Episode 26
FCG026 - Distant Sharing (feat. Dustin Hoye)
How do you work with remote audio and assistant editors? Listen in on my chat with Dustin Hoye as he explains how they produce The Next Bite sporting show with the help of non local talent.
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Featuring
- Chris Fenwick
- Dustin Hoye - @thenextbitetv
Transcription
00:00.001: I didn't know what they were either until I started doing this show.
00:00.001: For their ad agencies.
00:00.160: Killer.
00:00.160: Sounded great.
00:00.160: I think that's like the holy grail in our business, you know, video and film production, is to find people that have a great message
00:00.160: You know, if somebody's thinking, oh yeah, a phishing program, because I can remember seeing phishing programs 20 years ago, you really have like the 20th, 21st century edgy sort of, you know
00:00.160: to try to level that playing field just because it's a challenge for ourselves as well.
00:00.160: So it's guys out doing guys stuff in boats and on on the ice and you're looking for, quote unquote, that next bite.
00:00.160: A lot of the times the best action is with the worst weather, particularly with muskies.
00:00.160: So I'm from Missouri.
00:00.160: And everybody just expected this finished product like right out of the gate.
00:00.160: Bought a new car and they're like, Oh, this thing's really great.
00:00.160: from an editing standpoint, and at least in my workflow, like it was making things faster, even when it was unstable.
00:00.160: playing with Funk at 10 over the weekend and I kind of liked it.
00:00.160: 'Cause every now and again, I mean we work fast, every now and again a GoPro clip or something might have snuck into the to the library package.
00:00.160: it's thousands and thousands of changes per clip when it comes to color correcting the show.
00:00.160: be looking at the monitor and seeing the change and making it with the puck, and I just I know which direction to go.
00:00.160: I don't know if intuitive is the word for that, but And then do you typically gang multiple instances of the color corrector on onto shots?
00:00.160: Generator on top, and then you have maybe two or three color correctors.
00:00.160: that's just part of production.
00:00.160: Okay, here's version one, it's my string out.
00:00.160: For the TV show.
00:00.160: If I'm going to shoot 4K with it, then I'm going to do that because more often than not, I'm delivering ten eighty p.
00:00.160: The flesh tone indicator, the skin tone indicator is in RGB overlay.
00:00.160: I don't want to run multiple compressors on multiple components.
00:00.160: All the audio was green, all the video was blue.
00:00.160: That would be kind of sweet.
00:00.160: or it shows its location, but if you actually select them in the index, it doesn't parallel select them in the timeline.
00:00.160: Go to the iTunes and leave your comments.
00:00.160: So, actually, for the next few weeks.
00:00.240: Hey, so welcome to another episode of Final Cut Grill.
00:00.240: Now being a tech-centric guy, I thought BITE was B-Y-T-E, and it's actually B-I-T-E because it's a phishing show.
00:00.240: the World Fishing Network that I'm not exposed to that.
00:00.240: Are you talking about in terms of like salvaging footage because you're shooting in such difficult situations?
00:00.240: I really fell in love with the Midwest, you know, driving through like Missouri and stuff like that.
00:00.240: You know, anything and everything outdoors, you know?
00:00.240: I mean, basically, the fish are sort of the ones that dictate what's going to happen.
00:00.240: weather wise and lighting wise and timing wise with everything else that's going on, that stuff is an afterthought, but it's also sort of parallel with
00:00.240: Yeah, they're the the big dogs we're gonna cover it all on this show.
00:00.240: And I'm like, I don't know.
00:00.240: Very interesting.
00:00.240: Better get on this, you know?
00:00.240: And I couldn't stand it.
00:00.240: Did you just make a a change or did you dabble and then run back to seven?
00:00.240: I don't know if that was reckless or not, but I guess that's just how I am.
00:00.240: How many episodes?
00:00.240: I never found that the cons outweighed the pros, so I kept going forward with it.
00:00.240: cop to the fact that, well, actually it's not as good as I thought.
00:00.240: I mean, there's no doubt.
00:00.240: took everybody's word for it instead of figuring it out on their own.
00:00.240: But yeah, I mean, I know the type of situation you're talking about.
00:00.240: Oh, yeah, it's crap.
00:00.240: So, it's really almost kind of like an inverse thing.
00:00.240: But it's interesting because your commitment in the beginning was a big one.
00:00.240: Other people, do you pretty much uh ride the show from beginning to end yourself?
00:00.240: I do.
00:00.240: Basically, when he gets home, he will collect the P2 data to a hard drive, one of these lacy, rugged drives, five hundred gig, you know, and just dumps it off there and then he'll FedEx that
00:00.240: So are you using, are you using, are you still pushing events around or are you using XML?
00:00.240: project file that it just doesn't it's not as sure.
00:00.240: The event.
00:00.240: like color correction stuff didn't travel with the XML.
00:00.240: We were using XML for basic edits, for string out stuff.
00:00.240: And you are going to open the package contents and you are going to check.
00:00.240: But it's easy.
00:00.240: When you share that library to the next person, we never have a problem with relinking in that sense.
00:00.240: Final cut.
00:00.240: I also can't say that I can't accomplish or that, I mean, I'm able to do everything I need to do in there, and I'm color correcting.
00:00.240: Or to create excuse me, to create uh to pull a key off for a for a uh color mask?
00:00.240: And I don't know if that's heresy to say that, but I do.
00:00.240: for creating a what is it called?
00:00.240: wisps or threads or whatever you want to call them, you know.
00:00.240: is when you're in that sublevel of like with the colorboards showing up and you've got multiple corrections, it would be really great to have the ability to name those layers.
00:00.240: So that I could, you know, hork around on my image like this and then go, Oh, yeah, and then cut it off at ninety uh cut it off at a hundred percent.
00:00.240: oh, I can just keep dropping in instances.
00:00.240: Big master around.
00:00.240: So what I'll do is, I'll do all of my color correction in the master edit, and then in the Unistream cut, that's where I'll actually apply the broadcast save filters.
00:00.240: Yeah, you can make your vignettes with it.
00:00.240: look sweet.
00:00.240: Now, are you still using Magic Bullet Looks in 10?
00:00.240: I mean, really, like, I'm trying to create it's an outdoor show.
00:00.240: color methods more akin to looks or things like that.
00:00.240: to create these templates in motion where everything is correct, everything is title saved, everything is spaced correctly, and all they have to do is enter the information.
00:00.240: I mean, that's one side of it.
00:00.240: And it being buried in clothing and stuff.
00:00.240: You can just use the frequency.
00:00.240: Now you're saying if you have another template for the all of a sudden I'm going to do a podcast about fishing
00:00.240: I believe so, yeah.
00:00.240: Or is it just some magic voodoo that just makes it work?
00:00.240: It it works.
00:00.240: Double-click the WFN lower third, the one thing that it doesn't do, it will transform the graphic around the text.
00:00.240: Types of artwork for that network.
00:00.240: and you double-click the WFN one, it's going to default to whatever setting you had in motion.
00:00.240: you'd still need to go up to the inspector and change it to the three drop graphic and that sort of thing because you've got multiple things to select from in your dropdown.
00:00.240: It's still, I mean, whoopee.
00:00.240: You know, client comes back and is like, oh, yeah, well, we want to make a few changes.
00:00.240: It certainly saved us a ton of time.
00:00.240: Something, I mean, it's all done within the package, pretty much.
00:00.240: mixed uh assets.
00:00.240: Red footage to GoPros to ABC HD to um DBC Pro, um, MXF.
00:00.240: Editing with a tower, so I decided to do everything on a MacBook Pro just to see if I could do it.
00:00.240: Right, right, right.
00:00.240: At first, I was like convinced that Red Cinex was the only way to deal with that.
00:00.240: So Dustin, it sounds like 10 is working.
00:00.240: There are so many things, so many aspects of post-production that I do in Final Cut.
00:00.240: Done.
00:00.240: Particular day was, I don't know, maybe it was pointing the wrong way, so you wanted to put a little bit of peak in it, whatever, to pull it out of the mud.
00:00.240: or disconnected, what we'll have is in the components, I'll have the EQ and the compressor goes on the container.
00:00.240: with all of the Gary clips selected.
00:00.240: Audio components are part of a clip.
00:00.240: Right.
00:00.240: And some audio is inevitably separated.
00:00.240: I will sep I will step back into the bin, I will find the multicam clip, I will double-click on it, open it up in the multicam editor
00:00.240: you know, and never leaving it attached.
00:00.240: Instead of just the markers.
00:00.240: It's cool because I can search them out by typing added in the timeline index.
00:00.240: I switched back.
00:00.240: I typed B being tech-centric, I typed B-Y-T-E, and I'm like, dude, your URL is.
00:00.240: Yeah, you can check our stuff out there.
00:00.240: But very interesting to hear some of the things that Dustin deals with.
00:00.240: So that's another episode of the show.
00:00.320: Editor.
00:00.320: But um so anyway, he works on among other things, but one of the things he does is he helps produce a show called The Next Bite.
00:00.320: So I had to I always when I hear AE, I always think After Effects, but an assistant editor who works remotely.
00:00.320: I have to go on the roof and get the snow out of the satellite dish so we can do the Skype thing, which blows me away.
00:00.320: So it's kind of long.
00:00.320: You know, yeah, I mean, basically, if the law of mic can find Velcro in a zipper, it seems like it's going to.
00:00.320: And, you know, I have grown up my whole life basically in California, and I've always just sort of seen like, you know, the those middle states as, you know, kind of the forgotten afterthought.
00:00.320: Outdoorsman angler on the lake.
00:00.320: I mean, that's certainly a social hurdle that being like I had to get over, you know?
00:00.320: the guy said it was probably our best episode in terms of being the most visual with things to see.
00:00.320: You know, because that's the holy grails you want to see quote unquote that next bite.
00:00.320: we're we're dealing with a camera guy.
00:00.320: and I decided we were gonna start doing cartoons.
00:00.320: Right, yeah, because I was just doing animations at the time and Joseph had just started doing animations.
00:00.320: We were just kind of thrown into here's a beta deck and here's the network delivery requirements and go.
00:00.320: Or would you do okay.
00:00.320: And I had a friend of mine ask me, we were doing these live streaming events, and he had asked me, what do you think about Final Cut Pro X?
00:00.320: Yeah.
00:00.320: So from a post standpoint, I'm going to guess, I'm just making an assumption, in the beginning of this show, were you on Final Cuts six and seven?
00:00.320: What you're used to seeing, it's not, you know, you're used to a much more text-based look, and there's these green stars and things.
00:00.320: Oh, absolutely not, actually.
00:00.320: a seasoned system.
00:00.320: whether it is, you know, your edit system or the car you drive or nope, we're moving to Oregon, honey, or whatever, you know, and you're gonna make a major shift like that, that sort of inherently we choose and we
00:00.320: I well, the thing is defending it.
00:00.320: Okay.
00:00.320: Correct.
00:00.320: not it doesn't work for me with effects and things like that.
00:00.320: Event out of library that I'm working in on drive A to the same drive so that it's a copy operation and not a move operation.
00:00.320: That everybody is saying you can't do.
00:00.320: 'Cause everybody tells me you can't do all this stuff in Final Cut 10.
00:00.320: Media is external.
00:00.320: Yeah.
00:00.320: Using the colorboard or correcting the hues or using the eyedroppers for selective color correction, which is a huge
00:00.320: Yeah, like so for sky, sky is a a big thing.
00:00.320: Colors that you definitely need to rein in.
00:00.320: fairly straightforward is if you hold down the shift key while you're using that eyedropper, you can continue to add more range to that.
00:00.320: Like if you draw, if you pull your eyedropper out the first time, it's like, oh, look, I got seventy percent of the sky.
00:00.320: Right, because I mean, you know, no matter how organized an editor is, I mean, when you're doing that much color correction, like it you don't always have the sky eyedropper as layer one, you know what I mean?
00:00.320: In my main, my master edit timeline.
00:00.320: The face is appropriately exposed versus the background.
00:00.320: You could select the NBC lower third, go to the WFN, the World Fishing Network that you're so fond of.
00:00.320: The World Fishing Network logo, and you're saying that I have the ABC template in the timeline
00:00.320: And I just double-click on the new template, it's going to change all the artwork, but leave the name and the title the same.
00:00.320: I did not now is that a function of the fact that maybe you're naming the fields the same?
00:00.320: If you were to be in the rollouts and you've got a three drop NBC lower third, for like special thanks.
00:00.320: And if they're editing it or changing it or modifying it or tweaking it, he only has one timeline to manage, and then he can
00:00.320: And that one actually really blew me away too.
00:00.320: And it's really cool.
00:00.320: But very cool way of doing it.
00:00.320: If I had one timeline with Albin's Rolls trick, it would be much easier.
00:00.320: What do you say to people who are kind of on the fence and like thinking, mm, I don't know about that Final Cut 10 thing?
00:00.320: really, they should just try it.
00:00.320: what their needs are like anything else.
00:00.320: I don't want to say that there's it does everything because I know for a fact it doesn't, but there's not a lot of things that it can't do if you give it a chance.
00:00.320: Ultra H D.
00:00.320: So the 3K was 2 to 1 and the 120 frame is 2K 2 to 1.
00:00.320: because that's my it's the m uh most cost effective means to access Thunderbolt, which is how I run, you know, my drives and my color systems.
00:00.320: And then I asked a question that really sort of derailed the conversation.
00:00.320: But in the interest of having the good content, I'm going to leave this in.
00:00.320: But I kind of felt like I needed to.
00:00.320: Swerve into that skin lane, I don't exactly know what it is that I'm looking at at all times.
00:00.320: Window as opposed to in the timeline.
00:00.320: But the problem is that goes to clips and not components.
00:00.320: and apply a little negative green to it in the multicam editor.
00:00.320: Very cool.
00:00.320: So there you have it.
00:00.320: You know, laugh at people who are.
00:00.400: Outdoors program that airs on NBC Sports, World Fishing Network, Discovery Networks, Destination America.
00:00.400: And then some of those parkas, I can imagine.
00:00.400: Yeah, one of them, yeah.
00:00.400: And preferably people who have the money to pay for it.
00:00.400: I guess sort of ironically timely quote from Ghostbusters where the guy, the security guard, tells Bill Murray that
00:00.400: That that's what matters the most, I think, you know, to outdoorsmen.
00:00.400: or at least challenging with our show is that it's not scripted.
00:00.400: you know, how you're dealing with that with all that footage is, I think, where I'm where I'm headed eventually here.
00:00.400: Yeah, Esox and Wasquenjee.
00:00.400: started working at a local station and became creative director at over at ABC down there and then got into a small business after that that the it just didn't work out.
00:00.400: And what were you shooting on?
00:00.400: Yeah, yeah.
00:00.400: I don't know, consider it because to me it sounded like Express or something.
00:00.400: But the thing that I loved about it right away was that it felt so much more fluid.
00:00.400: With stems and a trackless timeline did for me.
00:00.400: I mean, seriously, man, like, there were so many things that people said you couldn't do with it that you could if you just looked.
00:00.400: simultaneously with the shoots that I may need access to that footage for.
00:00.400: Um, the way that I prefer to do it, uh, the easiest and least surprising after the fact way, because XML just
00:00.400: So you've got your library system, which is just a package.
00:00.400: Outside of the fact of making sure that everybody's motion templates and third-party effects are set and ready to go, I basically just copy
00:00.400: As we progress further and further into these versions and things are added and moved around, it's really just a matter of trying it.
00:00.400: Yeah.
00:00.400: part of color correcting, I think, in Final Cut Pro 10, the eyedroppers and shape masks.
00:00.400: These guys wear like red brain suits.
00:00.400: rein in the the crazier, higher IRE stuff and then start to actually use the pucks on the colorboard
00:00.400: because they affect a grander scheme, a range of color or exposure to do the main meat and potatoes color correction.
00:00.400: Making everything safe, and then you're screwing it up again with the color corrector.
00:00.400: Yeah.
00:00.400: I just don't find myself using it.
00:00.400: And I'm not talking about the software, but it was a moving lower third.
00:00.400: Don't hold your breath.
00:00.400: First, without much playback.
00:00.400: Something yeah, I'm just doing math in my head here.
00:00.400: Yeah.
00:00.400: And three, you want it to just kind of flow and be smooth and have but most importantly, have some good content.
00:00.400: Ah.
00:00.400: audio preset filters, for example.
00:00.400: Real quickly, the other thing would be multiple scopes.
00:00.400: Oftentimes, the thing that goes along with that is selecting it.
00:00.480: And they look great.
00:00.480: He works very remotely.
00:00.480: leaves a lot to be desired.
00:00.480: and trying to keep up.
00:00.480: With the other stuff, the fish catching part of it.
00:00.480: Um so went from D V Cam.
00:00.480: Young software, the problems that were associated with it early on made it fun, but the way that the media is presented in it
00:00.480: And it took me a minute, I guess, and actually I jumped right in.
00:00.480: There's a psychological thing, and I think I've mentioned this on an episode in the past, where when you make a choice to go down a path.
00:00.480: Okay, so depending on what's being shot, like the core content for the show is done by Greg Underdahl of New Leaf, and he's out of Minneapolis, and he
00:00.480: Everybody has different needs.
00:00.480: The sky is one of the things that typically gets not a lot of love, I guess, as far as like exposure goes.
00:00.480: You know, back in the day it was just one, but whatever.
00:00.480: Yes, yeah, yes, yeah, because you can just use those so many different ways, yeah
00:00.480: If you were to hold on, when you say two drop, do you mean like a two line lower third?
00:00.480: To turn on and off and export different languages.
00:00.480: Export it, he can set up presets where he can export the English version, export the German version, export the French version.
00:00.480: whether it's handling H.
00:00.480: So um I should actually ask you about the red.
00:00.480: Optimize media or proxies in your timeline and then swapping out, or are you leaving it native?
00:00.480: I don't know how people are going to feel about that.
00:00.480: So let's say you have an audio preset.
00:00.480: And you create, let's say, Gary's sound bites were all had the word Gary in it.
00:00.480: Search for clips, search for the name Gary.
00:00.480: Select all, and then hit Command 2.
00:00.480: Right.
00:00.480: Sure.
00:00.480: uh so that I can run through and and and do a second uh color correction pass.
00:00.480: Working on color using the built-in tools.
00:00.560: Brings out a whole new set of opportunities and things that are different.
00:00.560: and syndication in like Budapest and Canada.
00:00.560: No, it it's uh it's a trip because uh the footage that I work with a lot uh
00:00.560: I mean, there's some good content in it that gets buried in a multitude of a sea of nothingness.
00:00.560: No, I I used to, but it was just too much time being gone shooting anything.
00:00.560: Was like, if you guys move to Wisconsin, we'll help you start a business.
00:00.560: And with Final Cut, I mean, it's certainly seen quite an evolution.
00:00.560: You have mentioned to me offline about the f the fact that you're doing most of your I think you I think you told me you're doing most of your color work inside Funnel Cut.
00:00.560: Okay.
00:00.560: Or threshold, and basically I use them to bring the highlights in, checking my scopes.
00:00.560: And you know, they wanted the white background to be really white, white, white.
00:00.560: You can keyframe those.
00:00.560: Not programmed, but you know, you set up lower thirds interact that you can interact with in Final Cut Pro 10, but I built them in motion.
00:00.560: Constantly, there would be mistakes.
00:00.560: scale them up because they're wider and not as tall wise.
00:00.560: Workflow for 10, and then I will actually optimize that.
00:00.560: But when you actually look at it next to each other, for me anyway, like the stuff that I'm shooting, like the education stuff I'm shooting in 4K for the T V show
00:00.560: And it's only because I'll bet they are.
00:00.560: back like in 10 four and five.
00:00.560: And I will instead of I will fight the urge to go and like, oh, that shot's a little green and like change it on a you know instance
00:00.560: And then just, hey, here's a compound clip with all the sound work in it.
00:00.560: He does all of his own color, and he does it in, and he's really sort of embraced the color board and all of the power of it.
00:00.640: His World of the Psychics is his second favorite program to Bassmasters.
00:00.640: It was interesting, I guess.
00:00.640: And I'm sure you've heard this before.
00:00.640: So so that's a big commitment.
00:00.640: But no, I I think, you know, like those 3 a.
00:00.640: Because we don't want to potentially admit that maybe we made a mistake.
00:00.640: I've been training him this year on that.
00:00.640: If you're worried about it, I mean the one thing that I would say that I do that is constant with using a transfer library is that you are going to look in the finder.
00:00.640: I mean, it's between those and the circular masks, for example, I guess.
00:00.640: Yes, yes, I do.
00:00.640: just because it's easier uh for a couple of reasons, is that I will do all of my corrections
00:00.640: My point is, I guess, now with color and Final Cut 10, is that I'm trying to go for the more natural look, especially in a lot of the main shots, because it is an outdoor show.
00:00.640: I say it's going to be on NBC.
00:00.640: What I'll do with like what's different with editing red footage or color correcting red with Final Cut Pro 10 is that I'll actually lay the edit out natively.
00:00.640: As an interviewer, as a podcaster, there's three things you try to do.
00:00.640: And it got so wonky that at the end of it, you know, even he said, Yeah, we might want to just cut all that stuff at the end.
00:00.640: Let's see.
00:00.640: Well, this is like getting dangerously close to like my old workflow, which was that's exactly basically audio components is sort of like an exact reflection of what I was doing
00:00.640: And that's how I would run like sections of dialogue so that I could just go inside the compound clip, put the EQ filters on those, but clean up the timeline.
00:00.640: So while you can highlight that, you can't exactly export only that.
00:00.640: So that's it.
00:00.720: It it sometimes it sounds like maybe the mics are like buried under out Snow Parka in the you know in the in the frozen tundra, but other than that
00:00.720: that I was going to edit season eight in it.
00:00.720: And we how do I even say it?
00:00.720: We collaborate with other people and we're all located in different places.
00:00.720: And it's not hard to you get your dialog window that says, do you want to copy your optimize media or proxy media?
00:00.720: I mean, you can really do some nice shading and some really good color work.
00:00.720: Like, I I would like to like do my color here, for those of you listening on a podcast, Justin and I are actually doing a video chat and I'm holding my fingers up in front of the camera.
00:00.720: So and it is weird that you have to use two versions of it to accomplish luminance and saturation, but
00:00.720: For those are I mean, that's the first thing that QC looks at per network.
00:00.720: Done.
00:00.800: they were doing the first season of The Next Bite.
00:00.800: So that while he's organizing, the footage is coming my direction.
00:00.800: Once I've set up that transfer library, essentially I just delete the dummy event that was in it from the start, and then I'm able to just zip that and email it.
00:00.800: I mean, again, it's you know, it's funny 'cause it's a lot of its preferences.
00:00.800: Split between After Effects and Photoshop.
00:00.800: I'm just using the basic sharpen filter in Final Cut, and I'm not seeing much of a difference in what I can achieve quality-wise out of Red CineX versus Final Cut Pro 10.
00:00.800: I don't know.
00:00.880: He works.
00:00.880: Dustin?
00:00.880: Okay, so yeah, you know, I've been for the last half hour I've been watching the Next Byte stuff on YouTube.
00:00.880: You want to be there for that moment.
00:00.880: This is what Keith is going to say.
00:00.880: Then that's the story end of it.
00:00.880: Yeah.
00:00.880: I'll make sure that I've externally consolidated all of my media out of that library.
00:00.880: I mean, I don't think that what I have right now is.
00:00.880: I used to use compound clips, but just asset management after years becomes a bit of a nightmare.
00:00.880: So there's no cropping whatsoever, letterboxing, anything like that.
00:00.880: That being said, when I'm working with Red, obviously it's a choking point.
00:00.880: Or basic editing, that there's actually a huge list of things that I would like to see.
00:00.960: Yes, yes, and that's definitely a challenge for the camera operators because it's
00:00.960: Well, ironically, I went to school at Missouri State.
00:00.960: pretty much shipping hard drives.
00:00.960: You would visually pre-think that.
00:00.960: Because you know it's the big it's yeah, well it's the guaranteed that you're not gonna file right exactly.
00:00.960: The looks thing.
00:00.960: Well, hey, thanks for coming on the show, and we will be in touch, I'm sure.
00:01.040: You just delete it out of there, and it's going to regenerate the alias inside Final Cut Pro 10 when you open that library back up.
00:01.040: Okay.
00:01.040: when you look at like Red Cinex or something and you're used to the sliders and you want to just hit that one highlight for red.
00:01.040: Okay.
00:01.040: Actually, the red one is unique compared to the Scarlet and Epic because it has it actually has 4K HD on it.
00:01.040: Our website is the next byte.
00:01.120: Well, my name's Dustin Hoy, and I edit one of the main big projects that I work on is an XByte.
00:01.120: I mean, it just didn't occur to me at the time, but it struck an interest.
00:01.120: Whether it's organization or editing, I mean, it's the challenge of using something sometimes can also be the joy of using it.
00:01.120: It doesn't do this.
00:01.120: You know, sometimes there's like three fifty, four fifty shots in my time line.
00:01.120: Yeah, I do actually.
00:01.120: I mean, because what we'll do is they'll set up the NBC lower third, and then they'll just
00:01.120: Oh, I didn't not to, yeah.
00:01.120: I would switch back to where the clips have the names as opposed to the markers.
00:01.200: And then being able to present it in a way that's entertaining.
00:01.200: It's interesting that you brought up Missouri.
00:01.200: That was first season twos through four.
00:01.200: But really, I mean, that's I noticed something peculiar, and maybe you have a solution to this.
00:01.200: And I really like the spotlights in that.
00:01.200: You know, there's so many things that you this is going to sound how do I this is a truthful statement.
00:01.200: So while I'm color correcting, he could be doing sound.
00:01.200: Yeah.
00:01.200: That's Dustin Hoy working on the Next Bite Fishing Show.
00:01.280: So he's working on getting the stuff set up for the show.
00:01.280: plugin, I guess it is, that you can use.
00:01.280: I think that one of the things that is nice is like when I was using 7, I was using Magic Bullet.
00:01.360: now to my assistant editor and he'll sort of take that, import it, organize it.
00:01.360: like on talent, it'd be nice if I could just batch apply those filters to the clips via the event.
00:01.440: Like, it just felt so constricted.
00:01.440: Now how has that changed with are you already completely swapped over to ten point one now?
00:01.440: Or like educational pieces that Mercury might want to release about four stroke engines or some of it's just strictly commercial based for them.
00:01.440: The primary camera for the TV show is an HVX300 or AGX300.
00:01.440: So no secret there, but I'll just I'll set that in and then and then do the color work on the red there.
00:01.440: That's precisely why I would never try and write my own nonlinear editor, because I know what we are like.
00:01.440: So like although I'll have like an uh a clip like whether it's connected uh or or um
00:01.440: Separate it out, name each track separately, then gang them back into together into a multicam clip.
00:01.520: There you go.
00:01.520: Yeah, no, that's crazy.
00:01.520: So it's yeah.
00:01.600: Well, okay, I've got, let's say I've got my library on drive A.
00:01.600: Well, like seeing how we're outdoors a lot and you know you're going from like water to let's say an angler in the same shot.
00:01.600: But the other great side of it is because those exist in the effects window,
00:01.600: I mean, it's like anything else.
00:01.680: Yeah, I don't miss the beta deck at all.
00:01.680: Thirteen episodes in season eight.
00:01.680: You're essentially just working with a project file.
00:01.680: Motion templates.
00:01.680: And actually, if you want to go hear all about that, that was on episode 13 several weeks ago.
00:01.760: It doesn't do that.
00:01.760: we run both our own or we just kind of use whatever file sharing we can.
00:01.760: Oh, my goodness.
00:01.760: There's a portfolio page.
00:01.840: So it's like the fish catching part of it is a big deal, but then explaining that and making that match
00:01.840: Tell me about that because a lot of people say would say, dude, the colorboard sucks.
00:01.840: Select clips.
00:01.920: Like there's a lot of hard work that goes into it.
00:01.920: Oh, okay.
00:01.920: for more malleable masking to get away from the circles.
00:01.920: But the first thing they look at is that.
00:01.920: But I'm going to travel with a little portable system, and we're going to keep trying to do shows.
00:02.000: I should know where he lives.
00:02.000: They look really great.
00:02.000: Or drop box it back to them.
00:02.000: Plus, we deliver to Ford Network, so it's a heck of a lot faster re-export-wise to just cut up that QuickTime, and there's it's not transcoding or anything, so I'm fine.
00:02.080: I don't really think much about it because it I just hadn't gotten to that point where I felt the need to really
00:02.080: Did you ever second guess yourself?
00:02.080: You can it's not motion tracked like in some maps, but you know, I tend to think that might be coming.
00:02.080: Here's version two, it's my first cut.
00:02.160: Yep.
00:02.160: You know, I mean, you just learn to deal with it and work around it.
00:02.160: And you know, I'm I guess I'm fortunate enough that at no point did I lose anything.
00:02.240: Yes.
00:02.240: So, in this episode, we're going to learn a lot about transfer libraries with remote audio sweetening, even a remote assistant editor, AE.
00:02.240: And there was such a negative stigma that it carried that to actually kind of admit, oh, yeah, I was
00:02.240: So it seems twice because it's got one for saturation and one for luminance as a separate.
00:02.240: But if you pay close attention to it and you know what you're doing and why, it's like anything else, you can get there.
00:02.240: We're doing a whole bunch of timeline kung fu trying to solve a problem.
00:02.240: Again, sorry it went long.
00:02.320: I mean, to me, because I know that Final Cut 10 came out and it was later in the summer after it came out, probably around 10.
00:02.320: Everybody was digging on the GUI and stuff.
00:02.320: But it it appears that it you can only insert it above the color correctors.
00:02.320: You can spotlight somebody's face.
00:02.320: So, like, let's, for example, say that when you put an MBC lower third, the default setting is for talent, like a two-drop.
00:02.320: Like, like, oh, I gotta go click one thing and I'm, I'm trans, I'm completely
00:02.400: Like, you know, it's like this closet shame thing.
00:02.400: First of all, that was like, oh, that's really cool.
00:02.400: And you would have to, everybody had to have a copy of Photoshop.
00:02.400: 264 editing, which was a nightmare in seven, or just dealing with
00:02.400: And if the audio components were separate, you could EQ them that way.
00:02.480: Whoa, hold on, hold on, hold on a second.
00:02.480: I mean, it's a really streamlined process, not to mention it's kind of a money saving thing when you don't have to use other software to create
00:02.480: Those actually it sounds odd, and I know I say it a lot, but it really does help the show.
00:02.480: Have them download the show.
00:02.560: And I gotta say, it's like going to uh outdoorsman church when you walk into that place because it's it is it is a massive store filled with
00:02.560: We've got one guy shooting the show with multiple cameras, trying to make it to where he's covering all these angles and stuff, but it's not trying to make it fake looking.
00:02.560: When I say attached, I mean inside the video container.
00:02.560: I mean it'd be kind of like that you could, you know, select clips based on markers in the Timeline Index.
00:02.640: And so, you know, I got it.
00:02.640: Like, I mean, it was so atypical for an Apple release.
00:02.640: Can we see your editing history if we look back at the 10 seasons of The Next Bite?
00:02.640: Okay.
00:02.640: They're just part of the evolution of the software.
00:02.640: It was like I was I would take the audio, break it apart, name each one of the channels and then use recombine it into a compound clip.
00:02.640: I'm going on the road this week.
00:02.720: So how did you how did you make the transition from what was your transition between Funnel Cut seven and Funnel Cut ten like?
00:02.720: Some people may prefer XML for whatever reason.
00:02.720: You know, in another episode, I was talking with Albin Eggers, and he is in, I believe, Austria, I believe.
00:02.720: And then, because I do a lot of localization also, but I have in the past always, you know, like
00:02.720: So audio preset filters like for AU graphic, EQ and compressor.
00:02.800: So, um, yeah, you know, I I d I drove uh Route 66 a few few years ago.
00:02.800: It's like, well, we were beating our heads against the water with this, but this is actually what they wanted.
00:02.800: You know, I mean, I kind of feel guilty admitting it, but it's not that bad.
00:02.800: It's too many.
00:02.800: So like what we use is basically transfer libraries.
00:02.800: Right, right.
00:02.800: Sort of like when you're selecting audio channels from the inspector.
00:02.880: And I did uh the electronics arts program at Southwest Missouri State or Missouri State.
00:02.880: And then, like, a year later, you go, Oh man, the mileage sucks on that thing.
00:02.880: And it says Chris Fenwick, host Silly Podcast.
00:02.880: So we're going to rejoin the conversation with Dustin as he explains some things that he would like to see changed in Final Cut 10.
00:02.880: And now with components, I've sort of wandered back into that weirdness where some audio is still attached.
00:02.960: This is what Pete's going to say, or Gary.
00:02.960: Or now things are a little bit easier with like a Dropbox situation or central server or something.
00:02.960: I mean, it's easy enough to copy and paste four separate segments.
00:02.960: I know that it works dragging it on there.
00:02.960: I mean, how do you know that you don't like it unless you try it?
00:02.960: No, it would be great.
00:03.040: Hey, how are you doing?
00:03.040: And I have plenty to ask you about.
00:03.040: It's cool.
00:03.040: Okay, now that was something I was going to ask you.
00:03.040: You're going to just jump in and do a whole season of a T V show on a brand new edit system that you'd barely tested.
00:03.040: And that was just the way it was going to be.
00:03.040: And so these eyedroppers, you're able to select the specific color that you want, and then attenuate it even further for the temperance of it.
00:03.040: A color mask.
00:03.040: I use them in the sense that because we have so many lower thirds and different versions network wise and the requirements
00:03.040: So it's whatever it's nineteen twenty, which would be thirty eight forty by two twenty one sixty.
00:03.040: Interesting.
00:03.040: After you get used to the idea of it, and again, it's one of those things, it's actually extremely powerful.
00:03.120: What year was that?
00:03.120: No.
00:03.120: You know, I've even seen lime green t-shirts.
00:03.120: Because essentially, what he has then is he only has to maintain one timeline
00:03.120: I just need the one.
00:03.200: I apologize for that, but everybody always says, oh, it's okay, we don't mind if it's long.
00:03.200: Yeah, the thing is, is that with Final Cut 10, it's really almost kind of the inverse of that.
00:03.200: That's kind of and they were kind of bummed out about that.
00:03.200: I will set my column view to a range by file size so that I can make sure I don't have
00:03.200: Right, right.
00:03.200: 'Cause you're dealing with multiple things like coming from GoPros and stuff as well, right?
00:03.200: Yes, you are right.
00:03.280: It's an apex predator species.
00:03.280: It's like annotated ME.
00:03.360: No.
00:03.360: Now is your primary camera red?
00:03.440: I think he lives in Wisconsin, one of the really, really cold states.
00:03.440: I mean, obviously, you know, but I'm just saying that, uh, and I think it's awesome to be able to
00:03.440: So I felt like I was like onto something.
00:03.440: Right.
00:03.440: When we go back to like when I said I jumped into 10-2, like all in, in season nine, I kind of got bored
00:03.440: I think Gary is one of the guys on the show.
00:03.440: So like basically roles and any anything that isn't the clip window of the Timeline Index, if you select it, it highlights it.
00:03.440: But it's an issue because of how roles are connected to other things.
00:03.520: And one of the things I'd like to see, hopefully, get integrated into the color as far as the inspector goes
00:03.520: And as you grow as an editor and a colorist and stuff, I mean, I think you go through phases, you know, and there was certainly a period where I was, you know, digging the
00:03.520: And you're like, ah, I got to change the English.
00:03.520: Now, all of a sudden, every clip that is Gary will appear in the timeline index.
00:03.520: But with it intermixed, it makes it rather difficult.
00:03.600: The show started out beta S P, then it went to D V Cam, then to mini D V, then to H D V for a very, very short, very short stint.
00:03.600: So you must be magical, or some sort of a warlock, or some sort of an evil creature from the future.
00:03.600: The color board, on the other hand, is something where I can be looking over at my monitor, and I've just, I don't know if it's because I've done it so much or what, but I can.
00:03.600: Three five, six.
00:03.600: Whoa, what was that?
00:03.600: And visually, being a visual person, it still irks me a little bit.
00:03.600: They might actually learn something.
00:03.680: Yeah, you know what?
00:03.680: And constantly the AE would, and no fault of theirs, I mean, things happen, but.
00:03.680: Yeah.
00:03.760: So yeah, and just to clarify, I heard you use a word that I would not have known had I not watched one of the promos, but a muskie is a type of fish, yes?
00:03.760: And then once he's got that set, once he's imported that basically right away, he goes ahead and forwards the drive on to me.
00:03.760: Because it's not just the show that we're dealing with as far as editing, it's the educational portion of it that is important to our sponsors.
00:03.760: And those masks are a really great way to do that.
00:03.760: And they have very strict rules for font, for size, kerning, everything.
00:03.760: But the way that Final Cut Pro 10 handles multiple codecs so seamlessly, I mean, there's not a lot of things
00:03.840: And we were sitting around in a pizza hut and we got a phone call and basically Gary Parsons, one of the guys in the show
00:03.840: And so when you when you switched to ten, you said now you said you first looked at it at about ten oh two.
00:03.840: I don't know how to break this news to you, but essentially you have told me a bunch of stuff.
00:03.840: Then there was the render time, you know, and usually those things are being checked against deadlines.
00:03.840: So technically, then, this is actually kind of news to me because I'm not really too familiar with the red world.
00:03.920: And when that business went in a different direction, Joseph Bowie, my original business partner from Sour Squirrel Studios
00:03.920: m.
00:03.920: tv.
00:04.000: I just read something about that on like the Creative Cow that somebody was surprised that
00:04.000: I mean, it just was convenient.
00:04.000: Yeah, exactly.
00:04.000: So, Dustin, I want to thank you so much for taking the time to chat tonight.
00:04.080: Now, I know the show is about 10 years old.
00:04.080: Th that's the funny thing though with Ten.
00:04.080: And then and another thing to point out, and I hope people know this because it seems
00:04.080: So you can actually tell what the skin color is versus like on the Flanders, all I have is traditional green and black.
00:04.080: But that's that for the show.
00:04.160: It was a learning period.
00:04.160: crashes, I mean, stuff I mean, that kind of stuff happens even if it was a
00:04.160: What what what what the hell?
00:04.160: I would appreciate if you tell your friends and say, hey, if you're thinking about using that Final Cut 10 thing, or you just want to.
00:04.240: Everything.
00:04.240: But when you insert the broadcast safe one, it goes above it, which means your
00:04.240: So one last thing, if you were because I'm sure you're having this discussion with other professional peers.
00:04.320: And I think there's a lot of things that are going to continue to grow in it in the right directions, just based on what we've seen so far.
00:04.320: And so what we can do is, like if it was myself, like let's say I've finished the show and I'm sharing it back to Nathan.
00:04.400: This is episode 026 with Dustin Hoy.
00:04.400: Yeah.
00:04.400: I mean, there's just days that go by where you're getting nothing.
00:04.400: You know, because I'm trying not to make things look like a vignette.
00:04.400: It's definitely for like a a B roll reference or things like that.
00:04.480: It's a good looking program.
00:04.480: And then it's been twelve episodes seasons nine and ten.
00:04.480: I probably use the color more effectively in 10 than I did in 7.
00:04.480: But it appeared to me that the broadcast safe plugin could only first of all, do you ever use that?
00:04.480: But I do need multiple versions of the graphic EQ.
00:04.480: You know, I think that's one of the things.
00:04.480: It doesn't mean I'm not going to have shows, but it's going to be a little bit different.
00:04.560: It can't be.
00:04.560: So we were like, all right.
00:04.560: I'm working on having access to that footage.
00:04.560: I mean, that's it.
00:04.560: You know, if you want to bring those clouds back, or you're talking about the eyedropper in the colorboard.
00:04.560: Okay, and now we're on version nine, we're pretty close.
00:04.560: Because if you do it the other way around, you're going to lose your optimized media if you try to get back at those raw settings.
00:04.560: Is there what is what would be the top of your list of things that you would want to see changed?
00:04.560: One of the things that 10 has going for it with the existing scope situation is that
00:04.640: I know it's a real thing, but I'm just I'm not exposed to that.
00:04.640: Well, I can imagine I think one of the things that's interesting about what you are doing is just
00:04.640: I liked it so much from the fluid end of it, and it was so different that it was I mean, a lot of the times I think what we deal with in post, things get so repetitive.
00:04.640: In fact, there was a time like later on, if we jump forward to like 10.
00:04.640: I don't really consider myself a fanboy of anything, but I do when I like something, I really like it.
00:04.640: I was a huge Magic Bullet Looks person in 7, and I gotta say, although it is available and it does work.
00:04.640: And that's B-I-T-E.
00:04.720: You're gonna learn it all.
00:04.720: But the thing that like blew my mind was when I figured out the inside outside mask controls.
00:04.720: So that's the yeah, that's the problem that I run into.
00:04.720: Or like Rolls is another good example of that.
00:04.720: I gotta say, I'm totally out of my element talking about the sportsman angler fishing kind of thing.
00:04.800: And a lot of hard like up front and a lot of hard work that has to go into it on the back end.
00:04.800: So, um, you're not shooting the program, correct?
00:04.800: You get this sort of argument with cameras.
00:04.800: No.
00:04.800: Lines wise, I mean.
00:04.880: Right.
00:04.880: Hey, I want to step away from the interview for just a moment for a bit of a disclaimer.
00:04.880: Like it starts to muddy that up.
00:04.880: I was particularly interested in the fact that
00:04.960: And in Missouri, I went and I went to the Bass Pro Shop, which apparent I think is the primary sponsor for your show.
00:04.960: So, in essence, I mean, primarily, I'm sure you do other stuff, but it's a fishing show.
00:04.960: Wow.
00:04.960: And you have another template that has a place for a name and a place for a title, but instead of the ABC logo, it has
00:04.960: I'm pretty sure it works double clicking it.
00:04.960: Now, and which red?
00:04.960: Now you can apply now you can paste the attribute of the EQ of Gary to all those clips.
00:05.040: Obviously, just catching that action
00:05.040: So I mean, which is complete chaos when you think about it, because given the fact that
00:05.040: When I started playing with it, I thought, man, this is really cool.
00:05.040: But I'll actually export that into what I call a Unistream, which is just a master quick time file for Res42HQ.
00:05.040: You mentioned motion templates and projects.
00:05.040: It does, obviously, it's got like 16 by 9 and 2 to 1 options.
00:05.040: And I asked the question, So, Dustin, is there anything you want to change in Final Cat 10?
00:05.040: I mean, amongst those things would be like we use a lot of like gra
00:05.120: We're going to do a season and I'm going to cut the whole thing.
00:05.120: I learned this from Sam Mestman on Friday's show.
00:05.200: This is the fish that we're going to catch on this kind of day.
00:05.200: So and now it's it's just P two.
00:05.200: And at first, it was like
00:05.200: Fortunately, I never felt like
00:05.200: And like Final Cut VII, there is a broadcast safe
00:05.200: One, you try to have an entertaining conversation.
00:05.280: There's just no way to you can't say, okay
00:05.280: Um, do you have to collaborate with others?
00:05.280: So the 2K, you know, for those two formats, you are using spatial conform settings in Inspector to
00:05.280: I mean, whether it's audio editing or color correction
00:05.360: And I gotta say, I think your stuff looks great.
00:05.360: And that kind of always stuck with myself and the guys that I work with.
00:05.360: I mean, that's the easiest way to put it.
00:05.360: So there's not like there's one central office and everybody's on a sand.
00:05.360: So how does that deal when your P two cards come from the field?
00:05.360: So whether that is doing my basic exposure changes
00:05.360: And I don't know that I would go to the ends of the earth to defend the colorboard per se, but
00:05.360: I mean, there's so many things that you can do with it.
00:05.360: I'm going to go play with this afterwards, and I hope I don't have to edit this all out of the show because it's pretty good.
00:05.360: You can't select components in the Timeline Index.
00:05.360: And if you're enjoying listening to the show, please, I appreciate that you would.
00:05.440: Good.
00:05.440: So I'm like, well, man, I'm going to check this out.
00:05.440: I mean, it wasn't only like a breath of fresh air in the approach to how I was using it.
00:05.440: Are they doing additional content that like Bass Pro shop uses in their stores or something?
00:05.440: And not that you're trying to ever get away with anything as far as audio levels or whatever.
00:05.440: But what I'll do is I'll lay it out basically, but I'll go ahead and attenuate the RAW settings using the Red Cinex plugin.
00:05.440: Am I correct?
00:05.440: Understood.
00:05.520: All the aliases are there.
00:05.520: Yes.
00:05.520: Um, and I don't
00:05.520: Okay.
00:05.520: And price point wise, I mean, there's not a lot of software that can do what it can do out there for what you pay for it.
00:05.520: I can't do that unless
00:05.600: And then once stuff starts happening.
00:05.600: I'm wondering if there's a way where, yeah, where you could like take your audio.
00:05.600: But if I wanted to like, let's say he dropped them all in the timeline and I want to lift them all out.
00:05.680: And that means you're probably rolling a whole lot of footage, aren't you?
00:05.680: I guess, for lack of a better analogy, come Hell or High Water.
00:05.680: And it's an exact four time multiplier for that.
00:05.680: I'm going to offer up one suggestion based on what you just said.
00:05.760: We choose to only see the good
00:05.840: How are you?
00:05.840: I went all in.
00:05.840: You know?
00:05.840: Yeah, I mean XML would be a dream if it just saved it as a
00:05.840: I mean, it's so there's a lot of trying to grapple with
00:05.840: Everybody had to have a copy of After Effects.
00:05.840: So all of a sudden that ripples through every instance of it in my timeline.
00:05.840: Yeah.
00:05.920: How are you doing with that?
00:05.920: I mean, there's certainly some cool plugins that don't transfer to File and Cut without export.
00:05.920: So, you know, being able to use the histogram and the waveform at the same time with the vector scope would be nice.
00:06.000: I mean, everybody had something bad to say about it.
00:06.000: I can't believe I bought it, you know?
00:06.000: Like, I don't want to admit it, but
00:06.000: So I can kind of
00:06.000: And maybe I didn't need to have this little disclaimer.
00:06.080: We were shooting that was a Sony camera.
00:06.080: I mean, it just was that thing, you know?
00:06.080: Yeah.
00:06.080: I'm sure you're not sure.
00:06.080: And you know, that probably translates to five to six minimum changes per clip.
00:06.080: Okay, so talk us through what that eyedropper and the color mask stuff and how you use that.
00:06.080: I mean, I can see where sometimes on the color board
00:06.080: But hopefully we see some updates to the shape mask for Final Cut.
00:06.080: I got to change to Korean.
00:06.080: That's an interesting question because you know us greedy editors
00:06.080: I guess.
00:06.080: I love it.
00:06.080: Very cool.
00:06.160: Okay.
00:06.160: Yeah.
00:06.160: It just had a weird look to it that wasn't exactly.
00:06.160: Gotcha.
00:06.160: I got to say, the first time I started playing around with the colorboard and I realized
00:06.160: And I'm actually editing season 10 on a MacBook Pro Retina.
00:06.240: Yeah, and you realize when you say
00:06.240: I'm going to guess this is about eight years ago, maybe?
00:06.240: Have you ever you ever known somebody who like
00:06.240: No.
00:06.240: You hold down your shift key and then you work on the edges and stuff, and all of a sudden you can pull in the whole thing eventually.
00:06.240: Even though the text is all going to be there.
00:06.240: Right.
00:06.320: When I went there, it was Southwest Missouri State, in Springfield, Missouri.
00:06.320: I will then make a new library on that same drive.
00:06.320: Yeah, no, you definitely can.
00:06.400: I know that pre ten.
00:06.400: But transfer libraries, I mean, it's a breeze.
00:06.480: You sound fine.
00:06.480: Oh, yeah, thank you.
00:06.480: Like right away, like
00:06.480: Okay, are you talking about the eyedropper to draw a shape mask?
00:06.480: You could go to that effect motion template and just double-click it, and it will update around the information.
00:06.560: And a bunch of well, you know, a bunch of promos and stuff like that.
00:06.560: Yeah.
00:06.560: Yeah, I heard in one of the promos.
00:06.560: Yeah, I mean, it's definitely the thing that is unique, I think
00:06.560: You know?
00:06.560: I mean, like, I decided right away after using it for about two or three days, maybe a week.
00:06.560: Right.
00:06.560: I mean, now it's great, right?
00:06.560: I don't know.
00:06.560: So you have so Gary's mic on this
00:06.560: I know one thing that I do on occasion is I will take and I'll make my multicam clips.
00:06.640: There you go.
00:06.640: So they wanted you to come do to continue to work on the show.
00:06.640: I was dealing with something the other day, it was a bunch of white limbo stuff.
00:06.640: In fact, I'm like 99%.
00:06.640: You know, because then we could just swap out based on time code.
00:06.640: Some other projects on there.
00:06.720: Anyway, just something uh food for thought, I'll say.
00:06.720: It's like, that's great that I can highlight all of Gary's dialogue, but.
00:06.800: So d tell people a little bit about who you are and what you do.
00:06.800: Yeah.
00:06.800: And then you're not going to copy render files.
00:06.800: Uh for commercial projects, not
00:06.800: Hopefully, I have good bandwidth in the hotels that I'm in.
00:06.880: So very interesting episode.
00:06.880: So this is a little long.
00:06.880: So, you know, funny.
00:06.880: So we had never done a television show by ourselves
00:06.880: And then I will just copy the
00:06.880: I mean, Alexa, Red, whatever.
00:06.880: Oh, I love it.
00:06.960: He actually said
00:07.040: I mean, you you there is that connotation.
00:07.040: Okay, so you mentioned
00:07.040: Yes, yeah.
00:07.040: So like something that I'm actually considering doing is just separating all the audio again.
00:07.120: So a lot of media.
00:07.120: Explain that.
00:07.120: Or did I not understand?
00:07.120: So the EQ.
00:07.120: Thank you.
00:07.200: Yeah, it is.
00:07.200: So what is your what is your background in this business?
00:07.200: And
00:07.200: And, you know, you wonder how many people that may have affected that just
00:07.200: Now, are you working with
00:07.280: What kind of mic are you using?
00:07.280: Because everybody from the onslaught said
00:07.280: Um, well, I guess
00:07.280: Yeah, really, really, what it needs to do is that the timeline index needs to allow you access to components.
00:07.280: And I got to say, I'm kind of the same way.
00:07.360: And then we're basically updating my event from his event.
00:07.360: Between the eyedroppers and those, I mean, you can really get away with a lot.
00:07.360: They don't have to re-enter the text.
00:07.360: I got to change to Portuguese.
00:07.360: Because I got to say, when I first went to type it,
00:07.440: Yeah, yeah, yeah.
00:07.440: And so immediately it was like, oh, this is the next thing for Final Cut.
00:07.440: I mean,
00:07.440: Oh, there's a good trick.
00:07.440: I thought I mean, the way I use it, um
00:07.440: So, like, he'll he'll because he has to do he's in Europe and he's doing stuff in multiple languages.
00:07.440: So like if my assistant editor marks a bunch of added clips with markers that say added clips,
00:07.520: I never found it.
00:07.520: And are you editing with
00:07.600: And.
00:07.600: Yeah, yeah.
00:07.600: And I was feeling really good about this interview right up until well, about now in the interview.
00:07.600: And when you're trying to work between editors, let's say my AE wants to do sound work.
00:07.680: And instantly, and even in that version, I mean, it was very cra I mean, it was so new.
00:07.680: 6, 10.
00:07.680: Yeah.
00:07.680: Not that it really matters if the media is external, but
00:07.680: You know, maybe you had um move file to your uh library checked in preferences or whatever.
00:07.680: Yeah, you know
00:07.680: We're deal I have everything from
00:07.680: Red one.
00:07.680: I tried to get him to change it to that.
00:07.760: I didn't even know you could do that.
00:07.760: One
00:07.760: And now let's start working on the translations, and then all of a sudden.
00:07.840: It's funny to me.
00:07.840: I've just been able to kind of gain from it.
00:07.840: And it has an NBC logo because that's all part of the thing.
00:07.840: You could just apply the effects right then and there.
00:07.840: I'm going to be, good grief, all over.
00:07.920: So does no one
00:07.920: On your market site, go.
00:07.920: Yeah, no, I I mean, I I think the same thing.
00:07.920: I mean, you don't want it to look like you don't want to be able to tell, but you're trying to make it look like
00:08.000: Are you still second guessing yourself?
00:08.000: It's edit based.
00:08.000: And if it was an After Effects lower third, because it was a motion.
00:08.000: Like this field is called name and this field is called title?
00:08.000: Right.
00:08.000: It depends.
00:08.080: That's a really interesting comment.
00:08.080: Really?
00:08.080: Is that the eyedropper you're talking about?
00:08.080: Or, or more relevant to that fact is
00:08.080: Two, you try and craft a story.
00:08.080: That's fine.
00:08.080: Because you might have one audio component might be Gary, because he's the next one is Reed.
00:08.160: Who would have ever thought you'd get into apex predators on this episode of the Final 17 Grill?
00:08.160: What are you doing?
00:08.160: I got to get this straight because you just blew my mind.
00:08.160: Okay, so either way, yeah, whatever, drag or click.
00:08.160: Right, so you'd have like the name and then like two lines.
00:08.240: And then things pick up from there.
00:08.240: So right.
00:08.240: I mean, it'll show that it's missing, but it'll have the alias.
00:08.320: What's a transfer library?
00:08.320: You know, so um
00:08.400: So I'm setting that up based on
00:08.400: Command 2, and it will switch over to the timeline
00:08.480: But I had a great time chatting with Dustin Hoy from The Next Byte TV.
00:08.480: Am I doing something wrong?
00:08.480: It's a dialogue, then it's Gary as a sub-role.
00:08.560: Dustin found me on Twitter, and he is a
00:08.560: I decided, yeah.
00:08.560: So
00:08.560: Interesting.
00:08.640: Uh it is an AKG.
00:08.640: 8, where I actually had opened some projects back up in seven.
00:08.640: Okay.
00:08.640: I mean, as long as you're
00:08.640: Okay.
00:08.720: Am I I I don't want to oversimplify it, but but it i but that brings us to
00:08.720: You know?
00:08.720: And, but
00:08.720: To answer your question fairly.
00:08.800: Yeah, the shape masks.
00:08.800: Like we just completed some stuff where I was shooting 60 frame.
00:08.800: Okay?
00:08.880: But what was worse wasn't what was being said.
00:08.880: So it's nice to have that
00:08.880: So the fact that I was able to I'm able now to
00:08.880: I got to change.
00:08.880: I mean, we we have footage from just about everything.
00:08.880: So if you use the renaming features.
00:08.960: It sounds funny to me.
00:08.960: It really looks it's not like
00:08.960: And some of that content is stuff that gets buried
00:08.960: That was video and animation.
00:08.960: It's the good, the bad, and the ugly.
00:08.960: This I know for a fact.
00:08.960: Very interesting.
00:08.960: Because the thing I liked back then was that
00:08.960: If people want to find out more about your show or follow what you're doing, how do they find you online?
00:09.040: Where do they go first?
00:09.040: I mean, people the thing that is so good about
00:09.040: So everything is set up.
00:09.200: And the concept of working on a phishing show
00:09.200: So
00:09.200: Gotcha, yeah.
00:09.200: I mean, it was like, I'm in.
00:09.200: Yeah, and it's you don't want to say it takes a long time for you to actually like.
00:09.200: So, what I did was, I actually
00:09.200: I really enjoy.
00:09.280: It's we're dealing with
00:09.280: That actually makes perfect sense.
00:09.280: So you're shooting 4K 2-1.
00:09.280: That'd be sweet.
00:09.360: There's this great
00:09.360: So technically, you're shooting
00:09.440: Right.
00:09.440: Tell me if this would work for you.
00:09.520: You it's it's it's again, it's sort of like that early on thing where it's
00:09.600: It doesn't look like it.
00:09.600: And I got to say
00:09.600: As far as like the debairing and the sharpening stuff
00:09.680: I've never heard anybody say that, that the X.
00:09.760: It's like
00:09.760: But then I'll just do
00:09.760: You can use your timeline index
00:09.760: Okay.
00:09.840: So there's a lot of things that are being done
00:09.840: Because I would like to have it further downstream.
00:09.920: Um you know, it's what it calls for.
00:09.920: But but what you're saying is actually very cool.
00:09.920: Sometimes
00:10.000: Because I've already taken care of those
00:10.080: Yep.
00:10.160: Do you use a lot of those?
00:10.160: For stuff like that, where you're doing it in mass.
00:10.240: And walk me through that path for a little bit.
00:10.240: Oh, because you're going to tweak clips.
00:10.240: But that's
00:10.240: So, that's it for this episode.
00:10.320: And it's a
00:10.320: And most of the time, when I'm exploring alternative
00:10.400: You win.
00:10.400: But they weren't having it.
00:10.480: I mean, the stuff I saw
00:10.480: So we're always aspiring to
00:10.480: I think that a lot of times we um
00:10.480: This is something that I used to have to do.
00:10.480: So I have a lower third for NBC.
00:10.480: You know what I'm saying?
00:10.560: So
00:10.560: And he uses the roles function.
00:10.640: Yeah.
00:10.640: You know, I'm certainly proud of some moments more than others, but.
00:10.720: So for those colors that may
00:10.800: How did you get to here?
00:10.880: It wasn't my business.
00:10.880: But I'm laying in multiple versions of graphics.
00:10.880: And I do use SliceX.
00:11.040: It's multiple timelines.
00:11.200: And
00:11.200: But if you have multiple
00:11.280: Did I hear that correctly?
00:11.360: It was D V cam.
00:11.360: We talked about mics and
00:11.360: So
00:11.440: And it's not like I'm saying that
00:11.440: So there's still room for that and there's still those options, but
00:11.520: Right.
00:11.600: 2.
00:11.760: It was that 90% of it was wrong.
00:11.760: No, no, no.
00:11.840: I worked for somebody else.
00:11.920: And then
00:12.080: Or whatever.
00:12.160: And how long is your season?
00:12.160: Yeah, we call that Texas Master.
00:12.240: Corrector one, corrector two, corrector three.
00:12.240: So like so like here's your broadcast safe.
00:12.320: Right.
00:12.400: Okay.
00:12.560: I think a lot of it depends on
00:12.560: Thanks for listening.
00:12.720: I better.
00:13.040: Okay.
00:13.040: I mean
00:13.200: Yeah, those were painful times.
00:13.280: So
00:13.360: But that's how I ended up
00:13.520: Actually.
00:13.520: And then
00:13.920: Right.
00:13.920: Later, later.