell stories.
00:07.360: One of the things that came up in watching the presentation was the fact that some of these three D titles
00:07.440: As with the episode we did a couple of weeks ago on Digital Cinema Cafe with Alex McLean, if you haven't heard that.
00:07.440: I can't put broadcast safe after color correction?
00:07.440: I do think that it would be
00:07.440: So if you look at Motion Master templates, he does some really cool things with three D models and makes them into templates that you can get.
00:07.440: All right, Alex, thanks again.
00:07.520: And then the second way of looking at it, which I think it falls short on, is what you're saying.
00:07.520: The power of behaviors is in that: the scalability of them, the flexibility of them.
00:07.520: Now, I want to say something, and you're a smart guy.
00:07.520: And I do that primarily beca for a couple of reasons.
00:07.520: It was
00:07.520: Isn't that strange?
00:07.520: So it actually would be more convenient to me if
00:07.520: Could I get a copy of that?
00:07.600: It's a great technology demo, but
00:07.600: Exactly.
00:07.680: It
00:07.680: Yes.
00:07.680: And yet nobody says, Hey, can't you just premiere that video?
00:07.680: Yeah.
00:07.680: You can still give me the same
00:07.760: Ivid seems to be going in kind of interesting directions in terms of
00:07.760: Because
00:07.760: So that is a kind of
00:07.840: I think it's three.
00:07.840: It's absolutely huge and really cool.
00:07.840: And that's what they've been doing for years, is to create their own other environments.
00:07.840: How do I not know that?
00:07.840: If you go to blender.
00:07.920: It's not horribly elegant, but it does indeed work.
00:07.920: I wonder how many people do use Photoshop.
00:07.920: Adobe, maybe a little bit, but as Avid says elsewhere,
00:08.000: But if they had made effects presets, the
00:08.000: But that is certainly not one of their strengths.
00:08.000: I mean, they're creating a giant
00:08.080: So, anyway, go check out Premium Beat.
00:08.080: I do think it would be
00:08.080: Was it the cartoon effect?
00:08.080: Of course, though, Apple did try that with the iMac D V back in nineteen ninety nine.
00:08.160: I have a special playlist that is just music that I actually totally dig, that I want to cut to.
00:08.160: Hey, and you can get access to it for free.
00:08.160: I and that is a very good
00:08.160: Is it I think that's
00:08.240: Then the crazy thing is, of course, is that
00:08.240: I'll create a palette at the beginning of a job and I'll say and I'll label it as this is this job.
00:08.240: But
00:08.240: I appreciate it.
00:08.240: I haven't really been keeping eye up with them, so I'm going to connect back into it really soon.
00:08.320: What did you think of the ten point two release last week?
00:08.320: Well, there's two kinds of EQ.
00:08.320: Sometimes you just got to be spoon-fed an idea.
00:08.400: 2 release because
00:08.400: There's been a lot of discussion, some of it by me, about the the financial implications of selling
00:08.480: But I do think that there is a
00:08.480: I don't know, it's either Avid or Adobe that are bringing them out.
00:08.480: Yeah, it was a two D tracker.
00:08.560: It might be two.
00:08.640: And actually, I don't even care specifically that much.
00:08.720: It only costs you forty, fifty dollars, whatever it costs.
00:08.720: Well, let's talk about what exactly we're talking about what you're referring to.
00:08.720: I'll fill you in on it because it hasn't been posted yet, so you haven't heard it yet.
00:08.720: And I can do it very fluidly.
00:08.800: But in a way, that doesn't matter because Final Cut Pro 10 is a really good piece of software.
00:08.800: 4 million paid subscriptions as of December of last year.
00:08.880: And that there was a rumor one day that there was going to be a super app.
00:08.880: That's what they're saying.
00:08.880: And then
00:08.880: He just looked at me and smiled.
00:08.960: 2 is the 3D text capability.
00:08.960: I mean, obviously
00:08.960: So that's a good situation.
00:08.960: So um
00:08.960: I'm trying to figure that out.
00:09.040: He is a
00:09.040: org, you can get that 3D app.
00:09.040: And we, of course, you'll be back, and we'll do this another time, all right?
00:09.120: I'm fairly vocal in my personal stance that I've never been a fan of 3D.
00:09.120: But of course, marketing functions
00:09.120: So that's
00:09.120: Because when they first said, Oh, yeah, there's 3D titles, I just kind of, you know.
00:09.200: But if they had said, but if the number one feature of the
00:09.200: Is that news this year at NAB?
00:09.200: But I was being paid
00:09.200: Anyway, sorry about my grousing folks who don't have that kind of work.
00:09.280: And when they get really into them
00:09.280: And so
00:09.280: And the funny thing is that
00:09.360: Let me see if I can break this down.
00:09.360: There's another way that you can do this that's very cool that Sam Messman showed me.
00:09.360: So we just have to kind of be
00:09.440: But it is possible, and I think that's an important thing to keep in mind.
00:09.440: I mean, it's in a presentation.
00:09.440: I know that's a bit dark, but it's just true in some relationships.
00:09.440: What you're really doing is you're not using a camera tracker
00:09.520: And so, what I do is I make my own playlist of the stuff that I
00:09.520: I think that what we're seeing is the first
00:09.520: It is a little bit of a
00:09.520: So it's quite a long lead time.
00:09.520: Why is that message not getting out?
00:09.600: And now they're saying you have to
00:09.600: I got to say that's the other sort of hidden feature in Final Fat 10 too that
00:09.680: Obviously, it's a bit like a
00:09.760: So welcome back to The Grill.
00:09.760: And frankly, if it does get people's attention, they're going to go, Really?
00:09.840: I would like to assume that Apple is responding to public sentiment, okay?
00:09.840: And your first statement about give me behaviors
00:09.840: And it's in the XML as well.
00:09.840: So
00:09.840: In other words, in which you can actually turn the motion camera
00:10.000: I can understand the what of it, like 3D text.
00:10.000: They specifically put that on the Avid Free page.
00:10.000: One, there's the little swatch bed at the bottom of the
00:10.000: Why should picking color be such a pain?
00:10.000: So, no, I'm not going to try and figure out how to use a feature.
00:10.000: Later, later.
00:10.080: Oh, that's kind of cool.
00:10.080: There's not that many.
00:10.080: Their hardware can't quite do it, and D V cameras are just about good enough.
00:10.080: He's like, No, no, you can't have a copy of this.
00:10.160: If you haven't yet, good grief, please.
00:10.160: So what they're doing is they're taking their relationships they have.
00:10.240: If you don't, you're crazy.
00:10.320: There's a lot of things that have done this.
00:10.320: That's a very good question.
00:10.320: Hey, Alex, we should get going.
00:10.320: What does this do?
00:10.400: But the weird thing is, after that, for no good reason,
00:10.480: Right.
00:10.560: So everyone calls it Adobe Photoshop, even though they don't know what Adobe is.
00:10.640: I saw Fincher's movie, it was cool.
00:10.720: And what's happening is that a very complicated keyframed
00:10.720: Instead of saying Exactly right.
00:10.800: The first way of looking at it is.
00:10.800: And
00:10.800: Hey, look over here, look over here.
00:10.880: So it's very welcoming.
00:10.960: So here we go to Mexico with Alex Golner.
00:10.960: Let's do that.
00:10.960: I know you'll figure this out if you haven't already.
00:10.960: And yet the actual process of using it will be
00:11.040: And that's exactly the way I work.
00:11.040: So they're very much at Adobe are adding lots of new features.
00:11.040: But it doesn't actually apply to Apple anymore.
00:11.040: It's a bit like every time.
00:11.120: Because I think
00:11.120: So that's the kind of dedication this man has.
00:11.200: There's not that many.
00:11.280: Oh, really?
00:11.440: Crazy town.
00:11.440: So now the new version of XML allows that.
00:11.440: It's just other kinds of tools.
00:11.680: It doesn't have everything that.
00:11.760: Yes, it's the same old stuff.
00:11.840: Come on over, because I don't think
00:11.840: It's like, okay, we're not even playing that game.
00:11.840: That is interesting.
00:11.920: Or what the subscription uh
00:12.080: Do you use Adobe apps?
00:12.080: Because why?
00:12.160: Sure.
00:12.160: So instead of actually thinking
00:12.160: And then when they do it on
00:12.160: I thought they would be really of course
00:12.240: That's what I say.
00:12.240: This is cool.
00:12.240: That's what you want.
00:12.320: But it's a bit irritating if you only use the apps every once in a while.
00:12.400: Obviously, we're going for Tier three.
00:12.480: I don't know.
00:12.800: But
00:12.800: Look at this.
00:12.800: Interesting.
00:12.880: And as been said elsewhere,
00:12.960: You think that's a thing?
00:12.960: If you're going to do it, do it.
00:13.040: I have a standardized
00:13.200: But I think
00:13.280: So
00:13.280: And this is the
00:13.360: So
00:13.360: I mean
00:13.360: Yeah.
00:13.520: So what is it that
00:13.680: But.
00:13.840: But