Episode 25
FCG025 - The Library Model (feat. Sam Mestman)
The Library Model, XML, Resolve 10.1 & FCPX 10.1, Timeline Index, Markers, Pelican cases and even ancient web sites. We cover that and MORE on this episode of FCPX Grill featuring Sam Mestman of FCPX Works. Track forward and Track back Select in Timeline Index Command 2 to get back into the timeline Export with Chapters to go see all the things that were changed.
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Featuring
- Chris Fenwick
- Sam Mestman - @fcpworks
Transcription
00:00.001: From there, you're going to clone that library probably directly in the Finder.
00:00.001: And I'm not doing the exact workflow that you've been describing here, but there have been many times when I'll give you, for instance.
00:00.001: I'm hoping that that's where Final Cut 10 gets to.
00:00.001: Then you export your QuickTime, and your client can then go through and hit all the chapters and see all the changes.
00:00.001: Now do I have that right?
00:00.001: Alright, Bob, take care.
00:00.080: Nonetheless.
00:00.160: Because I was trying to take notes on what we were talking about.
00:00.160: In a lot of cases, they're going to point you towards Avid and Premiere.
00:00.160: You know, we sell the gear, we're a reseller for pretty much all the different things that you'd ever want to install and add there.
00:00.160: I'm sure that's the only reason.
00:00.160: Lots of actual editors, you know, there's two camps.
00:00.160: As expensive as they were, because he was the one who had gone to all of the classes that knew how to operate the machine room and the Grass Valley and the CMX.
00:00.160: You can go in and really bring something to that.
00:00.160: Feel it.
00:00.160: Get this out there, and I was like, Yeah, this thing is awesome.
00:00.160: I know.
00:00.160: And you keep your library local to your machine, correct?
00:00.160: Don't get them wet.
00:00.160: Close it up and send the other editor a message saying, Okay, new clips in there, new sequence, whatever it is, and then they come and bring it into theirs.
00:00.160: To reference media that's living outside your library.
00:00.160: And you go inside and you click on whatever event you want to check out.
00:00.160: In your original media folder, all the different media and clips from your events are going to have that little alias file with the pointer, which is a simlink, basically.
00:00.160: Master library in the Dropbox, and then have a local library, right?
00:00.160: So for instance, if you're on a SAN, right, and say occasionally you want to this can actually be a benefit, believe it or not.
00:00.160: And now we're copying the entire contents of the sparse disk into a job folder on the RAID.
00:00.160: Like, did you try and locate a few selected files?
00:00.160: In the way that it used to, you know, with compound clips and multi-cam clips and all that stuff.
00:00.160: You're going to have a good experience.
00:00.160: Except all of your parameters.
00:00.160: to your original media.
00:00.160: It just simplifies the process.
00:00.160: until you actually have to do it and something goes wrong and you need to troubleshoot it.
00:00.160: For short-form work, you know, and stuff that needs to turn around quickly, you know, you don't need to leave.
00:00.160: That you used to be able to get with a different user interface.
00:00.160: I don't even know how to say it, but it's Hawaiiki colour or Hawaii.
00:00.160: Because it's a little known thing, right?
00:00.160: You know, that you want to move or whatever.
00:00.160: Spreadsheet, which you can open up in Excel or some of these things.
00:00.160: time code media.
00:00.160: Oval rectangle.
00:00.160: So, when you're doing like a mask or something with using color, and like you're gonna shade outside the mask and inside, and you can do that within Final Cut, and that's what the little vignette tool is.
00:00.160: No, no, well, I don't know if you can keyframe the shape change, but you can change the shape from like a rectangle to from a circle to a rectangle.
00:00.160: It's been exhilarating.
00:00.160: You know, I'm like, well, I'm just going to do my own post house and bring in jobs, and I'm just going to see how far I get with Final Cut 10.
00:00.160: On my own and handling projects, and really getting, you know, getting something new in all the time.
00:00.160: There's a thing called the Wayback Machine.
00:00.160: Frightening.
00:00.160: It does.
00:00.160: In a multi-cam clip, demoing or playing back real time, cutting live, no drop frames, at full quality playback, not even better performance, but better quality.
00:00.160: Cutting live, no drop frames at full quality.
00:00.160: you know, in Red Cine X, where it has been optimized, you can get a full Debayer playback off the new Mac Pro with no Red Rocket.
00:00.160: Once the new Apple workflow drivers, I'm really hoping you're going to be able to get full DBayer playback in Final Cut 10 with better quality.
00:00.160: I think in about like a mon I think it's like a month away.
00:00.160: can kind of revolutionize some of the stuff that's happening in Video Village and some of these other things and the s the size of the carts and where you can go with them.
00:00.160: Very cool.
00:00.240: All right, here we go.
00:00.240: November, when he was on the show, he was hinting about something coming up, and he couldn't tell me.
00:00.240: Works.
00:00.240: that looks like Final Katen on that display.
00:00.240: that he was starting a new group called FCP Works.
00:00.240: Final cut workflows know that it's the platform they want to use, and then want to assemble optimal systems around that.
00:00.240: From there, you know, we sell the gear that we would use and then we support the gear that we would use.
00:00.240: Share any of those publicly?
00:00.240: You know, and I think in a lot of cases, what's going on, the biggest thing that's happening out here in LA is I'm getting lots of calls.
00:00.240: I have nothing against that.
00:00.240: You know, it came out, it was too cheap, it was too good to be true.
00:00.240: there is sort of a closet community of people that are using it because it's accessible to them.
00:00.240: I think you're touching on something there too, which is the ease of use factor for a lot of people, which is in some ways scary.
00:00.240: you know, narrative content creation, right?
00:00.240: Right.
00:00.240: Coming in and doing their own stuff and pulling video in is just like another form of literacy, you know.
00:00.240: You know, what is an editor at this point?
00:00.240: You know, uh it used to be that the editor was the guy whose boss, by blessing of the corporation, would allow that person to sit in a room that was valued at
00:00.240: One of the major reasons that Final Cut is actually getting adopted has actually nothing to do with the editors.
00:00.240: I'm going to do a podcast.
00:00.240: Almost immediately, like maybe even that day, there was this mystery PDF document that was released by these people in England, 10.
00:00.240: I got an email from, I've emailed with them because he sent it to me.
00:00.240: No, I mean, you know.
00:00.240: You know, looks over at you and they go, Oh, yeah, you're that Sam Messman guy.
00:00.240: why he's wrong.
00:00.240: Share anything new that's coming across into the transfer library, and then you know, you just bring it in.
00:00.240: Hidden instances where you can get some duplicate clips or something depending on what you're doing.
00:00.240: And then just use those commands within Final Cut 10 to bring your projects to and from, and you're not going to see the duplicate clips happen.
00:00.240: Should I explain that or just um actually it it would be a good idea to explain the difference between a sim link and an alias.
00:00.240: You have a library that's still referencing the media that lives on the sand.
00:00.240: Elsewhere on the weekends, then come back over and flip back to original optimized, and you're working from your original media, or you can work from your proxies elsewhere.
00:00.240: Right.
00:00.240: I had a project last week that was a pre-10.
00:00.240: That is a bit bizarre.
00:00.240: Because of the naming scheme.
00:00.240: like especially like in the whole round tripping through Resolve, which has grown and grown in popularity, is really the best XML.
00:00.240: Things like spatial conform settings that didn't used to come across in previous flavors of the XML now do.
00:00.240: You know, optimizing for the new flavor of XML.
00:00.240: And have it be lossless, you know.
00:00.240: You know, the idea, I'm hoping that the conform at a fundamental level is just going to go away.
00:00.240: Resolve has just gotten bigger and bigger and bigger.
00:00.240: It's just like a godsend because those red clips are going to show up natively through the XML.
00:00.240: It's just, you know, you plug in the XML, it's going to relink to your originals, and you get going and you do what you need to do.
00:00.240: And bring those into Resolve and then have that come back or finish however you want to do it.
00:00.240: His lips are touching.
00:00.240: And that's, I think, what everyone wants.
00:00.240: Go to a preference window and say go to grade mode, and all of a sudden the user interface changes, and now it is
00:00.240: You know, the colorboard, it's not my favorite thing, but what I do love are the secondaries and vignette options that you have in there are really pretty solid.
00:00.240: spewed about the colorboard versus the old old timey three-way color corrector.
00:00.240: point near black point and and I will say I missed that.
00:00.240: Let's talk l let's take a little side trip, if you don't mind, because you mentioned being a colorist and the color board and secondaries.
00:00.240: Whereas here you've got to drag each of the individual things, and it's just extra motion that's required to get over there.
00:00.240: You know, I don't ever want to sound like I know all the stuff I really don't.
00:00.240: To find all the associated clips that are from.
00:00.240: For those who don't know, a secondary in a color grading session is, you know, your first pass is you're basically balancing your shot, and then the secondaries allow you
00:00.240: to and correct me if I'm wrong, because I probably am is take out individual elements in your shot and say, oh, I want to make the sky more blue or his
00:00.240: You can further narrow it to audio clips.
00:00.240: Because they need to transcribe all the chapter marker time codes for some.
00:00.240: Yeah, to-do is another type of marker.
00:00.240: Then you go and you hit your checklist later on in the edit as you go through and you mark completed, right?
00:00.240: Now additionally, we have a new app that's coming, which actually I demoed at our event, which is ShotNotesX, which is a whole other animal where like
00:00.240: You know, you're basically out of it.
00:00.240: So what I really wish there was, though, is a way, like if I have a bunch of chapter markers, I wish I could export a text file of that.
00:00.240: Basically, you're gonna within 10 minutes of downloading your footage from set, you're gonna be able to have a fully synced, renamed, with 100% searchable script supervisors metadata in Final Cut 10, and this can happen within 10 minutes using this and
00:00.240: Then you're going to export a CSV from that spreadsheet.
00:00.240: A new event back into Final Cut that's going to add all of this metadata to your clips automatically, and then you can go and search however you want.
00:00.240: And it's like stuff like this, that like, you know, and then you think about how that applies then to your timeline index and some of these other things, because you can bring in any kind of keywords you want too based on frame rate and all this stuff.
00:00.240: because it's been keyworded.
00:00.240: And be able to work that way through the end of your Reddit.
00:00.240: Yeah, and it's actually, believe it or not, you know, it's not too far.
00:00.240: Right, and then the other thing that I that somebody pointed out to me and correct me if I'm wrong
00:00.240: Pretty promising, you know.
00:00.240: Help you elongate the thing.
00:00.240: Exactly.
00:00.240: I don't know.
00:00.240: you know, sometimes it can be aggravating, but then you get the breakthrough and it's like, oh, that was awesome, you know?
00:00.240: Yeah, I think I think when um I can I remember it very vividly when soon after Final Cut Studio 3 had been released.
00:00.240: the first day like going through it going okay so um there's colored markers and you know alpha effects and
00:00.240: Yeah, but that effect it should be way down on the list of like cool new features.
00:00.240: On the website, I even have a screen grab of this.
00:00.240: That has a little dot every time the Wayback Machine took a snapshot of the Internet.
00:00.240: It's god-awful, but it's like it's this is fascinating.
00:00.240: Fun, and so since we've mentioned that, we should probably wrap up the show because anybody who's listening now is pulling over and checking out Wayback Machine on their iPhone on the highway.
00:00.240: Oh, that's crazy.
00:00.240: we kind of all put on our little Apple smiley face and pretended everything was okay, kind of like 1997 when we were 90 days from closing the front doors at Apple.
00:00.240: Well, for anyone who wasn't at the event on the 25th, where you still just calling it the event?
00:00.240: Now unfortunately we can't show the Apple presentation, which is the one thing that everyone wanted to see, but I can tell you what happened there.
00:00.240: So basically, the big takeaway from the Apple presentation is they went through a lot of the new features, et cetera.
00:00.240: Finally, and I just I've all weekend long I've been cutting on I've been doing my first edit on it.
00:00.240: You know, for instance, red footage hasn't really been unlocked yet.
00:00.240: And 6K Dragon, by the way, 6K Dragon for you there.
00:00.240: No.
00:00.240: you know, walls and then these little clips that clip them together.
00:00.240: Very cool.
00:00.240: Trek pack, you know, packing materials, archive.
00:00.240: Let's meet, you know.
00:00.320: If you remember, if you go back to the earlier shows, episode number two was Sam Mestman.
00:00.320: On a unified path.
00:00.320: promoting your event that was coming up on January 25th.
00:00.320: Over and over again, which is basically it's like, well, yeah, I mean, it seems like the software has really come a long way, but there isn't a support mechanism or a workflow mechanism for some of the higher level productions out there.
00:00.320: Really, kind of surprised by how much interest there's been so far.
00:00.320: Various places in town there in LA that are beginning to warm up to using Final Cut 10.
00:00.320: Yeah, I mean, you know, I was in college when all that happened, and we were, I mean, you know, my personal experience with that is I was, you know, we were using Avids.
00:00.320: At film school, and then we'd all go back and we'd cut on Final Cut, you know, to actually do our projects.
00:00.320: Industries that we think are going to start adapting video heavily for their average user.
00:00.320: Yeah, and it should kind of piss off a lot of editors.
00:00.320: or their iPad for that matter, um, and cut compelling, you know, stories that people want to watch.
00:00.320: You know, you can actually collaborate as opposed to trying to reinvent the wheel and guess what's on the other person's mind.
00:00.320: So, as an idiot in an edit suite doing a podcast, but anyway, you could tell.
00:00.320: How would you okay, so let's say we go to NAB in a couple of months and you're s in an elevator in the hotel and somebody
00:00.320: Go ahead, sorry.
00:00.320: And it was double-clicking on that icon on the desktop would actually technically be opening the folder that was somewhere else.
00:00.320: You're going to troll-click, duplicate that.
00:00.320: So what's going to happen next is the other editor is going to reconnect to his media that's on another drive.
00:00.320: So it just depends on what your workflow is.
00:00.320: So if you're creating optimized media, doesn't it automatically put it inside the library?
00:00.320: And it's going to automatically reconnect all of the other clips in that event because they're all from the same directory.
00:00.320: So here's one little caveat to that, is that if you have audio files and you bring home your proxies, you're going to need to reconnect those because it doesn't make
00:00.320: Or keep those on your local drive.
00:00.320: Now one quick question.
00:00.320: Okay.
00:00.320: So we make a folder on the desktop, not on the desktop, but on the RAID, and we copy the contents of the sparse disk over everything.
00:00.320: No, I didn't change the codex, none of that.
00:00.320: Because one thing to try would be this, you know, because sometimes you may have some alphabetical files up top that might be a little funky for whatever reason.
00:00.320: Yeah, and you know for certain things I still think Avid has a leg up on Final Cut 10 in terms of shared workflow and same goes for Final Cut 7 and Premiere.
00:00.320: So you had mentioned XML earlier.
00:00.320: Effects will round trip.
00:00.320: Sparkly.
00:00.320: Over the last, you know, again, and I don't follow the whole color grading world like Alex does, but you know, over the last, what, let's say, three years.
00:00.320: Color grading tool of choice in the bell, and I'm talking about the bell curve, not the fringes, is turning out to work really well with that
00:00.320: You know, red-headed, freckled, bastard stepchild of an edit system that nobody even wants to utter in their facility.
00:00.320: The holy grail is, can I get that polished, finished, you know, fully graded look in my timeline?
00:00.320: I don't want to go to another app.
00:00.320: Nine out of ten times, you know, I could probably finish already in Final Cut because, and if I could figure out a way to get my color surface going in there and I could just go shop to shot, I mean
00:00.320: the the idea of not needing to conform and being able to because for the most part i can get done wherever i need to do in final cut between the raw controls and
00:00.320: you know, I've spoken with a lot of people over the last few months and it and frankly, it's been a pleasure and a real learning experience for myself.
00:00.320: So, I mean, I learn stuff from everybody, but one common thread that I've had in a lot of conversations is the fact that we are
00:00.320: Shirt more red, or actually, Chris, let me hold you off one second because there is something I think people should know about the Timeline Index because it's happened to literally every single person I've ever talked to about it.
00:00.320: To get back over to the timeline, and then you can move that group of clips however you want.
00:00.320: I understand.
00:00.320: Do keywords, they can do scene take and notes fields, whether it's a circle take, all that stuff.
00:00.320: Hugely helpful.
00:00.320: You just export a CSV and you're going to bring that into ShopNotes X2.
00:00.320: So you were talking about color, you were talking about secondary.
00:00.320: Where I talk about, I think it's like six or seven different controls.
00:00.320: like something else comes out or gets released or gets announced or somebody, you know, uncovers a fit.
00:00.320: You know, I got back and I was, I had a little bit of a leg up on Final Cut 10, and I had the option of going back to my job or sort of striking out and
00:00.320: You know, I'm a little bit of a robot.
00:00.320: It's and it was just the, you know, this is what I have done.
00:00.320: Two different people who have been guests on the show trading tweets back and forth because they have like come into the little Final Click Grill family, you know
00:00.320: of mounting dividers inside of like your pelican cases.
00:00.320: How small it is.
00:00.320: ShotNotes X, the new app that they're coming out with.
00:00.400: And he's going to talk about FCP Works here.
00:00.400: Well, basically, and thanks for the promo, Chris.
00:00.400: Time-sensitive, high-level things, and they may run into a workflow issue, and there's really very few places to go outside of digging through a mountain's worth of forums.
00:00.400: How they and let them talk kind of on their own terms.
00:00.400: You know, with people like their toe is usually a few people within an organization who really want to do it because they're all cutting with it at home and they're trying to figure out it's like 1999 all over again, isn't it?
00:00.400: And then they bring that influence into the workflow w into the workplace.
00:00.400: And law transcription and some of these things because of the metadata and logging tools that are now so accessible to like the average person, you can have doctors, lawyers, and coaches.
00:00.400: I mean, I I w we have, you know, three to five edit suites, depending on how you count them, here in our office, and we share stuff all the time.
00:00.400: bring your media in to your library, but keep it out of the library.
00:00.400: for our funny clips from the internet folder, which was buried somewhere in a document folder, but we'd make an alias on the desktop.
00:00.400: So what you would then want to do is like have a separate folder for audio only clips that you're going to copy and paste over in the event that you need to take your hard drive elsewhere from the SAM.
00:00.400: This is not compatible when I try and reconnect.
00:00.400: And the project was in there.
00:00.400: Relative to the library.
00:00.400: Is to scroll down past like the weirdly named stuff that's usually going to be at the very top of the book and then select a range of clips that you know without a shadow of a doubt that should reconnect.
00:00.400: That was reversed, and I've actually spoken with some people that say that the 10.
00:00.400: You know, I don't use the Resolve, but Alex McLean, who I do Digital Cinema Cafe with, he keeps showing me stuff in it.
00:00.400: What I have found actually is that even some of the variable speed changes, they'll come into final cut or they'll come into resolve correctly now, which was kind of shocking.
00:00.400: You know, and it's and it's all just like, it's like, there just should be a better way.
00:00.400: you know, better scopes, you know, all the little tricky stuff you need in a full grading session.
00:00.400: Just cracking the surface of what we can do with the Timeline Index.
00:00.400: Very cool trick.
00:00.400: Yep.
00:00.400: Of just the text data.
00:00.400: Buttons in in the both in the shape mask and in the the color mask.
00:00.400: Yeah, I mean, it's kind of it's a very manual thing.
00:00.400: So, you know, depending on what you need to do, you know, you just do SliceX because it has a color correction module within SliceX.
00:00.400: Yeah, I mean, you know, I I remember it it was funny like I when I transitioned over
00:00.400: New ways to do things that would never have even occurred to me, but I had to figure out because I would, you know, you're in a new environment.
00:00.400: And at the top, go ahead and go to it while I'm talking, and then in the top middle section of the URL or of the web page
00:00.400: Really cool.
00:00.400: Yeah, I got to get better at that whole social media thing.
00:00.400: Like that would theoretically be impossible, or just you know, it's like, yeah, it's well, let's make a point of hooking up when we're at NAB.
00:00.480: Showing like networking devices and that's my phone going off.
00:00.480: Help you build integrated systems using Final Cut 10.
00:00.480: I apologize for that, but you might want to slow this down and do a little data forensics on it, maybe get it transcribed, because Sam knows what he's talking about, and there's a whole lot of great stuff in this episode.
00:00.480: something coming up.
00:00.480: That kind of it can't, you can't use it in a work group.
00:00.480: And so basically, you know, you're all working from the same thing and they're all cloned, but you're only working from yours and then you just
00:00.480: and make sure you use put the projects in their own event, make sure there aren't associated clips with it, and then you're just going to use the move event command or the copy event command to bring it over to the transfer library, which is also cloned.
00:00.480: User, let me deconstruct this a little bit and just a little slower from my head.
00:00.480: Yeah.
00:00.480: It does not create proxy media from audio files.
00:00.480: And just try and reconnect those to the new media and then see if you get the same problem.
00:00.480: Right.
00:00.480: The way that media works in Final Cut 10, and the way that libraries work, and the way that passing things to and from works.
00:00.480: Final cut, you know, or you're going to resolve or something and then you plan on coming back.
00:00.480: And I was looking at some of the screens and I'm like, good grief, that looks just like Final Cut X.
00:00.480: Where this is all headed, where it's the dream scenario of being able to start in one app, go to another app, go to another app from there, and then maybe return.
00:00.480: And I think it's getting better all the time, and it's far more stable than it used to.
00:00.480: So it'll get in there.
00:00.480: As they're going along through you know through production, as they would normally be doing anyway.
00:00.480: Watching somebody do a demo about the alpha effects.
00:00.480: No, I mean uh basically I just found like my original version of my uh We Make Movies website.
00:00.480: It's like, you know, you're keeping tabs on people, and like everyone is kind of unafraid to share these cool things that they're finding, which I think is.
00:00.480: Did you got to come this year, though?
00:00.480: And adding effects, you know, I mean, it's like, it's, it's great.
00:00.480: It's a Storm 2500.
00:00.480: His Mac Pro and like um there was like six little um G Raid modules and then a G Raid
00:00.480: drive and like really like uh th the bomber kick butt um DIT system, you know, set up.
00:00.480: One last thing.
00:00.480: We will see you next time on Final Cut Grow.
00:00.560: Oh, I've been good.
00:00.560: Nervousness about adopting it.
00:00.560: So for us, we think there's a real opportunity because the software has come so far that we think it's ready for prime time.
00:00.560: there are people that talk about what are called fractals, where you see patterns that happen time and time and time again in Advent item.
00:00.560: Final Cut actually allows people who are not necessarily established editors to do work that professional video editors currently don't even think to touch.
00:00.560: have are interested in editing and working with their editors and collaborating directly, which is like terrifying on some levels.
00:00.560: then the directors can go and test out all these crazy ideas in their heads that you already know probably aren't going to work.
00:00.560: What can you tell me about who wrote that document, who they are?
00:00.560: What day was that?
00:00.560: Hugely cleared up, and really the key is, and it's really simple, is put your media in a folder
00:00.560: Attached drive, correct.
00:00.560: And or master library, I should say, that you're working from that's been cloned for each editor.
00:00.560: caveat to it.
00:00.560: into a color grading app and back was the biggest hurdle to my background and it's like the dirty little secret it sounds really easy
00:00.560: Yeah, and I mean that you know for me if like I could get if someone would just develop a good curves plugin
00:00.560: To have your grades carry through across your shots.
00:00.560: So you can still do this in Final Cut, and you want to select the clip and then scroll down, shift select all the things, all the clips.
00:00.560: And there are many ways that you can view it.
00:00.560: I hate the idea that we're that this is the thing that you're promoting because like who cares about alpha effects?
00:00.560: 16 streams, 4K ProS.
00:00.640: And then you get the people that are kind of peeking over the fence that are like, oh, gee, this is kind of cool.
00:00.640: And, you know, and a lot of people are terrified by that.
00:00.640: A day's event, right?
00:00.640: Yes, I think that is what we all want.
00:00.640: So, which shade of red do I want to go towards?
00:00.640: And so basically the idea of having to go through and like do all this renaming and all, you can just get down to editing pretty much immediately now.
00:00.640: You know, some on-set post is what I like to call it.
00:00.720: You probably are too young to remember that Media 100 had an ad that basically said, you know, fire your editor.
00:00.720: I mean, you may have known more than I did, but I was just literally this idiot in an edit suite up here in Northern California who said,
00:00.720: Well, I mean basically you just put your libraries in in the Dropbox and the Dropbox is local and if you keep your
00:00.720: So in Final Cut 10, there has been a lot of angst.
00:00.720: Yeah, and you know, I'm really glad you did, man.
00:00.720: Yeah.
00:00.800: really fast.
00:00.800: So, and like markets that we're looking at are like assisting coaches in game film and medical
00:00.800: Don't get them wet.
00:00.800: So, but the easiest way that I've found is, and you know, there's no, you know, like there's always more than one way to the same place.
00:00.800: So say you have an assistant editor who's logging clips, doing metadata, all this stuff, whatever it is, and is
00:00.800: So, all that you're gonna wanna do moving forward is you're gonna have this master library, right?
00:00.800: And that's how you know, you know, what's in there.
00:00.800: What you want to do is basically, well, there's a couple different ways, right?
00:00.800: And so, what you would do is you would transcode the proxies to your portable drive that you can take home with you on weekends.
00:00.800: Yes.
00:00.800: That I thought secondaries were when you like, I want to select the blue in the sky or the red in somebody's shirt, make that a little more blue, a little more red.
00:00.800: Actually, alive when you're working again, and that's usually not a feeling that you get unless you're working on your own project.
00:00.800: TrekPack is and this is like so far from the video technology that we're talking about.
00:00.880: that are basically designed around Final Cut Apple centric workflows.
00:00.880: That was the editor.
00:00.880: You know, well, the reality is 10.
00:00.880: Checkbox turned off.
00:00.880: And it's kind of a game changer in terms of the way that like you no longer have to worry that all these things are going to get messed up going to and from editors
00:00.880: And that's about it.
00:00.880: At any rate, I had screen-grabbed the little thing that said, Look, we have colored markers.
00:00.880: Hey, Sam, I got to let you go.
00:00.880: Just try one show and you'll be hooked.
00:00.960: as opposed to going in somewhere and they're like, well, I don't know, did you call Apple?
00:00.960: media out of them, they become really lightweight.
00:00.960: Okay, so I have a question for you.
00:00.960: I have seen, even though I have the create optimized media
00:00.960: So you made the library from the sparse disk, and then you took the media and you put it on the radar.
00:00.960: And there's no difference in the media.
00:00.960: Once those tools get an update for probably 95% of jobs that aren't like really high level features and some of these things where you really need to go in and go crazy with stuff, anything that's going to the web, you're going to be able to finish within that app.
00:00.960: Or on a door, for instance.
00:00.960: I think I I don't know if that I've ever mentioned that on the show, but it is a good tool.
00:01.040: Well, basically, you know, FCP works.
00:01.040: It actually sounds like too good to be true, to be honest with you.
00:01.040: Okay, so in the you mentioned the reconnect one file thing.
00:01.040: Whoa.
00:01.040: Or various listeners who are like, I see them having these ongoing conversations with them.
00:01.040: And it's only going to get better too as more of the other companies are optimizing for it.
00:01.120: It's going to reset your parameters to zero when you round trip.
00:01.120: I just realized I opened an a a functioning project, so I shouldn't be screwing around on this too much.
00:01.120: It's been, you know, kind of like the idea of discovery.
00:01.120: So there's a company that I'm totally into right now.
00:01.120: I mean, it's like, you know, kind of, it's wide open now in terms of what you can do and like the types of things that you can now
00:01.200: I can't really, I don't want to name any names because it's, you know, they're clients and it's the same thing.
00:01.200: So actually, I do want to ask you about that because when 10.
00:01.200: I kind of like it.
00:01.200: What's Sync and Link?
00:01.200: But the thing of it is, is if you have your script supervisor fill out the spreadsheet, right, as they're going along, and they can
00:01.200: But certainly, but in a lot of those cases, you're probably not going to have a script supervisor on set either.
00:01.200: That you can rename according to scene, take, and camera angle, and it'll be pretty much immediate.
00:01.200: Actually, you can.
00:01.200: And we actually just posted a couple videos to fcp.
00:01.200: Well, I don't know if we can do any, if we're going to do anything formal.
00:01.280: Another episode, Final Cut Grill 025.
00:01.280: How would you explain that?
00:01.280: The arguments that people used to have, doesn't work in a shared environment, are kind of pretty much put to rest.
00:01.280: And I think that a common thing that I hear people say over and over is that this software just makes editing fun again.
00:01.280: And anyone who's listening out there who wants to come out, you know, set up an appointment.
00:01.360: But then there's also, usually within the same organization, there's a whole bunch of people who are like closet users.
00:01.360: Yep.
00:01.360: It's just literally coming from the way it was to the way it still is.
00:01.360: Where you can export, for instance, project timelines, and it's going to export all kinds of different things related to your sequence that you can then share.
00:01.360: Is that what a secondary is?
00:01.360: Now that actually is that not considered a secondary?
00:01.440: You know, adding clips to a master library, right?
00:01.440: But let me ask you this.
00:01.440: Because and also, like, what are your priorities?
00:01.440: Yeah.
00:01.520: And then soon after you actually contacted me and told me all about FCP Works.
00:01.520: Because actually, I can open up my email and take a look for the actual name.
00:01.520: Yeah, I mean, that was literally what it was like.
00:01.520: So here's the.
00:01.520: Yeah, so you put sparkle motion on there and then you mess with some of the parameters and do keyframes and all that.
00:01.520: His lips are touching.
00:01.520: I knew what I was getting into.
00:01.520: So you may have to but what you will be able to do is you can still use the audio synchronization, so then it'll take a little bit longer if you don't have
00:01.600: I'm getting way off topic here.
00:01.600: And just amazing little setup.
00:01.680: My library is separate from your library, but I also want to do multiple events in there.
00:01.680: So basically like I'm actually going to launch the app.
00:01.680: So, because in a lot of cases, your 5D stuff is going to be MVI, whatever.
00:01.680: Especially with the new ramping that it has in Ten One.
00:01.680: Now, and actually, one thing I'll say about the uh the mask too is you can change the shape on it.
00:01.680: So you can like it you can see old websites and it like you can go to apple.
00:01.760: So what you're saying is in the timeline index, actually let's back this up a little bit.
00:01.760: Who would think that would work in a computer?
00:01.760: It's mind-numbing.
00:01.760: I had mentioned some of the iTunes comments last week.
00:01.840: Okay.
00:01.840: Now, here they'll select in the timeline, but for whatever reason, if you move your mouse over and you grab one, your selections are going to be gone, right?
00:01.840: So it all depe if you know how you want to work, you can pretty much be prepped and ready to go within moments.
00:01.920: Crazy.
00:01.920: And you don't need a script supervisor to make this work.
00:02.000: And I want to figure out a safe way where I don't get fired to try and get this into where we're working.
00:02.000: It's going to be wrong.
00:02.000: Or I think that's what most people want outside of the people who've made an incredible living off of keeping all of it a secret.
00:02.000: You're doing the same thing.
00:02.000: We got something cool coming up.
00:02.080: What a big mistake that was.
00:02.160: No.
00:02.160: He was the guy who was allowed to touch that stuff.
00:02.160: Okay, so type in a URL that you know of from 5 or 10 or 15 years ago, maybe your own website.
00:02.160: This has gone too long, but always a pleasure to chat.
00:02.240: But when 10.
00:02.240: And yeah, I mean, I've put it in the show notes a couple of times, and it's and it's huge.
00:02.240: Here's some, well, you could use Dropbox if you wanted to, also.
00:02.240: I see.
00:02.240: various workflows for sharing environment in a shared environment.
00:02.240: Now, one thing you need to keep in mind about effects is that
00:02.240: And I think that's where this is heading, and I think that's what everyone really wants.
00:02.240: But then at about 11 o'clock, there's a little white dot that allows you to pull that out and you can make the you can make it more squary.
00:02.240: Is that is like boom mind-blowned, right?
00:02.320: My only beef with it is that I think it's too sensitive.
00:02.400: Yeah, I've always thought that the, I'll call it voodoo that you had to step through to get from a timeline.
00:02.400: There's lots of different ways to do it.
00:02.480: So we were kind of, you know, hey, let's talk about color for a while.
00:02.480: There's the ones who are like, This can't be done.
00:02.480: Well, usually I'll ask the first question is going to be, well, why why do you think that is?
00:02.480: It was it had gotten up to be a little under three hundred gigs, and somebody had made a three hundred gig sparse disk.
00:02.480: So when 10.
00:02.480: And if you plan on finishing a resolve, you might be able to get away with it.
00:02.560: Is it the gear that you use or is it the way that you use your gear?
00:02.560: You can keyframe the masks.
00:02.560: I think I got it off of archive.
00:02.560: And this is 180 degrees from that.
00:02.640: Did you upgrade to 10.
00:02.640: That's the one.
00:02.640: And I demoed that and basically Sync and Link only works if you have time-coded media, though, right?
00:02.640: So a 16-camera multicam.
00:02.720: Well, that sounds like a really great idea, except Sam, I keep hearing that Final Cut 10 doesn't work in a collaborative work environment.
00:02.720: Does producer's best friend not do that?
00:02.800: Audio files that you've synced to?
00:02.800: So so if I was like, let's say for example, I'm still shooting well, I don't shoot, but we still shoot a lot of DSLR stuff.
00:02.800: That's a good question.
00:02.800: What are some ways that we can use the XML with Final Cut 10.
00:02.800: So, anyway, I think we were talking about secondary color corrections.
00:02.880: And you know, when they want to talk, like you're going to hear about all this stuff.
00:02.880: 1 is a major update for this sort of thing.
00:02.880: And then it'll go through, it'll keywords, sync, etc.
00:02.880: But if you're on Sneakernet, you're going to have that media probably on another hard drive.
00:02.880: Well, I think that's the other thing.
00:02.880: And then there's like different kinds of markers.
00:02.880: Yeah, that's where you're you're basically targeting a part of the image.
00:02.880: I like, I'm not.
00:02.880: Mo most people probably know it better as a Pelican 1510, which is the carry-on version of the Pelican.
00:02.880: So there you have it.
00:02.960: No, that's okay.
00:02.960: So if you're using Excel, numbers, or a script supervisor program like Scripty.
00:03.040: So you literally just copied and pasted it.
00:03.040: So I think within the next couple of months, it's going to be rock solid.
00:03.040: It's not like it's tracking it or anything.
00:03.040: I'm finishing five hours earlier, and then I'm working on other stuff while I'm telling my client that I'm still there.
00:03.040: It's kind of hard for me to grasp that because I have so much work to do between now and then.
00:03.120: And so I walked over and I started chatting with him and it an hour later I was finally leaving.
00:03.120: And so, our goal, really, at the end of the day, I mean, you know, you may or depending on what stores you go and frequent.
00:03.120: This is, you know, like I said, one way to do it.
00:03.120: But in terms of like a workable, efficient way to get stuff between editors, I mean, the library model is huge for that.
00:03.120: And I think, like, I can't imagine that that wouldn't be the direction that this app takes.
00:03.120: I've been learning a bunch of stuff.
00:03.200: Hey, so joining us here is Sam Mestman.
00:03.200: And then you have one for each editor, and then you have a transfer library where you send stuff into a transfer library.
00:03.200: You could do it as long as you knew what it was, and everyone followed the protocol and did not, you know.
00:03.200: And the question is just where that media points to.
00:03.200: And like everybody just assumes, well, it gotta go s through some, you know, DaVinci, you know?
00:03.280: And I want to apologize that we were kind of all over the map.
00:03.280: There you go.
00:03.360: Now, one plug-in that I would really recommend if you want your three-way back, and actually that's great and it has a lot of extra controls, is
00:03.360: You can view your roles, you can view your markers, you can view the clips.
00:03.360: I'm going to be there.
00:03.440: Really busy, but but all good things.
00:03.440: Really?
00:03.440: Did you try and reconnect individual files further down the line than just the first one?
00:03.440: 0 first came out, one of the beefs at 10.
00:03.440: First off, a lot of people used to miss the track forward button and the track back button.
00:03.440: That's okay.
00:03.440: And this was on the new Mac Pro.
00:03.440: So you're going to see a significant performance upgrade.
00:03.440: Well, let's hope so.
00:03.520: Okay.
00:03.520: You're going to put it on another drive for an editor who's going to go work remotely, and the two of you are just going to do whatever it is that you're doing.
00:03.520: That seems to be the problem in this theory.
00:03.520: Oh, yes.
00:03.520: Yeah.
00:03.520: Explain.
00:03.520: Why would I do that to a door?
00:03.520: And that was, wow, this is about the laziest update ever.
00:03.520: Well, and that's what's really, I mean, that's one of the things I think we're going to be showing off is
00:03.520: So, anyway, tons of stuff.
00:03.600: I think there's a bit of a hole, unfortunately, on the professional side, and it's something I've been hearing
00:03.600: So it's apparently officially a professional non-linear editor.
00:03.600: It's the exact same files.
00:03.600: You can open in Timeline to apply the Hawaki color setting, and then it's going to ripple across.
00:03.680: Everything is there.
00:03.680: Because I mean, it is nice some of the things that Avid does with Unity and
00:03.680: Yeah, it's like, I think that's right.
00:03.680: I basically, on episode 25, I will talk about all the cool stuff I learned on episode 24.
00:03.760: But essentially, like in a nutshell, and I'm not doing it justice here, FCP Works is a company that helps
00:03.760: And one of the things that we're actually looking at, and I can talk a little bit about how some of this would work, but is we're actually looking at entirely different
00:03.760: I'm pretty much following what you're saying.
00:03.760: No, what are you trying to reconnect?
00:03.760: And anyway, somebody posted an image of a Mac Pro in
00:03.840: He was starting with some other people.
00:03.840: So, I will say you guys have pretty crap security down there at the old FCP works, because I've been hearing rumors through the grapevine that there are.
00:03.840: I was definitely in the camp that said, you know, $1,000 cannot be a professional editor.
00:03.840: That's crazy.
00:03.920: I was not specifically involved in this nightmare, but I don't believe that was attempted.
00:03.920: You know what?
00:03.920: Okay, yeah, that'll do it.
00:03.920: co.
00:03.920: I don't like to say DIT anymore, because I think posts should be happening on set.
00:03.920: org.
00:04.000: Right.
00:04.000: I don't know.
00:04.000: So, you know, we have Shot Notes X coming out, which is
00:04.000: I think, frankly, it would be just too depressing if I said, Yeah, we're having a final grill meetup, and nobody showed up.
00:04.080: Well, or you can keep it up on the SAN.
00:04.080: Yes, yes, yes.
00:04.080: Okay.
00:04.080: I've turned to podcasting.
00:04.160: It should be like
00:04.160: Because this was before I had someone who knew what they were doing doing it.
00:04.160: Later, later.
00:04.240: There goes there.
00:04.240: I've heard about you.
00:04.240: You know, it's far more straightforward and it works.
00:04.240: But it it after forcing myself to kind of wrap my head around the colorboard, I will say
00:04.240: It's going to merge those two together based on the clip name that you have.
00:04.240: I'm tuning in periodically.
00:04.240: So what can you tell me?
00:04.240: They're called Trekpack.
00:04.320: Yeah, actually, really.
00:04.320: We don't want to use it.
00:04.320: 1 was released in December, I think it was 19th or 21st or something like that, right before Christmas, thank you.
00:04.320: Right.
00:04.320: And you're doing a bunch of eye matching and stuff.
00:04.320: It'll just mean that you're going to have to go through and select your two clips, but they'll be renamed so you'll be able to figure out really quickly which ones they are and which ones sync together.
00:04.320: I think I almost lost Sam when I mentioned archive.
00:04.400: I appreciate that.
00:04.400: Make sure all of your media is living outside of it, so you're using Symlinks.
00:04.400: Within there, if you've kept your library outside the lib, if you've kept your media outside the library.
00:04.400: And so you may need to reconnect those if you take your media elsewhere.
00:04.400: That's usually referred to, I mean, in the resolve, that's a power window, basically.
00:04.400: There's seven controls.
00:04.480: And even within the professional editing, here's something I can tell you that's currently happening in a few places: is
00:04.480: 1 was released, you know, last time we talked it, we were still at 10.
00:04.480: And an alias is a small pointer file that allows me to put an eye.
00:04.480: Oops.
00:04.480: But the fact is, you don't have to worry about your reframes and some of these other things and reconnecting from your ProRes to the other
00:04.480: And you set a to-do marker with like whatever the note is, right?
00:04.560: All the sound, all the graphics, all the effects, et cetera, et cetera.
00:04.560: Yeah, I saw those.
00:04.560: But yeah, why did I bring oh, anyway, it was very cool.
00:04.640: I don't normally do this when I'm talking, but I'm launching an app.
00:04.640: 1 project.
00:04.720: But again, he's going to talk a lot more about that.
00:04.720: Because he emailed me and was like, you know, could you?
00:04.720: It works much better.
00:04.720: That's a nice plug-in.
00:04.720: Oh, yeah, no, I can do a whole podcast with you on this, but I know, I know, I love it.
00:04.720: I mean, it's crazy.
00:04.800: And with us, our goal really is to be the Apple store for pro video editors.
00:04.800: I mean, you know, I think what, yeah, but you know, the flip side though is what makes an editor?
00:04.800: You may reset some of your things.
00:04.800: Yeah, check it out.
00:04.800: At any rate, and you know, he says more than that.
00:04.880: Tonight or this morning, whatever time you're listening to the show, I'm gonna we're talking with Sam Mestman.
00:04.880: Where you bring some of that stuff in.
00:04.880: The exact same media.
00:04.880: Now, you can't keyframe the color changes, but you can keyframe the masks.
00:04.880: Not even better performance, but you know, pixel for pixel.
00:04.880: Quick summary.
00:04.960: So that's one thing.
00:04.960: And also, the fact that all of the balls are, whereas with the color wheels, you know, you were able to go from the center to whatever color you wanted to go to.
00:04.960: It sort of hadn't happened to me for a few years when it came to workflow.
00:05.040: This is what a conversation with Sam can be like.
00:05.040: So that was the big Apple thing that by the way, I just installed our Mac Pro.
00:05.120: I think he's in a I don't know if he's an employee or a founder or whatever, but he's definitely a part of what's going on there.
00:05.120: No, man, you're internationally known now.
00:05.120: Yeah.
00:05.120: You export your round trip, it's going to have all your settings on there.
00:05.200: And there's a couple things you should probably know about doing that because there's a couple
00:05.200: I think quickly.
00:05.200: .
00:05.200: No, but still, slice X.
00:05.280: It's crazy.
00:05.280: I have not been able to ascertain who that is.
00:05.280: Yeah, Final Cut 10 doesn't work in a work group.
00:05.280: It's, you know, I think that, like, that's.
00:05.280: Oh, it's the best thing ever.
00:05.360: And even if it's not, it's close enough because I'm tired.
00:05.360: And I'm like, yeah, you know, that's just a key trick.
00:05.440: No, I want to talk about the timeline index.
00:05.440: 1 before you moved it off the sparse disk?
00:05.440: But do some testing beforehand.
00:05.440: Resolve has better tools for it, or more expanded tools I should say.
00:05.440: Are you serious?
00:05.440: There was a great one this week from CRT Cat.
00:05.440: I really appreciate it.
00:05.520: And we're, you know, it's, we've actually been
00:05.520: Yeah, exactly.
00:05.520: Hope you enjoyed that talk.
00:05.600: It was unpaid for.
00:05.600: I will tell you this as well is that it is being used in work groups.
00:05.600: So, really, what you want to do if you're passing new projects and some of that, make sure you have cloned events.
00:05.600: But you've also want to transcode proxies.
00:05.600: 1 XML is
00:05.600: We loved the three-way color corrector.
00:05.600: Very cool.
00:05.600: When you bring in your footage that's been downloaded off the card, you're going to bring it in and bring it into Final Cut, export an XML.
00:05.600: So actually, no, what I had said was
00:05.600: The middle control positions it, the little one off to the side rotates it.
00:05.680: You were able to do this previously.
00:05.680: What?
00:05.680: , all this stuff.
00:05.680: So here's a tip for that, which is where you can do your to-do list, right?
00:05.680: org, the Wayback Machine.
00:05.680: I'm like, oh, cool.
00:05.680: Not 16 camera multi-cam 4K, but you know, it was fun.
00:05.760: Anyway, he was showing network devices, and I walked by and I was like
00:05.760: We're going to use Premiere and Avid, and like, you know.
00:05.760: And then you have these lightweight libraries that can be opened by anyone and you can pass stuff to and from and everyone can be working off the exact same media.
00:05.760: Each user has their own library that they're using.
00:05.760: 1?
00:05.760: Yeah, so about 20 minutes ago.
00:05.760: Oh, that like blew me away
00:05.760: Well, say you wanted to darken the outside of the door and change the lighting outside, but you wanted to keep the lighting inside.
00:05.760: No, so I mean, it's just been, to me, it's been.
00:05.760: Well, I got to tell you, I'm really glad, you know, social media or not, I'm just glad I ran into you at NAB last year.
00:05.760: One other thing we are showing is
00:05.760: You know, we were and you can get Dragon playback in a 6K timeline in the new version of Final Cut.
00:05.840: I think we're clearly beyond the territorial editor era.
00:05.840: Because you're going to copy and paste the media folder where everything lives onto that drive.
00:05.840: What the hell is this dialog box that keeps popping up that says
00:05.840: So I was working in sparse disks for the reasons that you used to work in sparse disks.
00:05.840: It wasn't like I went and transcoded it.
00:05.840: Third-party plugins, some of the other stuff, that is one issue if you're going to
00:05.840: Like, it just shouldn't be this damn hard, you know?
00:05.840: And you can do basically what you could do with that is you could make like a rectangle mask to like say, I'm going to put a color grad on the sky or something.
00:05.840: And they're movable and rearrangeable and they have this system where they have these
00:05.840: They are a company that has this really awesome system.
00:05.840: We talked about the library model, we talked about XML, we talked about
00:05.920: And now you have any kid who wants can sit down on their MacBook air.
00:05.920: He was like, Do you guys know about this?
00:05.920: It just depends on how you want to work.
00:05.920: Yes.
00:05.920: And it's been perplexing vexing me.
00:05.920: However, one thing that does work now is titles.
00:05.920: And right now, it's just better, except when it doesn't work.
00:05.920: Then you go to all your completed markers and you change the marker type to a chapter marker.
00:05.920: And that you should be able to do that.
00:06.000: Well, you know, it seems like it should be, it seems like I'm doing it the right way.
00:06.000: Right.
00:06.000: Well, there's that and also things that drive me nuts on it, to be perfectly honest, are the fact that it splits red in half.
00:06.000: The timeline index is the little pullout on the left-hand side of the timeline.
00:06.000: Well, no, I mean i i if you have to do it, to be fair, it is a good tool.
00:06.000: What is next for FCP Works?
00:06.000: And although they are not sponsors of the show, I would love it if they were because I think they have an awesome product.
00:06.000: I can't exactly tell you where we're going to be or what's going on, but if you're interested, drop me an email at sam at fcpworks.
00:06.080: So I'll try not to complain to you.
00:06.080: And in those scenarios,
00:06.080: Right.
00:06.080: Okay.
00:06.080: In some cases, it works.
00:06.080: But I think you can can you keyframe the masks?
00:06.080: I've totally lost you.
00:06.080: But in terms of if you're interested in 4K, they demoed 16 streams of 4K footage.
00:06.160: It has to do with the directors.
00:06.160: That's crazy town.
00:06.160: So say you're on a SAN, right, and you have your different libraries for your different editors, et cetera, or you have your transfer libraries living on there.
00:06.160: Well, no.
00:06.160: And a lot of people don't know that.
00:06.240: And I have since found out, and you've probably heard me talking about it on the show.
00:06.240: So it was a functioning ten point one project inside the sparse disk.
00:06.240: And I think longer term,
00:06.320: But the difference with us is that if you have a problem, you call us and we help you.
00:06.320: And it's not really that functional for people who are doing
00:06.320: And, you know, it's a similar thing now.
00:06.320: I mean, even as a user, you could tell there was something in the air that something was going to happen.
00:06.320: So, say you've gone through and you've made an entire movie, and it's in this tiny little lightweight package.
00:06.320: Everything is in the relative same position, nothing will reconnect.
00:06.320: 00, no XML.
00:06.320: So you still have to.
00:06.320: Oh, very cool trick.
00:06.320: I will put those in the show note if you got three more coming this week, hopefully.
00:06.400: Well, it was going to be a short episode.
00:06.400: It's like you want to respect people's privacy and
00:06.400: And then you'll have keywords populating some of these other things.
00:06.400: Okay.
00:06.400: Okay.
00:06.400: It's going to go to resolve.
00:06.400: You don't even have to add them to the media pool the way that you used to and figure out what files everyone put them in and all that stuff.
00:06.400: And then finding out and discovering.
00:06.400: And then, and then I remember.
00:06.480: And I met Sam last year at NAB.
00:06.480: So tell me about what FCP Works is and why do Final Cut editors care?
00:06.480: But there's
00:06.480: If they can go in and make a basic attempt at what they had in mind, they can show it to you.
00:06.480: Essentially, what you're saying, though, is that
00:06.480: Mm-hmm.
00:06.560: And I don't know if you even caught this, but on a couple of the late December episodes I was actually
00:06.560: Or the other thing is, is you find that
00:06.560: So you would just need another pass-through.
00:06.560: And so, one thing to try if you run into this, just to see if any of this worked.
00:06.560: That is a good thing.
00:06.560: I'm not that good of a friend with producer's best friend.
00:06.640: And then constantly seeing something evolve, like we'd sort of been static, I think, for probably five or six years.
00:06.640: I'm like, ah, that's really cool.
00:06.720: Sam, how you been?
00:06.720: So, because you can also use XML for some of this stuff too.
00:06.720: So in workflows where you have a script supervisor, this is going to be
00:06.720: And I think that was kind of the point where
00:06.720: It's just like every twelve hours, I'm finding something cool that I want to talk about.
00:06.720: Hey, likewise, Chris, hopefully, I'll be seeing you soon, man.
00:06.800: And we have kind of a host of packages depending on what you're doing.
00:06.800: And
00:06.800: So if you're doing optimized media,
00:06.800: There you go.
00:06.800: You know, and it's kind of shocking, too, because
00:06.800: Yeah, I think one thing that people
00:06.800: I'd really recommend that if you miss your three-way functionality there, and then you just use copy and paste attributes, and you can use the timeline index.
00:06.800: That's cool.
00:06.800: Oh, yeah, yeah.
00:06.800: Do you ever use that, by the way?
00:06.800: All right.
00:06.800: Oh, okay.
00:06.880: I think there's still a couple bugs in the resolve workflow because there's still
00:06.880: I mean, it really is.
00:06.880: And you could be doing it either by drawing a key off of it, pulling a key off of something, or doing some sort of a shape.
00:06.880: And it's awful, right?
00:06.960: Can you
00:06.960: Well, actually, in a way, it is.
00:06.960: And as long as you understand
00:06.960: So there's lots of different ways.
00:06.960: Yeah, and then you're going and you're looking at time code and you're like, I think that's the right frame, and then you're going frame by frame.
00:07.040: So once that happens, he's going to put those into, if you're doing it by day's worth of footage, he's going to put it into
00:07.040: And what I actually found is I was really bored with editing at my regular freelance job.
00:07.040: org.
00:07.120: 09 and we knew it.
00:07.120: And if you control-click your library and go to show package contents.
00:07.120: You may still need to conform.
00:07.120: I'm going to rope.
00:07.200: Okay.
00:07.200: So one issue with the proxy workflow is that
00:07.200: That's the only like
00:07.200: Yeah, it's not an accident, I don't think.
00:07.280: And as an interviewer, I was not very good at reining him in and keeping it on a
00:07.280: So, this really that the 10.
00:07.280: And, you know, your brain shuts off, and you're just like, another day, another dollar.
00:07.280: Dude, the Wayback Machine is hours of
00:07.280: com and look at the 1998 version of the apple.
00:07.280: Wow.
00:07.280: And we're kind of that's one of the things we'll be highlighting.
00:07.360: Now, I'm just going to tab over here to my notes from the conversation, and I'm just.
00:07.360: It's forever.
00:07.360: And I was like, Yeah, I actually saw this and it was awesome.
00:07.360: You have until the lobby in the hotel to explain to him.
00:07.360: There's plenty of cool little tricks like that.
00:07.360: So,
00:07.360: I think I have to wrap this interview.
00:07.440: So
00:07.440: But it has to be a SAN.
00:07.440: Oh, look at that.
00:07.440: So, like, if I put, you know, some.
00:07.440: And the Mac Pro, depending on what you want to do.
00:07.520: If you're working from a SAN, it's all working from the exact same media.
00:07.520: It wasn't like I went and trimmed a frame off of everything just to piss it off.
00:07.520: You can keyframe the shape change.
00:07.520: Did you see just in the last couple of days somebody posted
00:07.520: Go to iTunes, check that stuff out, and leave a comment.
00:07.600: And frankly, it's somebody I'd love to have on the show.
00:07.600: So what can you
00:07.600: You just had, it was like gremlins, you had to know the rules.
00:07.600: Right.
00:07.600: Timeline index, to-do markers.
00:07.680: Thanks for joining us on this episode.
00:07.680: So a sim link um is basically an alias, but it's the alias that Final Cut makes.
00:07.680: I will try that.
00:07.680: So
00:07.680: Crazy.
00:07.760: Yeah, actually, it's a kind of a similar you know, if you look at the history of this business and technology and everything,
00:07.760: And then you can bring that local drive with you, cut and proxy
00:07.760: And like that's kind of mind blowing to me.
00:07.760: It really is amazing.
00:07.760: Right.
00:07.760: There you go.
00:07.760: I actually did a whole tutorial on my ChrisFoner.
00:07.760: I'm looking forward to running into some of you at NAB coming up.
00:07.840: Again, this is a fractal to like 1997.
00:07.840: Oh, it's crap.
00:07.840: And it just seems like it wouldn't be that big a deal to just
00:07.840: I think everybody eyedroppered for days, you know, picking your white
00:07.840: So you have your performance and blah, blah, blah, and it's going to be red.
00:07.840: And then all of these things will actually show up in the timeline index as well.
00:07.840: I'm going to.
00:07.920: This thing's really cool, actually.
00:07.920: Oh, that's clever.
00:07.920: And then when it comes back, that effect is still going to be applied.
00:07.920: So it all depends on what you need to do.
00:07.920: It just, you know, you find that you're
00:08.000: But they can play that out on their own.
00:08.000: You know, I don't think that's anything I don't think that's something we've really talked about much on the show yet.
00:08.000: Now at the end of the day, you can still get the same look that you wanted to from the colorboard.
00:08.080: I know it is a bit ironic, isn't it?
00:08.080: And you're always working from the same things.
00:08.080: It's like, oh, I just found a button.
00:08.080: I actually really kind of like that.
00:08.160: This is just what I tend to do.
00:08.240: So last time we talked, you were on episode two of the Grill here, and you hinted at
00:08.240: Yeah.
00:08.240: And everything lives
00:08.240: And the idea of working and always being able to reference your original files.
00:08.320: It's so easy, even you can do it.
00:08.320: Okay, that's not really a whole feature.
00:08.320: And, like, it's what I also like is that it seems like there's a community around this stuff again.
00:08.320: So like in a lot of cases, they haven't really taken advantage of those dual GPUs yet and some of the other things.
00:08.400: And I think that's, we're getting closer to that every day, where it's just like, set it and forget it, you know?
00:08.400: Right.
00:08.400: I think one of the coolest things is when I see
00:08.400: You talk about the Mac Pro and just
00:08.560: Because
00:08.560: So you'd need your transfer library that's not going to have the optimized media.
00:08.560: It's crap.
00:08.560: There you go.
00:08.560: What do we have to look forward to?
00:08.560: We're gonna pull you off the floor for a little bit.
00:08.560: I don't know if that means cathode ray tube, but he says.
00:08.640: But uh Sam is an extremely knowledgeable guy.
00:08.640: It can't be a shared
00:08.640: And all you need to do is just reconnect one clip.
00:08.640: And I would recommend doing that in general at this point.
00:08.720: But in other ways, I think what's really interesting is right now, video, when everyone thinks video, they think about
00:08.720: We could
00:08.720: But let's
00:08.800: And basically what it comes down to is directors now
00:08.800: However, this has been
00:08.800: Yeah, and I do that all the time.
00:08.800: Okay, in the resolve world.
00:08.880: Yeah, I actually hadn't thought of that.
00:08.880: No, no big deal.
00:08.880: No, but I'm curious.
00:08.960: No, no, it's cool.
00:08.960: Wow.
00:09.040: And so this company is built around customers who have
00:09.040: Okay, sorry.
00:09.040: Right.
00:09.120: He was working in somebody's booth and he was.
00:09.120: So titles should round trip just fine.
00:09.120: And then it's going to send
00:09.200: So, between all that stuff, for usually, like
00:09.200: So I don't want to get go too off on that.
00:09.200: This is this is scary, it's really, really
00:09.200: Wow.
00:09.280: So each
00:09.280: You might move some of these clips.
00:09.280: And very quickly, that was.
00:09.280: One thing is there's been a lot more functionality added.
00:09.280: I mean, you know, and for years now I have been saying that, you know, to me
00:09.280: There's lots of different things you can do actually in 10
00:09.280: Oh, dude, when I found the inside-outside
00:09.360: Yes.
00:09.360: And most importantly, all the media.
00:09.360: And so it's kind of ironic that, like, the
00:09.440: Oh, I know.
00:09.440: Right.
00:09.520: So, how could that possibly be true?
00:09.520: This seems like it's
00:09.520: And then all of a sudden, you know, it's like
00:09.600: And one of these patterns is what happened when Final Cut 1.
00:09.600: And in some cases, they will work.
00:09.600: So if you're listening, please come be a guest or something.
00:09.600: Like, for example, back in olden days, we would make an alias.
00:09.600: Or you can put this in Dropbox, but you have a master project that you're working from.
00:09.600: I mean, even the way the speed changes work, all that stuff, you know.
00:09.600: But
00:09.600: But it's basically the exact same concept as a Resolve power window, and you can still do a lot with it.
00:09.600: It's like our MCC.
00:09.680: I mean, it just depends on the market.
00:09.680: So you're going through, you go in with your client, right?
00:09.680: Everything but the monitors in his carry-on.
00:09.680: And congratulations on the podcast.
00:09.760: No, I mean, what I can talk with you about, though, is some workflow stuff and how it's being used.
00:09.760: And there are lots of places, and there's lots of
00:09.760: I had just paid a crap load of money for my Media 100.
00:09.760: But for the right editor, it actually is so much easier because
00:09.760: 1 release really broke down the
00:09.760: So you can keep a
00:09.760: And the guy shows his
00:09.840: And for what we're doing, we could be working
00:09.840: You need to do command two.
00:09.840: There's the four green dots that
00:09.840: That's exactly it.
00:09.840: And just type in your URL, hit return, and you'll get a calendar.
00:09.920: And, you know, let me.
00:09.920: So we said, well, let's move it out of the sparse disk because we don't need to have sparse disks anymore.
00:09.920: And he goes, hey, check this out.
00:10.000: Is that because Larry Jordan said so at IBC?
00:10.000: 1, apparently, no relation to 10.
00:10.000: However, it probably won't round trip.
00:10.000: com website.
00:10.000: And stopping the recording.
00:10.080: So we're recording the audio separately.
00:10.160: Right.
00:10.160: So it's literally just the same directory.
00:10.240: I do chapter markers for one of my clients.
00:10.240: The DC Works launch event on the 25th, which was
00:10.240: You know, give us some stars.
00:10.320: Now
00:10.320: Right.
00:10.320: Yeah, it just seems like every day.
00:10.320: I remember like
00:10.320: Wow.
00:10.320: We just got it this week.
00:10.400: Check this out.
00:10.560: I threw you off.
00:10.560: I mean, especially if you're doing red workflows.
00:10.560: So you're going to have a fully organized project that you can.
00:10.640: And
00:10.640: So you can take your media away from the SAN.
00:10.640: Okay, so there's Intelligent Assistance has an app.
00:10.640: Oh, cool.
00:10.800: Yeah, we're going to get to that in a second.
00:10.800: It all depends on how you want to arrange it.
00:10.800: Yeah.
00:10.800: And yeah, so that you all right.
00:10.800: There's some stuff that we're gonna want to show you.
00:10.800: So
00:10.960: It's going to open up in a
00:11.040: That's kind of what we'd like to be.
00:11.040: I don't care yet.
00:11.040: So go to archive.
00:11.200: Now, back in uh d I believe it was late
00:11.200: So when I wanted a good laugh, I could just go to there quickly.
00:11.200: Seriously?
00:11.200: Okay, back to the Timeline Index.
00:11.200: And then that stuff is then going to be searchable throughout your edit as well.
00:11.360: com website.
00:11.440: But the thing is, if you can open up a direct line of communication,
00:11.440: And then
00:11.440: Thank you, Apple.
00:11.440: That's a crazy town.
00:11.440: It helps more people find out about the show.
00:11.520: So, without any further ado, let's go to Sam Nessman from FCP Road.
00:11.520: And that's basically why I had to start the podcast.
00:11.600: But it shows that, like,
00:11.600: And once it gets optimized for
00:11.600: It's awesome.
00:11.760: We were talking about.
00:11.840: And once I switched over, and I was, you know, kind of.
00:11.920: Okay.
00:11.920: It just turned into this thing where, like,
00:12.080: You also mentioned secondary.
00:12.080: com and you know, I can hopefully give you a little more info.
00:12.160: That's going to be the next question I have for you.
00:12.160: But the question really is how much you want to pay for that.
00:12.160: Yeah.
00:12.240: To be honest.
00:12.240: Okay.
00:12.320: I just wanted to get a little bit ahead of the curve.
00:12.320: So you may already know about that.
00:12.320: It's like a community not a lot of people know about, but the ones.
00:12.320: So, thanks for having me on.
00:12.400: That audio is not going to be
00:12.480: 1.
00:12.480: Go ahead.
00:12.480: Have you heard of this yet?
00:12.560: Merry Christmas.
00:12.640: Well, Chris.
00:12.800: Who would do that?
00:12.800: org.
00:12.880: Wow.
00:13.120: And then you have locally
00:13.120: I'm just going to throw out a quick tip for people.
00:13.200: So for instance,
00:13.200: Right.
00:13.440: So there's a lot of
00:13.520: So in
00:13.680: 0 came out.
00:13.680: Okay.
00:13.680: No problem.
00:14.000: Yeah.
00:14.160: Take care.
00:14.160: So, thanks for listening.