Episode 23
FCG023 - More Similar Than You Think (feat. Scott Hartman)
FCPX is more similar to FCP7 than you think. That is the message that Scott Hartman of Atlanta based, Jackson Spalding has to share. Scott shares with us about his broadcast news background and his journey from using traditional broadcast tools and workflows into a 21st Century IT based environment.
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Featuring
- Chris Fenwick
- Scott Hartman - @hartmanscott
Transcription
00:00.001: This old guy who was winning a civic award in Atlanta.
00:00.001: Let's bring a second camera.
00:00.001: I couldn't just lean on, wow, this is an amazing story, and people will love the story.
00:00.001: It's a really good experience working with us.
00:00.080: Cutting a piece in it, but you know, I cut together 45 seconds of stuff, Audi footage, and was kind of like, oh, this is, I kind of get this, but I also still kind of let it go.
00:00.080: and you're cut.
00:00.160: Go to the interview with Scott Hartman at Jackson's Balding.
00:00.160: There's quite a few streets named Peachtree, aren't there?
00:00.160: It's so good.
00:00.160: sort of post-desktop video era, which we are living in.
00:00.160: But it got color.
00:00.160: Immersed myself in iMovie and really learned all the power features of it.
00:00.160: But I couldn't get these guys to take a media 100 file to save my life.
00:00.160: Somebody just moonwalked behind you.
00:00.160: Took my little SD card and handed it to somebody and said, Here you go.
00:00.160: Let me s how do I want to say this?
00:00.160: I wasn't glued to the, I think it was the NAB presentation they did, but I read some of the follow-up media or blogs or whatever on it.
00:00.160: You know, and that was fine.
00:00.160: archive stuff on site or start editing on site.
00:00.160: Suffice to say that like I had a I had a project kind of going on and I downloaded it and tinkered with it and within like a week
00:00.160: Artsy Fartsy on it.
00:00.160: But she was giving me a lot of feedback.
00:00.160: I just said, I got off the phone with her, had all my notes, sat down, started to recut, and just worked, just started working, doing what I wanted to do, recutting it the way she had described it.
00:00.160: I noticed my render bar completing.
00:00.160: It's not the same thing it was day one.
00:00.160: I know.
00:00.160: Golner last week, I actually did this tutorial where, or maybe, no, it was after I talked with Kez Akalono, I did this tutorial.
00:00.160: And like in that one, I have literally created a full one of them that says Scott's lower thirds.
00:00.160: It shows like the effect logo and it's all red.
00:00.160: the paste attributes in in seven ex uh ten except for that one ability is actually better the fact absolutely the fact that i can that i can paste
00:00.160: That's a little bit of a bummer, but you know, I have another beef, and I've never heard anybody mention this, but it just got me the other day.
00:00.160: I mean, when Paste Attributes came out in 10.
00:00.160: You know, external drive here on my desktop, but he can open it on his machine across the office, make tweaks, close it back, say I'm out of it.
00:00.160: It wasn't quite that.
00:00.160: It's an editing system with timelines and clips.
00:00.160: And you know, you could get pluralized and all that.
00:00.160: Pretty amazing.
00:00.160: I hated in Final Classic having to like apply a filter.
00:00.160: have been in Final Cuts 7 in particular and you're sort of an in-out click you know editor or as I like to say Nat Sound
00:00.160: VO VO soundbite.
00:00.160: The magnetic timeline, although I may have to qualify my recommendations on that.
00:00.160: He said, I made a lot of money on Final Cut.
00:00.160: Or I drive a Ford, okay.
00:00.160: And I think things like your podcast are helping.
00:00.160: You know, and we're professional, and I think there are a lot of us out there, and there are going to be more of us out there in the years to come.
00:00.160: And you'll see some of our work that is public-facing.
00:00.240: At any rate, great episode, and I want to get right to the interview.
00:00.240: And today I had the absolute pleasure this morning of talking with Scott Hartman.
00:00.240: Let me think Midnight Thursday.
00:00.240: Worse assignments to draw, I suppose.
00:00.240: So thank you so much for that.
00:00.240: Hello, good morning, Chris Fenwick.
00:00.240: Looking out my window at Peachtree Street and 14th Street.
00:00.240: Sure.
00:00.240: the entire time, really.
00:00.240: And then sort of the Greenville, Spartanburg, South Carolina market, which I think is like market 110.
00:00.240: broadcast clock going on.
00:00.240: And meanwhile, in my classes, a lot of our folks were using Media 100.
00:00.240: uh Atlanta.
00:00.240: Video department.
00:00.240: that there's a major there's three major transitions that happened in the last in the first decade of this century.
00:00.240: And anytime we had in the smallest, most minute need, we'd contract it out.
00:00.240: You know, we were shooting HTV, so we were still on tape.
00:00.240: Okay.
00:00.240: Yes, for the most part, it's me.
00:00.240: Strategic decisions, I kind of have to make that decision.
00:00.240: So when did you first see Final Cut 10 and what did you think of it?
00:00.240: You have to keep in mind computers do not go obsolete like everybody likes to say.
00:00.240: Five years ago does everything that you expected it to do five years ago.
00:00.240: The computer didn't go obsolete.
00:00.240: I was fine staying with Final Cut 7, but make no mistake, there were things in Final Cut 7 I did not like.
00:00.240: Yeah, and I wasn't, and that didn't scare me.
00:00.240: But, you know, and so, I mean, so, yeah, I mean, make no mistake, I was kind of tired of that, that type of stuff, but yet it was still doing the job for us.
00:00.240: And I kind of messed around with it, and believe it or not, wasn't it?
00:00.240: But you know, I kind of messed with it, and I mean, literally, for five minutes.
00:00.240: And so I kind of ignored Final Cut 10.
00:00.240: I saw tracks.
00:00.240: you know, working with audio on a desktop as opposed to what a an old school real world audio studio used to be.
00:00.240: on your old Grass Valley switchers, those tracks and that physicality was very important.
00:00.240: The track metaphor, that's just a carryover from physical tape or the tracks on the board or the tracks.
00:00.240: And it's like, you know, here's another word and another word, and it just keeps do, do, do, do, do, do, do.
00:00.240: 2012, maybe you would know the dates.
00:00.240: We actually had a crew out shooting it while I was downloading the 10.
00:00.240: The second one I cut.
00:00.240: And I was done in like two hours.
00:00.240: And I was working from home that day.
00:00.240: Yes, five people total.
00:00.240: I see a lot here.
00:00.240: And man, we got a lot of motion projects out there.
00:00.240: And I just said, you know, while there's not a one-to-one, you can't round trip and that sort of thing, we still have all these motion projects that if a client comes back to us,
00:00.240: we're going to have to use because that's the lower third that is part of their graphics package.
00:00.240: Would you like to open as untitled or open over the old one?
00:00.240: That it was a little bit of a whole new world.
00:00.240: Funfa 10?
00:00.240: And I was like, I wonder if I can create a little plug-in that allows him to add a color tint and adjust some of the parameters.
00:00.240: And then published all the controls, and then poof, now I have a custom gradient.
00:00.240: So that was kind of an example of that is that I was like, you know, I'll just solve this problem.
00:00.240: So let me ask you this.
00:00.240: Who share their free plugins, which is mind-boggling to me, but it's so cool.
00:00.240: our plugins or Jackson Spalding Inc.
00:00.240: Because it's so radically different than one of the categories that's already there.
00:00.240: up would pop the IBM 8 bar logo.
00:00.240: of a conflict with the font ID.
00:00.240: you know, I may want to I may, you know, I may be sending it right back to the other guy to keep working on, and I don't want to delete his vision, you know, so that's
00:00.240: And I've got it vignetted just exactly right.
00:00.240: It was kind of the perfect tool for people that were looking to get out of tape and get into solid state and move ahead.
00:00.240: Okay, yeah.
00:00.240: We have a drive back in the server room that has all of our raw media stored to it.
00:00.240: It was perfect to work with him, and he knew exactly how this would behave.
00:00.240: Are they stored in one place and then we're just picking from there but not copying them?
00:00.240: Oh, the control's not working on the deck properly, you know, just that madness.
00:00.240: Just to like, oh, yeah, I have some lower thirds or things I want to add or tweak or modify.
00:00.240: Cranky codec, anyway.
00:00.240: A few months after I sort of said, here is, let's tinker with it.
00:00.240: Nice to sort of go step by step on some things.
00:00.240: Very few times I actually purchased Training.
00:00.240: but it was um it did help get over some of those initial uh stumbling blocks.
00:00.240: Or what are the things you would show somebody who you knew who said, Yeah, I understand you're using that Final Cloud 10 thing.
00:00.240: Where I can take out a stumble and not have to worry about what do I cover it with B-roll.
00:00.240: You may have been scared to try before or you just didn't have time to try, and it will give you that.
00:00.240: Oh, wow, like now I can experiment.
00:00.240: The Adobe building is south of Market in San Francisco.
00:00.240: low level, very basic After Effect stuff.
00:00.240: And I didn't even think about it.
00:00.240: And I'd go over to 10 and I'd show it.
00:00.240: I just very matter-of-factly tabbed over and showed how my lower third, my animated lower third, plays over the video without rendering it.
00:00.240: But it was shocking to me how many people were interested in that more than what I was talking about about After Effects.
00:00.240: I just really feel like that that's what's kind of happening.
00:00.240: Well, that's true.
00:00.240: No, but you know, one thing I will say is that I feel like the level of work that we do at Jackson Spotting and the stuff my team does
00:00.240: I feel like we're the type of professional operation that it's designed for.
00:00.240: Corporate work, a lot of what you describe, splice doing, or I'm sorry, slice, edit that out.
00:00.240: You know, that's kind of, I think we do similar work, and it's like, this is perfect for what we do.
00:00.240: What I need to do for my clients really well.
00:00.240: Network level promos or something like that.
00:00.240: But he said that that live previewing really made him a much more creative editor.
00:00.240: Thank you so much.
00:00.240: And it's worth it just to follow you and Alex Golner alone.
00:00.240: Thanks so much, man.
00:00.320: And he is the manager of a small department.
00:00.320: and people actually made a big deal about calling it desktop video because it was so different than sort of an eighties era broadcast mentality.
00:00.320: my my color televi would you like to come over and watch my color television?
00:00.320: And so I was right on kind of that cusp of linear versus nonlinear editing.
00:00.320: You know, it was good that I had a job doing professional stuff at a TV station, but I wish I had been learning nonlinear stuff from the get-go, and I really wasn't.
00:00.320: And he would let me.
00:00.320: So we've navigated from H D from standard def to high def.
00:00.320: Almost.
00:00.320: we were still shooting tape, but then there was the whole log and transfer, log and capture, cha cha cha to get it into a digital realm.
00:00.320: And I don't think, you know, I know for a fact that we never in for a long time, we never even envisioned the idea that we would just.
00:00.320: I it still blows my mind.
00:00.320: Absolutely.
00:00.320: You know, I watched some of the videos and I just said, wow, that looks really different.
00:00.320: And it was on a laptop, and they had the Audi sample footage on there that you see everywhere.
00:00.320: Yeah, it's really interesting.
00:00.320: You know, much of what we do is based on historical metaphors.
00:00.320: The audio console was hardwired, probably through Apach Bay, to a 24-track tape machine over in the corner or in the next room because they were pretty loud.
00:00.320: I just felt like it was almost like, okay, we're not going to call them tracks anymore.
00:00.320: I kind of said to myself, this project I've got going on, which was a fairly simple project.
00:00.320: And I did the first one, and it was a slog.
00:00.320: Holy crap.
00:00.320: Holy cow, like in basically two hours, I redid her cut and got it signed off on.
00:00.320: I've done this.
00:00.320: So you can open up old motion projects in the newest motion.
00:00.320: And I re-rigged it.
00:00.320: But I was like totally impressed with myself.
00:00.320: I did that very early on because I realized you could do that.
00:00.320: No, his last name is Buell, so I called it the Buell filter.
00:00.320: Yeah, sure.
00:00.320: But it is amazing how you can modify and stretch and extend the capability of your edit system even if you're not a programmer.
00:00.320: There was no I feel like hang on a second.
00:00.320: I found what was happening is I was basically adding, you know, that filters column is already kind of long in Final Cut 10, or the effects column in Final Cut 10.
00:00.320: You know, we have FX Factory and some other stuff, and it was just getting, and every time I added a new folder, it was just getting longer.
00:00.320: You know, you can divide them up that way.
00:00.320: Okay, and there's a lot of people that's like, yep, every once in a while I have to sit down and edit something, but a real editor is going to be, they're the kind of person that's going to
00:00.320: customize their workspace.
00:00.320: You know, where you know, you don't I had this problem just the other day.
00:00.320: Generally, that clip for me, that clip gives you the red screen of it's it's but it's not like uh it's not like it doesn't say media offline.
00:00.320: And the director comes in and he goes, Actually, I want to have him step out onto asphalt and I've done a reshoot.
00:00.320: And paste it right in, maintaining all of my effects.
00:00.320: there have been there's been much complaint about it doesn't do this and then when they do do it it's like oh wow Merry Christmas you know yeah
00:00.320: On that.
00:00.320: And they said, you know, okay, okay, they were nice.
00:00.320: And he already had a lot of experience in 10.
00:00.320: We don't there's only a couple of clients where we really revisit the material.
00:00.320: We can facilitate that.
00:00.320: we were dealing with like HTV media and or even, you know, particularly when we were actually editing an HTV, which was god awful.
00:00.320: And I think you have some people dig in their heels?
00:00.320: You say disk image, you mean like sparse disks?
00:00.320: It doesn't quite work that way for us.
00:00.320: I took the University of Georgia is actually an Apple Pro certified training center.
00:00.320: Down the road, but I'm still glad I did it.
00:00.320: And when I first started using Final Cut 10 on that day one in the summer of 2011, that was one of the
00:00.320: The first two things I would show them are multi-cam and audio syncing.
00:00.320: Yeah.
00:00.320: It was very interesting because I had more people come up to me at the end of the session and ask me about Final Cut 10 than ask me about After Effects.
00:00.320: So, at any rate, hope you enjoyed hearing from Scott.
00:00.320: He was saying about the multi-cam and audio syncing.
00:00.400: This is obviously how it's going to be.
00:00.400: Really boiled to the surface.
00:00.400: Well, we're certainly not switching to that right now.
00:00.400: And you know, and so those physical tracks of that era, or if let's go back to your broadcast world, the MixFX buses, you know, ME one, ME two, ME three
00:00.400: a I'll call it a twenty camera.
00:00.400: But even I was able to do it.
00:00.400: uh I I I've sort of done both.
00:00.400: Choosing a place for them to go.
00:00.400: You know, we typically, when you open up an effects menu, you know, you're tied to a list.
00:00.400: I used to make my own fonts, believe it or not.
00:00.400: A for Apple, you know, I mean, and I had this thing all dialed in, and it was wicked cool, but I think I stopped using it because it caused a
00:00.400: Yeah, you know, and you know, the flip side to that is, and it's, it's kind of one of my beefs that I still have, is that
00:00.400: It can you can kind of when you have five users like we do, you can create sort of plugins run amok.
00:00.400: And I want them to do that.
00:00.400: And Final Cut 10, at least for me, I feel like disabling won't do it.
00:00.400: Portions of the transform.
00:00.400: And usually when I help them, it's like, oh, okay, that's how that works.
00:00.400: Visual gymnastics and really adding sheen to stuff, and a lot of visual spice, which sometimes meant if I didn't have a great story, I struggled with my edit because I
00:00.400: In Final Cut 10, when I realized that I could live preview all the effects, that kind of blew my mind because I'm highly visual.
00:00.400: And I'm sure there's super high-level editors saying, well, that's kind of a Mickey Mouse thing to really be into.
00:00.400: What's that?
00:00.400: He's not the dragon thing in yet.
00:00.480: You can give it stars if you're in a rush.
00:00.480: Yeah, I got to catch a flight that's a little after noon Eastern time to head down to Tampa for a two-day weekend shoot on a golf course.
00:00.480: Yes, it is.
00:00.480: But then at school we had Media 100 and I remember at the time thinking that Media 100 well obviously must be this redheaded stepchild because at the T V station we have Avid, you know.
00:00.480: I was off working.
00:00.480: But I definitely at that point saw the writing on the wall.
00:00.480: Stick a little CF card in our camera and come home with two hours of footage.
00:00.480: You call it public.
00:00.480: That's different.
00:00.480: tied into.
00:00.480: And then it was when 10.
00:00.480: So now you and this is something we haven't talked about yet, at Jackson Spalding, you have a small team of people that work with you.
00:00.480: And I was like, wow, that's pretty cool.
00:00.480: And for a long time I was just kind of like hurroomph.
00:00.480: But I do all this high tech corporate work, IBM, Intel, Hewlett-Packard, Apple.
00:00.480: that was a compilation of corporate EPS logos.
00:00.480: go through and make sure everybody has all the same plugins.
00:00.480: Well, our work float going to 10 kind of also coincided with us going fully sort of tapeless.
00:00.480: I feel like there was another shot that I needed.
00:00.480: And here, man, I can just click the clip, hover over, ooh, that's cool, or not cool.
00:00.480: I totally forgot what I was going to say.
00:00.480: This helps us give a good working, and in a way, give a good working experience to our clients.
00:00.480: But I do tweet every now and then.
00:00.480: When you're playing with the effects, if literally all you have to do is just hover your mouse over many of the effects that you can very quickly see what something is going to look like.
00:00.560: Installed our first premiere, old premiere, which I'm sure you're familiar with.
00:00.560: You know, when we when we made the the jump to HD here, I think that was in 2007 was when we kind of fully went.
00:00.560: You know, you can usually get a pretty good picture.
00:00.560: The metaphor is still the same.
00:00.560: And not only did I finish, but pretty much as I put my last edit in and tweaked it the way I wanted it
00:00.560: Won't bore you to death.
00:00.560: I would bring in in the copy and paste attributes, one of the attributes that you could paste was content.
00:00.560: That was the perfect opportunity.
00:00.560: I'm not interested in making a feature film.
00:00.640: And so my world is very much on a broadcast clock.
00:00.640: Getting like a broad telecommunications degree, I had a part-time job at a TV station.
00:00.640: And I said, you know, if you guys want to dabble, let me know.
00:00.640: And so I go through that step by step.
00:00.640: Cool to me about Final Cat 10 is there's a lot of ways that you can customize those things that are more powerful than I've had in the past and easier.
00:00.640: Yeah, I agree.
00:00.640: And like, you know, Walter Piccardi, Walter Piscardi helps, you know, with that.
00:00.640: And so just simply having him, he sort of knew nothing different.
00:00.640: So in Final Cut 7 or Classic, while I was certainly a serviceable editor, and I was a good editor, and if I had a really good story, man, I could tell it really well, what I couldn't do was do a lot of kind of
00:00.640: You know, having that, no, it would be 2010.
00:00.640: I saw that on your Twitter, yeah.
00:00.640: That's interesting.
00:00.640: So, I apologize once again for being late with this episode, but I think it was worth the wait.
00:00.720: Very appreciative of the great comments that we're getting on iTunes.
00:00.720: But I found that the people that I worked with in Atlanta, they were like, Media 100, why would I use that?
00:00.720: And there was a great avid editor there named Hayward Tunstall.
00:00.720: And so that was kind of my birth into nonlinear editing.
00:00.720: It was pretty cool.
00:00.720: Absolutely.
00:00.720: I try to say, hey, don't download plugins without letting me know so I can spread them around or we can get them distributed properly.
00:00.720: That's been kind of for me a revelation.
00:00.720: So, I should have said this much earlier in the interview.
00:00.720: So I would show them multi-cam and syncing, or yeah, multi-cam and syncing.
00:00.800: What format do you typically shoot in now?
00:00.800: For a very short time, I used that old avid-free DV thing.
00:00.800: And so she really kind of helps me as I'm weighing things.
00:00.800: I think General Ayer is the commander-in-chief over Colonel Panic.
00:00.800: Absolutely.
00:00.800: And sheepscape.
00:00.800: And so I started to worry that, like, man, maybe I messed up using Final Cut 10 because now I've got to recut this.
00:00.800: So what has how has 10.
00:00.800: No you and Spalding.
00:00.880: to a file-based ecosystem.
00:00.880: Yeah, it's like the cost of an expensive plug-in.
00:00.880: So getting uh getting motion five that that must have set you back a lot of money.
00:00.880: Generally not.
00:00.960: There's been so many great little comments.
00:00.960: Well, Scott, tell me about tell me about a little bit about your background.
00:00.960: Right now I work at a company called Jackson Spalding, and we're kind of a marketing and communications firm in Atlanta.
00:00.960: And we actually sometimes throw in some T3Is and T2Is depending on what we need it for, because they're serviceable in the right conditions.
00:00.960: Isn't that a great analogy?
00:00.960: I hear that a lot.
00:01.040: That's my long-winded speech on how you have lived and navigated successfully
00:01.040: I'm a big fan of the lock tab on SD cards.
00:01.040: And but then I kind of ignored it for, you know, until it came out.
00:01.040: I'm going to say around 2009, 2010, I basically put my foot down and I said, when we go shoot interviews, we should always shoot them with two cameras.
00:01.040: And I'm so much better.
00:01.120: That's still a bit of a problem.
00:01.120: So I have a clip, and it's a shot of a, you know, the door opening and the guy's foot, you know, stepping into the gravel.
00:01.120: And which was fun because it made us feel like filmmakers.
00:01.120: I appreciate it too.
00:01.200: No, you don't understand.
00:01.200: I mean, the way I was editing, you know, I'll call them layers now, but I still see tracks.
00:01.200: Because I think this is something that's really a cool sort of add-on.
00:01.200: Absolutely.
00:01.200: And we sometimes we still run into some struggles, but I'm able to help folks.
00:01.200: I would totally agree.
00:01.200: Was that recently or a while back?
00:01.280: Right near the Waffle House.
00:01.280: I was doing some freelance reporter work and anchor work, and I would record my stuff and then edit it together.
00:01.280: We kept just kept plugging along, kept doing what we were doing, and didn't freak out about anything.
00:01.280: I could never have done that in seven, not that fast.
00:01.280: ProRes stuff and motion projects.
00:01.280: A free downloadable plug-in.
00:01.280: In fact, about a year ago almost, I went to an Atlanta Cutters meeting.
00:01.280: Might as well shoot a second angle because I can pop it in there just as easy as anything.
00:01.280: And it's not a big Final Cut 10 market for sure, but so I don't think there is a big Final Cut 10 market yet.
00:01.360: This is basically a recut.
00:01.360: And that's a no-brainer.
00:01.360: Absolutely.
00:01.360: And I was very glad to have some formal education because I know everybody says, no, open the app and mess around with it.
00:01.360: Yeah, it was, and it was, uh, and I, and I don't even think I mentioned Final Cut 10 at all in the talk.
00:01.360: I mean, I didn't occur to me to use anything else.
00:01.360: And I've visited Walter at his place, and I like him.
00:01.440: And um I used to go there quite a bit.
00:01.440: I have been trying to push foist that on the world, and I'm actually seeing it pop up in other publications.
00:01.440: And that's definitely how I feel.
00:01.440: Yeah, you walked in.
00:01.440: Oh, yeah.
00:01.440: I don't know about that.
00:01.440: It wasn't a dig in, you know, but I think it was kind of like, you know, this is, oh, it looks so different.
00:01.520: Where did you go to school?
00:01.520: And this goes back to your conversation about leaving tape behind and embracing the digital workflow.
00:01.520: I was sitting at my kitchen table and I sat back and was like, holy cow.
00:01.520: Or I drive a Toyota, you know, it's it's okay, it's a car, you know.
00:01.600: And if you're ever wondering how you do that, you go to iTunes, you search for the show name, and there's little gray words up there.
00:01.600: At the bulk level, where it's like it's not that big a deal to say, oh, yeah, I'm doing something.
00:01.600: Okay.
00:01.600: The other thing that was kind of important is while Final Cut Classic and Final Cut 10 are different, there are similarities, and we have a lot invested sort of in
00:01.680: It's interesting.
00:01.680: 0.
00:01.680: And the client looked at it and was like, I'm not really feeling that.
00:01.680: And I was like everything but the music and the structure.
00:01.680: No, you know, I think every editor who every person who calls themselves an editor, let's say, now, and I've made a distinction in the past between like people who edit and editors.
00:01.680: Yes, it is quite amazing how much you can actually do.
00:01.680: Not sound, VO VO Soundbite.
00:01.760: It's still doing the same things.
00:01.760: That's very, very good point.
00:01.760: When you create your own plug-ins, or if you I don't know if you ever download any there's a whole on Peter Megan's side.
00:01.760: I want them to be creative.
00:01.840: Shame on me.
00:01.840: I didn't even occur to me, but I kept tabbing back over to Final Ka 10.
00:01.840: Good times.
00:01.920: Okay, I want to apologize to everybody that this episode is late.
00:01.920: The first one I cut, got through it.
00:01.920: Yeah.
00:02.000: Have you been responsible for taking Jackson Spalding and dis making the decisions as to what formats you're shooting on and editing in?
00:02.000: I'll give you a great example of that actually.
00:02.000: That whole transition helped our workflow tremendously because we're not talking about tape, you're not attaching a fire wire cord.
00:02.000: If people want to learn more about you and the company that you work for, how do we find you on the Internet?
00:02.080: But prior to that, my background was sort of similar to yours.
00:02.080: And I read all that and kind of said, ugh, like, I don't, I don't know about this.
00:02.080: 3 came out, which I think was at the end of January in 2011.
00:02.080: And I looked at my timeline and said, Not only am I finished, but it's rendered.
00:02.080: So I'll save it to one of the pre-existing folders.
00:02.080: And that has helped our workflow.
00:02.080: So I would sell them sort of live previewing, syncing, multi-cam, and to some degree.
00:02.080: And it was it was it was kind of a trip.
00:02.160: Yeah, and actually, and where exactly are you located?
00:02.160: But I got color.
00:02.160: I mean, I'm I shot something a week ago and you know, when I was done, I like
00:02.160: You know, okay, so we're going to work in Final Cut 7 for another, I think ultimately it was about another year and a half before we really switched.
00:02.160: Can I ask you a favor?
00:02.160: Let me just go back, let me connect over the network and just go back to the server room and pull up the import window and import that straight into my project, straight from the server room.
00:02.240: Hey.
00:02.240: And I do understand the difference.
00:02.240: You're still stacking things up.
00:02.240: Now so you come back from your kitchen that day and you go, okay, guys, I'm kind of digging this Final Cut 10 thing.
00:02.240: I just basically made my own plugin.
00:02.240: I know it took them a while, and I know it took them a while to get there, but man, when they did, they did it really well.
00:02.240: I'm sorry, sparse disks.
00:02.320: That is, that is.
00:02.320: And they were kind of like, okay, you know, and I mean, I think they trusted me, my opinion.
00:02.320: And so it's just like it's like any other Mac app.
00:02.320: They did a real good job on it.
00:02.320: Cranky.
00:02.400: Yes.
00:02.400: I'd love to reach out to everybody and say thank you.
00:02.400: If if you know it, if you know what that's like, it absolutely speaks to people.
00:02.400: Did you go to school in Georgia?
00:02.400: You walked in wiping the Kool-Aid from your lips.
00:02.400: I was not into that.
00:02.400: I think I had this discussion just last night.
00:02.400: We will see.
00:02.400: My gosh, that sounds like a nightmare.
00:02.400: All right.
00:02.480: You're forgiven.
00:02.480: Right.
00:02.480: I have a wonderful coworker named Alicia, and she kind of helps me lead this, and she's a great sounding board.
00:02.480: But yeah, so you can open those right up.
00:02.480: So I still do sparse images a lot.
00:02.480: And, you know, and if I didn't have a lot of time or budget in Final Cut 7, I didn't have time to experiment a lot.
00:02.480: And even if we were, I could probably figure out a way to make this work.
00:02.480: And I'm trying to get involved a little more in post-chat and stuff like that.
00:02.560: If you actually want to click the thing and leave a comment, that's cool.
00:02.560: And very shortly after that, I bought my first Mac, and at the very least, I had an iMovie at that point.
00:02.560: I don't know if it's called rigging, but I republished a few additional parameters into the plugin.
00:02.560: They might have little they maybe have modified their keyboard shortcuts to help them out.
00:02.560: I know that your podcast has helped me just realize: oh, yeah, I'm not the only one.
00:02.640: Yeah, there's Peachtree Street, West Peachtree Street, Peachtree Place, like Peachtree
00:02.640: So it just behooves us to be on laptops.
00:02.640: I know, I know, right?
00:02.640: I know that there's a lot of misinformation out there.
00:02.640: I might want to only paste the rotation, but not the position.
00:02.640: Right.
00:02.720: That's very interesting.
00:02.720: But I know that at least for your own plugins, you can create subfolders and you can say, here's all my colorizing effects, and here's all my
00:02.720: And then I got it you know, I got all the right color correction in the tint.
00:02.720: I mean, it was still so technically I'm certified, and but you know, that's neither here nor there.
00:02.720: And I purchased you know, if you recall back then, Ripple Training like day one had a twenty part series.
00:02.720: And as I mentioned earlier, we're a marketing and communications firm.
00:02.720: Take care.
00:02.800: Can you hear me okay?
00:02.800: It was the end of January.
00:02.800: It was actually twenty uh ten passes of two cameras, music video with multicam the first weekend it came out.
00:02.800: And I, you know, on old projects, and that's sort of where our area of expertise is.
00:02.800: I mean, whether you're knee-deep in After Effects or not, if you're using Final Cut 10, you gotta have motion.
00:02.800: I was like, oh, this is totally cool.
00:02.800: They said, okay, cool.
00:02.800: I mean, I think a couple of things are happening.
00:02.880: Here's all my keying effects or whatever.
00:02.880: But at any rate, those are the type of things that an editor will do.
00:02.880: But that's my one rub: is that it's sort of unless it's a little hard to distribute and it's not really hard.
00:02.880: Otherwise, it would have taken me a lot longer to figure out.
00:02.880: And then I'd go over to After Effects and I'd do some things.
00:02.880: Yeah, yeah.
00:02.960: And it moves and it's awesome.
00:02.960: Your desires have changed.
00:02.960: I've totally been there.
00:02.960: Like what you're what she's describing is a recut.
00:02.960: And then you can get to our webpage from there.
00:03.040: Yeah.
00:03.040: Right.
00:03.040: And so I made it with Final Cut 10 for sure.
00:03.040: It was like something absurd.
00:03.040: So what happens when you open up a project that where you're missing a plug-in?
00:03.040: 1 helped your workflow with having multiple users?
00:03.120: So, this is the next episode.
00:03.120: Oh, yeah, I have glass.
00:03.120: It was not an in-depth-depth thing, but I kind of looked at it and said, you know, it's not
00:03.120: I mean, the learning wall, as you like to call it, was steep, but you know, every time something frustrated the heck out of me, two or three things made me say, ooh, you know, and
00:03.120: Let me see if I can actually find it.
00:03.120: Oh, what we need to do is get to the point where it's just like not a big deal.
00:03.200: And then, so, so how did you were you the one?
00:03.200: And I am not, you know, a Mark Spencer or anything like that.
00:03.200: Would you be willing to take the Buell effect and zip it up and send it to me?
00:03.200: And I'm like, wow, I can't believe I'm going to go to the Adobe building and demo After Effects.
00:03.280: He's got about four or five people, six people I think, working under him.
00:03.280: And then like after a week, I was like, wait a minute, I could make my own.
00:03.280: Right now I'm in the habit of uh of
00:03.280: It is cranky.
00:03.280: Yeah, sparse disks.
00:03.280: All right.
00:03.360: And you know what's funny is that coming from a broadcast background, I totally like, I know that.
00:03.360: So, when I realized, and I didn't realize at first that Final Cut 10 could sync the audio, and that was kind of like, wow, that was
00:03.360: Well, that doesn't look good.
00:03.440: Yeah, thank you.
00:03.440: Here's everything we just shot.
00:03.440: Would love to have had it sooner, but they did a good job on it.
00:03.440: But it was interesting because in my demo, one of the things that I was doing is I was showing how stuff can play over your video in your time line.
00:03.520: If only there was one on my corner, that would be awesome.
00:03.520: And so when I came to Jackson Spaulding, at first I was kind of like a public relations guy because we were sort of a public relations firm.
00:03.520: Um, and when we finally in 2000, kind of a former, which was
00:03.520: But yeah, it does kind of come down to me.
00:03.520: And then the second one was a secondary award, but it was more of like a photo montage with some VO about how great this woman was who planted lots of trees and throughout Atlanta in her lifetime.
00:03.520: The client liked it.
00:03.520: And one of my coworkers, he loves to throw a blue tint on everything.
00:03.520: Let's just put it in an existing one.
00:03.520: And we wish, do we want to have a great product?
00:03.520: I think we hear that a lot.
00:03.600: So we're, I'm right here.
00:03.600: And get that meaning by desktop video, I mean the point where technology took a turn
00:03.600: And I would have had to render it, which would have taken longer.
00:03.600: But I'm going to continue to evaluate this.
00:03.600: If I was doing a show for Intel, I'd do lowercase I.
00:03.600: Why?
00:03.600: It's not, you know, this is not a, you know, it's not, you know, it's not a node-based editor or whatever.
00:03.600: He said, I'm not going to bash Final Cut 10 because I have a lot invested in goodwill there.
00:03.600: Bye-bye.
00:03.680: And it's and in the late ninety well, actually kind of all the nineties, mostly the late nineties and the first few years of this century
00:03.680: Right.
00:03.680: And so it was these two little videos.
00:03.680: I am a highly visual editor.
00:03.760: And then I came up to Atlanta and was freelancing for a very fledgling little syndicated news network.
00:03.760: And then a couple of months after it came out, I went to the Apple Store, one of the Apple stores in Atlanta.
00:03.760: Things look different.
00:03.760: You know, editor, you know, sort of old school TV news editing.
00:03.760: Oh, yeah.
00:03.840: I went to the University of Georgia, yeah, which is a lot of schools.
00:03.840: Okay, so that kind of gets us to where we are.
00:03.840: And then the one thing that's a little weird is that, unlike Final Cut Classic, Final Cut Classic, when you did that, you could just disable the plug-in and suddenly your clip would appear normal.
00:03.840: Generally, we will so I think what you're asking is do we
00:03.840: No, it was fairly.
00:03.840: I'm on Twitter.
00:03.920: I can hear you okay.
00:03.920: Almost entirely DSLR.
00:03.920: So, one of the things that was odd when I first started using Final Cut 10, one of the things I noticed very quickly is that in the generators tab.
00:03.920: or whatever.
00:03.920: And I said, for what my guys do, it just works.
00:03.920: And, you know, we were at the time using the disk image method, and we still use it a lot.
00:03.920: The having that relief angle as a way of pulling up content.
00:04.000: And then the third thing that we've done is we've navigated from tape
00:04.000: So, you kind of dug in, like a lot of people, and you know, dug your trenches and said, Okay, guys, we're going to be here for a while.
00:04.000: Yeah, no, no joke, for real.
00:04.080: You can plop them in final cut, or you can pro-res them out and use them in your
00:04.080: Now, are you drawing pieces of media from other or past projects?
00:04.080: Usually it's new.
00:04.160: And in San Francisco was very much a media one hundred town.
00:04.160: Yeah, you know, and it's so funny.
00:04.160: What was your initial reaction?
00:04.160: And I am not, yeah, I'm not an Alex Gullner or Mark Spencer.
00:04.160: Like one of my other guys had a plug-in.
00:04.160: 6 or whatever it was, I was like, wow.
00:04.160: I kind of came back and said, okay, guys, this is probably what we're going to do.
00:04.160: Well, thanks.
00:04.240: We're just going to, they're just going to be layers and they just sort of bump out of the way and move around.
00:04.240: I believed they used the Luma Mask one from Dave Walsh.
00:04.240: No, he loves it.
00:04.320: We've navigated from 4 by 3 to 16 by 9.
00:04.320: You said if you give me the Audi footage, I'll take it.
00:04.320: I could like take this plug-in that somebody else had made and actually improve its functionality so it worked better for me just with this $49 app.
00:04.320: There was like no custom gradient generator or something.
00:04.320: You have to delete it off the clip.
00:04.320: But I'll tell you one of the things that happened is we hired a young intern named Anthony.
00:04.320: That is very good.
00:04.320: What classes did you take that you just mentioned?
00:04.320: Delete.
00:04.400: No, that's okay.
00:04.400: But that's all it does, and then poof, it opens right up.
00:04.400: I made a font in the nineties and I don't have it anymore because I think it caused some some conflicts.
00:04.400: I was not good at sort of dressing it up and adding light effects and whatever.
00:04.400: One is, I think it's becoming less and less of a big deal if you're using 10.
00:04.480: And I eventually said, you know, guys, I can do a lot of this.
00:04.480: 3, going, Mmm, this might work.
00:04.480: Rather than sit around and be mad about it, I took five minutes and fixed it.
00:04.480: And so he, that kind of was his paradigm.
00:04.480: I don't want to work a whole day that way.
00:04.560: Scott works in Atlanta at a place called, oh, I'm sorry, Jackson Spalding.
00:04.560: Yeah, no, I've been watching people go back and forth.
00:04.560: Because that's exactly what I did.
00:04.560: Right, right.
00:04.560: And we actually, I was hopeful that in 10.
00:04.560: I mean, it was within the last six months, probably.
00:04.560: The next episode is going to be really wonderful, the Monday episode, and that is going to happen.
00:04.640: This, you know, creating stairways to heaven, as you like to call them, I think.
00:04.640: Absolutely.
00:04.640: Like, you know, and it wasn't a long video, maybe two minutes, maybe a minute and a half, two minutes, but I was done.
00:04.640: And I started to see why we should really why it might actually be less of a stretch for us to just go to 10 than to go to something like Premiere or Avid.
00:04.640: You know, it's like, and that took five minutes.
00:04.640: Like, no, I don't want to do that.
00:04.640: And so I took the Final Cut Pro 10, Level 1, and Level 2 certifications, which I hear they may be doing away with.
00:04.720: 10-3 was when we got multicam.
00:04.720: And it's like, and I have those in there.
00:04.720: And multi-cam blew my mind.
00:04.720: Apply a filter.
00:04.800: What has changed is your perception and your desires and what you would like to see your computer do.
00:04.800: And, you know, the color.
00:04.800: How do you organize your own personal plugins?
00:04.800: Yeah, with the cost of the DSLRs, I would say about.
00:04.800: Just because I know that some people don't like it, I will say that 95% of the time I really like it.
00:04.800: I was pulling up to the building.
00:04.800: And he asked what we use.
00:04.880: I'm in Atlanta, Georgia, right in the heart of Midtown.
00:04.880: So, at any rate, thank you very much.
00:04.880: And then I read a lot more about it and read people's experiences with it.
00:04.880: There was some other feature I feel like that was in there that I was intrigued by.
00:04.880: What did what did that cost you?
00:04.880: Right.
00:04.880: Because that when we were when we went to SLR shooting, we started recording audio separately on a Zoom.
00:04.880: I was a lecture at the SF Cutters.
00:04.880: It got me to work this morning and you know, did it did it well.
00:04.880: He loves him some premiere.
00:04.880: It's at Hartman Scott.
00:04.960: We love the fact that you guys are listening and hearing what the show means to you.
00:04.960: Just down the road from Fox Sports South, actually.
00:04.960: That's a great, that is an absolutely great point.
00:04.960: But I did it, and I mean, it took me 10 minutes, if that, and that was my first time, you know, and he still uses it to this day.
00:04.960: So that's kind of what I did.
00:04.960: I'd re-render.
00:04.960: But, you know, I am interested in doing
00:05.040: I think my level's low here.
00:05.040: And I think that a lot of that complaint that people have when they go, oh, Final Cut 10 doesn't have tracks.
00:05.040: And they literally, in the room of 60 people, said, is anybody even using Final Cut 10?
00:05.040: I mean, in general, I mean, one of the things I love is that we have a
00:05.040: I love the library setup, but for the sake of being able to just open it from across the office, we still do sparse images.
00:05.040: So that was Scott Hartman.
00:05.120: How long have you been in this business and how did you get to where you are today?
00:05.120: I worked in broadcast, and in fact, I worked in local television news in two different markets, Macon, Georgia, which is like market one fifteen.
00:05.120: But what's funny is that when I left Macon, Georgia, which is my second TV job, in 2003, we had just
00:05.120: And yeah, so I'm still.
00:05.120: It really jumps out at you when you're doing.
00:05.120: It was two little like sort of tribute videos to somebody.
00:05.120: Yeah, no, generally I will copy.
00:05.120: Well, thanks so much for your time.
00:05.200: Okay, so but you've been there for over 10 years.
00:05.280: Yeah, that's a very good point.
00:05.280: And I had kind of messed around with it and been like, oh, yeah, this is cool, but you know what?
00:05.280: Slight tweaks, but pretty much good to go.
00:05.280: I can't do that anymore.
00:05.280: And I can just keep going.
00:05.360: So, Scott, thanks for being a part of the little show here.
00:05.360: Yeah, dude, it's totally okay.
00:05.360: Yeah, that's a wonderful analogy.
00:05.360: And that was when I really kind of realized there really is something here.
00:05.360: Yeah, I said, you know, I've done this.
00:05.360: I'm probably at this point the most knee deep.
00:05.360: And I got to admit, I totally agree with what he was saying.
00:05.440: And I was kind of like, ah, whatever.
00:05.440: One was kind of a tribute video for this guy who was
00:05.440: And she gave me a bunch of feedback.
00:05.440: That doesn't look good.
00:05.440: Yeah, absolutely.
00:05.520: And I was just kind of a part-timer when I was there.
00:05.520: And man, I got a lot of crashes.
00:05.520: I think on one episode I explained the difference between
00:05.520: And she's like, that was the greatest client ever.
00:05.520: Yeah, when I first started using Final Cut, I just kind of jumped in.
00:05.600: See, that's actually kind of shocking to me because in the 90s, one of my biggest clients was in
00:05.600: They don't.
00:05.600: And so collaborating with him on projects, you, you know, it was.
00:05.680: Again, again, again, I want to say that I'm really, really pleased, thankful, and
00:05.680: Yeah, one of the things I say to people all the time is I remind them, I say, you know,
00:05.680: That was pretty much what it was.
00:05.680: Absolutely.
00:05.760: Whenever you bring up that, I really have flashbacks.
00:05.760: I understand it's just T it's nowadays we just call it T V.
00:05.760: And he let me mess around.
00:05.760: I think a lot of people don't realize how powerful that app can be.
00:05.760: And I'm just going to, and as I said, I'm just going to tell you.
00:05.760: And so now, when you're cutting a piece and you're like, you know, I
00:05.760: That's stupid.
00:05.760: Part of what we sell to our clients
00:05.760: We also have a Vimeo channel.
00:05.840: Yeah, that's dating it.
00:05.920: But I didn't necessarily think that was bad, but I just thought, wow, that looks really different than what we're using.
00:05.920: So, yeah, so I, you know, I messed it with
00:05.920: And we actually use motion a good bit.
00:05.920: And I lived without it.
00:05.920: And I'd go over to 10 and show how all the changes that I've done are basically already there.
00:06.000: And I kind of had to explain to them: look, this is a pretty big update that has just come out.
00:06.000: And so I said, you know, I'm going to work in it.
00:06.000: Like you open it and it says, you know, you're going to kill the old version if you keep going.
00:06.000: But, you know, as I, we were talking a while back about kind of when I introduced this to the team and
00:06.000: I don't even do that much multi-cam, but it's
00:06.000: Delete.
00:06.000: And so
00:06.080: So that was, you know, you ask everybody about an aha moment.
00:06.080: I had a little meeting.
00:06.080: I didn't have it.
00:06.080: But but, you know, it it did present a sinking problem and
00:06.080: I just go to the other angle.
00:06.080: And I would be lying if I didn't say, ah, this will be kind of fun and subversive.
00:06.080: I was like, Final Cut 10.
00:06.080: Absolutely.
00:06.160: I actually love Waffle House.
00:06.160: And so I kind of said, you know, unless this thing has to be in its own thing.
00:06.160: And here, and here's what I will say: I've made some lower third templates that are in like the titles tab.
00:06.160: Yeah.
00:06.160: And I really love the fact that the live previewing and what Scott was talking about was when you're
00:06.240: And that's kind of a bummer because.
00:06.240: And, you know, I just kind of had to keep saying, you know, I know it's different and it behaves differently in some ways.
00:06.320: And, you know, everybody was talking about no tracks, no tracks.
00:06.320: So Scott's gold mind of coolness.
00:06.320: Yeah, and actually, I think it's a good little tidbit of knowledge that
00:06.320: So that's
00:06.320: I would uh we have the meetings at the um
00:06.400: When I was in school,
00:06.400: I I saw Final Cut 10
00:06.400: Gosh, I think it was like $49.
00:06.480: And so I was going there after school every day, cutting highlights and packages and whatever, but I was doing it all tape to tape.
00:06.480: You know, it's not, it still looks like.
00:06.480: Right.
00:06.480: It doesn't work, dude.
00:06.480: There's some great resources out there.
00:06.560: Lowercase H, boom, the the H P logo.
00:06.560: I can pick which audio effects I want to paste in.
00:06.560: It's very similar to SF Cutters.
00:06.560: Apply filter render.
00:06.560: And it's I've I'm a much better and much more creative editor in 10 than I ever was in 7.
00:06.560: Hey, Scott, with that, I think that's a great place to wrap up.
00:06.560: So, take care, thanks for listening, and we'll be back in a few days with another episode of The Final Cut Grill.
00:06.640: This is the next episode of Final Cut Grill.
00:06.640: The big problem is that our media is too small to properly put a label on it as to what it is.
00:06.640: Fascinating.
00:06.640: I might put the Bueller the Buell effect on it.
00:06.640: Oh, yeah.
00:06.640: But we also want to have a good working experience.
00:06.720: Maybe one day, if I'm totally hosed for a show, I'll just read all the great comments and thank everybody over the year.
00:06.720: And it's actually, let me take that back.
00:06.720: We own a 5D Mark II and a 6D.
00:06.720: Makes sense.
00:06.800: And I basically,
00:06.800: We work almost entirely off laptops because we have to do things mobile.
00:06.800: Yeah.
00:06.800: No, he's, you know, he admitted that that wasn't the direction he was going in, but that he wasn't going to sit there and say something bad.
00:06.880: I do remember, I mean, I remember everybody talking about Avid, and the TV station I worked at had an Avid, you know.
00:06.880: It's quite entertaining.
00:06.880: You can take all the credit.
00:06.880: Yeah, yeah.
00:06.880: And I know that you know that Atlanta is a huge avid market.
00:06.880: We don't do episodic television.
00:06.960: I like to get these out at midnight on Friday.
00:06.960: Yeah.
00:06.960: Yeah.
00:06.960: We'll do the same thing.
00:06.960: I told you, I worked in television, I was a reporter, it was all about what you are seeing, what are you hearing.
00:06.960: I'm not crazy active.
00:06.960: I'm very much, very pleased by that interview.
00:07.040: Any computer that you bought
00:07.040: No joke.
00:07.040: And Motion 5, performance-wise, is just so much better than 4.
00:07.040: So if I was doing a show for IBM, I'd type capital I and boom
00:07.040: You're like, Oh, okay.
00:07.040: Well, I took the
00:07.040: What would be the advice you would give to somebody else
00:07.040: You know, it's like saying, well, oh, I drive a Hyundai.
00:07.040: And we're not, like I said, we're not doing feature film or episodic television or
00:07.120: You know what's really interesting?
00:07.120: And he would help me if I ran into a problem.
00:07.120: So, that's, that's what we stayed with.
00:07.120: Oh, no, I'm sorry.
00:07.120: Yes, that was when we got multi-cam.
00:07.120: Now I've got it.
00:07.120: I've done this stuff for a long, long time.
00:07.120: They'll have their little scripts, their you know, and I think that one of the things that's
00:07.120: We try to sort of I try to
00:07.120: Okay, so I think the best thing is to go to jacksonspalding.
00:07.120: You can just search Jackson Spalding.
00:07.200: And my export would have been longer.
00:07.200: Yeah, that's actually a good logic.
00:07.200: I mean, I made it work.
00:07.200: And you know what?
00:07.200: I really appreciate it.
00:07.280: And I've been here for 10 years, actually, and have been leading the video team.
00:07.280: And I'm kind of shocked to hear you say that they were teaching Media 100 in Georgia.
00:07.280: Really cool.
00:07.280: Give me the Audi footage and a new laptop, and I'll happily use this.
00:07.280: Okay.
00:07.280: 1, the library would allow you to do that in and of itself.
00:07.360: And they do sort of like small agency market.
00:07.360: I don't have time to learn that.
00:07.360: I wasn't, I didn't say this is preposterous and this is absurd.
00:07.360: Yeah.
00:07.360: The second one I cut, and I tried to be kind of
00:07.360: And so like I opened one of the solid like white generators in motion and just changed the changed the you know changed it from solid to gradient.
00:07.360: You know, that's still something I wrestle with a little bit.
00:07.360: And frankly, for us, when we do a past project,
00:07.440: I'm a big fan.
00:07.440: It still blows my mind because you're absolutely right.
00:07.440: But I said, I said, here's the deal.
00:07.440: And not cool, like the Buell effect, but
00:07.440: Those guys blow my mind in terms of their level of intelligence.
00:07.440: How do you, I can't remember what it's called, but do you create like your own subfolder?
00:07.440: Like it was just kind of the perfect timing to
00:07.440: Explain it to me.
00:07.440: Absolutely.
00:07.520: And, you know, it was one of those deals where she didn't think she was giving me a lot of feedback.
00:07.520: And I kind of said to myself.
00:07.520: But what I found is that because I had done that first project on the second one,
00:07.520: We had a little team meeting, and I said, I just want to let y'all know that I have
00:07.520: I can open it back up when I'm out of my meeting or whatever, and keep working.
00:07.600: But overwhelmingly, for the majority of time, it was Final Cut Pro.
00:07.600: The bottom line is, much of that stuff is irrelevant in the twenty first century.
00:07.600: And so that's when I get, that's when I decided to finally get the 30-day trial.
00:07.600: In the Apple store, and I was kind of like, you know, this isn't that bad.
00:07.600: So I just exported it, sent it to the client, and she was like, Perfect.
00:07.600: I'm glad at this point, I'm glad I waited.
00:07.600: I was like, Final Cut 10 really gives you an opportunity to put some sheen and some polish on stuff that you may not have.
00:07.600: So I'm like showing how we're going to make a lower third.
00:07.600: But
00:07.680: Also, if you do that, tweet me or email me and let me know that because
00:07.680: So that has grown into a full-blown
00:07.680: I can see how that would be a bummer.
00:07.680: That was his editing paradigm.
00:07.760: And I wanted to always want to make her happy.
00:07.760: And therefore you can make plug-ins and CG templates and stuff that appear in
00:07.760: And I want to make it available to listeners.
00:07.760: What do you what's the result that you see?
00:07.760: One of the things I used to do a lot in old Final Cut, Final Cut Classic, is I would.
00:07.760: So that kind of in and of itself for us
00:07.760: Because that's what I was doing, I was doing some very
00:07.760: He said something really nice.
00:07.840: Good morning, Scott.
00:07.840: We've transferred from standard deaf to high def.
00:07.840: And, uh,
00:07.840: Well, here's what's interesting is that
00:07.920: What were you editing on before Final Cut 10?
00:07.920: And so kind of back to what you're saying, like it was that transition to tapeless.
00:07.920: And, you know, I can have a disk image stored on my
00:07.920: And I'm a total believer in that.
00:07.920: Same with titles to a degree, but effects really, that's something I would sell to people: is that if you
00:07.920: And then I go back and do some changes in After Effects.
00:08.000: So there's worse
00:08.000: She's probably not going to be able to do it.
00:08.000: 99.
00:08.000: And I've actually been, I was at the very first one.
00:08.000: And I actually think that that workflow got better in 10.
00:08.000: I took two classes in it.
00:08.000: That doesn't look
00:08.080: So
00:08.080: And having said all that,
00:08.080: I'm going to do some things in it.
00:08.160: We had two avids, and he just kind of let me mess with one.
00:08.160: I just did a whole kinetic typography piece for the last few days in After Effects.
00:08.160: We'll open things across the gigabit network.
00:08.160: But that really blew my mind because for me, I finally could say,
00:08.240: When I was in broadcasting, so I graduated from the University of Georgia in 2000.
00:08.240: Yeah.
00:08.240: I got a lot of render errors.
00:08.240: And I did.
00:08.240: Funny, I now find reasons to do it.
00:08.320: So when did you
00:08.320: That's so true.
00:08.400: And that's going to be the very beginning of 2012 because I actually did
00:08.400: Now I can't remember it.
00:08.400: I don't know if you saw it, where I took
00:08.400: Wha why would you make that change?
00:08.480: I've always thought that the complaint that there are no tracks is interesting.
00:08.480: He loves this.
00:08.480: In seven, I could copy the content of the new clip.
00:08.480: Yeah.
00:08.560: Park, you know.
00:08.560: But my background is as a sports reporter, anchor, and videographer, and editor.
00:08.560: I have a job, you know?
00:08.560: So I guess I totally understand that.
00:08.560: It just takes the time to do it.
00:08.560: You know, I didn't want to go over budget because I spent an hour testing some stuff.
00:08.560: We don't do feature film.
00:08.640: I really have that same sort of
00:08.640: And I believe, and I, you know, knock on wood, I think you can reorganize that stuff.
00:08.640: I certainly follow a lot more than I tweet.
00:08.640: This has been a pleasure speaking with you.
00:08.720: And that and that's when all the foot that's when all the, you know, the the coverage on what it did not have and what it could not do
00:08.720: But, you know, the.
00:08.720: We use After Effects some too, but particularly on down and dirty things, we use Motion.
00:08.720: Oh my God, why are you using that?
00:08.720: He said, you know what?
00:08.720: I just think and I think we're kind of starting to approach that where
00:08.720: Absolutely.
00:08.800: I only have to edit 45 seconds of baseball highlights.
00:08.800: It's absolutely no big deal to say you're doing something at high dev, considering your iPhone shoots in high dev.
00:08.800: Is it called the Blue Tinterizer?
00:08.800: And I was like, well, that stinks.
00:08.800: It says something it has like a
00:08.880: And so that was where I really kind of said, okay.
00:08.880: I said, I'm going to do these, I'm going to do these in Final Cut 10.
00:08.880: What was the response to the team?
00:08.960: That was an aha moment.
00:08.960: And again, another one of those sort of themes, you know.
00:08.960: He was 21 years old.
00:08.960: I want to make sure you have plenty of time to get your plane.
00:08.960: You don't have to apply it and adjust it and render it and then decide you hate it.
00:09.040: I can see their sign from my office.
00:09.040: I'm actually going to take a T2I to the golf course with me because shooting outside in the bright sunshine.
00:09.040: And then, um,
00:09.040: And so that was when I kind of sat back.
00:09.040: Yeah, I don't know that I would go that far, but you know.
00:09.040: And I actually made a font
00:09.040: Could delete.
00:09.120: Where the the the the
00:09.120: That's never one that I've said.
00:09.120: That's a lot to be pulling over a network because HTV is such a kind of
00:09.120: The other thing I would tell people, and this is actually one of my big messages about Final Cut 10.
00:09.200: I think it's like comments and reviews or reviews and comments or something like that.
00:09.200: Sorry, yeah, you'll see that from time to time.
00:09.200: Well.
00:09.200: Very cool.
00:09.200: I did this all in the trial version.
00:09.200: But that doesn't always happen because they're like, oh, I can do this and this is cool.
00:09.200: When did he say that?
00:09.280: I appreciate you.
00:09.280: It's on the corner right near the waffle house, right?
00:09.280: You know, I might have it all dialed in exactly like I want.
00:09.280: And I mean, I didn't care.
00:09.280: And I was like, Okay, here's here's my fifty bucks or whatever it was.
00:09.360: Instead of doing that, I was
00:09.360: We bought the 7-10 and 10 to X or 10 to 7, you know, 10 to Pro or whatever it's called.
00:09.360: And I feel like.
00:09.440: This is episode 023.
00:09.440: What it means is that I kind of know what I'm doing.
00:09.600: And I know that in today's day and age, especially in the
00:09.600: And like, not only that, I remember very specifically, I had background rendering on 'cause I hadn't learned to turn it off yet.
00:09.600: But it was also nice to be sort of guided.
00:09.680: And in a funny twist, she and I actually went to college at the University of Georgia together.
00:09.680: And I think compressor too, especially when they're both 49 bucks.
00:09.760: It's almost like nobody refers to
00:09.760: You know, like, this isn't a whole new thing.
00:09.840: Everything he does is slightly cool.
00:09.840: We do some local and regional TV advertising, not a ton.
00:09.920: She deserves credit too.
00:09.920: That's a great story.
00:09.920: And because I didn't do that at first, and
00:10.000: I went through that whole transition and
00:10.000: Now, granted, I wasn't
00:10.000: Well there's Alex's and if you go to fcp.
00:10.000: And I'm working on projects or I'm working on proposals and I can't always remember to
00:10.080: My favorite was getting the general error in Final Cut 7.
00:10.080: It was a lot of fun.
00:10.160: Okay.
00:10.240: So I was like, yeah, I am.
00:10.240: And I always can help somebody very quickly if they're running into an issue.
00:10.240: Ugh.
00:10.320: And it was a simple project, but
00:10.320: The playing field has changed for Final Fat 10.
00:10.320: You know, like, sure,
00:10.400: You know, what I said to myself as the person who has to make the decisions was,
00:10.560: Makes it all much more much easier to do.
00:10.560: com, and that's S-P-A-L-D-I-N-G.
00:10.640: No, no, no problem at all.
00:10.640: I'm going to go ahead and purchase it.
00:10.640: Yeah.
00:10.720: I understand you're jumping on a plane any minute now.
00:10.720: Yeah, just stick with seven for a while.
00:10.720: What they're kind of.
00:10.720: You know, I'm literally really basic After Effect stuff.
00:10.720: You know, it's like unless you're talking to Walter Biscardi.
00:10.800: But you know, shame on me to some degree because
00:10.800: We're constantly having to go places and shoot things.
00:10.800: That's what I wanted.
00:10.800: And then, you know, it was
00:10.960: But yeah, I mean, when it's time to spend money and make
00:10.960: We would do that in seven some, but
00:11.040: I loved what.
00:11.120: I've been to Atlanta before, and there's.
00:11.120: Legacy Classic, I think you
00:11.120: I'm more of a storyteller.
00:11.360: Tape to tape is fine for me.
00:11.520: So, um,
00:11.680: And I was like,
00:11.680: Now do you have a gigabit Ethernet in your office?
00:11.680: It's just, you know, it's the same thing.
00:11.680: It was like a two or three day course, and it was like,
00:11.840: And
00:12.000: But yeah, I mean.
00:12.080: It also behaves similar in a lot of ways.
00:12.160: And I've been editing for a long time at that point.
00:12.320: co there's a whole forum of people who
00:12.480: Yeah, after my interview with Alex.
00:12.640: Why not?
00:12.640: Later, later.
00:12.720: Right.
00:12.800: Right.
00:12.880: He'll explain it much better.
00:13.200: Overwhelmingly, it's
00:13.280: It's dirt cheap.
00:13.440: At this point, let's go.
00:13.600: And
00:13.680: Yet.