Episode 21
FCG021 - Premiere Pro to FCPX (feat. Paul Joy)
Is Premiere letting you down? You aren’t alone. When I heard that Paul Joy had moved back to FCPX after several years of working in Premiere, I thought it would be a good chat to have here on The Grill. We also discuss Smart Collections, the Multicam Clip Editor as well as After Effects RAM Preview.
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Featuring
- Chris Fenwick
- Paul Joy - pauljoy.com - @pjoy
Transcription
00:00.001: By the time you've got all that, it's kind of half three and and then, you know, it's okay for the first couple of days, but after that it it is tough.
00:00.080: You look back at that and think, well, you know, why was that so amazing at the time?
00:00.080: when I was on the train to London and um you were saying on there about having a competition about keystrokes.
00:00.080: Cool too.
00:00.080: Premiere got skimming, I think, in CS six.
00:00.080: Good little app, you know, that that you know I gotta say, by and large, I really love the Adobe products.
00:00.160: What's your opinion on that?
00:00.160: Premiere and and Paul Joy was the same thing.
00:00.160: Let's go to the interview with Paul Joy from England.
00:00.160: sort of still been doing lots of work for my main clients and as long as uh as long as they're staying happy with what I'm doing then uh then I'm happy.
00:00.160: But but when they but when it comes word of mouth, the the cachet that you have is, you know, multiplied by a hundred at least.
00:00.160: and was asking him to participate in a viral marketing campaign as one of the director producer, shooter, editor types.
00:00.160: Drives me insane.
00:00.160: That was the biggest m mistake they ever did, was let you ask you to do that mood board, huh?
00:00.160: And setting it all to music, and just everything I filmed set to music just to me was wonderful, even though looking back, it was just a total load of rubbish.
00:00.160: Okay, was it power did he have something to do with power goo?
00:00.160: I don't know, probably like Enya or some, you know, touchy-feely kind of music, and just getting sucked into this whole environment.
00:00.160: Sort of starter camera, I used that for quite a long time and started picking up a few kind of small clients or general sort of interviews, headshots, corporate
00:00.160: a thing called a brevis, a Cinevate brevis, which was like a magic carbon tube with a shaking mirror inside it.
00:00.160: Sort of almost sort of pooed on all of the Final Cut users by pulling Final Cut Classic, and I was thinking that was actually a good move to move away when I did.
00:00.160: I was having problems with caching and I I really liked the workflow whereby you could you know, I could shoot footage and I could offload my cards into what I call a footage storage area and then Premiere would just
00:00.160: And I kind of felt like, you know, maybe it was just me.
00:00.160: I thought I'll try the multicam because I had missed I was using Pluralize with Final Cut Classic to kind of you know, sync up clips.
00:00.160: Create these selection sequences.
00:00.160: Right, that's what you were saying, right?
00:00.160: Four-minute video that showed everything that happened in five days.
00:00.160: that I was using Afterfix before it was even available on Windows.
00:00.160: Chroma King I used to always do.
00:00.160: your eyes are red and but yeah it's a long day and you you're film you're filming from as I say at nine in the morning until the I have to film the um the bands as well and they they have like it's like a music festival.
00:00.160: who was fantastic to work with.
00:00.160: So that was that was fine.
00:00.160: Because I tend to press record on both cameras at the same time or try to, so that that may, you know, that helps.
00:00.160: I mean, it did work well, but in Final Cut, it's just really easy.
00:00.160: And somebody will say, I think everybody has heard this said once on a set or said it themselves.
00:00.160: But you can say, oh, okay, I need to push this over here and these, and you can push things left and right.
00:00.160: connected clips are brilliant.
00:00.160: you know, with the music.
00:00.160: And so here's what I'm going to cut to.
00:00.160: So if you were to put a couple of B-roll shots or like maybe a you know an MC introducing the band before it, everything that's attached to that cut of music is going to move to the right and make space for it.
00:00.160: then I'd click and something would happen and then it was just but for some reason in Final Cut it's fantastic and um I tend to just skim through all the shots quickly if I'm trying to make shot selections and stuff.
00:00.160: turn off final cut or I can't, you know, I'm sort of tied into that to that method of doing it then.
00:00.160: But it just really depends how how I want to work.
00:00.160: Which is quite handy because I just put version one, version two, version three, and the client has a good understanding of they don't they don't tend to need to see the old versions.
00:00.160: If they do, obviously I can do a new one.
00:00.160: I thought this was going to be so awesome, but it was just uh bummer.
00:00.160: I know you don't call yourself an editor, but let's face it, as a cinematographer, a shooter, camera operator, whatever you want to call yourself,
00:00.160: It seems like it's not it isn't transcoding it.
00:00.160: You know, I've come back with hours and hours of of shots and people walking around but never used it, you know, so you just learn not what not to shoot, really.
00:00.160: Appreciate it.
00:00.160: Paul, how do people follow what you're doing and find out more about you?
00:00.160: PJOY.
00:00.160: Yeah, they're all on my blog.
00:00.240: There was a lot of really good comments about how, you know, if you want the show to be professional, it has to cost money, as long as you don't do the ads in a lame way.
00:00.240: Have people be involved in the show who dig the show, who listen to the show, who are really into it.
00:00.240: that I personally use and Alex personally uses.
00:00.240: Now, today we're talking with Paul Joy.
00:00.240: when I was doing my Switch to Premiere campaign, which is just my own personal little thing that I was doing on my blog because in twenty ten, we were still a year before seeing Final Cut 10, and I was worried that Apple had dropped the ball.
00:00.240: I'm good, thank you.
00:00.240: I think I had all of one half of one day scheduled for the entire month of December.
00:00.240: And probably the smart thing to do is to realize that there are ups and downs and, like you said, spend that time bettering yourself and furthering your craft.
00:00.240: Eight years, I still get a little bit nervous after three weeks, you know.
00:00.240: So it was just like, oh, really?
00:00.240: And I'm like, oh boy, yeah, that's the end of my career.
00:00.240: I think I first crossed paths with Paul Joy, I'm going to say like the summer of 2010.
00:00.240: Yeah, that's gone.
00:00.240: The um I'm trying to remember what the new card I've got is called.
00:00.240: How did you get started in this business?
00:00.240: eight years ago.
00:00.240: NVIDIA Quadro Quadra cards, whatever they were called.
00:00.240: Sky, and they try to say this is how your website's going to feel.
00:00.240: For you.
00:00.240: Yeah, and I put a piece of music to it, and suddenly, like, you know, the hairs on the back of your neck stood up, and I suddenly felt this emotion that I hadn't had
00:00.240: I didn't realize I was editing it.
00:00.240: just seriously got into video and just loved doing it.
00:00.240: in in sort of mind of buying it after Christmas, doing all the usual first camera stuff, filming family and trees and horses and plants and everything.
00:00.240: when you juxtapose any imagery against any piece of music, it they both take on a different meaning, you know?
00:00.240: you know, you rarely saw anything filmed with shallow depth of field.
00:00.240: I try to avoid saying, Okay, now you have to do this keyboard shirt, which is command option, shift E or whatever.
00:00.240: sort of twelve core two thousand ten Mac Pro.
00:00.240: felt like it was just so frustrating.
00:00.240: And I don't like to b bash things, but I am curious at people's thought process.
00:00.240: you know, perfectly happy using that and I really like the way it integrated with motion because having a past in animation and using flash using sort of keyframes and stuff like that is
00:00.240: something I know quite well.
00:00.240: but they had pulled the curtains and they weren't letting us look inside and they were furiously look working at at what was coming next.
00:00.240: had been using it for about a year when by the time 10 was released.
00:00.240: It wasn't really for me.
00:00.240: But then I was having problems because Premier was doing this kind of magic in the background caching thing.
00:00.240: Yeah, and it literally just selects shots.
00:00.240: You know, I experienced the same thing with the cash, and I felt bad about it because I thought, Am I doing something wrong?
00:00.240: You know, I'll purchase this and I'll just use it for a little while for the interview stuff because it's for everything.
00:00.240: there'd be this shaky, freezy feeling, and then suddenly it would just disappear.
00:00.240: Exactly.
00:00.240: twenty thirteen in May, last May, and I thought I'm gonna take my laptop with me.
00:00.240: It is, yeah.
00:00.240: No, but Paul, I think what you're trying to say is by cutting your work in half you could devote more attention to making making it even better.
00:00.240: I'd find, you know, I'd have a certain number of days and by the last day of the allocated time, I'd I mean, literally, these things are, you know, I can come back with, say, 1500 clips and I have to make a
00:00.240: and then get to the end and make a few alterations, colour correct it a little bit and send it.
00:00.240: The sky's the limit when it comes to tweaking, and I'll just try this, try that.
00:00.240: I'll put it in the show notes.
00:00.240: I've got a mug at home with a Homer Simpson mug, and it says on the side something like: every time I learn something new, something old falls out.
00:00.240: A lot to be said for that.
00:00.240: I travel to mo it's mostly in Europe, I've done a couple in in Brazil as well.
00:00.240: They are, yeah, they're kind of these huge I think the biggest ones, the one the one they have one in Austria each year, and I think there's like a hundred thousand bikes.
00:00.240: I was using my C C one hundred and C three hundred, and I'd forgotten to turn the mic on on the C one hundred.
00:00.240: Exactly, except I didn't turn it on.
00:00.240: being in being error.
00:00.240: And you'll just let it roll all day long.
00:00.240: roll picture, roll sound.
00:00.240: Right, so when you create a multi-cam clip, and actually in 10, I don't know if you could do this in 10.
00:00.240: For interview type work, no.
00:00.240: that will find and display all of your multicam clips.
00:00.240: So you can see his clips and you can gang them up onto one layer, even though there's a gap in them.
00:00.240: Are there parts that like really inspire you in that way?
00:00.240: Clips.
00:00.240: You know, I can make an edit through, say, a chorus of a song, and I'm filming a live band, and some of the events I've done, I've actually got the music from the bands that are playing at the event, and I'm syncing to them.
00:00.240: Yeah, I can understand why they haven't done that.
00:00.240: No, I just do everything with just without rendering and uh it just it's still so smooth.
00:00.240: than the times that it hinders us.
00:00.240: But for people that do use Vimeo, I think that's a really cool feature.
00:00.240: and hide it from Vimeo or make it password protected.
00:00.240: And then they look at it on the same URL.
00:00.240: Yeah, you've just call it the exact same file name.
00:00.240: I still had to generate an email address for every machine I needed to put it on.
00:00.240: But for me, it's just such a relief working with the App Store.
00:00.240: And he just got CS6.
00:00.240: Totally.
00:00.240: who has to edit his own pieces.
00:00.240: You don't want anyone sending you bitmaps and image files when you could be using vector files, which just looks so much nicer.
00:00.240: You know, you're contacting me, you go, I need your company logo.
00:00.240: to Premiere.
00:00.240: that has brains behind it.
00:00.240: of what you're working on and not how you're working on it.
00:00.240: which clips unused out of the whole the whole event.
00:00.240: Show me anything which is unused so that I can then see a last-minute kind of b-roll stuff.
00:00.240: Your big Harley events because I did something similar to this a couple years ago for BMW.
00:00.240: when it sees it.
00:00.240: How much data do you collect on one of those Harley jobs that are a week long?
00:00.240: Probably coming back with a good 500 gigs.
00:00.240: two copies of the same thing, especially when you're talking about large amounts of data and the cost of storage.
00:00.240: So uh my camera's never on.
00:00.240: Being a bad thing for Paul Joy and his Harley client because you've already admitted you're shooting, you're editing faster, you're shooting less.
00:00.240: Now I'm going to be honest with you, it is, what is it?
00:00.240: Thank you for listening.
00:00.240: That you are too.
00:00.240: So thank you for listening.
00:00.320: And so I started looking around and I was really impressed with the way Premiere used all the cores and it was sixty four bit and there was a whole lot of stuff to like about
00:00.320: That's a conversation I want to have.
00:00.320: Oh, I guess Campbell is probably like nineteen years old or something like that.
00:00.320: Yeah.
00:00.320: I don't.
00:00.320: So, I was getting to work with a few video projects, and then I've always been really interested in music.
00:00.320: with anything I've been doing work wise for a long time and I was hooked.
00:00.320: You're just like sucked into it.
00:00.320: But it was doing it all from math.
00:00.320: excites me about this business is the way we juxtapose those things, it takes things to a totally different level.
00:00.320: But yeah, that's I sort of got into that and then I did sort of get into DSLRs for a small while.
00:00.320: Would you say you spend more time shooting than editing?
00:00.320: Yeah, it was, yeah.
00:00.320: Did Premiere let you down?
00:00.320: access those shots directly from that drive without me having to do any rendering or importing or any of that stuff.
00:00.320: And I'd come back from those events and it'd be like a five-day shoot, and I'd come back sometimes with 1500 clips.
00:00.320: select the best shots and you know, make selections and stuff.
00:00.320: Oh, you know what?
00:00.320: It could.
00:00.320: in the work that I'm doing because I'm noticing here on I while you're talking, I'm looking at your website, and I noticed this thing you're talking about, the green screen in Final Cut X.
00:00.320: It did, yeah.
00:00.320: having to relearn and I can never figure out how to make things play back and the whole kind of add to cache or whatever it's called in After Effects with the memory thing and and I thought I'll just
00:00.320: sort of the ins and outs of RAM previewing that kind of it really breaks it down at a very basic level.
00:00.320: They don't even think about it, and if you but if you haven't been sort of brought up in the ways After Effects just it
00:00.320: It is not fun.
00:00.320: And then I have more opportunity to polish and finesse.
00:00.320: Getting up at eight to start shooting at nine and then working through.
00:00.320: At these things.
00:00.320: Okay, so the initially it was the multicam.
00:00.320: And they have the bands playing until two in the morning, so then come back to the hotel at sort of half two and offload footage.
00:00.320: And um the event that we went to was in Rome and they wanted to release like a video each day.
00:00.320: that when you are doing multicam stuff, a lot of times people get lazy on a set.
00:00.320: Multicam clip editor.
00:00.320: And you and it's sort of it's almost like data forensics.
00:00.320: Let's say you have one camera that ran for eight minutes, but the other camera, the guy was a less than professional and started started and stopped multiple times in there.
00:00.320: These three clips here will be represented as camera two, and then the third layer will be my sound file.
00:00.320: like raw, you know, basic color correction on the clips there and it'll propagate through every instance of it in the in the multicam, which is
00:00.320: I'm just sitting here thinking about what you're saying.
00:00.320: metadata that's with the file on Vimeo.
00:00.320: the price and the way you install it through the App Store.
00:00.320: And it used to bug the hell out of me with Adobe when you'd try on it and you'd go through the process of transferring the license and stuff.
00:00.320: I'm like, what a dead-end road is that?
00:00.320: the pinging the mothership type stuff.
00:00.320: Yeah.
00:00.320: And use the same clip or title over and over again, and just be able to go in and edit part of it.
00:00.320: You know, just like even like I was talking about earlier, about the smart collections.
00:00.320: Play with them.
00:00.320: and keyword everything in it would to actually do the edit.
00:00.320: see which clips any clips which haven't been used and any clips which have been duplicated and stuff like that.
00:00.320: But so you're taking stuff off of your C three hundred, and I you know I haven't dealt with that camera enough.
00:00.320: It's MXF.
00:00.320: Yes.
00:00.320: That is a package contents that you cannot accidentally open and screw with, and it saves it on your hard drive wherever you tell it to.
00:00.320: I'm assuming then you basically have to import into the library.
00:00.320: Which is a bit of a pain because anything after midnight tends to be in the next day.
00:00.320: And when you want day two to actually begin, that you know, that'd be a really funny preference setting to be able to set for people that because there's a lot of us out there that are doing things that run really late, you know, thinking like music stuff and
00:00.320: Yeah, interesting.
00:00.320: That doesn't sound bad at all, actually.
00:00.320: Well, nearly five years now, and you just kind of learn the things that the client likes and the things the client doesn't like, and the things that look good.
00:00.320: That helps the show get seen.
00:00.400: Somebody else said, don't make it a i if it's just an expensive hobby, you'll stop doing it, and we want to keep the show going.
00:00.400: I am in talks with some people about various ways of dealing with this in a very casual way so far.
00:00.400: bit of advice.
00:00.400: Yeah, exactly, exactly.
00:00.400: It's like selling car tyres or something.
00:00.400: Although I'll say, one of my clients that I've worked with, I've worked with this woman for almost 15 years now.
00:00.400: No, no.
00:00.400: these, you know, um, like Fibonacci sequence spirals and things, and it was vi it was just the most bizarre thing.
00:00.400: Sidetracked on the Kai Kraus thing.
00:00.400: And it is better.
00:00.400: Multicam is the nomenclature for making that.
00:00.400: You know, didn't you know, didn't stop at the same time.
00:00.400: Yeah.
00:00.400: And then just to get them to match.
00:00.400: But yeah, you obviously you I would imagine you could do that.
00:00.400: Sometimes, it depends.
00:00.400: somebody just recently who was saying, oh yeah, I just go through the share menu straight into my Vimeo account.
00:00.400: the cloud for workgroups just that was that to me was a real disappointment.
00:00.400: And but continually I'm learning more and more about what the application can do.
00:00.400: thing.
00:00.400: It's either in the menu only or you go into the keyword excuse me, the keyboard shortcut.
00:00.400: Utility, and I think it's something that you have to like create a keyboard shortcut for it or something.
00:00.400: each card from the camera.
00:00.400: But with Final Cut, you kind of think, well, shall I keep the original cars on my hard drive as well as the imported files?
00:00.480: And I have a really cool guest today.
00:00.480: So that's when I tend to try and learn new stuff and concentrate on just updating things and doing a bit on my blog and stuff like that really.
00:00.480: Yeah, you know what?
00:00.480: Was I just spying on you?
00:00.480: Things exploding and bits of wood flying around, and they asked me to find a piece of music to put to it.
00:00.480: work um but always more interested in the kind of artistic side as well and and then I moved on to a Sony EX1 and that's around when the whole kind of 35 millimeter adapter thing started and I ended up buying
00:00.480: Final Clap Pro ten until version ten zero five, I think.
00:00.480: Are you serious about that?
00:00.480: They're fantastic.
00:00.480: stuff.
00:00.480: And now all of a sudden, that piece of media, that image is now locked it actually is locked it's not locked in time, but it's locked to that cut of music.
00:00.480: When you're done, what's your delivery method?
00:00.480: And do the range, you know, range keywording and all that kind of thing.
00:00.480: Future because their company for security reasons won't let them use Creative Cloud.
00:00.480: Okay, can I just say that you are an absolute freak anomaly?
00:00.480: And then they go to their website and they download the GIF image in the upper left-hand corner.
00:00.480: And I've talked about this on the show before, that I'm well past the threshold of understanding how to do the work that I need to do.
00:00.480: There's a couple of things.
00:00.480: Okay, that's interesting.
00:00.480: in just as they come off the card.
00:00.480: And um but go to iTunes.
00:00.560: And actually, we had some a great chat after the show just about blogging and all that kind of nerd stuff.
00:00.560: She uh I was working with her the other day and she goes, Oh, hey, I want to show you something and she opens up her email and she shows me this this email that is was uh sent to her son.
00:00.560: And I'd heard a lot of people saying that it's really good in fun.
00:00.560: That camera 2 will call it, was built out of three clips.
00:00.560: If you were going to sit down with somebody who was like skeptical, what would be those things where you'd say, you know what, you should really look at this part of this?
00:00.560: But then export an H.
00:00.560: No.
00:00.560: And then I think it's down in the lower left-hand corner.
00:00.560: on a hard drive, and it would just access them directly.
00:00.640: you know, putty.
00:00.640: Roughly, yeah, roughly the same time code.
00:00.640: I'm a bit baffled as to how that happened.
00:00.640: And if one of the guys says, Oh, I'm still rolling, stop everything.
00:00.640: So you create one, you go into the Smart Collection, you double-click on it, and it opens up in the bottom half of the screen.
00:00.640: a little easier.
00:00.640: active in Vimeo.
00:00.640: You know, this this goes back to you know my my big problem is that I learn things very slowly.
00:00.640: And so essentially, it is it's a little bit safer version of what you and I do where we copy the contents into a folder.
00:00.640: I've never I never really because I don't use those cameras I never really got into that either in the premiere world or obviously I'm I'm not doing it now but
00:00.640: But I'm actually on job site right now.
00:00.720: And we used a piece of music.
00:00.720: 2005 I think I borrowed a Sony I can't remember what it was called, it was a little a really cheap Sony sort of handy cam.
00:00.720: lip positions that that you could match and stuff, you know.
00:00.720: So it was it was it did a good job.
00:00.720: I agree.
00:00.720: Yeah, I mean with scalable graphics, I mean you don't really want to be working with.
00:00.720: was a real advantage to using it was I really missed the integration of motion with Final Cut when I went to
00:00.800: Um, so anyway, w w what was your in in you know, again, you and I crossed paths at Permi Premier in about 2010.
00:00.800: So the so it seems like i if I were going to just make a a balanced chart, if you will, it seems like you're more of a shooter than an editor.
00:00.800: And I used to kind of use the system whereby I'd create like a shot selection sequence and just dump everything in it.
00:00.800: That that must be the way I do it then, because that is the way I do tend to do my colour correction.
00:00.800: that irritate me about it.
00:00.800: Yes, okay.
00:00.800: I'm not entirely sure it converts it to ProRes.
00:00.880: almost wait for people that you know to come to you because most of my work has come to me through word of mouth or people have just seen what I've been doing.
00:00.880: It's gone.
00:00.880: I don't know where it is.
00:00.880: the way I had my files set up and stuff, that wasn't gonna work out.
00:00.880: The first time I used it was for I'd just done a two-camera, I do a lot of two-camera interviews and and
00:00.880: And then and then I just started experimenting with it.
00:00.880: Right.
00:00.880: I mean the one application I really think I couldn't do without is Illustrator because the amount of times I have to deal with vector graphics and
00:00.880: I and to be honest with you, I don't know even how to do it.
00:00.960: algorithms and fractals and created natural environments like water and sky and stones and hills
00:00.960: they're utilizing technology and it just seems like Adobe were sort of cutting edge where Apple was asleep.
00:00.960: Yeah, that was an interesting one because that was just a recent project, and I didn't intend to do that.
00:00.960: Scott Simmons, see what he says about this.
00:00.960: And then you can mount it at any point and you can peruse it and say, oh, these are the clips I want, import those.
00:01.040: I can't keep up with that sound.
00:01.040: Exactly.
00:01.040: His UIs were fantastic, but one of the things that he did, and I can't remember what it was called.
00:01.040: I think I get confused for that because I've used After Effects for such a long time.
00:01.040: You know, there's a lot.
00:01.040: And I think all the manufacturers, Apple has done very well to simplify it.
00:01.040: Yeah, frustrating.
00:01.040: it removes certain elements of the organizational process from you.
00:01.040: It just has to wrap it up.
00:01.040: Thanks, Chris.
00:01.120: But so I was working in a design agency doing flash development and sort of became the in house video specialist in flash.
00:01.120: And I I purchased Final Cut Studio when I went freelance and then went up to Final Cut Studio too.
00:01.120: If you're looking for it, it's called RAM Preview.
00:01.120: You know, that's the only time generally I will bring it back and release the video a week later.
00:01.120: It's like really you're too smart to be helpful.
00:01.200: Kai Power Tools?
00:01.200: For this event work, it's fantastic.
00:01.200: That is the one frustration with it.
00:01.200: Yeah, I think um I think that you know without a doubt I am continually just
00:01.200: It's pretty cool, and I haven't worked it into my workflow, but I can totally understand what it is that is good about it.
00:01.280: I think a lot of people, when their calendar gets thin, they start to sit around and chew their nails and get nervous and rethink everything that they ever thought they wanted to do.
00:01.280: Well, I've since changing back to Final Cut, it kind of was a bit unnecessary.
00:01.280: This might be better.
00:01.280: I just think I had a look because there's obviously a fixed budget for these jobs, and I had a little more time just to think about because what would tend to happen before is
00:01.280: If you really understand RAM previewing, it's a lot more fun.
00:01.280: And so, yeah.
00:01.280: I know it does it without with After Effects, but just the ability to create something like a lower third or just on screen titles with editable text.
00:01.280: So it's exactly as you said.
00:01.280: Or it's almost like when you plug in your iPhone, it's like, oh, look, I got my iPhoto open.
00:01.280: They're all on there.
00:01.360: Good evening or good morning, whatever time you're listening to this.
00:01.360: I mean, I have used I don't tend to use keywords for event work just because it would take me so much longer to actually go through and
00:01.360: So, this is episode 021 of Final Cut Grill.
00:01.440: I looked at it the day it was released.
00:01.440: Yes.
00:01.440: They are worth your time.
00:01.440: Awesome.
00:01.520: 264 at 720p and upload to there and then let clients kind of chit work on there and make changes.
00:01.520: Yeah, which is pretty cool.
00:01.520: The trick is not filming the things that don't look good.
00:01.600: And it was quite overwhelming.
00:01.600: And then it just did it.
00:01.600: Okay, I double all the time.
00:01.600: Yeah, and like today I did a couple of jobs that I just used the share menu, and that works fine.
00:01.680: I'll go find that right now.
00:01.680: So, yeah, but what I was going to say is, I've noticed the same thing: that the things I do, I can do quicker.
00:01.680: I took him as a second camera operator because that was Harley's one hundred and tenth anniversary last year and they wanted to do something special.
00:01.680: And I'll and then I'll and it help it just makes it easier when you everything is up roughly about the same length.
00:01.680: in a separate thing just because we've been doing it for years and years that way.
00:01.680: Okay.
00:01.680: Yeah.
00:01.680: It's nice to be able to talk back to you for a change.
00:01.760: I used to be for a long time I was a Flash developer and it was Macromedia Flash now.
00:01.760: You didn't realize you were doing it, but that's exactly what you were doing.
00:01.760: Did you?
00:01.760: It's kind of a hard one to describe.
00:01.760: But but the C three hundred I just use like its internal mic, and just just give me a scratch audio track so that I can sync them up.
00:01.760: I mean, just that whole concept is fantastic.
00:01.760: And you you can do all these cuts and then you you go back, you know, a couple of days later and it's just out somehow.
00:01.760: But by and large, what we are doing is I think more often than not, the software actually helps us
00:01.760: And I thought, wow, that's really brilliant.
00:01.760: You are by default.
00:01.760: I tend to have day one be it's like Sunday, card one, Sunday card two.
00:01.760: No it's not.
00:01.760: Please go to Twitter.
00:01.840: So how is life?
00:01.840: Exactly, exactly, and they noticed they did notice you know that things started to improve last year.
00:01.840: Actually, on that same subject, I'd say the other big thing that I don't very often hear people talk about is with Final Cut is really the
00:01.840: Obviously on the shoot I don't bring the cards back, I'll offload the cards as whole units onto a hard drive.
00:01.840: I'm continually amazed that people actually do.
00:01.920: It's a really good client.
00:01.920: It depends because what I don't like is if I use the share menu and then I can't, you know
00:01.920: Plus, I mean, we do use a proprietary file sharing thing.
00:01.920: Al Mooney at Adobe has done a whole lot of discussion about you are not editing on the cloud, you just get your software from I mean, it's not that they don't understand it, but something about the whole licensing thing and the
00:01.920: It needs to be a.
00:02.000: And I can remember many years ago in the like in the mid-90s.
00:02.000: And that ability to go in there and edit and nudge and finesse that, it just makes your edit so much better.
00:02.000: Whereas with Final Cut, obviously, you have to upload a new one each time.
00:02.000: And so do you use the import window in Final Flight X to turn that into how what what is the workflow there?
00:02.080: So it was some sort of S Sony handy cam.
00:02.080: And I was reading all this stuff about this magical Mercury playback engine.
00:02.080: Thank you so much for taking the time to do this.
00:02.160: I think the thing is that when I sort of first went started working for myself, the first sort of year or two, you just really panic when it goes quiet.
00:02.160: You know, trying to approach somebody and ask them if they want to buy a tyre for their car is quite tough.
00:02.160: You're shooting with the C500 primarily now?
00:02.160: I'd say it was a bit of each really.
00:02.160: And I was using the whole keywording and tagging, and that's when I figured out that I could actually just mark favorites in the browser rather than
00:02.160: And when I'm doing events like days, just say this was shot Monday, Tuesday.
00:02.240: Mostly for workflow reasons.
00:02.240: And that was a revelation.
00:02.240: And I think that's how it works.
00:02.240: And now when I drop a piece of b-roll on top of it, its connection bar, if you will, connector thingy, whatever that thing is called, will actually be attached to the music.
00:02.240: Yeah.
00:02.240: As soon as you do, like the import window is going to pop up, kind of like what Aperture or iMovie or certain things will
00:02.320: I it wasn't putty, but it was like you would push on this thing and slide this thing, and it wasn't knobs and sliders and check boxes.
00:02.320: Hold on, let me find it.
00:02.320: Yeah, seriously.
00:02.320: I've only done one where I've delivered stuff at the event, which was it last year.
00:02.320: And now that we are actually talking about sponsorship and stuff, those numbers will actually make a difference.
00:02.320: I need to probably sort out the video menu a bit because I haven't updated it for a couple of years.
00:02.400: They were generated.
00:02.400: So everything's on the mouse for me, and I can't even remember which things are in which menus sometimes.
00:02.400: And then once they're matching, I'll do master color corrections to my project files.
00:02.400: It's just that we remember the times when it gets in the way, and those are the things we want to complain about.
00:02.400: Yeah, I believe it was um I want to say it was uh Tony Galardo who mentioned was it Tony?
00:02.400: Uh I record everything for five seconds and that's that.
00:02.400: Uh if you do those little um what's it called?
00:02.480: No, yeah, so this was kind of.
00:02.480: And I'd found that, you know, sometimes I could just click my mouse and just drag along and suddenly it would just
00:02.480: Chroma King I used to always do in in After Effects.
00:02.480: I was just talking to somebody yesterday who said, oh yeah, our company won't let us have Creative Cloud for security reasons.
00:02.480: So maybe the two of us should both figure that out.
00:02.480: But generally, now I kind of come back with probably sort of 300 gigs of
00:02.560: I don't think I have ever, I would agree with you 100%.
00:02.560: It's like, oh, no, biggest mistake.
00:02.560: So but the but I would like to be able to and I don't know this is something that we will see, but I'd really like to be able to
00:02.640: So so yeah, no, I I was really enjoying it, but then I s just started to feel like I'd I'd recently bought the a new Mac.
00:02.640: And I d I I actually don't know how it did it.
00:02.640: mov file.
00:02.720: Yeah, I'll certainly remember that.
00:02.720: Was that the same thing?
00:02.720: Can you say here is version five?
00:02.720: Now you've just up you just update the file.
00:02.720: So I don't have to actually put something in it.
00:02.800: He was using Premiere and he was blogging about it.
00:02.800: No no, I totally remember.
00:02.800: I mean, they're hard work.
00:02.800: One way to do that is if you are cutting to, you know, a cut of music for like a music video, and it'd be interesting to talk to
00:02.800: Yeah, I think on the subject of, I mean, I'd say the only other thing that I'd really say was
00:02.800: There's a thing it will you can select the card up above and then there's a button called camera archive and essentially what it does is it makes a bit for bit copy of that card
00:02.800: Well well the thing is I I shoot for the edit now, and I know my clips are only three seconds long at the most.
00:02.800: It's like 8 o'clock, 8.
00:02.800: So I have a lot of work to do.
00:02.880: But before we get to that, let's talk about the show sponsorship.
00:02.880: Because now her son's being recognized as a somewhat acclaimed video producer.
00:02.880: Yeah, no, seriously.
00:02.880: You could actually take the music cut and put that in the primary storyline.
00:02.880: But it never really worked for me.
00:02.880: You are an editor, but very few people stand up and go, I have to have me some illustrators
00:02.880: So I'll literally just use the import menu and just select the card one at a time and just import them I'll just import the complete card.
00:02.880: And then at that point, it's just, I guess at that point, it's Pro Res, right?
00:02.880: I think it just rewraps it because it does it very quickly.
00:02.960: So I reached out to him.
00:02.960: It's a uh I did write I did make some notes here to try and uh help myself because I knew I'd forget everything.
00:02.960: Oh, yes.
00:02.960: And after starting to do it, I just couldn't concentrate on anything else.
00:03.040: I was very touched.
00:03.040: Everything just looked absolutely magical.
00:03.040: They take over a whole valley.
00:03.040: And I'll often come back with probably two or three cards from each day.
00:03.120: Yeah, the day it was released, I'd been using Premiere probably was it a year by then?
00:03.120: So, okay, where were we talking?
00:03.120: It just seemed to sort of happen by itself.
00:03.120: Is when you get things to a specific point of time.
00:03.120: You know, I think by and large, uh, you know, what we do is pretty complicated stuff.
00:03.200: Explain a mood board for people that haven't heard of one before.
00:03.200: It's me.
00:03.200: But I got it back and I put it into final cut and I thought, oh, here we go.
00:03.200: Really?
00:03.280: Now, I got to tell you about Paul Joy.
00:03.280: It was a Mac only app back in the early nineties and or mid nineties.
00:03.280: But but it even kind of spaced them all out.
00:03.280: I hadn't I don't use that.
00:03.280: For me, that's just brilliant.
00:03.280: You know, really, you're going to purchase CS6, which is already a year old or more.
00:03.280: You know what I mean?
00:03.360: But it just was because it hadn't been done unless you could afford to buy like a movie camera or something.
00:03.360: Oh, I see what you're saying.
00:03.360: But it is exactly what you're saying.
00:03.360: Yeah, there's some really good things.
00:03.360: It'd be nice to be able to say, okay, out of day one, you know, anything with the day one keyword from the, I don't know, with bikes.
00:03.360: I know it sounds dangerous, but it worked really well as a workflow.
00:03.440: They weren't you know, it it was it was b the most bizarre thing.
00:03.440: Or did Final Cut impress you?
00:03.440: That's the thing that's going to be.
00:03.440: So yeah, I but I'm I mean, there's stuff about Adobe I really, really love.
00:03.440: You know, the ability to create this little icon over there in your browser
00:03.520: And it just frustrated me that every time I used Final Cut, they it it didn't use any of those resources and it was just it
00:03.520: I think it was yourself actually.
00:03.520: Is that what it is?
00:03.520: I love them.
00:03.520: And you can scroll through there and you can go, oh, okay, so here was that one where the camera three didn't
00:03.520: Just being able to have everything shuffle around and moving around and just drag a clip into the middle and it all moves out the way, that's great.
00:03.520: Yeah.
00:03.520: Like you said, it's just rewrapping it.
00:03.600: I'd say it's probably fifty fifty.
00:03.600: So I film all of the events and all the various activities, a lot of filming from bikes and cars, and done some filming from helicopters and stuff as well.
00:03.680: What am I doing here?
00:03.680: I can't remember what the job was now, but the video was just random clips from the web with
00:03.680: Yeah.
00:03.680: Not Twitter.
00:03.760: Yeah, I can remember some of the early times in my career.
00:03.760: Yeah, no, well, it's no, it's a radion.
00:03.760: I thought, oh, this is going to be like doing that.
00:03.760: And you know, in Pre in Premiere the multicam stuff was good.
00:03.760: That's the thing.
00:03.840: So at any rate, that's the update on the whole sponsorship sort of thing.
00:03.840: And that's a mood board.
00:03.840: And then the client will make changes and I'll keep reuploading to the same file.
00:03.840: Yeah, no, I've actually bypassed CC altogether.
00:03.920: It's an interesting one.
00:03.920: I don't know what I'm doing wrong.
00:03.920: And it just gave me a little bit more tweaking time, I think.
00:03.920: People always say, oh, you're so lucky because you just get to do this traveling overseas and stuff.
00:03.920: But you can like, sometimes you can shift things around or it'll get confused.
00:03.920: I mean, just the thought of having something linked to the music, I can see how that would cause more problems as well.
00:03.920: And so he was upgrading from five, probably, maybe five, five, probably six.
00:04.000: We're trying to install that.
00:04.000: Okay, so Kai Kraus was the guy behind Kai Power Tools.
00:04.000: Well, well but I opened it and as I say, about about 1005 and
00:04.000: And I had a shoot for Harley in in Santrope that year.
00:04.000: Well, that doesn't sound so bad.
00:04.080: And she goes, Look at this and it was it was a it was kind of a headhunter who had found her son's Vimeo page
00:04.080: Yeah, we were both on the same I think the last time we spoke was when you were also buying one of the um
00:04.080: As soon as I saw the whole project event thing, I thought, yeah, no, this isn't going to work.
00:04.080: I mean, it literally just, it probably, I probably shouldn't say this because my clients might hear it, but it probably cut the time it took me to do those edits by about half.
00:04.080: So, not one of my clips is generally longer than one or two seconds.
00:04.080: So you don't even have to go searching and finding them.
00:04.080: What file do you want it?
00:04.080: 30 at night.
00:04.160: How's business treating you?
00:04.160: I remember thinking when it was released, I'll have a look and I had a look and kind of straight away knew that it
00:04.160: That's the one, the RAM preview.
00:04.240: Paul was more than happy to join in, and it was great.
00:04.240: I did have quite a few problems in Premiere because it was
00:04.240: And the only way I could recover from that was to restart Premiere and then empty the cache.
00:04.240: What kind of comments were they getting, and what would you attribute it to?
00:04.240: So you make one that's all your multicams and then
00:04.240: The other thing is when quite often I'll upload a version to Vimeo
00:04.240: I mean this comes from my flash background, you know, it's all vector-based.
00:04.240: Yeah, totally.
00:04.240: I ha I've seen it and I go, oh, that's good to know, but my workflow doesn't really um dictate that I need to do that, so I haven't bothered
00:04.320: Cool.
00:04.320: It's just so much easier.
00:04.320: When when you first do these things, you kind of think, I've got to film everything because it's I need to be able to cover any base if the client asks for something.
00:04.400: Like, every well, everybody who responded responded in the positive.
00:04.400: I just thought I need to be doing this.
00:04.400: You'd make a single like a B roll.
00:04.400: And that's just, it's just so smooth in Final Cut.
00:04.480: Welcome to another episode of Final Cut Grill.
00:04.480: And then somewhere in there, like I'm gonna say like s 0809 ten, you you got into the DSLR thing a bit, didn't you?
00:04.480: And I was thinking, yeah, there's no way I could win that competition.
00:04.480: I'd read something that you wrote.
00:04.480: You might want to take a look at it.
00:04.480: You're kind of creeping me out, actually.
00:04.480: I was like, oh, this is just a nightmare.
00:04.480: I'm going to get back to my edit.
00:04.480: And you're going to have to give me some links.
00:04.480: Yeah, you can go to Twitter and follow me at Chris Van Wick.
00:04.560: Yeah, it totally was, totally.
00:04.560: But um yeah, it it's kind of five days of
00:04.560: I just couldn't quite figure out a way to make it work.
00:04.640: You were talking about the Harley shoots.
00:04.640: And I always try and get people, you know, when I'm doing multi-ham stuff, I will call for the roll, you know, roll picture, roll sound.
00:04.640: But you could say, it would be great if you could say, I work really hard and my day ends at 4 a.
00:04.720: C300 now, yeah.
00:04.720: I can only assume it kind of went by time code or something, but but it still managed to do it with only one track of audio.
00:04.720: And there was this there was this sort of promise of, well, now it's going to be much easier because it's Creative Cloud for Workgroups.
00:04.720: Maybe.
00:04.800: And especially if you have like a couple of DSLRs and like a Zoom recorder or whatever.
00:04.800: I mean, I love and hate the magnetic timeline.
00:04.880: Do you find yourself opening that up a lot?
00:04.880: It's really just under the number 2 on your keyboard.
00:04.880: I'll I'll colour colour correct them in the kind of multicam editor.
00:04.880: And it never occurred to me that something that I've done so many times needs to be rethought.
00:04.880: It's like, oh, yeah, how do I make that not happen?
00:04.960: I first ran across Paul Joy in 2010.
00:04.960: Yeah, exactly.
00:04.960: So it goes really quick.
00:05.040: I mean, I started very late in this business.
00:05.040: Do you make the smart collections at all?
00:05.040: So it really depends on the situation.
00:05.040: You can change anything.
00:05.040: I want an EPS file.
00:05.040: You know, if you haven't really played with smart collections
00:05.040: The uh I'm drawing a blank here.
00:05.120: And obviously now these days, you know, you can do it so easily with DSLRs and stuff.
00:05.120: Yes, you can change anything.
00:05.120: I do use smart collections, especially for things like camera name
00:05.120: I've managed to sort of get it lower and lower as I've gone.
00:05.200: He's got a very successful blog, if you haven't seen it, Pauljoy.
00:05.200: These are things that I think are cool, and I'm going to completely ignore this while I do my work.
00:05.200: So 2010 was again when we crossed paths and we were both using Premiere.
00:05.200: That's loud when they fire those things up in the market.
00:05.200: I mean, I think a lot of the things with Final Class, I did a job the other day, and I did a shoot in London.
00:05.200: Most of my work is for delivery on the web.
00:05.200: I usually have this done well before midnight.
00:05.280: Hello, hello.
00:05.280: Curious, when you do that on Vimeo, can you change the name or any
00:05.360: I think I just saw a post you were posting on Twitter that you were trying to sell your your NVIDIA card, weren't you?
00:05.360: So I try and say, Well, it's in the menu under
00:05.360: With me, like I said earlier,
00:05.360: But the gaps were there where the cameras had been
00:05.360: So Now at the end of a piece do you um
00:05.440: But, um, yeah, it's it's interesting to hear you say that.
00:05.440: So I spent sort of half of my day in the hotel just editing in Final Cut.
00:05.440: Just the fact that I have this running on my Mac Pro.
00:05.520: Well, they said use this final cut thing, and I just took me ages to get it going.
00:05.520: And so so w were you cutting you were cutting in Final Cut prior to w when you first did that mood board thing, Final Cut five, six, seven, something like that?
00:05.520: And I just put it into final cut and I said sync, you know, thinking that it was going to
00:05.520: I mean, I think that the ones with no sound were all one frame out.
00:05.520: We typically just, you know, kick out a big Texas master and then we compress those and put them put them online.
00:05.520: Yeah, it'd be nice if you could combine that with keywords.
00:05.520: Is that how it works now?
00:05.520: It sounds like it's still, I mean.
00:05.520: All right, take care.
00:05.520: But I have been learning a lot and I hope
00:05.600: Yeah, actually, you know, I have a tutorial, I think, on my website that's all about
00:05.600: I mean, I know it's in the metadata anyway, but it allows me to quickly sort it.
00:05.680: I was just talking to somebody the other day about the cloud and the licensing of the cloud and
00:05.680: That's something that would be really nice.
00:05.760: Okay.
00:05.760: And I'd have this thing and I work on especially I'll shoot some events for Harley Davidson.
00:05.760: Because that's the thing about it, is it seemed to work just as well on my laptop as it did on my Mac Pro.
00:05.760: But at the same time, it's a lot of fun and they're the the client's fantastic.
00:05.760: This is going to be a bit like using Premiere again.
00:05.760: I think a really good tip that you just sort of mentioned there.
00:05.760: Yeah.
00:05.760: And I do think they understand it.
00:05.840: So, at any rate, and more importantly, products.
00:05.840: I think we were both sort of on the same path of discovering Adobe Premiere.
00:05.840: So I just went and bought a camera and
00:05.840: And it's a really cool to have a couple of extra hours, maybe even on a short job.
00:05.840: I think I heard somebody on your show last week actually say that what would be great would be able to lock
00:05.840: It will magically appear in it because it fits a certain criteria.
00:05.840: Thanks for listening.
00:05.920: I mean, I do I don't consider myself at all an editor.
00:05.920: Stop the sounds, stop all cameras.
00:06.000: It's a strange thing.
00:06.000: I think I mentioned to somebody recently
00:06.000: It's a good little tutorial.
00:06.000: Yeah, you can you can change
00:06.080: No, what happened was I ended up buying, I think it was a Canon XHA1, which is a nice
00:06.080: And I thought, oh, I need to go that way because that's that's
00:06.080: Yeah.
00:06.080: And you can see all the sound, all the pictures, and each clip will have its own layer.
00:06.080: You can nudge them left and right if they seem to be wrong, and they almost never are.
00:06.080: Yeah.
00:06.080: Somebody who, you know.
00:06.080: It was the same thing.
00:06.160: Now, I asked on the last episode, hey, do you guys think this you know, it
00:06.160: So then a few weeks ago, I see a tweet from Paul something about Final Cut 10.
00:06.160: Business is good.
00:06.160: I I I would refer to that as like a B roll string out, where you just lay it all out into one time line.
00:06.160: Describe your first experience using the multicam and what that was like.
00:06.160: But there is a way that you could make a keyword collection that shows you everything that's unused.
00:06.240: A mood board is this really kind of arty-farty thing that designers like to do, and they like to show their clients, and it has pretty pictures of trees.
00:06.240: So so then so then the next question is did
00:06.240: And I thought, I'll just try it.
00:06.240: Even Adobe and Avid, they're always working at trying to make things
00:06.320: You kind of just have to hang in there and
00:06.320: And I felt a little bit smug, you know, because I'd moved away from Final Cut already, thinking, you know, that was good timing, you know, now sort of Apple would
00:06.320: Well, I kind of I know you're a bit of an After Effects sort of guru.
00:06.320: And I think that a lot of advanced users do these kind of things and don't even
00:06.320: Especially if you're working with music.
00:06.320: But you're right if you ask for a vector-based EPS file.
00:06.320: So card one will have a folder called card one, and you'll take the entire contents of it and put it into the folder.
00:06.400: And it was like on the 2nd.
00:06.400: Final cut seems to work better with the radions, as far as I've heard, anyway.
00:06.400: And one day, I got asked to just put together a short video for like a mood board video for a pitch.
00:06.400: And suddenly I was editing
00:06.400: So, uh about what year was that?
00:06.400: Well that's that's why I thought I'd use it.
00:06.400: And you can apparently in 10.
00:06.400: It was it was a total letdown.
00:06.400: And I am not gonna sit here and say, you know, the cloud is horrible and it's awful, but there are things that
00:06.400: They open it up in Final Cut and they save it as an EPS.
00:06.400: And again, it turns you back to the program monitor where you can actually just concentrate on what
00:06.400: But once I learn it, I get it down, but I just I haven't had to go into I think it might be something that you have to go into the
00:06.400: I need to prep this file and get it posted.
00:06.400: But they've all been posted as they've been done.
00:06.480: Like, I remember one December in particular.
00:06.480: I was using them for my business for around about a year, a year and a half, and then I moved on to the C300.
00:06.480: Yeah, I totally agree.
00:06.480: That's me, you know, something like After Effects.
00:06.480: And then you can tidy it up and say, okay, I want this to be represented as camera one.
00:06.480: I think it can handle the MXF
00:06.560: And that really worked for me.
00:06.560: Exactly.
00:06.560: So my C three hundred was doing my main audio
00:06.560: And now when you go into your multicam, even though
00:06.560: Can you change the file name that it's actually called?
00:06.560: Oh, okay.
00:06.560: It does.
00:06.640: What was the thing that made you go, hmm, I need to move to this now?
00:06.640: You just re you make a smart collection and say, I think it's a media type
00:06.640: So it obviously that's not going to show up in the share menu.
00:06.640: So curious
00:06.640: And
00:06.720: So cool.
00:06.720: Yeah, I think that's a really good
00:06.720: So and the Final Cut seems to work better with
00:06.720: Sometimes I'll just use Safari and just have it so it's a separate process.
00:06.720: And I know it's the way it has to be, but
00:06.720: And I'm beginning to see, as I start to kind of wrap my head around the world of the metadata and
00:06.720: I was on the road for like two weeks, it was a grueling, grueling nightmare.
00:06.800: Hey, Chris, how are you?
00:06.800: It's a strange thing because I find in this business, I was trying to explain it to somebody other day.
00:06.800: Somebody'll tweet me after the show comes out and they'll go, Oh, that was the blah blah blah.
00:06.880: This is 021.
00:06.880: Yeah.
00:06.880: I think I know about four
00:06.880: And back then.
00:06.880: So, if they ask Wales, that was down to final cut, very interesting.
00:06.880: 0, but in 10.
00:06.880: I'm trying to wean myself off of Adobe now.
00:06.880: Okay, bye-bye.
00:06.880: The best way is through my blog, which is www.
00:06.960: I don't think I've ever approached somebody saying, Hey, you need a video.
00:06.960: I'm now in mid forties.
00:06.960: So within two years, I'd actually left that job and went freelance.
00:06.960: Later, later.
00:07.040: It's a type of camera add-on thing.
00:07.040: And I was
00:07.040: Interesting.
00:07.040: So
00:07.120: Do you remember the name Kai Krauss?
00:07.120: And
00:07.120: Yeah, totally.
00:07.120: The only thing I don't like is I don't like having to keep.
00:07.120: I mean, if with Premiere, you could you could I tended to keep a copy of the cards
00:07.120: You can follow the show at FCPX Grill.
00:07.200: Been really really good year last year, nice and busy.
00:07.200: So I was really into this philosophy of user interface design.
00:07.200: I'm just going to do the multicams.
00:07.200: I took somebody a guy called Will Milton
00:07.200: So yes, that is obviously the thing I use.
00:07.280: I'm very glad.
00:07.280: But the user interface was more like um
00:07.280: And then I'd want to skim through and
00:07.280: Yeah, it's loud.
00:07.280: And
00:07.280: I do.
00:07.280: I just think that's such a good way of working.
00:07.280: And just suddenly you figure out you're using twice as much storage.
00:07.360: So obviously doing it that way, you need to go through the browser because then you can just update the file.
00:07.360: And I have backups of that data anyway off site.
00:07.360: The um comments and the stars and stuff
00:07.440: Exactly.
00:07.440: Let's uh, let's let's hopefully nobody from Harley is listening to this.
00:07.520: With all those edits in it, with all those sort of cuts, then you know
00:07.520: And uh I but I don't know, I wouldn't call myself an Afterfix guru.
00:07.520: I don't know that they're duplicated, but there is now in Ten One s a unused
00:07.520: I started off with
00:07.600: 1, certainly, you can create a smart collection.
00:07.600: It does its best as it can.
00:07.600: Now it would it would kind of work in the viewer and I'd drag around in there and
00:07.600: What is the file format that comes off of that?
00:07.680: You know what, let me ask you about that.
00:07.680: And yes, the software will probably find it.
00:07.680: Exactly, exactly.
00:07.680: So
00:07.760: But we are going to work toward that.
00:07.760: And that's what I I think that's the thing that it uh
00:07.760: And every time I open After Effects I'm I'm kind of
00:07.760: Yeah, I think maybe it's
00:07.760: Yep.
00:07.840: And you're breathing fumes for a week and you come back and dry.
00:07.840: I don't think so.
00:07.840: It's just.
00:07.840: So I mean, obviously, I wouldn't want to see which
00:07.840: Yeah, just import into the library.
00:07.920: It's fascinating.
00:07.920: I don't know, something like that.
00:07.920: I think this was
00:07.920: When I was using Premiere, I was literally just lining the tracks up and freeze framing and looking for like
00:07.920: one, you can now even create a password actually in Final Cut that will be
00:08.000: And I can remember one night sitting listening to some, you know, kind of
00:08.000: Do I not understand something?
00:08.000: Generally not.
00:08.000: And I don't have rendering turned on at all on my Mac.
00:08.000: It was like
00:08.080: My name is Chris Fenwick.
00:08.080: Hey, Paul, how are you?
00:08.080: But yeah, no, it's good.
00:08.080: You know.
00:08.080: I was intrigued by the magnetic timeline and stuff, but just kind of knew that.
00:08.080: And I hadn't really thought of it, but I see the same thing.
00:08.080: Oh yeah, that's plenty.
00:08.080: So
00:08.080: Oh, I think that is I think that's a good lesson to go out on.
00:08.160: And so I don't think there's been many times when I've actually approached somebody new and it's resulted in new work.
00:08.160: I've got a terrible memory, so you have to forgive me.
00:08.160: And when you and when you see it for the first time, it can be really transfixing.
00:08.160: And I tried it, and it just works so easily and so well.
00:08.160: Now I can't remember.
00:08.160: Right, right.
00:08.240: The things I do use a lot, I kind of remember where they are.
00:08.240: Everybody, stop now.
00:08.240: Is there any of your Harley things online that we can share with people?
00:08.320: And maybe when we do get some sponsors, you will actually support them.
00:08.320: com.
00:08.320: So I always ask clients for vector files if they've got them.
00:08.400: How much recording space do we have on the Zoom?
00:08.480: What camera was that?
00:08.480: Yeah.
00:08.480: So I tend to use I tend to upload to Vimeo
00:08.480: So, that was Paul Joy.
00:08.640: That is a really interesting phenomenon when you
00:08.640: Yeah, so I didn't even sort of purchase
00:08.640: Um so w what what it what was it about Final Cut Ten that first made you go
00:08.640: I'm just going to use the multicams.
00:08.640: And trying to figure out where everything was just to get everything back into sync can be really tough.
00:08.640: But the import window will open.
00:08.640: So you've only got to go back one or two pages, and a lot of them will be there.
00:08.720: I'd bought a
00:08.720: And it's so easy to just throw them in there to the beat.
00:08.800: But we literally
00:08.800: I have it running on I've got a couple of MacBooks.
00:08.880: It was great talking to him.
00:08.880: So it was some sort of sorry, I've totally
00:08.880: And I think in hindsight, when we look back, I don't know that Apple was necessarily asleep.
00:08.880: Although there are a few things that I'm kind of started using Pixelmater, I think, instead of quite
00:08.880: So, that's one of the other main things which I'm really pleased to be able to do again.
00:08.960: I didn't start working in this business until around
00:08.960: And I think I borrowed it over Christmas, but I managed to persuade a local camera retailer to let me borrow it.
00:08.960: And that was I think it was final cut five or something.
00:08.960: I haven't bothered to read it, but I'm assuming you're saying, wow, it works really good.
00:09.040: You were a web sort of guy.
00:09.040: If I don't use it regularly, by the time I come back, I have to relearn everything.
00:09.120: But
00:09.120: That's pretty in a quiet environment, that'll be plenty to sync up.
00:09.120: And hopefully it is in the feeds by midnight, like I like to do.
00:09.200: It's good.
00:09.200: I've known now for a couple of years that you do a lot of work for Harley.
00:09.200: But when it comes to editing pictures, I'm going to choose Final Cut 10.
00:09.200: So essentially, what you do is you stick the card in.
00:09.200: So then the
00:09.280: But anyway, so um
00:09.280: So so um when did you first when did you first see Final Cut Ten?
00:09.280: You didn't hear me last time.
00:09.360: So, I put one of those back in the Mac, and yeah, that tends to work a lot better.
00:09.360: I'm just trying to place this in history.
00:09.440: And they go, Who are you?
00:09.440: Now, I've watched her son grow up.
00:09.440: Another thing I find is fantastic is the skimming.
00:09.440: And they think they're giving me an EPS file.
00:09.520: You know, they're so are you delivering on site or some short time after the event?
00:09.520: Well, so no, I have another one you mean is of like an advanced
00:09.600: I mean I've
00:09.600: And now that is his
00:09.680: And even now after nearly kind of
00:09.680: And then it tends to automatically sort it into days.
00:09.680: pauljoy.
00:09.840: Maybe there's a bunch of you who aren't responding, but.
00:09.840: Yeah.
00:09.840: I'm going to go back into Premiere.
00:09.840: I hope you enjoy this interview.
00:10.000: And it's interesting that you're saying this cash thing because
00:10.000: So
00:10.080: Um but again, Final Cut was fantastic for that because because it was just so easy to work with on the laptop.
00:10.080: Have you played with the camera archive feature at all?
00:10.240: It was
00:10.240: You can even do
00:10.240: And so they had to just purchase CS6.
00:10.320: And I'm like, oh my goodness, Paul Joyce using Final Cut 10.
00:10.320: This year, I tend to always go quiet around Christmastime.
00:10.320: It's creepy, isn't it?
00:10.320: Did you hear me this time?
00:10.400: What had you done uh prior to that that I missed out on?
00:10.400: I don't know about that.
00:10.400: Oh, I don't know, like maybe ten hours.
00:10.480: And I really think you're going to enjoy this discussion.
00:10.480: Smart technique.
00:10.480: And and you could just point that camera at anything and because because there was
00:10.560: In terms I listened to one of your podcasts last week, it may have been a couple of weeks ago.
00:10.640: That's one of the things I think that saves the most time.
00:10.720: It's like.
00:10.720: Do you find yourself opening up the I think it's called the
00:10.720: So what are the things that you
00:10.720: So
00:10.720: com, or on Twitter, which is at PJoy.
00:10.800: We're not going to rush into it.
00:10.800: What's really funny is sometimes when I'm trying to train somebody on how to do something,
00:10.800: Do the clips have the same time code?
00:10.800: And I think one of my biggest frustrations is when somebody will say
00:10.800: m.
00:10.880: Oh, you know, all of those model numbers and cards and whatnot.
00:10.880: Do you remember Kai Krauss, that name?
00:10.960: I've got a small one which I take away on work with me and a bigger one.
00:11.040: Everything's going to be fine.
00:11.040: You know?
00:11.120: But it was um it was this thing where it took
00:11.200: There's people that know it.
00:11.200: There's people that know it way, way, way better than I do.
00:11.280: And then the other thing that you can do is
00:11.280: So, I've got them playing.
00:11.360: He's about um
00:11.360: Now, are then the road rallies that you're doing?
00:11.520: Exactly.
00:11.600: But the um
00:11.680: Okay.
00:11.760: Do you remember that?
00:11.840: Yeah.
00:11.920: And I thought, I'll just
00:12.000: We don't want to just take people's money.
00:12.000: So it's going to the final cut.
00:12.080: And yet
00:12.240: That starts to like
00:12.240: Very cool.
00:12.320: So you can skim through it quickly.
00:12.320: We'll all work fine together.
00:12.400: And and I'm not going to talk I'm Ian
00:12.400: What are those jobs like?
00:12.400: Okay, just roll it.
00:12.400: When is your midnight?
00:12.480: Like it you just like
00:12.640: Or was I just
00:12.640: But I've been doing it for for
00:12.720: Well, thanks for talking, Paul.
00:12.800: Really?
00:12.800: Definitely.
00:12.960: I mean, the skim
00:13.120: You know, one way to do that
00:13.360: So.
00:13.680: We want to
00:14.320: But