Episode 22
FCG022 - Homegrown Plugins (feat. Alex Gollner)
Software Sleuth Alex Gollner returns to The Grill to fill us in on his observations of the 10.1 release. We get into some heavy discussion about the plug in architecture in FCPX 10.1 and Chris reveals his first foray into modifying a plug in that had been made available by David Walsh.
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Featuring
- Chris Fenwick
- Alex Gollner - alex4d.com - @alex4d
Transcription
00:00.001: But given the fact there's a whole copy of motion in there, including the UI for doing things that we don't get the access for doing, all the composting aspects of it, all the stack, it is a copy of motion.
00:00.001: They make Final Cut Pro Ten bigger for the people who need to tell stories.
00:00.001: And I'm also finding that like if I have a problem, there's a good chance that Alex has already dealt with it.
00:00.080: Pressure like people expect that from you.
00:00.080: It makes it go so fast for all the rendering and everything like that.
00:00.080: So that I do that.
00:00.080: I've already added that help me out here.
00:00.080: Well, declare it was a demo of the fact that Final Cup Pro ten is a new platform.
00:00.160: I'm like, really touched by some of the comments, and I wish I could reach out to you personally.
00:00.160: No, I'm kidding.
00:00.160: Groshrink dra and he was like, Oh, yeah, I totally forgot about this one.
00:00.160: Plug-in that you can get on his on his website.
00:00.160: Is that what you're getting at?
00:00.160: And it's going to be about three seconds apiece, and five percent is about right.
00:00.160: That that's that one just I don't even know how you did that, but it's very cool, and I use it all the time now.
00:00.160: And the intention is that you can place an image or a clip in that and it will participate in the creation of the of the the final effect.
00:00.160: With squeaky squeaky in there.
00:00.160: I think the last time we talked, I said that you should really consider doing something where you like package your tutorials in a group or something.
00:00.160: Ripple Training stuff, but I I've seen moments of it and just the clues about how to make small changes and then big changes and big
00:00.160: what the prerequisites are.
00:00.160: Tried to kind of explain it all, but he does some amazing things as well.
00:00.160: Kind of a place you want to poke your head in in the front door.
00:00.160: It's one of the things, sadly, again, we have to use our silly Amosut say and I have to kill a rabbit and look into certain parts of it and then try and guess what Apple is thinking with
00:00.160: you know, I turn background rendering off in File Cut Pro ten.
00:00.160: user.
00:00.160: I'm a photographer and I know a little bit about stuff, but I don't you know, I I I know about Illustrator maybe and I know about Photoshop, but uh they have layers in there, but not kind of all powerful lay w layers, layers that do too much.
00:00.160: That works so well for iOS, and we want to just have that in our back pocket so that if people are coming for iOS, they don't have to worry about Macs directories and folders and drives and stuff like that.
00:00.160: mess with all of those files using another app.
00:00.160: I've got better control, which is the people doing stuff with XML and import and export and that kind of control and more stuff with metadata, which has improved in File Cut Pro ten point one.
00:00.160: It's like saying that.
00:00.160: We've had these problems in the you know, the Mac Pro has been developed for a long time.
00:00.160: Final Cut Pro 10.
00:00.160: You know, to make up with the fact that Ado Adobe won't.
00:00.160: Hey, emotion that's inside you, inside myself.
00:00.160: when you look at the new version of Motion that came out at the same time, version five point one, there's no particular new features apart from some bug fix and stuff like that and a few little changes to some of the effects.
00:00.160: accessible to motion graphics designers.
00:00.160: But so the sad thing is from the point of view of motion is it it never really worked, it never really beat, it never became a kind of a serious contender effects.
00:00.160: keyframe zero and keyframe frame twenty five.
00:00.160: Change the angle of this and you know, keep everything in sync and do lots of calculations and look at values a few keep a few seconds in the future and calculate stuff.
00:00.160: You know, I just have it on a text file basically on my desktop, not exactly, but sort of.
00:00.160: What, motion?
00:00.160: five, six and seven, and its associated apps of compressor and motion.
00:00.160: Richard, Mr.
00:00.160: That's what Richard Taylor wants.
00:00.160: I got a lower third, so there's some text in it.
00:00.160: and After Effects.
00:00.160: Then effectively, those little XML files that create plugins for FileCut Pro 10, let's make them available in FileCut Pro 7.
00:00.160: Edit in motion, and then motion opens up.
00:00.160: You can dynamic link a clip out of your premiere timeline into After Effects.
00:00.160: Roll the edit point so it lines up with something else happening at the same time, like some sparks coming out of the video clip.
00:00.160: I use motion in a way you that you use After Effects kind of poor man's linking and embedding.
00:00.160: You know, because your plugins, getting back to where we started this conversation, your plugins are very hyper-focused.
00:00.160: the advantage of emotional behavior is so people will start to internalize that what what's good about behaviors, is to say.
00:00.160: Mere minutes to do, but you completely leave your edit.
00:00.160: So I'm going to add a few extra effect kind of controls to this lower third that even the client doesn't doesn't fit their branding guidelines.
00:00.160: So if I want to change the position of the edge of some graphic that's built inside the lower third, I could make change the height of it if they've got too much text or too little.
00:00.160: which is the more tricky thing is to actually which I is hard to do is to as you type for the background to change size to match the size of the of the stuff that you're doing, which is possible to do, but it's very
00:00.160: you know, so when you're editing where you don't want to have to change the height of the graphic behind it, but you want it to be larger to match how much text you've got or smaller.
00:00.160: The multicam was the thing that made them go, Hm, I need to take a look at this final cut down.
00:00.160: Show off, we've got multiple angles because we've got multiple cameras, you know.
00:00.160: is a thing although it sounds very old fashioned to think in terms of AppleScript, there is an Apple script icon inside Final Cut Pro ten.
00:00.160: you know, it's the way that Apple works, is the fact that people will say, I want this feature, that feature, and then they'll bring out something else that people go, oh, yeah, I want that more.
00:00.160: would be controlled for the rest of us in terms of a single menu command that will do maybe do lots of things in the old kind of scripting way.
00:00.160: To get into Final Cut Pro Ten, that battle seems to have been won in terms of what they're doing.
00:00.160: you know, live sports sizzle reels and st highlight reels can now be done in that's a really odd people thing to go for.
00:00.160: Well I don't care what's professional, I aren't using this app, um hey professionals, you have to let me use it.
00:00.160: on drama, ten, fifteen, twenty, thirty text because hey, it's all free.
00:00.160: I'm going to tell you what you shot.
00:00.160: or the rest of it is modern.
00:00.240: iTunes code name, that was me.
00:00.240: And this was um I I got up really early and I did an early interview and then I did like a twelve or fourteen hour day of work.
00:00.240: So, yeah, some of you have been saying, Well, how are you keeping up this schedule?
00:00.240: I would kind of hurry to do it, thinking, well, if I don't quickly go inside and nose around and find out something that nobody else has found out, somebody else will and they'll take over my mantle of being the the biggest peak on the planet.
00:00.240: I would assume that you do.
00:00.240: Although you call me the biggest geek on the planet when it comes to Final Cut, I'm not doing anything that advanced.
00:00.240: You need to go to Alex's blog and look at all of his free plugins because it's the flavor and it is the
00:00.240: And then you take Alex's plug-in and you drop it on them.
00:00.240: For the duration of the clip, regardless of whether or not it has a dissolve.
00:00.240: you know, you could control very complicated text animations and say the clip was doing scrolling text and stuff like that.
00:00.240: Squeeze it together broke down when it's not.
00:00.240: It's, you know, you might want it, but, but it's totally adjustable.
00:00.240: It is adjustable, but I think the brilliance is that you've done you've set it up for what guys like you and I do.
00:00.240: Great.
00:00.240: The little controller to say, oh, and while you're zooming in, zoom over to this guy's face.
00:00.240: The most often thing I do is when I'm interview doing piece to camera and I want to cut out a central section and when I've zoomed in a little bit on somebody, so I've gone a kind of slightly
00:00.240: Do the transition I want to.
00:00.240: You just said, Yeah, I think I'll go there.
00:00.240: And it's a a tra uh travel mat track mat plug-in.
00:00.240: The content that I wanted to put in the alpha shape that I was making.
00:00.240: You right-click on that thing and you it says open in motion.
00:00.240: I turned on the the attribute or uh the I published the parameters of position.
00:00.240: you know, put a parcel on the on the front table there and then leave.
00:00.240: Some HTML stuff on the Digital Cinema Cafe website.
00:00.240: Alex 4D flashback effect with the Scooby-Doo flash you're calling you're describing it as the Scooby-Doo.
00:00.240: try to limit what you explain at one time as opposed to say, oh, yeah, why I'm here, you can also do this, and you can do that, you can do it on stream control, you can connect the on stream controls together.
00:00.240: Exactly.
00:00.240: plugins for Final Cut Pro ten using Motion.
00:00.240: update usually when they do when they add a new one of their videos to their YouTube list.
00:00.240: And actually it's been a pretty pretty well accepted tutorial.
00:00.240: There's somebody either uphill or down here, depending on how you look at motion.
00:00.240: which is kind of a lost art.
00:00.240: The thing about the funny thing about motion and plugins and stuff like that, the fact that to some ex to a great extent they weren't really updated in Final Cut Pro ten point one shows
00:00.240: Final Cut Pro, but we've got a new sign.
00:00.240: features of the effect system.
00:00.240: that goes on and inspires people to go further.
00:00.240: production and use.
00:00.240: Okay, we've attracted those guys.
00:00.240: Now, let's start appeal to those workflow guys.
00:00.240: did quite well, you know.
00:00.240: Oh yeah, but we wanted to make it so it's a bit like iOS, in which the applications control access to the content and each app is controls access to the content because
00:00.240: No, it is like no, but we'll add this feature, we'll add version ten point nerd three, we'll add a feature that will make it work well, and ten point nerd six, and yeah, yeah, let's stick with it.
00:00.240: dot fcp file, as you rec call it, the Windows logo that's gone all you know, have too much grape juice or something like that.
00:00.240: for people who want to mess around inside, you've got the same file of same folder structure that you had in previous events and projects, but they're all combined together
00:00.240: and said, okay, that's what it'll officially be.
00:00.240: To most people will be a single file, you can back up and copy and all that kind of stuff.
00:00.240: the structure is quite tough.
00:00.240: And as long as keep the originals and put them into a different folder and make sure that the new clips with the same time code names have the same name
00:00.240: The file size can be different, they can be a different size, they can be a different almost a different codec.
00:00.240: Well, I'm looking for that clip with that name.
00:00.240: That's team.
00:00.240: of your file system.
00:00.240: In my event library, you know, because now I have a section for proper projects that aren't, you know, down below in the crazy town, but
00:00.240: Oh, yeah, I couldn't do that before, could I?
00:00.240: Multicam clips.
00:00.240: You know, I mean, I like that.
00:00.240: Some of the changes are not going to seem like big changes to you because you've never used ten O.
00:00.240: To which case I say, you have no idea the level of frustration that I went through when I couldn't do that before.
00:00.240: To really appreciate the extra speed, because it's almost like the benchmarks that we do, the things that are testing the software.
00:00.240: It's something that you want to make a big bullet point about and shout from a mountaintop: Look what I'm doing.
00:00.240: I want it to be so much better, but I don't want it to be too different.
00:00.240: It's exactly what it is.
00:00.240: I mean, again, this is all the evidence points to this.
00:00.240: couple of hundred K and just put it as a as a rest file.
00:00.240: Exactly.
00:00.240: uh noticeably faster.
00:00.240: Turn that's totally to itself.
00:00.240: So that if you add those things together inside a GPU somewhere, you know, whatever kind of GPU is, whether it's from NVIDIA or the other or for AMD
00:00.240: I'm not doing uh there's not there's no redundant stuff inside that effect.
00:00.240: Motion is a app for creating programs that run inside GPUs.
00:00.240: It didn't generally work.
00:00.240: It's that's why they have their RAM preview thing, and that's why you need to know about RAM previewing, because it can't do things in real time necessarily.
00:00.240: At the effects.
00:00.240: Well, can't I just isn't it quicker just to do the keyframes I wanted to do?
00:00.240: In the long run, it's better just to move a slider, but we're going to create a behavior or a thing that happens over time that's more advanced than you setting fifteen different keyframes that are
00:00.240: plus time, and you can see all these values, like this coordinate or this um blurriness or whatever it is.
00:00.240: and set it over there.
00:00.240: we're going to have a thing that generally fades something in, fades something out, or adds particles over time and using these various parameters.
00:00.240: what you really should do is just have a single set of controls or a single UI to say this is conceptually the changes were amongst all these different layers.
00:00.240: with a bit of work, link everything together and say, okay, if I link that layer to the bluriness of this layer and this layer to the other parameter
00:00.240: I I think of myself as a good motion graphics designer when the catches the c I feel bad about trying to use it because I can't predict what's going to happen.
00:00.240: Damn, here goes expressions I'm coming after you.
00:00.240: I have no idea how it works.
00:00.240: I don't know how that person came about doing that, but I like this hunk of text and I know when I paste it in, it'll do some bouncing.
00:00.240: proper battle.
00:00.240: And he's like, Yeah, now make it better and I had to open up GarageBand and I don't normally use GarageBand, but the first time it started to auto scroll, it was like
00:00.240: I can't remember what it was.
00:00.240: a thing that's every time it's not like a a a bit of sand in my shoe every time I use the app to think I'd like to have that scrolling timeline.
00:00.240: I could see how people would like that.
00:00.240: Then my plugin would do something different.
00:00.240: to just having a bit more access to what an editor is doing inside Motion would mean that plugin makers could do a whole lot more with plugins that would be really useful for editors.
00:00.240: Do you know here's the effect, the thing I want for Motion, the amazing thing a Motion idea.
00:00.240: But of course, it would only work on the Mac.
00:00.240: Hey, but I want to use one of those Annex4D plugins or those Ripple Training plug-ins.
00:00.240: But it will be really useful for creating plugins because now motion although I use it for motion graphics and lots of people do, it didn't really go up against After Effects in any useful way.
00:00.240: The changes happen and it renders it on top of your timeline.
00:00.240: where it's like, you know, clip one and then a c then you go up a layer and clip two is butted up against it and clip three is butted up against that.
00:00.240: It's called Premiere.
00:00.240: it wasn't possible.
00:00.240: I just save that thing right on top.
00:00.240: And maybe the trick is that more people learn how to make some of these what I would call like an Alex 4D type plug-in.
00:00.240: Absolutely, yes.
00:00.240: And get used to them.
00:00.240: Plugins, you start doing something and you're like, Hmm, I could invent a plug-in for this.
00:00.240: Exactly.
00:00.240: when somebody says, Hey, could you make it look make this text look a bit like it's a lower third, but so it's half the bottom half the screen or the top half of the screen?
00:00.240: they're only going to do it properly when it's really, really, really ready and totally bulletproof.
00:00.240: multiple frame rates, multiple clips on the same angle and have them all flowing along and saying, hey, everyone who's using a phone, filming, let's sync it all together with it.
00:00.240: Well, I need thirty two angles 'cause I got thirty two different cameras or you know that kind of which is the old way of thinking about you speak programmer's way of thinking about it who doesn't really want to have to put the effort and say, no, conceptually
00:00.240: maybe because they want iCloud to be eventually sold to editors and for collaboration, then a plugin or a motion projects are really small.
00:00.240: If Apple thinks it's important, then round chipping will happen.
00:00.240: Because why would he want to do that?
00:00.240: process it as a single concept from a conceptual point of view.
00:00.240: clip could be sent to motion and then conceptually motion knew what a multi clam cam clip was.
00:00.240: handle doing these kind of things.
00:00.240: dot release, net not ten, two, but ten.
00:00.240: Apple adding an Apple script menu, which makes Final Cut Pro turn a bit more controllable about other apps or adding a menu that does a bit more in terms of working with external apps.
00:00.240: These are possible areas in the future, but maybe the accessibility slash scriptability side of things may be coming a little sooner than people have been wanting.
00:00.240: That's nice.
00:00.240: This comes from making it accessible for people with disabilities.
00:00.240: The fact that Final Cut Pro ten one now works with um ex clips that haven't actually are still recording.
00:00.240: compromised by the mainstream in about two, three years' time.
00:00.240: that's that kind of like g the again, that's how Avid took over from editor from film and how Final Cut Pro and Seven sorry, Final Cut Pro Classic turned over took over from Avid.
00:00.240: amateurs who were still had lots of power started taking over.
00:00.240: let's not go for the mainstream workflow folks.
00:00.240: Final Cup Pro ten is the plumbers, is the workflow supervisor's new favorite.
00:00.240: I'm going to have to bite the bullet and deal with the fact that for some reason those nuts at Apple don't want me to have my favorite layers.
00:00.240: Alex, we should wrap this up.
00:00.240: I love them.
00:00.320: And today we're going to talk with Alex Gollner.
00:00.320: You know, I really wish that there was a way to contact some of the people that are leaving comments on the iTunes for the show.
00:00.320: And then the very last thing, I had this interview with Alex.
00:00.320: Yes, absolutely at seven in the morning.
00:00.320: The big investigator.
00:00.320: I haven't got round to doing it myself.
00:00.320: while choosing preferences, like the old ways of choosing, getting secret preferences to come up.
00:00.320: But there are these incredible little bits, and I've said it many times.
00:00.320: I'm halfway through the dissolve, and boop, I'm starting to grow.
00:00.320: although it makes sense to a programmer to say, hey, you just make it longer or shorter in the time line that speeds it up or slows it down.
00:00.320: It's not the way it would be if it was maybe celluloid, because celluloid you can't just you know drag it and actually stretch it in your arms and just pull it apart to make something go more slowly or
00:00.320: slightly tight midshot and to a slightly loose close up.
00:00.320: And it really you just don't see it because you're just kind of you're just connecting to the person and the emotion of what they're saying, which of course is what what we're doing.
00:00.320: That's my job.
00:00.320: I will default to that.
00:00.320: And then I want to put two box shots, box left, box right of two people talking about water purity or something.
00:00.320: So I was using this thing and it was and Kez was going on about it.
00:00.320: And so I thought, I'm going to put on my best Alex Golner, and I right clicked on his plug in.
00:00.320: Position, and I have an X and a Y, and I can position my clip inside the travel mask.
00:00.320: I think I've done good work in there.
00:00.320: Yeah, absolutely.
00:00.320: when I did this this one little fix on this Luma Mask plug-in, that that would be a wonderful tutorial series for you to do, where you take
00:00.320: A current effect, and you show, you know, like this is.
00:00.320: I'm going to do it for this Luma Mask one, how I added the pos the position uh I published the position controls, because it it really does kind of crack the door open to like a whole nother level of
00:00.320: Of capabilities.
00:00.320: a few only the plugins only have a f one or two new controls, and there's very few of them.
00:00.320: Exactly, because they've actually got a proper drum and also they d they dabble with this.
00:00.320: Oh, okay, if I slide this thing over here and I connect this to that and I add this effect and cool.
00:00.320: The fact uh but um how do you describe the workflow changes between 10.
00:00.320: Well, I mean, there's two.
00:00.320: Okay, yeah.
00:00.320: app created by I don't know who the guy which guys created it.
00:00.320: To change the metaphor, which was two folders, one for events and one for projects.
00:00.320: Hey, you can have and they're all connected together in one handy little app and little file.
00:00.320: Okay, we'll call it a line.
00:00.320: It's actually a bit avid-y in a funny sort of way, because it's like, hey, if I open the package contents inside the sparse you know, the sparse project
00:00.320: Oh, okay.
00:00.320: I can drag those clips and put them into compressor or use another app, and I can add a load of time code to them.
00:00.320: It's up to you.
00:00.320: you know, mess around, learn how to do interesting things with it.
00:00.320: Yeah, it's good.
00:00.320: Oh, this is a bigger update than I thought it was.
00:00.320: libraries and sharing libraries with other people and stuff like that.
00:00.320: That's perfectly cool.
00:00.320: multiprocessing works.
00:00.320: go on the screen.
00:00.320: Yes, it looks very cool.
00:00.320: But it doesn't go four times slower.
00:00.320: The effects inside motion and the effects of inside Final Cut Pro are I would say they're designed
00:00.320: what it does is combines them all together in a single program.
00:00.320: Well, if I combine effect one, two and three in a new intermediate special effect, an effect that combines them together, then
00:00.320: Sorry, applied those three effects are combined into one effect and then applied to the same clip.
00:00.320: Right.
00:00.320: And then that program, Motion, which was created by a third party, I think, and then was included Motion three was included in the Final Cut Studio a long time ago.
00:00.320: And InDesign eventually slowly crushes over a period of ten or twelve years the previous desktop publishing king.
00:00.320: And After Effects, it doesn't isn't a GPU app.
00:00.320: I think keyframing was just too a thing that everyone says, okay, what After Effects is, is Illustrator
00:00.320: Okay, well, I think maybe I'll make it so that happens at keyframe 63.
00:00.320: Visual language point of view, I can combine them all together.
00:00.320: But then the question is about effect, about expressions, the scripting part of After Effects, the bit that says, okay, take the math that links this to that and
00:00.320: But Apple saves the day and say, Okay, um there isn't a motion culture as much as we'd like, there isn't people sharing it, there isn't a prop there isn't a even a
00:00.320: like Mark Spencer and some of the demos that I've seen coming out of Apple in the day.
00:00.320: a a Windows based application.
00:00.320: for so little well, for so little money, but also funnily enough, for so little CPU and GPU time inside your computer, it's actually not even using too much of your computer to do all this.
00:00.320: is to be kind of ridiculous given how powerful it is.
00:00.320: Exactly.
00:00.320: he had recorded this rap thing that he wanted to use in his video, and he recorded it himself in his home studio.
00:00.320: Yeah, I mean I I it's again one of those things where I I yeah, it'd be nice to have, but it doesn't it doesn't it's not a thing that's yeah
00:00.320: No, I th I will uh essentially I will do a a list of um uh the the f fifty things I want in motion, a hundred things I want in motion, and the fifteen
00:00.320: I will be able to get access to the settings of other plugins and then make them the same or do styles.
00:00.320: If Apple just have a bigger community of stuffed and saying the great thing about that, having motion, a motion plugin that makes Premiere play Motion projects
00:00.320: And there it is, it's a title sequence.
00:00.320: And you do save.
00:00.320: And then you can open up your you tab back into your Premiere timeline and you're back and where there was a clip is now magically a a
00:00.320: An After Effects timeline basically, and it all the stuff that you've done to it is there sitting in your Premiere timeline.
00:00.320: and open that up and then m do redo the edit.
00:00.320: and it's it there's edits inside that clip as it's flying through the screen.
00:00.320: And Follow Cup Pro 10 doesn't know any better.
00:00.320: to do, you know, maybe it's a composite, maybe it is just a glow effect that, you know, is only available in motion.
00:00.320: it is easier to just it it will take you less time to get this one effect done once if you just put your head down and keep clicking.
00:00.320: And whereas you might be at a negative in time investment at that moment, you've made it simpler to do the second, the third, the fourth and the hundredth time.
00:00.320: I mean, the funny thing is that round tripping used to work and people think of it in terms of, hey, this is a single clip that I want to process.
00:00.320: until it was and now everybody's you know, I I have had multiple conversations just in the last two weeks of people who have you know, essentially they they don't necessarily say this out loud, but essentially what they're saying is
00:00.320: hasn't really caught the mind the pe the attention of enough motion graphics people, or people haven't said, here's a recipe to solve a general editing problem that requires a bit of round tripping into motion and back again that is
00:00.320: So that's the kind of thing that could be shared using iCloud and collaboration and stuff like that.
00:00.320: So there is a possibility once Apple finds the key to solving promoting motion that
00:00.320: Hey, I've got the same libraries.
00:00.320: Seven as well.
00:00.320: Yeah.
00:00.320: Okay.
00:00.320: we've got editors to like Final Cut Pro ten one the or new editors or future editors or you know as I say the underground now is going to be
00:00.320: XML workflows like that.
00:00.320: That is a very important document from a political point of view.
00:00.320: Huge shooting ratios of 100, 200, 30 to 100 to 1, I think, which, of course, is the future, which I think is terrible.
00:00.320: Final Cut Pro ten is the future when it comes to that in terms of reviewing too much footage because editors eventually are going to have to review too much footage with the shoot where you've got A, B and C and D cameras
00:00.320: My secret weapon, which you haven't taken seriously yet, is Final Cut Pro 10.
00:00.320: And I haven't seen anything.
00:00.320: Yeah, and then the answer is, Hey, editor, don't look at just look at the circle takes, trust us.
00:00.320: And I'll get back to the blogging soon and add stuff that I haven't been doing it for a little while yet.
00:00.320: And so I'm I will say I'm much better at editing than I am at email.
00:00.320: That's it for this episode.
00:00.400: Um, send me a tweet or email me at the show email address, which is uh Chris at Digital Cinema Cafe, and just say, Oh, yeah, that weird cryptic
00:00.400: Hello, can you hear me?
00:00.400: big revelations in terms of uh nosing around and s and see what might be coming up afterwards.
00:00.400: He was keyframing grow and shrink in the timeline.
00:00.400: Well, is it not Track X?
00:00.400: didn't line up.
00:00.400: Seems, you know, seems fine.
00:00.400: Move the content that I am pouring into the track the travel with the Luma mask.
00:00.400: If I try and ignore all the other things in that house, if I just peek my head through the front door and I go into the h hall and just
00:00.400: Barely know what I'm doing, so I really had no business being in there.
00:00.400: Every almost every week, there's a free Final Cup Pro Ten thing.
00:00.400: There is stuff out there, but you're right.
00:00.400: Yeah, he's one of those crazy motion guys who kind of I look at it and go, Oh, yeah, it's nice to you know, it's nice to have someone spurring me on and uh being better than me quite a lot and also, you know, so there's
00:00.400: So it's almost like they said, okay, we've got this real time rendering system and effect system, the kind of stuff that motion is, and that's why
00:00.400: For this version, let's not spend too much time making motion and i.
00:00.400: Oh, okay, now this looks really bad.
00:00.400: Oh.
00:00.400: And then I bet, you know, beginning of twenty thirteen is like, oh, okay, this really hasn't worked.
00:00.400: There are people listening right now who are like, you know, I really wanted to learn about Final God Pro.
00:00.400: in each folder that are dependent on each other because they belong to a particular job.
00:00.400: hidden.
00:00.400: even though you need new software to make the most of it, when you do have it, then you get something like Final Cut Pro 10, or secretly inside Motion, Motion is so much faster.
00:00.400: if mot if if this is supposed to be used by Final Cut Pro to do something, then how can it do you know, how does it with a small amount of text, how's it going to do that?
00:00.400: Don't go that much slower.
00:00.400: A developer tool that is used for creating GPU programs.
00:00.400: And it's a and it's sort of an organic bounce effect, you know, like boom, boom, boom, boom, boom.
00:00.400: Yeah.
00:00.400: If you could add if you could add one feature to to a motion, what would it be?
00:00.400: people in the world who know or care about that will go, yeah, maybe nod their head and maybe come up with a few other ideas and stuff like that.
00:00.400: the ones that are are quite handy for plugin makers like me, then you'd see very quickly lots of r uh new fantastic I mean, one thing I thought about recently, I'd like a plug in an effect
00:00.400: Okay, change the role of this clip to being the German lower third or the French lower third, or maybe change the flag, or something like that.
00:00.400: effects very quickly by just selecting them and changing their role.
00:00.400: a timeline, a specialty layer called a timeline.
00:00.400: And now I want to send that 10 seconds with this in point and out point out to motion.
00:00.400: And that's working smarter and not harder.
00:00.400: comfortable for people, then there's less incentive for Apple to do it.
00:00.400: Editors are thinking like programmers, and programmers think, well, you only want to use one clip at a time anyway.
00:00.400: And the weird thing is about if you look at the new version of pages and work, sorry, and stuff like that, there's a bit more kind of
00:00.400: Right.
00:00.400: then that'll it's it's like, as I said, Apple have convinced the non professional editors, the people who have pros, to do stuff
00:00.400: is part of FCP.
00:00.400: you know, Premier and I've pretty good at, but the Final Cup is like, oh, let's read let's look at that again.
00:00.400: it's I would say people will start using FileCut Protein despite the fact it doesn't have layers.
00:00.400: Is scheduling and booking people.
00:00.480: I will also let you know that I pushed myself a little too much on this particular day that I recorded this.
00:00.480: That you that there are some secret debugging type preferences in Final Cut Pro 10, but I couldn't get them to appear.
00:00.480: get the normal preferences dialogue box and rename it to being something else, and getting the debug preferences dialogue box and renaming it to be what the current one is
00:00.480: characteristic of genius is that most of the time, people that are insanely intelligent don't realize it because to them, it's just normal.
00:00.480: Yeah, this is cool stuff, you know.
00:00.480: by growing by five percent might seem like a fast move.
00:00.480: Hey, that was a really good take.
00:00.480: Bar, you know, the the thing so I can change the the transform, I guess it's called, of the clip.
00:00.480: Um sometimes limiting is better.
00:00.480: that easy or that obvious to or that quick to make new kinds of plugins or new effects type plugins.
00:00.480: Yeah, we're going to make a new thing called a library, and it's going to be a little bit like the old project files and a little bit like the old scratch disk folder.
00:00.480: So that's a really interesting thing that although all this content and inside the Final Cult Pro library is really
00:00.480: you want with an update sometimes you want lots of things to change.
00:00.480: The motion that's inside me and say, Okay, I'll hand this off to you.
00:00.480: As if somebody's using a copy of motion.
00:00.480: Is that people say, well, you know, I had one effect to something, then I had two and three and four.
00:00.480: then by changing this one value of blurriness on this on this word, I'm really controlling all the different layers at once.
00:00.480: I did when I had to solve a problem, and that's how you learn because there's a specific problem that goes, right?
00:00.480: To make an effect that if I apply it to a Final Cut Pro 10, it knows what role the clip is.
00:00.480: And actually, you know what, come to think of it, I haven't looked at it in ten point one, but I think I asked Mark Spencer.
00:00.480: Why do you think we are not allowed to round trip from a final cut 10 timeline?
00:00.480: A timeline layer option.
00:00.480: Roundtripping, if you know, if I'm just going to put my faith put my hands in Apple and say, well, maybe it's like Multicam.
00:00.480: There's hope there.
00:00.480: supporting developers who want to do interesting things with XML and creating stuff that is about creating new projects and events and improving the time line, adding maybe an Apple script menu, that kind of thing.
00:00.480: That stuff is being exposed and controllable.
00:00.480: So that's Alex, Alex Golner at alex4d.
00:00.480: So, once again, thanks for listening.
00:00.560: If you've been listening to the old shows, he was one of the first guests.
00:00.560: Yeah, I can't tell you too much about the future.
00:00.560: the Mac Pro had been released and the Final Cut ten point one.
00:00.560: Go back and watch it and then just say now every time you see an edit and they just go now now
00:00.560: Now.
00:00.560: You place the plug-in on a clip, and then there's an image well in the plug-in.
00:00.560: Which is a shape that will cut a hole.
00:00.560: But that's usually about final cup protein.
00:00.560: strip it down to the simplest thing and not and not feel like, you know, I need to show off of you know
00:00.560: You know, the lawyer, the doctor, the uh firefighter who suddenly wants to make a video.
00:00.560: Well, I mean, this is what it seems like to me.
00:00.560: there's an that same copy is hidden inside Final Cup Protein, and that's how it works.
00:00.560: it's got better drivers for working for the gra the GPU in my in the quite there's a reason amount of graphics in my GPU, so it's doing that quite well.
00:00.560: And that's essentially what they're doing with the rendering engine.
00:00.560: Kind of hack on a hack.
00:00.560: Well, you know, we've got lots of information about how people use Final Cut Studio.
00:00.560: how many people the price of the app as well as its features determine how much they think people are using it.
00:00.560: But I tell you the two things that I would love to see, I would love to see better motion blur.
00:00.560: Have some graphics, some a complicated animation that's been created in motion.
00:00.560: even though we've got three cameras, the fact that we're only one camera on at a time in this a in this angle, so let's actually just have four angles.
00:00.560: through edits are better, those kind of things.
00:00.560: maybe another key.
00:00.560: sport and stuff like that and editing stuff while it's being shown.
00:00.640: It was great.
00:00.640: Yeah, it's a c part of my online editing character.
00:00.640: That's what it's called.
00:00.640: what does it say about the future of Final Cut Pro and Apple and and to some extent, why it was needed so much to market the Mac Pro.
00:00.640: It's like, hey, this new Mac Pro is pretty fast.
00:00.640: Why can't I have these extra effects in motion that can do this, that, the other?
00:00.640: For this effect, this filter, that position, all that kind of stuff, on these 15 different layers.
00:00.640: Funnily enough, it is to do with plug-in making.
00:00.640: I don't know.
00:00.640: So you've got these various kind of expensive boxes that are making QuickTime files longer and longer.
00:00.640: If you do a search for that on the internet, I think they're nearly all me.
00:00.640: Old plugins list as well when there's lots of those of File Corporate.
00:00.720: the genuine sort of nature of what the Final Cut 10 ecosystem has become.
00:00.720: Well, the easiest way is to just cut and crop.
00:00.720: And that's the dangerous thing about these kind of tutorials is that you have to say, okay, I'll have to leave that to the next stage, or I'll have to ask people to look at this other thing first.
00:00.720: Every time inside After Effects or even in you know, even After Effects are actually motion plug is in After Effects, you could do some really weird and crazy things that way.
00:00.720: A conceptual unit, because we're used to with round tripping to say it's a single clip that we're doing stuff with, because we as
00:00.800: listed the text that I knew that it was in these dialogue boxes.
00:00.800: We were talking about all of the plugins that you make.
00:00.800: And then the thing that blew my mind, and I used it for like a week and a half before I even noticed, you know, this is just the way my eyes work.
00:00.800: Hey, editing's like photography, right?
00:00.800: show themselves as a single file.
00:00.800: Yeah, we got it wrong.
00:00.800: So that's a bit of XML.
00:00.800: And actually, this is kind of a recurring theme.
00:00.800: Those are the effects we'll add as opposed to so we know that when they combine together with other effects and other features, we know that'll render back and play back very fast in the GPU.
00:00.800: Of course, when it was retail, you could tell that, but now you can't really tell it anymore because everything is kind of all fuzzy when it comes to price.
00:00.800: So essentially there's Mark and you know, so there's Richard Taylor who does his top one hundred, top two hundred, top three hundred list of Final Cut Pro ten features that he'd like to see the
00:00.800: you will amortize that hour and a half worth of time over the course of the rest of your career, possibly.
00:00.800: Okay.
00:00.800: So I'll in my clients' folder, there'll be a lower third that follows their branding guidelines, but I'll actually mess with the lower third thinking there's a good chance they'll actually want to add more text in this lower third, or this lower third may eventually be used as an intertitle as well.
00:00.800: Powercut Pro ten one is in the world of handling that sort of thing.
00:00.880: And that's you know.
00:00.880: So uh the motion motion is like that.
00:00.880: There isn't a kind of the After Effects Motion Wars that we're to kind of expect if the kind of battle, if it really was even close to being it isn't even, you know, Mac versus P C back in the in the late nineties, you know, fifteen years ago.
00:00.880: Oh, yeah, that thing.
00:00.880: In Inside of Motion, there is a motion blur-esque type of thing, but it's not great.
00:00.880: The main way of getting to seeing what I'm doing is Alex4D on Twitter, A-L-E-X, the number four, the letter D.
00:00.960: Trevor Burrus No, I'm I'm really proud of that one.
00:00.960: One of the tutorials that I did on my website, it was an After Effects thing.
00:00.960: We'll make it like Aperture because nobody got enough acts about Aperture, and Aperture's like a big version of ice photo, and we never got in trouble with that.
00:00.960: perform a seventy six hundred one hundred that we can load it up on and then we can check it out.
00:00.960: Why come up with an alternate motion graphics app when we've got After Effects?
00:00.960: After effects.
00:00.960: Scrolling Timeline Taylor.
00:00.960: and export a movie and put that movie into the time line into Final Cut Pro 10 as a animated sequence.
00:00.960: Command so that you could change the anchor point and push it up to the top of the screen.
00:00.960: So I think it is the effects section that might be next.
00:00.960: At one level, I suppose, to motion.
00:00.960: Nobody's asking for that, but I don't know why you're giving us us that.
00:00.960: Okay.
00:01.040: Hello, hello.
00:01.040: When you place it on a clip, it's designed to grow the clip by 5%.
00:01.040: Oh, it was Kess Akolono, the NLE ninja, and he turned me on to and I can't remember the guy's name, but I got it off of fcp.
00:01.040: That's exactly how you start off, how you get into make changes and how motion suddenly seems, instead of being that mysterious thing that has lots of things flying around inside that I don't seem to control, to say, wait a minute
00:01.040: Like before, and also like Avid, you end up with directories or sorry, folders with files in it, and each file represents a certain thing that's in the UI.
00:01.040: So now you've got to come up with a marketing reason to say that it was never thought that everyone would ever need that.
00:01.040: I do what you do, but I do what motion does, you know.
00:01.120: Apple's own Macs or maybe some certain beta testers get to have that special software and that preference certainly comes that way.
00:01.120: And then they're just like they hear them being surprised that there are actual edits in this thing, which is the ultimate hope for this sort of unique thing.
00:01.120: But if you know what you're doing, it's quite clever that this is a thing that can now be used by a somebody solving a problem and works for a problem can actually get inside
00:01.120: Well, I've got one video and I've got three lower thirds.
00:01.200: I I'll have to go through back through my Twitter things because the shocking thing is that although I tweeted about it and followed on and found it interesting and passed on the blog post
00:01.200: It's kind of a bit avid-y, you know, that thing where it depends on the length of the clip or what it does, which is the way that some avid titles and other things work, which I used to find
00:01.200: I mean, I think it's also maybe Wayne's World in which they describe this describe going back a little bit and everyone on the screen goes exactly, exactly.
00:01.200: So if that's so, what job has that done?
00:01.200: It's new.
00:01.200: You know, you don't really want to point out the fact that you weren't necessarily doing the right thing before.
00:01.200: If you know they they work fast even or not.
00:01.200: Explain round tripping if people don't know.
00:01.200: Apple are thinking, how are we going to do proper versioning for this?
00:01.200: So that's I kind of think it's almost like I'm it I could create a whole series of plugins which were just like
00:01.280: they seem to work.
00:01.280: You've done something quite dangerous.
00:01.280: And I was trying to explain to somebody over the phone a few weeks ago.
00:01.280: Oh, I'm sure they didn't.
00:01.280: Yeah, so that's how it works in terms of all the compositing, all the Ken Burns effect, all that kind of stuff.
00:01.280: If whatever we do to motion to make it faster, it's going to make Final Cup Protein faster, and that's good news.
00:01.280: Really cool.
00:01.280: I know this is supposedly for people with disabilities, but I realize now that if I use something like to use the old ones, quick keys for the twenty first century, those kind of stuff
00:01.280: I've been using them.
00:01.360: So that's one interesting aspect of it.
00:01.360: That's my job.
00:01.440: It's called Luma Mask.
00:01.440: So it's a matter of kind of yeah, it's a trade-off.
00:01.440: Okay.
00:01.440: I already spoiled that word someplace else.
00:01.520: I want to slowly zoom in on the guy's the bridge of the guy's nose or between the woman's eyes.
00:01.520: I like the way that gets organized.
00:01.520: Anyway, so Vincent Pro says to itself.
00:01.520: It's a bit like, say, say it takes two seconds to make it blurry.
00:01.520: It wasn't InDesign to After Effects Quark Express.
00:01.520: And for Premiere, I want it to be a plugin that is actually a whole copy of the app that only works as a plugin, and then any NLE can use it.
00:01.520: Oh, no, I get you.
00:01.520: Whereas if you think like an editor, you go, No, conceptually, I want an Adobe timeline to be a layer in After Effects because I want to
00:01.520: I know I'm not going to sell you necessarily on Final Cut Pro Ten itself, but from a workflow perspective, from a working with lots of extra editors for doing stuff to do with reality T V and having
00:01.600: At any rate, today we're going to talk with Alex Gallner.
00:01.600: That when I say that, it is a compliment.
00:01.600: Absolutely.
00:01.600: And frankly, you're the guy who should be doing it because you're a genius at this stuff.
00:01.600: The new version of Apple's attitude towards multiprocessing was to say use graphic cards to do lots of calculations that don't necessarily
00:01.600: I'd like to have sometimes have it, but I'd like to turn it off.
00:01.680: Yeah, can you hear me?
00:01.680: So yeah, I mean, um I ha I have a little bit more to say about it, I suppose.
00:01.680: There's the um, hey, we got it wrong.
00:01.680: They've answered these things.
00:01.680: But I kind of like the idea of sending a secondary storyline to motion.
00:01.680: This is going too long.
00:01.760: And then the idea would be that Vilecut wouldn't know any better and just bring up the other one and then show it, which is shockingly simple.
00:01.760: It's to make you think that essentially, what we're doing is that, oh, somebody else shot it.
00:01.760: They did, but that is a major change.
00:01.760: New computers have now made Art Effects much more usable, much more playaroundable in.
00:01.760: It's like taking one thing and combining all together.
00:01.760: And in essence, what you're doing is you are making these little plugins that are like motion behaviors because you're making them with motion behaviors, aren't you?
00:01.840: Although a few weeks ago, somebody did notice discover something quite cool to do with the preferences, kind of the secret preferences.
00:01.840: So I was like, oh, well, I just want to move the clip inside the alpha.
00:01.840: No, but see, I tell you that, and you're thinking in your head, well, why wouldn't I be able to do that?
00:01.840: But again, I I don't I'm not doing anywhere near as much as you are.
00:01.840: It's like Avid combined with Illustrator.
00:01.840: I have no idea the kind of what I call a big bucket mind that actually wrote that.
00:01.840: That's just that's just a bit kind of too eerie and weird.
00:01.920: Is it the is it the one?
00:01.920: Those kind of plugins for effects, that's obviously been a huge success.
00:01.920: It's related to that.
00:01.920: The people who are doing sizzle reels, people who are doing that kind of stuff, but not full on motion graphics designers, but editors who just want to kind of
00:01.920: There's there's less clues.
00:01.920: co.
00:02.000: Like, oh, I gotta go dig through all this code and figure out something cool to tell people.
00:02.000: Those gals are and those people are all going to share and spread the good news of how Final Cup Pro ten is great.
00:02.000: It's quite fast.
00:02.000: That's a bit of instructions to say to an app, you know, it's to say to motion, okay, put this graph put this layer here, put this layer here, feed this thing into this and display it at this size.
00:02.000: That would be really useful.
00:02.000: Essentially, I don't know.
00:02.080: Like a lot of people don't really understand all the subtleties and nuances of Ram previewing in After Effects.
00:02.080: So that's how it works.
00:02.080: So even if it's the same thing like blur, and I add another blur to it, another blur, and for some reason it's still it does it for some reason it's still
00:02.080: And then when you switch back inside Final Inside Motion, you switch back to Final Cut Pro 10.
00:02.080: I'm the editor.
00:02.160: You just can't see it.
00:02.160: So, um, in fact, I uh so that was Final Cut Pro 10.
00:02.160: You really are doing a one man dialogue here of probably two years of conferences inside the Apple buildings.
00:02.160: And then as long as you put them back you put that thing back where it came from, to quote Monsters Inc.
00:02.160: I'm sure they released it as soon as they could.
00:02.160: I want to be able to I want to be able to get access to more Final Cut Pro ten layers inside
00:02.160: It wouldn't work on the PC.
00:02.160: If you take the detour and say, no, I'm going to spend an hour and a half figuring out the smart way to do this.
00:02.240: Something amazing has happened.
00:02.240: Let's see.
00:02.240: There's essentially there's just one there's two people doing motion tutorials and are the other guy, Simon Upstall, who is
00:02.240: We have an ecosystem.
00:02.240: Weirdly enough, it would lead to doing some very interesting things with adjustment layers or to do something would be a really amazing for file cut pro editors.
00:02.240: It is polic politically fits into the way that T V is made, the way that movies are made, or online video is made.
00:02.320: I'm going to trust the person who's been messing around in here and knows what they're doing.
00:02.320: Yes.
00:02.320: I've got a very similar library to you.
00:02.400: I could actually say for example, I've got a load of clips, and they're in an event, say for example, loads of content, and I want to add a time code to it.
00:02.400: We're like going to try and show it.
00:02.400: Which which is I mean, I think is I would say that's just a somebody made a decision back in 2003 when they were doing this and they just
00:02.480: But maybe one in four weeks they suddenly do a motion thing as well.
00:02.480: Though in the motion only had very few new features inside it
00:02.480: Yeah.
00:02.480: And I sorry to say it, but it was a bit it's effectively in the long run being a flop.
00:02.480: Yeah.
00:02.480: So I would say the timeline has had a little bit of a bit of a refresh as well, for people that talk about it very much because of just the little things to do with editing audio and split edits and stuff like that.
00:02.480: I appreciate the input.
00:02.480: This is the Monday episode, and we will see you again on Friday of this week.
00:02.560: How's Wednesday going so far?
00:02.560: So essentially what you do is you have your background clip is, say, you know, the gentle, you know, water of a pond.
00:02.560: A new sign has come from the Apple Gods.
00:02.560: I think when you show that to a typical After Effects animator, they're like, What?
00:02.560: I go back into motion, make a change, keep the old version of the rendered QuickTime movie, and then I just save a new one right on top of that old version.
00:02.640: I've been looking forward to getting Alex back on after the release of 10.
00:02.640: I'm not going to tell you to take you into the darkest pantry or into the secret library through the secret door because otherwise I'm going to scare you.
00:02.640: So you find yourself the last three hours you've been using the features that you couldn't have used before and you think, oh, and also you've been doing quite complicated things
00:02.640: Oh, yeah, I think motion.
00:02.640: I could if I could make it so that if you change the role of that clip in Final Cup Row 10
00:02.640: I get you.
00:02.640: He is from the you know UK scene of editing packages for uh live
00:02.720: Wow, that was an awesome Zoom.
00:02.720: Photographers, one man bands, usually photographers work on themselves with their studio, maybe two or three Macs.
00:02.720: I mean, the it's not the same.
00:02.720: And then somebody wants to make a couple of changes.
00:02.800: Now this is a long episode, so I'm not going to belabor this intro at all.
00:02.800: And the beauty of this thing is you don't have to do a bunch of nesting and stuff and sub-clips and compound clips, whatever.
00:02.800: So I turn on the little whatever the little the lower left hand grab handle
00:02.800: It's almost to say to developers, please see the difference here and try and use the features that we've used to make this app faster in your apps.
00:02.800: God, I'm getting all telling lots of stories.
00:02.800: It just goes, hey, this is a quick time clip.
00:02.800: It's really hard.
00:02.880: I've been kind of doing other things.
00:02.880: And then it works.
00:02.880: So it's like we used to work with sparse disks, but don't work anymore.
00:02.880: It's like butter.
00:02.880: And look, it's fifteen percent faster, twenty percent faster.
00:02.880: And I kind of I kind of want to do the same for you know I had to do something.
00:02.880: So it may be that there may be a bit more automation access.
00:02.880: So if the underground now, what software are they using?
00:02.880: So it's not the mainstream avid, hey, let's make a T V show, let's make a movie.
00:02.960: Seven takes, and I'll just pick f five as the best, and I'll put that up there.
00:02.960: You know, I mean, there's really, I don't know any other way to interpret the fact that they said
00:02.960: It's a bit like, you know, in March you'd be just playing with something and say, you're doing some through edits, or you're messing around with fit to fill with retime, and you're just saying
00:02.960: And it's really hard to change the way my mind thinks.
00:02.960: Make changes in the motion timeline, do whatever you need to do to fix it, to change it, to retime it.
00:02.960: That's what people want.
00:02.960: Or move in like one level, depending on how you look at it, really.
00:03.040: Hey, welcome to another episode of Final Cut Grill.
00:03.040: Why do you say you're you're proud of that one?
00:03.040: Oh no, there's really lots of examples of why this metaphor doesn't work.
00:03.040: So it's a demo app for people for developers to say.
00:03.040: It's almost like if you could say motion doesn't work on its own, but if you've got Final Cut Pro 10, it makes Final Cut Pro 10 do this, but it's not for everybody.
00:03.040: If you used episode had a gizmo that would allow you to do that, not episode, but telestream.
00:03.120: I actually have something to tell you.
00:03.120: No, no, no, it's not the Track X.
00:03.120: On the other hand, you don't want too many things to change.
00:03.120: And you realize, oh, they've thought about lots of stuff I've never thought about, but actually they've they thought about it a few months ago and I've now actually come up with their edge condition.
00:03.120: says, Well, no.
00:03.120: I mean, I know I know about auto scroll, but yeah, that he's kind of been thumping his chest about that one, hasn't he?
00:03.120: How do people follow you get tell people how to find you on the Twitter and your blog and all that stuff?
00:03.120: I didn't go crazy and download them all.
00:03.200: Absolutely.
00:03.200: Right.
00:03.200: We could say you can combine all together logically into a wider thing made of events and projects and make a single
00:03.200: I don't know about that.
00:03.200: And it's more like you want to be bored, but you want to be excited at the same time by it.
00:03.200: What I used to find myself in Artifacts doing is going, Okay, I said all these initial conditions in keyframe zero.
00:03.200: But that's, I think Adobe's argument would be: yes, we do have that
00:03.200: You are not making any forward progress on that while you take a sidetrack to I'm going to go invent my own Alex 4D plug-in
00:03.280: But I mean I that's one of my one of my own plugins that I use, which sounds to me incredibly egotistical.
00:03.280: Not worry about all the ghosts inside there, the sc scary monsters, which is the re the rest of ocean, and leave and go
00:03.280: And that works fine, but the but the real Nirvana, the real holy grail is I have a five-minute video clip of which I have used ten seconds.
00:03.280: So let's just work out conceptually from an editing point of view how multicam works as opposed to from a programming point of view, which is the way that multicam used to work.
00:03.360: And so basically, the way you're in your default settings, the way it defaults
00:03.360: It's funny you mentioned Scooby-Doo because just uh I think just earlier today I was looking at your website and you were saying here's a new
00:03.360: Yeah, okay.
00:03.360: Yeah, when I made my copy of the Luma Mask thing, I realized it was like seven hundred K.
00:03.360: You would basically rig or publish an anchor point.
00:03.360: It's less easy these days.
00:03.440: And because that five percent is stretched over five, ten, twenty, thirty seconds.
00:03.440: So I could display the English text or the French text or the German text.
00:03.440: So it would still do what Motion is supposed to do, what Final Cut Pro is supposed to do, which is mainly sell Macs.
00:03.440: You are not the first person to say that.
00:03.440: It'll be ten point one point two.
00:03.520: And I think the answer here is just barely.
00:03.520: But one of the things is that I can't tell people from the past.
00:03.520: It's like, oh, it's a great little plugin, you got to get it.
00:03.520: People produce new plugins all the time.
00:03.520: Okay, what are those?
00:03.520: Instead of saying, okay, on this frame, use effect one, effect two, effect three, what it's really doing is saying
00:03.520: So I think what they do is they say there's three effects you have applied to a clip.
00:03.520: I mean, the catch, of course, with round chipping for motion itself is the fact that SMotion isn't really that popular.
00:03.520: That's good.
00:03.600: So if I sound kind of out of it, it's probably because I was.
00:03.600: But the problem is that's not very flexible.
00:03.600: But I'm actually picturing a bit of Scooby-Doo in there, Shaggy.
00:03.600: It's the workflow version.
00:03.600: So that's really cool.
00:03.680: It by default setting, it expands by about 5%.
00:03.680: I personally probably would have picked six, but that's okay.
00:03.680: And you think, okay, motions just got that little bit less scary.
00:03.680: It's really cool.
00:03.680: You limit it to the to a level of comprehension and then
00:03.680: I think it's fair to call it a 10.
00:03.680: It's almost like the benchmarks aren't a good enough demo of the new machine.
00:03.680: But it's almost as if they sh held it back to say, Right, every time this thing's reviewed, we want somebody to say
00:03.680: So it's interesting.
00:03.680: It's not inside the GPU.
00:03.680: So I've been thinking about this a little bit recently.
00:03.680: I'm going to write about motion to some extent for the 25 people in the world who are interested.
00:03.680: I've got all my media external, you've got your media external.
00:03.680: Yeah, very easy.
00:03.760: You do the rendering and stuff like that, and I'll give you a wen window to put it into, and also a file to update.
00:03.760: I'm combining them all together temporarily and then applying that combined effect to the video clip.
00:03.760: So if we're really lucky, a secondary timeline will be a thing, or even a multicam.
00:03.760: That's really cool.
00:03.840: You know, unless you're going to say something like really lame and then, you know, just keep it to yourself.
00:03.840: I'm gonna break it down so, like, basically, my mom could do this.
00:03.840: So that's usually ten, fifteen, twenty minutes long from Ripple Training.
00:03.840: I've actually got a Final Cut Pro ten and also motion list and they've got like six or seven hours worth of few tutorials for Final Cut Pro ten, like ten minutes at a time, and I need to update that.
00:03.840: I've got as I said, I've got an iMac.
00:03.840: I mean, what I what I say to now people is it's seventy five percent of the features of After Effects for a tenth of the price
00:03.920: Yeah, and I really do think you hit the nail on the head that a lot of times you do have to just
00:03.920: I mean, it's more to say, I'm not I as I say, I'm only going to make the front hall of this home
00:03.920: I hadn't noticed that the new versions were
00:03.920: And you could do that, you can drag all the keyframes horizontally.
00:03.920: Right.
00:04.000: And I still say, I'm always telling people, if you want to understand the ecosystem of the Final Cut 10 world,
00:04.000: And for some people, you could up inside.
00:04.000: And that's absolutely quite cool.
00:04.000: I mean, they fundamentally change the structure of your file folders.
00:04.000: I'm not enough of a programmer to be able to decompile the Final Cut Pro 10, but
00:04.000: Okay, I'll pass this off to my um deformed twin.
00:04.000: Of course, I could just do that quite quickly.
00:04.080: And I was like, I was just I was just tippy toe very carefully going in there to the CSS style sheets and changing stuff.
00:04.080: Um you know, why have it if or all I need to do is render it maybe a few time lapse clips every once in a while and everything else I can keep up on my on my old you know twenty ten Mac iMac.
00:04.080: Let's go for the people who've got weird special cases.
00:04.160: And we we were still speculating about what was going to happen with Ten Point One.
00:04.160: I can go in there and say, I want to start at minus 5% and finish at 20%, and then I'll have this, you know, 25%.
00:04.160: It gets a few views.
00:04.160: So instead of calling that a sequence or a time line or a thing that editors have heard of, or even in fact, most people who have a concept of a project needing more than one time line.
00:04.160: Let's really tie in Final Cut Pro ten to the Mac Pro.
00:04.160: If you want to start fiddling with this thing, if you want to start changing the parameters of how things change over time
00:04.160: And I think that that's the thing.
00:04.160: And you could bring in ten clips in a row, and then you wouldn't end up with that what I call the stairway to heaven.
00:04.160: The kind of where people are doing quite obscure things and going, hey
00:04.160: Cool.
00:04.240: But 10.
00:04.240: I talk all the time about working smarter and not harder.
00:04.240: Like maybe much more advanced 3D or some things like that?
00:04.240: I think that's one expression that I use on a recurring basis, and it's one that I found online for After Effects.
00:04.240: But I was like, I just you know, I've said this many times.
00:04.240: And those those three versions of File Cut Studio.
00:04.240: But the fact that it doesn't have it isn't a kind of deal well, it's not a deal breaker for him either, but um, yeah.
00:04.240: Right.
00:04.320: So, I'm going to ask you this: if you do go and comment, which I love,
00:04.320: So, let me think.
00:04.320: Yeah.
00:04.320: It may not seem like in my timeline it's certainly not in my timeline.
00:04.320: Because what you should do at a certain point, once you've set everything up, which is what you can do now with expressions, obviously in Artereffs.
00:04.320: Hey, I can use them because there's going to be inside the this special plugin which will be a bit like compressor, it'll be a separate app somewhere on the computer.
00:04.320: It's a marketing job, really.
00:04.320: It's a new bit of software.
00:04.320: So come on over and got lots of free plugins at alex4d.
00:04.400: But if you say Final Cup Prime Minister, Exactly.
00:04.400: And I had three copies.
00:04.400: But I put it in with a user interface which says, hey, don't worry about keyframes, but we'll give you keyframes if you really want, and all these other features, and we'll make it
00:04.400: And then I do it again at keyframe twenty-five.
00:04.400: You want to be able to get to that timeline, make some changes sometimes in order to show the edit you can move the
00:04.400: I don't particularly care what it is.
00:04.400: But maybe because of the collaboration stuff
00:04.400: Not well, so that's next on a longer term level.
00:04.480: I'm just holding down the control key and choosing show package contents and then kind of nosing around inside.
00:04.480: You know, it it runs for the whole duration of the thing, and it is the simplest thing and the hugest time saver, and I use it all the time.
00:04.480: And I and again, this is what I love about this show is we can like squirrel down and rat hole into the most incredibly nerdy, tiny little details.
00:04.480: Yeah, and you wanted to say it's a really good take, and you just go, no, that was a really good six takes.
00:04.480: You just said something that I didn't realize.
00:04.480: So what you do is you file a copper 10 timeline and you hold down the control key or shortcut key and say
00:04.480: And the editor's going, You don't know what I do.
00:04.560: And that's the most brilliant part about it: is that if you add a dissolve, you don't get the, you know.
00:04.560: And all I talk about is some of the tricks and ins and outs of RAM previewing.
00:04.560: Well, that's appealed to the non-editor.
00:04.560: Final Cap Pro 10.
00:04.560: So, yeah, that's the kind of thing that the under the hood ten point one it's one of those Apple updates where you say
00:04.560: It it's like expressions only, but it's doing it with behaviors.
00:04.560: Yes.
00:04.640: But I didn't never even thought to try and get them to work apart from doing the usual thing, which is of course like holding down the option key or the command key or the control key.
00:04.640: I mean, the great thing is that there are also I could should point out to Ripple Training, there are some good online I haven't used there
00:04.640: But I s I do think it's a big update.
00:04.640: And I just like, oh, I'm going to bounce in some text, and I just copy and paste that expression in.
00:04.640: And obviously, Peter Wiggins, who has who is
00:04.640: Alex, thank you so much for your time.
00:04.720: He's been on the show a couple of times now.
00:04.720: And we had always said that when we both kind of got our bearings straight with Ten Pen, we were going to get together and revisit our conversations.
00:04.720: Well, I'll tell you, I find that this is a common
00:04.720: I've got a little slight kind of multiple personality disorder today.
00:04.720: You're saying that the the latest motion and motion inside of Final Cut are a lot faster, huh?
00:04.720: And you leave you leave your edit for you know, you've you have told me it some of them take you just
00:04.720: And that side effect of that kind of scriptability and accessibility
00:04.720: So it's an odd people to go for.
00:04.720: com.
00:04.800: I said, You can't forget it.
00:04.800: It's it's it's kind of like yours.
00:04.800: But they also in remember in Motion, they do have also a load of free tutorials every
00:04.800: Yeah.
00:04.800: That's why they've got their rendering problem.
00:04.800: And in the Adobe world, this is called dynamic linking.
00:04.800: But you just can't do it that way around.
00:04.800: If you know somebody who should be on the grill, let me know.
00:04.880: Well, I've only got up ten minutes ago, so yeah.
00:04.880: Well, up there in the clouds, or down there in the dumps.
00:04.880: I really tried to use it.
00:04.880: You know, Final Cut Studio, there's three versions of it.
00:04.880: Something like that.
00:04.880: But we're the editor.
00:04.880: I mean, I do that with for client lower thirds, obviously.
00:04.880: So um yeah, maybe there's a maybe there's a place for an intern there.
00:04.960: That's fine.
00:04.960: And I was like, dude, dude, go go to the plugins.
00:04.960: One of my favorite ones of yours, and I use it all the time.
00:04.960: e.
00:04.960: So once you get people who have opening the editor up to people who don't have great use of their hands or maybe the or whatever it happens to be
00:04.960: I know some people do that.
00:04.960: It takes a lot of time.
00:05.040: And what is the sign?
00:05.040: We admit it.
00:05.040: And that's why it's a that's why motion effect is just a few K.
00:05.040: It comes free with Photoshop is the way that this scene I actually see.
00:05.040: Thank you.
00:05.040: Well, they're not using Avid, and they may be using iMovie and Final Cut Pro ten.
00:05.040: And people go, What?
00:05.120: But if it's a very long clip, the five percent may be imperceivable, correct?
00:05.120: , the effect system at Final Cut Protein do that much more.
00:05.120: I mean, I don't know the other LEs might have it.
00:05.120: And it's one of those things where you realize over a while
00:05.120: Yeah, and connect that anchor point also with maybe a to change the crop.
00:05.120: So that though that is kind of in play in terms of Final Cut Pro.
00:05.120: It doesn't matter.
00:05.200: Just the other day, I was talking with, I've been doing so many of these conversations now, and I apologize.
00:05.200: To go back to the first thing that you said, I think it was I think you were spot on because ultimately
00:05.200: Because the Fellowcut ten.
00:05.280: People pay for them.
00:05.280: I'm stripping audio away like I should have been able to do two years ago.
00:05.280: I think it's from 2011.
00:05.280: And people were so happy with that.
00:05.280: Yeah, I mean motion, yes.
00:05.280: Or in the case of After Effects, it's like, well, obviously, you wouldn't want to have an Adobe timeline as a layer.
00:05.280: So, anyway, I think eventually people will go.
00:05.280: And so I'll get back to that.
00:05.360: And if you haven't seen these, the image wells are the little boxes that look they have a big arrow in it.
00:05.360: So I actually went in there and I turned on the
00:05.360: Here's what people would like.
00:05.360: And there will be multiple clips of multiple angles, and that will be accessible inside motion and then back again.
00:05.360: I cannot recommend his plugins more.
00:05.440: I can't do the math here.
00:05.440: And also, it means that the developers, the other side of developers, which have been supported better in 10.
00:05.440: It doesn't make it six seconds.
00:05.440: So just a couple of small changes that wouldn't affect the way I describe motion, which is essentially a thing for creating programs that go inside a GPU.
00:05.520: And I thought, okay, well, it's probably some bit of software that's only on
00:05.520: It's one of my favorite.
00:05.520: Now, uh, how do how does editing software work?
00:05.520: No, no, it's not like a job.
00:05.520: But in the long run, I think maybe another couple of videos to make.
00:05.520: It's a new s code base, which means you can do things like have
00:05.520: And now Final Cut Pro 10 doesn't have a problem with that.
00:05.600: I mean, as I said, I'm just shocked that other people don't do the same.
00:05.600: Is it because you use it a lot or what?
00:05.600: And people are sort of thinking, Well, I'm notified I actually am on this new macro.
00:05.680: What somebody disc I pointed out in previous blog posts
00:05.680: Now, I think what you're saying is if it's a short clip,
00:05.680: And I was like, I can't wait to tell this to Alex.
00:05.680: Hey, they've got this thing.
00:05.680: I mean, so for example, that is a very small thing
00:05.680: I'll just play it back.
00:05.760: So I tweet along whenever time there's an
00:05.760: So and the side of that is the fact they haven't made it
00:05.760: And I'm just going to show it now with time code.
00:05.760: Whereas in motion ten years ago, you're just going, Yeah, I'll just try it out.
00:05.760: You know, like words slides in, it goes goom, boom, you know, sort of bounces in.
00:05.760: There is definitely that possibility because everybody complained that Multicam wasn't there.
00:05.760: Um so so the
00:05.840: Um do you know this one?
00:05.840: Or all the people who are very smart have got full time jobs who also want to do video and stuff like that, which is the people that are infinitely s smarter than you and I.
00:05.840: Exactly, but I I think we've got an old mac you know, an old Mac
00:05.840: And the weird thing is, it doesn't I had four times the effects to the same clip.
00:05.840: So, Quark Express, this publishing program comes out in 1987, does really well.
00:05.840: That problem needs of expressions.
00:05.840: You can go to town on that clip.
00:05.840: Let's do it in a slightly different way.
00:05.840: There's a lot of emails.
00:05.920: This is 022, I believe.
00:05.920: And Fidelcart Pro 10.
00:05.920: So it's a bit like, so I may say, why can't motion do this, that, the other?
00:05.920: I've thought for a long time that Premiere would be great if it had
00:05.920: And then as the months go beyond, people go, Oh.
00:05.920: We've got multiple cameras.
00:06.000: But with this plug-in, you can
00:06.000: I think this is definitely going to end up being a tutorial.
00:06.000: 1.
00:06.000: So, Alex, if you were going to make a prediction of what we're going to see in the next dot
00:06.080: It's against the rules of time travel.
00:06.080: And I think that from a training standpoint
00:06.080: Events, projects, cool, drives, backups, yeah, export, copy.
00:06.080: So what you're saying is there is a copy of motion that's sort of embedded in Final Cut to make all of the effects work.
00:06.080: Aaron Powell.
00:06.080: We're in Final Cut Pro 10.
00:06.080: So it's worth taking a look at his blog.
00:06.160: Do you find it do you f do you do you feel a certain amount of
00:06.160: So the question is, it shows that essentially Apple think, well, tick box from version ten point zero because
00:06.160: But I will tell you, you know, like one of the huge ones is the thing of the ability to strip your audio away from synchronized clips or
00:06.160: Motion graphics designers go, God, that motion thing is just so mysterious.
00:06.160: Whereas of course, if you're doing a title sequence to a movie or T V show and you've got, say, a video clip flying by
00:06.160: It is a mysterious thing because what you want I mean, what I do
00:06.160: What do you think we're going to see next?
00:06.160: It's just look, I've been doing workflows for ten years, fifteen years
00:06.240: And so like this is it's this it's the simplest of plugins, but like if you lay out ten, twenty photographs
00:06.240: So I'm slowly pushing in.
00:06.240: People make them for free and people are using them and they're being shared amongst people.
00:06.240: They've took the sparse disk idea
00:06.240: I want Motion to be an amazing plugin that's available for Avid.
00:06.240: He's like, Yeah, no, it's no better.
00:06.240: So I work in motion
00:06.240: Like iWork as it used to be called and stuff like that.
00:06.240: It's much more these other special cases where
00:06.320: And the sign is what they didn't update in Final Cut Pro 10.
00:06.320: So, what do you think about
00:06.320: It's all designed on what graph animators want to do.
00:06.320: Absolutely.
00:06.320: one.
00:06.400: Well, I've made my friend's wedding video or
00:06.400: 0 and 10.
00:06.400: We thought we could because aperture
00:06.400: It's almost like they've got some quite interesting workflow cases.
00:06.400: But I keep going back to his blog to see, you know, and
00:06.480: So I went and I found it, and I was like, okay, this is really cool.
00:06.480: I think you've been watching a lot of old seventies cartoons, have you?
00:06.480: I really did.
00:06.480: In the case of Motion, the price is so little
00:06.480: But anyway, to go back to why round tripping, it's almost like
00:06.480: And you just, you know.
00:06.560: So, at any rate, let's go to the interview with Alex Golmer.
00:06.560: It's one of one of these free plugins that's out there.
00:06.560: And even though there are things
00:06.560: I didn't know this was a one-man performance art piece called A Year Inside Apple Corporate.
00:06.560: Surely this is 10.
00:06.560: And maybe Apple kind of thought, hey, we've got these people over here, this guy who created Motion and it was really good.
00:06.560: But it's interesting that the the price of motion and the price of compressor gives us a real clue of Apple saying
00:06.560: Yeah, we'd never know about it because we're not in that's a different bubble from us.
00:06.560: That thing to do was
00:06.560: And everything else will be so good, they'll just go, I have to bite the bullet and deal the fact that I don't have my layers because so much
00:06.640: So it shows that Apple are thinking, okay
00:06.640: But it's awesome that it's there now, but it doesn't seem like
00:06.640: Yeah, I it is interesting.
00:06.640: I'm not trying to do everything be everything to every person.
00:06.640: So that would be a good thing that maybe people haven't really been considering much earlier.
00:06.640: We appreciate it.
00:06.720: But I think for editors, it seems a bit kind of
00:06.720: And that's what you got to tell you.
00:06.720: And now all of a sudden I have another copy of this guy's plug in and I called it Luma Mask.
00:06.720: It's almost like they're saying, okay
00:06.800: It is 11 p.
00:06.800: Well, the weird thing is, on previous versions, I would
00:06.800: And it seemed to me
00:06.800: And the alpha moved with it.
00:06.800: 1.
00:06.800: So it's almost like they kind of held back
00:06.800: It certainly isn't from 2013.
00:06.800: It's a bit like saying, okay, what can be done inside the GPU with not too many commands?
00:06.800: I could set a keyframe here
00:06.800: If you just say,
00:06.800: Let's do this online and let's have some online screen sharing while we edit away.
00:06.800: I think less and less more and more people are thinking less and less about the lack of the layers.
00:06.880: And what I'm doing, of course, is I'm saying, Okay, I'm going to make it so that if what I do the cut
00:06.880: That is a good idea.
00:06.880: Yeah.
00:06.880: It's called a project and you seem to have bins in it and you seem to have
00:06.880: I don't know about that, but okay.
00:06.880: It's a thing where I just go
00:06.880: I mean, of course, that's completely crazy.
00:06.880: You may not like this and it may seem a bit kind of dopey to use a behavior, but in the long run, if you think it through
00:06.880: One also improved the timeline.
00:06.880: It's like, hey, I'm a workflow consultant.
00:06.960: That's between you know, whatever.
00:06.960: Do you know who it is?
00:06.960: It's just that it w it's one of those subtle ones.
00:06.960: And we because the way people, the clever thing I think about what motion is, this is a pure guess.
00:06.960: But
00:06.960: Yeah, it's almost like they're saying
00:06.960: It's a yes, so Alex
00:07.040: 1?
00:07.040: But the cool thing about it is those files are really quite
00:07.120: And as an editor, I just picked the right take.
00:07.120: Even the new reviews in the Mac Pro are saying it's a really good machine, but you need to have new versions of software
00:07.120: You know, there's Final Cut
00:07.120: Which is a good thing, I'm saying.
00:07.120: I mean,
00:07.120: Who cares if the editor who cares if the editor hasn't hit the traffic?
00:07.200: I was on location editing a piece for a client, and I may have overextended myself a little too much.
00:07.200: There's people like you and all the people that are doing plugins for hire
00:07.200: Can you do it the other way?
00:07.200: But I know that in a few hours' time
00:07.200: The way I want round tripping to really work, if you're going to do it properly, it's a bit like
00:07.200: See, not just a clip.
00:07.200: And I'm pretty busy in my normal day job cutting pieces for clients.
00:07.280: 1, if you remember.
00:07.280: Well, it's funny.
00:07.280: But so I think it's really cool.
00:07.280: And just by looking at the bug fixes, the feedback from the various apps around the world,
00:07.280: But from a power or even conceptual point of view, it doesn't do everything that RFRECs do, but it does so much of it.
00:07.280: And as you refer to that company Ten Point One in the UK creating that document about all those different workflows.
00:07.360: As a matter of fact, I walked into one of our edit suites the other day and I saw one of our editors, and he was
00:07.360: And I I have always had the greatest respect for guys like
00:07.360: And there's
00:07.440: Oh, yeah.
00:07.440: 0 onwards or 10.
00:07.440: It's like, you know I I well, it's not have too much grape juice, you could tell completely purple.
00:07.440: 1 will just go
00:07.440: Conceptually it was just too far for motion graphics people to think it's worth a bother, to say
00:07.440: But no, I think the funny thing about motion is the fact that I think if you add a one or two of these kind of things
00:07.520: And um
00:07.520: Now I'm a copy of
00:07.520: The idea of using motion the way it really should be used, which is to use behaviors, which is to say, okay
00:07.520: That's the thing where I'm kind of on most of the time.
00:07.520: Later, later.
00:07.600: And I kind of
00:07.600: as long as you put something back where it came from and it looks similar enough, Final Cut Pro will go, okay
00:07.600: If you are a bit more advanced with expressions, then but it's a kind of
00:07.600: I guess I'm going to have to learn them because I need to solve this problem, but I got three hours to do it.
00:07.600: So, yeah, inside motion, I'd like to make it so that
00:07.600: So say for example
00:07.600: How dare you say look at the circle takes?
00:07.680: Not I don't haven't haven't got my any of my usual
00:07.680: We're going to do a dissolved sequence of 20 stills.
00:07.680: Right.
00:07.680: 0.
00:07.680: And then I look at it and go
00:07.680: So I think I'll go to After Effects.
00:07.680: But uh yeah, you're right in terms of
00:07.680: We don't have to
00:07.760: I do really.
00:07.760: Or even
00:07.760: It doesn't say, wait a minute, this file isn't finished yet.
00:07.840: But I w I do want to say one thing about the iTunes.
00:07.840: Well, it's the f the fact that it's so simple and it's the kind of thing that although the weird thing about it, it kind of is.
00:07.840: It's a kind of it's more about
00:07.840: No, maybe that's going a bit too far.
00:07.840: Let's kind of saying let's make FileCut Pro a bit sexier to the people who are doing quite odd
00:07.920: Well, the last time we were experiencing the future together, it was the literally hours after the, um
00:07.920: You know, and that little puck that you have in the UI
00:07.920: I mean, the thing is that I kind of use it
00:07.920: Every single time, those three effects are combined into one clip for as a special case.
00:07.920: This is this behavior.
00:07.920: It's a bit like
00:07.920: Thank you.
00:08.000: m.
00:08.000: Apple really had to back away from that and say
00:08.000: It's only a little bit slower.
00:08.000: What would it be?
00:08.000: Yeah, I think it would be it would be an interesting functionality if they had like
00:08.080: Cool.
00:08.080: How is that even possible?
00:08.080: I have a lot of keyframes invested in After Effects.
00:08.080: I'm just going to do just like a personal Christmas letter to Mark Spencer.
00:08.080: I mean, that's the thing that makes a lot of sense to me to say
00:08.160: The content that I wanted to put in the alpha shape that I was making.
00:08.160: It's like
00:08.160: So when somebody says
00:08.160: I mean, how many people who use After Effects really do that?
00:08.160: And I know that's a good idea.
00:08.240: And it's just one thing, and you drop it on a clip, and then you drop a black and white alpha.
00:08.240: And so I've just said, you know, I'm just going to explain that.
00:08.240: They they're the dabblers who kind of need software that doesn't they don't they don't miss tracks 'cause they never had them, but they just go
00:08.240: 10, really?
00:08.240: I said, Well, he goes, What are the big changes?
00:08.240: And I think it's not almost as if they're saying
00:08.240: So it has to work with what GPUs can do.
00:08.240: Did I need to make changes?
00:08.320: Yeah, 022.
00:08.320: here.
00:08.320: I didn't even notice the little
00:08.320: I'm like a genius over here.
00:08.320: And I know you haven't done that, but today it dawned on me
00:08.320: It's just, you know
00:08.320: Yeah, this goes back to working smarter and not harder.
00:08.400: We want these we want the client to say
00:08.400: Although now, of course, there's so much power inside new computers that it's so good
00:08.400: You can do whatever you want that you can do in After Effects on top of it.
00:08.480: Can you be in After Effects and then have a layer which is a Premiere timeline?
00:08.480: It made it smoother.
00:08.480: Have fun.
00:08.560: It's about 7 a.
00:08.560: And this is a good tip.
00:08.560: Here's how you go in, and
00:08.560: Let's concentrate on other stuff.
00:08.560: And that's such a mysterious box to folk, and they just say
00:08.560: Now, what was it?
00:08.640: So I was like, oh, this is not what I wanted to do.
00:08.640: So I could make it so that you could change loads of
00:08.640: I hope I do well on this video and they come back for more.
00:08.640: It fits into that so much better than the other guys.
00:08.640: com and that links to my
00:08.720: And then this dialogue box, somebody found another way of doing it, which is to
00:08.720: Mark Spencer, which is amazing, and he's really good.
00:08.720: Then I've already added those controls inside my lower third plugin, a temporary one.
00:08.800: I mean, that's the funny thing.
00:08.800: I would say
00:08.880: But in its default setting, it's actually quite
00:08.880: But what I'm saying is that it's one of those things where
00:08.880: Or to do that.
00:08.880: It's I would say
00:08.960: It's very similar to the way that I fixed.
00:08.960: So you can't.
00:08.960: Oh.
00:08.960: It's a bit like when a new Mac comes out and you say
00:08.960: I have no idea what it's doing.
00:09.040: And then you just say, okay.
00:09.040: 0, whatever, 10.
00:09.040: Now I heard this Final Cut Pro seven
00:09.040: Or 10.
00:09.040: I'll keep it looping
00:09.120: But I kind of
00:09.120: No, not at all.
00:09.120: And you didn't realize that I had cut all those different six takes together, but you think it's just one because.
00:09.120: But the very first time I wanted to use it
00:09.120: It's a bit like saying, And now I don't meet my husband anymore.
00:09.120: It's a free app that comes with Photoshop.
00:09.120: I will say that probably the hardest thing about doing a podcast
00:09.200: Oh, yeah, what was that?
00:09.200: Now we can't call it project.
00:09.200: So what I'm getting out of it is
00:09.200: And it's more that it just generally
00:09.200: And the other thing I'd like to see, and I've heard a lot of people say this
00:09.200: In terms of shooting ratios, and I'm not even talking about reality TV.
00:09.280: And basically what it allows you to do is to do um a Luma Mask.
00:09.280: Uh, so uh, but yeah, I'll pass this on to um
00:09.360: Okay.
00:09.360: 1.
00:09.360: But we're not going to see the results of that for a while because it's up to third party developers to
00:09.360: It's not
00:09.360: Yeah, or they may go, Okay, well
00:09.440: m.
00:09.440: Oftentimes, I will
00:09.440: And just bundle them all together and say conceptually from a
00:09.440: I can predict what that that's going to do.
00:09.440: One of my clients had done
00:09.520: I just can't predict what the hell it's going to do.
00:09.600: there.
00:09.600: So if you see a plug in that's close to what you want,
00:09.600: We'll just have each app look after all the content.
00:09.600: 0 point
00:09.600: It's so much faster.
00:09.600: You have no idea.
00:09.600: At any rate.
00:09.680: And so the image well, you can put a black and white alpha
00:09.680: Why can't it do this?
00:09.680: And I'm going to go in and say to people
00:09.680: I think if I look up pro 10, I'm not saying everybody, but a good number of people will say.
00:09.760: To you, that is no big deal at all.
00:09.760: Hey, these guys are really complaining about this.
00:09.760: Here is a little thing, and basically, it just grows and shrinks.
00:09.760: Because now every time, and this is sort of your philosophy of making
00:09.760: Imagine if you had a multicam
00:09.760: That probably
00:09.760: That actually has been something that that uh you could do in Final Cuts.
00:09.840: You're just getting up?
00:09.840: You don't have any good intel for me yet.
00:09.840: Look at that.
00:09.840: And the motion just interprets its thinking.
00:09.840: What you're saying is that there that it's
00:09.840: It was almost like somebody said, Oh, I've got this great
00:09.840: So it becomes conceptually what multicam should have been as opposed to like saying
00:09.840: Yeah, you are.
00:10.000: That little one there says Alex4D.
00:10.000: I mean I you know, I I have the same thing.
00:10.000: And of course, the copy of Motion that's inside Final Cut Pro 10 is
00:10.000: And those are the people who are going to be coming along and saying
00:10.080: Things aren't different.
00:10.080: I'm not going to touch it.
00:10.080: It's free until you pay an editor to watch through it all.
00:10.160: It was nothing.
00:10.160: And then Adobe comes along with InDesign.
00:10.160: So the question is they seem to be going, okay
00:10.240: I'm just inventing a show as we go.
00:10.240: That's actually really good.
00:10.240: It's because
00:10.320: Because it's like it's a big deal, explains the Mac Pro and shows what
00:10.320: So it was a bit like, hey, I'm using Adobe Premiere CC.
00:10.320: So hey, let's make it for using making plugins.
00:10.320: But this stuff about saying
00:10.320: It's like
00:10.400: Maybe
00:10.480: 09.
00:10.480: So that kind of thing in which
00:10.560: I mean, but what's really cool about it is that it's
00:10.640: So the ecosystem in terms of
00:10.640: Well, if there's a whole copy of motion inside Final Cut Pro, it goes, okay,
00:10.640: Why can't you combine these
00:10.720: Explain that.
00:10.720: So
00:10.720: And you realize that it's a deeper update than you realize.
00:10.720: And then
00:10.800: The fact that it's just compositing and rendering so much faster
00:10.800: And maybe, of course, the old
00:10.800: You have no idea even what you've shot.
00:10.800: So
00:10.880: co
00:10.960: What they didn't update was much the
00:10.960: And now, Final Cut Pro 10.
00:10.960: There's a few new things in my
00:10.960: It's almost like the testing software isn't very good.
00:10.960: It isn't a separate thing.
00:10.960: Right.
00:10.960: It's more like
00:11.040: And please and please know.
00:11.040: I need to be able to
00:11.040: You can say
00:11.120: 1
00:11.120: Because the funny thing is that Apple
00:11.200: You know, and it is.
00:11.200: Express work together.
00:11.200: You have a great Twitter feed for sure.
00:11.280: You know, I ask I ask about this all the time, and I just gotta say, I'm like,
00:11.280: Absolutely.
00:11.280: And I think.
00:11.360: I tweeted this the other a couple of days ago, and
00:11.360: And I said, Well,
00:11.360: Interesting.
00:11.440: So you have
00:11.440: So motion is a bit like
00:11.440: You know, sometimes
00:11.520: Do you remember who that was?
00:11.520: Okay, so that's what that XML file says.
00:11.600: Okay.
00:11.600: I mean, I think that
00:11.600: So
00:11.680: I can't remember who it was.
00:11.680: And it's a it's a hunker text and I even
00:11.840: If we're really lucky.
00:11.920: Once again, we're talking about Alex's gross shrink
00:11.920: So that's why.
00:11.920: But if you
00:11.920: It's for people who can conceptually
00:12.000: There's certain pl there's certain tutorials that I've done that I'm like
00:12.000: I mean, I think it's that um it's more that
00:12.080: And I'll give you a good example.
00:12.160: Yeah.
00:12.240: So the easiest way to do that
00:12.240: And I bare I just
00:12.240: So, um
00:12.240: What's going on with the
00:12.320: That's great.
00:12.320: I don't think we're going to see that.
00:12.320: It's a little bit nicer.
00:12.400: Alex?
00:12.400: And then eventually
00:12.400: I've been using it but since before it was a
00:12.560: But so if you look inside that, it's like
00:12.640: And I and I
00:12.880: 1 is like
00:12.880: So Apple is like, Okay.
00:12.880: And I've just go, Yeah, okay, well.
00:13.040: They have a little bit of
00:13.120: It's one of those.
00:13.120: Is that correct?
00:13.360: Last time we talked,
00:13.920: It's like
00:14.160: Well,
00:14.240: And I
00:14.480: But