Episode 27
FCG027 - A Qualified Opinion (feat. Alister Robbie)
The lack of “a recognition of prior learning” is one of the disadvantages of using FCPX and yet, on Alister Robbie’s first FCPX just 3 days into his edit he found himself 4 days ahead of schedule. Alister has PLENTY to say and shares his virtually pre-release experience with Final Cut Pro 1.0 back in 1999 all the way to FCPX.
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Featuring
- Chris Fenwick
- Alister Robbie - @alisterrobbie - @thepostproject
- Alister Robbie - @alisterrobbie
Transcription
00:00.001: And being really fast on it and just knowing, you know, having those muscle memories for everything.
00:00.001: It's like, can't we just shoot this with more cameras so I can use the multicam?
00:00.080: Day, so yeah.
00:00.080: they released OS ten.
00:00.080: Into an NAB trip as well, but we will see.
00:00.160: Alistair is a guy I've been following on Twitter for uh quite some time.
00:00.160: That opinion.
00:00.160: Well, let's get started.
00:00.160: And people are going, well, what experience with gear have you had?
00:00.160: Whilst I mean, I was editing VHS and SVHS at high school, but my first kind of proper suite was a SPA B-roll system with using a BVE nine ten.
00:00.160: Point.
00:00.160: Shown them Final Cut and shown them a a student piece that I'd done on Final Cut, and they were amazed and they wanted me to do that.
00:00.160: It's like, oh, things are pretty, pretty shit.
00:00.160: That hard drives were much more expensive back in 1999.
00:00.160: Three or four hundred bucks for a 40-gig hard drive.
00:00.160: The idea of conforming and cutting in an A-B role suite.
00:00.160: A hardcore Final Cut editor by then, from then on.
00:00.160: You know, clients who wanted to use these things and I was building edit suites for them, but just essentially, yeah, cutting heaps of final cut.
00:00.160: Yeah, absolutely, absolutely.
00:00.160: Final Cut 1, though.
00:00.160: It was like, okay, here's the cards, okay, let's get them working in a system.
00:00.160: I think it was a listener who commented on iTunes, which, by the way, I love it when you guys do that.
00:00.160: And it's, you know, I tell people, I kind of tease my Adobe friends all the time.
00:00.160: Directly to what was going on on screen.
00:00.160: But every time I've tried every time I've tried Premiere since it's it's a great program, it's got lots of bells and whistles, it's very, very powerful.
00:00.160: Giddy, like, oh, this is cool.
00:00.160: Yeah, yeah, yeah.
00:00.160: Hmm, okay.
00:00.160: Double box over their pretty background with their artwork.
00:00.160: And then eventually he would have to stop and like trim all that stuff down.
00:00.160: User suggest listener suggestions.
00:00.240: But, you know, he contacted me and he goes, Hey, I, you know, I want to get grilled.
00:00.240: I just had a conversation with somebody the other day, somebody I work with, and he goes, Yeah, I listened to one of your shows.
00:00.240: There's nothing good or well it's it's it's funny I actually grew up in central Queensland kind of uh what most folk could know as the outback and
00:00.240: So we do a lot of work for a lot of major Australian breweries, which is a great niche to have.
00:00.240: television spots or film or indie projects is that there really is a lot more latitude to explore and experiment and offer up ideas.
00:00.240: That was really cool.
00:00.240: Wow.
00:00.240: You know, having said that, you know, nearly, nearly 20 years on, I can't count a single piece of Sony gear in my kit.
00:00.240: Yes.
00:00.240: on the phone for 45 minutes, and he taught me how to use Avid in forty five minutes on the phone while I'm sitting in front of the client.
00:00.240: I think it was first teased in 98 and released in 99, I believe.
00:00.240: Ugh.
00:00.240: Oh, okay.
00:00.240: Sequences for that.
00:00.240: And two weeks later, we had a documentary out.
00:00.240: It had no PAL presets, it had no PAL capture capture settings.
00:00.240: But I mean, the super cool thing was because we'd gone from non-deck control, non-timecode capturing, suddenly we're going to capturing DV via firewire with deck control with timecode.
00:00.240: Go ahead.
00:00.240: you know, run over to Best Buy and for seventy nine dollars buy a one terabyte dr USB three drive.
00:00.240: It probably would have had to have been well, it would have been a firewire drive, but even still it would have been.
00:00.240: action the EEL and watch the machine whirr away and finish it.
00:00.240: Wow, that was really good.
00:00.240: and was like, okay, this looks interesting.
00:00.240: And then the day of the release, I went, Okay, cool, yeah, I'll grab it and jump on.
00:00.240: And they'd go, oh no, Final Cut 10 is shit.
00:00.240: you were literally kind of cutting the thing side by side.
00:00.240: Like, how the hell did that happen?
00:00.240: Yeah, you should use Premiere.
00:00.240: Yeah, yeah, yeah.
00:00.240: Yeah, coming from that legacy of people going, Well, you can't do that with Final Card.
00:00.240: I think it's ridiculous that I have to change my viewpoint.
00:00.240: best operating system ever used.
00:00.240: And with Final Cut 10, there kind of is no recognition of prior learning like this.
00:00.240: Unfortunately, you have to dig through all of the unsimilarities to find them.
00:00.240: you know, at that early stage of a final cuts end with its foibles and you know, kind of little inconsistencies, it was like even then there was like, no, there's no going back.
00:00.240: Suddenly, all of the archaic workflows that I was doing in 7 just became so insufferably boring.
00:00.240: That from the perspective of acceptance, let's just say it like that, from the point where you had accepted the things that were different, when you looked back over your shoulder.
00:00.240: It wasn't pointless busy work, but there was a lot of busy work that didn't necessarily contribute
00:00.240: it was just this excessively excessively painful workflow when compared to more and more work and less and less editing.
00:00.240: stepping forward, doing stuff with red, and particularly in the early days of red.
00:00.240: I would then just create a custom keyword search that had brewing, good, day, and then that was all of my day shots from the brewery.
00:00.240: To help clean and finish.
00:00.240: You said it quite definitively that on that even on that very first piece, while you were still wrestling with the timeline, trying to understand some of the ins and outs of it
00:00.240: you know, Final 10 fanboys.
00:00.240: I will say that in my experience, most of that is also alleviated in Premiere.
00:00.240: We're not just, you know, just pounding the Final Cut flag into the ground.
00:00.240: Images that were used for this particular company piece.
00:00.240: Oh, I have never even heard of that.
00:00.240: I've talked about it multiple times on the show, and I got to say it's one of my favorite like little free plug-in gems that I've found over the last year.
00:00.240: I've got it, I haven't used it.
00:00.240: either up or down, I guess one hundred and ten percent or ninety percent, whatever.
00:00.240: Yep, done.
00:00.240: You know, I wonder if that would work.
00:00.240: and then you put a transition on it.
00:00.240: you know, move that around the timeline and kind of interact with the rest of it.
00:00.240: User interface does not lend itself as well to very tall timelines.
00:00.240: It just annoys me less than Yes.
00:00.240: It's like, come on, we're in a creative field here where we're in a creative environment where everything is designed and we're designing things that are pretty.
00:00.240: Yeah, absolutely.
00:00.240: yeah, in in the interest of transparency and kind of not being pure fanboy, it's it's like, yeah, there are some there are and have been some really annoying things.
00:00.240: So one of my mates who I've trained as an editor over the years, so I've got a lot of people that I've trained as editors and then with them.
00:00.240: And go, here you go, here is a unified workflow that will ensure happiness.
00:00.240: I was just wondering if you could give me some tips on how to do things more quickly.
00:00.240: And it was like, so I expected that I was going to have to do some heavy lifting and training to bring him up to speed with the interface.
00:00.240: Embrace the way things are done.
00:00.240: Okay, screw that, not going to use that.
00:00.240: And then all of a sudden, bang, everything's so much faster and everything's working better and yeah, and happiness ensues.
00:00.240: Alistair, I should let you go.
00:00.240: Okay, I hope you enjoyed that.
00:00.320: And so again, please go there, tell your friends, get them to download the show and listen to it.
00:00.320: And it was a great conversation.
00:00.320: of this episode.
00:00.320: couple of weeks, and I will attribute it to all of the nice comments that we're getting on what's it called, the iTunes.
00:00.320: How's it going?
00:00.320: the accents are out there are kind of like the Australian version of what you guys get in the deep south.
00:00.320: See what we can do in this space.
00:00.320: That quite often I'm working with people that don't do this for a living, and they're much more receptive to
00:00.320: Yeah, absolutely.
00:00.320: Yeah, yeah, yeah, yeah.
00:00.320: Was one of the first to have a dedicated film and T V um subject.
00:00.320: Absolutely.
00:00.320: at the time was pretty damn cool because SP really hadn't didn't have that much penetration in Australia and no one had seen it.
00:00.320: Yeah, yeah, yeah, absolutely.
00:00.320: kind of jumping forward a few years, I got picked up for editing a Discovery Channel documentary for the Sydney 2000 Olympics.
00:00.320: But the crew hired me well, the director and producer hired me because I had shown them the final cut.
00:00.320: They roped me across from being in an IT degree to doing yeah, moving into communications and doing a kind of production degree.
00:00.320: But it was running on the SGI hardware.
00:00.320: For the longest time, editing on a computer felt like you were walking across a frozen lake.
00:00.320: Yeah, absolutely.
00:00.320: Who knows?
00:00.320: Computers interact with video hardware and be able to do that.
00:00.320: that was officially launched in Australia and was kind of officially available.
00:00.320: And I'd come from a background of using Final Cut for twelve years, using the classic interface for 12 years, or 11 years, or whatever it was.
00:00.320: And that kind of continued, and I watched other people moaning about it, and I just kind of ignored it.
00:00.320: And a lot of I started to see on Twitter that I'd ask people and go they'd go, Final Cut 10 is shit.
00:00.320: But then I also had my laptop sitting beside me and it was my fail safe.
00:00.320: The laptop was processing DSLR rushes and essentially setting up a Final Cut 7 fallback project just in case everything went horribly, horribly wrong.
00:00.320: I'd have this knee jerk get on Twitter and go, Audio editing on Final Cut 10 is shit.
00:00.320: you know, maybe right up until Walter Murch did the that movie.
00:00.320: mind just a little bit, not radically, to the possibility that there might be a slightly different way of looking at things.
00:00.320: All of a sudden, all those answers come to you.
00:00.320: and went, wow, this is all really similar.
00:00.320: And that were the first capture cards that would do broadcast stuff with Final Cut.
00:00.320: on Final Cut.
00:00.320: because it's not like classic.
00:00.320: And in the process of that, everyone went, whoa, this is terrible.
00:00.320: when the rest of the editing landscape is caught up to where 10 is now.
00:00.320: I thought that's an interesting choice of words because I think most people would have used the verb switch, a switch to 10 as opposed to a jump to 10.
00:00.320: Yeah.
00:00.320: At the workflow that you had, that so many people are digging their heels in, saying, it doesn't work in my workflow, that you're looking at that past workflow going, what was I thinking?
00:00.320: It was then going back and finding these kind of backward workflows to make it happen.
00:00.320: that it just really got rid of so much pointless busy work and actually allowed you to get just straight into cutting.
00:00.320: Because I worked with a lot of editors who used to use subclipping in Final Cut Classic.
00:00.320: Actually cutting, you know, to to make that process faster is gold in my in my books.
00:00.320: And for the shots that had the the Ken Burns effect on them, um extending them out automatically
00:00.320: but the base interface that you use, the top ten key things that you do daily as an editor, just the way they're laid out just annoys me.
00:00.320: With that, so you know, it's like a kindly, please stop using that.
00:00.320: And because I'd used used the multicam feature in X, I just as I was starting it, I kind of accidentally double-clicked
00:00.320: And then I double-clicked on the multi-clip and it brought it up into its own timeline where I could see camera A and camera B just sitting there, uncut, unmolested.
00:00.320: In 20 minutes.
00:00.320: We had two people in two different cities sending images back to us via fiber.
00:00.320: So I had one input was one camera was camera one or feed one.
00:00.320: Yeah, and in the process, you're going, How many hours have I just saved?
00:00.320: and and the lawyers were coming downstairs at three o'clock to view the thing and confirm that it was it all met their specs.
00:00.320: And so I basically had four hours to cut the whole thing.
00:00.320: Actually, it is a container.
00:00.320: And understanding that the primary storyline underneath, you're not moving that.
00:00.320: Bounce between compound clips.
00:00.320: I don't somebody oh, I was talking to Scott Simmons the other day, and he said that his typical way of working is that he would lay a shot in long
00:00.320: Overwrite to track two, and it would just smash out the tail of what you had in track two.
00:00.320: Yeah, but I'm editing, you know, a a a classical piece.
00:00.320: For me.
00:00.320: And so in you know, in X, I can batch I can you know batch force progressive and that's great.
00:00.320: Resolve, he's grading in a progressive environment.
00:00.320: some almost final playouts and going, wow, why are a bunch of these shots now interlaced?
00:00.320: Got sick of waiting for me and jumped into X himself.
00:00.320: If you're in an environment where you cater or assist or finish for other people, like, you know, a lot of our work gets
00:00.320: The observation made, I can't remember which one it was, but it was this idea that the more experienced you are as the editor, probably the worse off you're going to be in that jump.
00:00.320: in my process, it was really having to forget or to push out of my mind the way things were done and
00:00.320: I tried to make Final Cut 10 work like Final Cut 7.
00:00.320: Coming up, let me see, this is Friday morning.
00:00.320: Send me a tweet.
00:00.320: you look or when you get past it, you look back and you go, oh my goodness, why was I so attached to that?
00:00.400: Exposure to all the gear and whatnot.
00:00.400: Just kind of went into the Sony warehouse and grabbed the best of everything they had.
00:00.400: Kind of finished with that role and was just starting to do documentaries, doing a lot, a lot of doco work.
00:00.400: And then being in the city, then I really wanted to tell the story of growing up in the country.
00:00.400: doing the broadcast work that we were doing to pay pay rent really wasn't that creatively satisfying.
00:00.400: Yeah, I just went, right, this is awesome.
00:00.400: You know what, I'm just going to give this a crack because the idea of just jumping in and kind of paddling in the water, paddling in the kiddie pool, isn't actually using it.
00:00.400: And come up with a whole bunch of people going, well, it seems like that, but then you actually look at it, and here's how to use it properly, and I'd figure out how to use it properly.
00:00.400: that I'd run into a run into what I saw as a roadblock, like say for example, audio editing.
00:00.400: kind of this this quiet moment where where I you know I had a a a brief window in the work and and had a moment to kind of think about it logically.
00:00.400: And I went I thought about all of the arguments against Final Cut 10.
00:00.400: Yes.
00:00.400: And at the time I was and this is 0304 yeah, 0304 he had digital voodoo
00:00.400: Again, we were playing with the first Argo boards for Final Cut and doing that.
00:00.400: to being nothing.
00:00.400: Mostly ignored and had no traction.
00:00.400: And the thing the thing that I kind of noticed or observed was that this is not the first time Apple's done it.
00:00.400: It really is kind of a jump because it's not a progressive thing.
00:00.400: You hear people all the time, it doesn't work in my workflow.
00:00.400: Yeah, it's just I mean, there's just so much trying to quantify it.
00:00.400: in a sensible way, in a way that the files name the file names are actually useful.
00:00.400: My way of selecting.
00:00.400: Yeah, yeah, that that yeah, so much pain, so much angst associated with that.
00:00.400: By, what, three days in, you were at your one week schedule.
00:00.400: if he had some sort of a deal with Apple for using his name like that.
00:00.400: Oh, cool.
00:00.400: But um and it really is just grow and shrink, whereas Ken Burns could be just a pan, so it doesn't actually you know do that
00:00.400: But I mean, I had I was flying through something real quick where I had like somebody gave me like 20 images and they said I just need a little push on each one.
00:00.400: on the multicam and I'm not sure why I did that.
00:00.400: Yeah, absolutely.
00:00.400: for reasons best known to Canon, shoots Progressive in a PSF container, which is essentially interlaced.
00:00.400: the XML interprets it as interlaced.
00:00.400: Well, there's still that I mean, the last time I had that happen, honestly, was 12 months ago.
00:00.400: in there, but they seem to be the fixes for them aren't that hard and the speed at which they're getting fixed is reasonably quick.
00:00.400: Without any training programs, without Ripple, without any of that, just kind of bumble his way into it and go, oh, yeah, that seems to work.
00:00.400: work like seven.
00:00.480: And that just struck me, and immediately I was jotting down notes while I was talking with him.
00:00.480: There was one phrase that Alastair said in the middle of the interview, and he said, and I can't remember exactly how he used it, but it was a qualified opinion.
00:00.480: really it's been storyboarded to with an inch of it within an inch of its life and all of the shots have been pre-chosen and even you know all of the takes have been pre-chosen so
00:00.480: what their bottom millions or billions in terms of what their bottom line is based on how people perceive them as a national or worldwide company.
00:00.480: I don't think I thought.
00:00.480: So, yes, I was being hired as a final candidate to Cuttleton Abbott.
00:00.480: But so was it kind of 97 I had a big mountain bike accident that meant I couldn't work in the industry for a bit, so I decided to go back to uni.
00:00.480: We got two weeks into cutting it, it glitched and dumped all of the footage.
00:00.480: So so Final Cap 10, I caught some dodgy cellphone of the NAB demo.
00:00.480: Oh yes, I'm sorry.
00:00.480: You know, Final Cut can't do broadcast, final cut can't do this.
00:00.480: that when everyone said it couldn't, I was the guy that could.
00:00.480: And I mean, because it you know, kind of going back a few years, being based in Melbourne, you know, we have access to some really cool developers, one of which being Grant from Black Magic.
00:00.480: Recognition of prior learning, to give you a leg up into the degree.
00:00.480: of them actually brewing that were good.
00:00.480: And that process of setting up that smart keyword collection took seconds.
00:00.480: But I still hold a grudge with Premiere after that early, early project where it dumped my footage twice.
00:00.480: And and that's just a thing.
00:00.480: Okay, audio mix double click.
00:00.480: At um 9 a.
00:00.480: Yeah, nice.
00:00.480: So if you had the opportunity to sit down with some people from Apple and say, can you just fix this one thing?
00:00.480: So, if I'm up in the top layers doing something with vision, you know, with overlays, and I'm going between two timelines, it'll always reset to center itself in the middle of the screen.
00:00.480: Yeah, yeah.
00:00.480: when I was sending the XML out, progressive footage in a progressive edit, sending a progressive XML out to be released.
00:00.480: there were some instabilities in that process, which meant that clips could and would default back to being interlaced.
00:00.480: only because I wasn't sure that I developed a solid, clean path through into X and back out again, that I could comfortably simply explain it to him.
00:00.480: Yeah, absolutely.
00:00.480: Here we go.
00:00.480: Sure.
00:00.480: and how so many people funnel cut seven and how so many people, you know, we hold on so strongly to the way we do work.
00:00.560: being introduced to new ideas and ways of telling their stories, or like you said, helping companies tell their stories.
00:00.560: what's supposedly this sort of really glorified editing is you're compiling everything that happened on set and then
00:00.560: really just going out and tuning what's there and then seeing what stories we can tell.
00:00.560: And there one of my lecturers found out I was an editor and shooter.
00:00.560: And we so completely cutting without time code, completely completely cutting without any kind of deck control or anything.
00:00.560: And I kind of came in pretty despondent after having edited all night.
00:00.560: And he went and he had it on his laptop and he's like, no, no, no, he he had it he put it on one of the machines and went, you really need to have a look at this.
00:00.560: Source there.
00:00.560: And then, yeah, so we did.
00:00.560: And so I became a trainer really, really early in the piece.
00:00.560: What I perceive to be foibles of Funnel Cut 10, I was still faster than when I was in 7.
00:00.560: being seemingly an expert in the classic system and having 12 years experience with it and I knew every button and I could do everything and
00:00.560: kind of seemingly backward backward workflows to bounce to and from and create turn the R three D's into something that could be usable.
00:00.560: And doing those combo keyword searches, suddenly, bang, okay, there's all the footage.
00:00.560: A lot of your edit can be and that stuff's not even pointless busy work, it's just it's just allowing you to get to the cutting sooner
00:00.560: automatically extended the effect.
00:00.560: He seems to hate the use of the term.
00:00.560: So I actually built a multicam with uh a third input, which was the precompose of the of the double box look.
00:00.560: And yes, kind of the further the further you push into it, you start to see these opportunities for doing something cool and
00:00.560: No, there's a few that don't.
00:00.560: As they bounce around the timeline and kind of change order and all of that.
00:00.560: I mean, I do understand because let's face it, that stuff is very subjective.
00:00.560: So, yeah, come and say hi.
00:00.640: Hello, hello, another podcast.
00:00.640: Okay, so I have a small sort of post and production company called The Post Project.
00:00.640: Look at a little bit of both.
00:00.640: shifting into this corporate space where there's good budget and good stories to tell.
00:00.640: the people that I work with are extremely concerned about their image.
00:00.640: How did you get from there?
00:00.640: more that I had I had access to the gear, I had technical know-how, and I just really wanted to tell those stories.
00:00.640: Um the documentary well, the documentary side did and it didn't.
00:00.640: And you know, this is something so crazy I'd probably never attempt it again, but with version one
00:00.640: And I went, you know what?
00:00.640: that just days of my life kind of kind of wasted.
00:00.640: and then going backwards, going conforming back and then bouncing it.
00:00.640: So, I mean, in seven, you know, my workflow for dealing with rushes was to just turf all of the rushes into one big time line in chronological order and then start to create a select where I'd bump
00:00.640: In Pocket 10.
00:00.640: You know, a piece of B-roll long and then scrub back and say, okay, I want to come in with the next shot here.
00:00.640: Yeah.
00:00.640: A lot of other editors.
00:00.640: He's shitty, he's grading on resolve.
00:00.640: If you were talking to somebody who was on the fence, like, yeah, maybe.
00:00.640: And when he called me about it, it wasn't everything's stuffed up, everything's broken.
00:00.640: And you will find out who that is next week.
00:00.640: You can find me on Twitter at Alastair Robbie, or you can find The Post Project on Twitter as The Post Project.
00:00.720: That was more out of passion.
00:00.720: We've got that.
00:00.720: So, okay, now I'm lost.
00:00.720: And then, you know, in that moment when I realized I've done that, and then set up a smart keyword search that searches for shots that are good and with this keyword.
00:00.720: Yeah, if you look at it and you go, oh, I just need 10 more frames.
00:00.720: Just a couple.
00:00.800: It's just nice.
00:00.800: Uh I kind of started straight out of high school.
00:00.800: Went straight into a job at a production and rental company and was renting a
00:00.800: With the was it the PowerCut PowerShot Training DVDs?
00:00.800: Every once in a while.
00:00.800: I didn't go to NAB that year, so I caught a little bit of the demo that I think was Randy did the year before.
00:00.800: What are some of those things that once you look back, you go, ah, that was horrible doing it that way?
00:00.880: you really your creative involvement in that process is really a couple of frames either way.
00:00.880: and the iMovie Pro stuff.
00:00.880: Absolutely.
00:00.880: That's a cool idea.
00:00.880: Cool.
00:00.880: Moving on.
00:00.880: It'll save you a lot of time.
00:00.880: And they will have already, oh, yeah, I started this in Final Cut 10 because it was cheap and I could get it from the App Store.
00:00.880: We spoke for an hour on Skype, and then I hit stop.
00:00.960: So I kind of had this weird moment where I realized that three days in, I'm four days ahead.
00:00.960: And, you know, up until then, everybody was saying, oh, you know, it's not a real tool.
00:00.960: Well, maybe if I just apply a grade to camera A and grade to camera B, and then like bounce back out of that and go, huh, done, done.
00:00.960: So, yeah, it's something that I normally would have allowed a day for, and it's like, oh, no, yeah, 10 minutes, cool.
00:00.960: Into this storyline kind of container, that annoys the living Jesus out of me.
00:00.960: Yeah.
00:01.040: At any rate, let's go to the interview with Alistair Robbie.
00:01.040: So it's one of those things you just you just sort of white knuckle it and get through it.
00:01.040: So, you know, I went, okay, well, if I'm not going to be one of those people, well, you know, what do I need to do?
00:01.040: And that was our resource.
00:01.040: Abandoned professional editors, and it can't edit.
00:01.040: That genuinely was their issue with 10.
00:01.040: That's tough, man.
00:01.040: And I'm using Final Cut 10.
00:01.040: starting off with P two when P two kind of first when we first got our hands on P2 I think around 06 and you know the the workflow is to get that into final cut
00:01.040: And any of those tools, anything that can get me from a stage of standing at the door of the edit suite with a couple of cards in my hands ready to cut, ready to get into it, to
00:01.040: It's not it's by no means a perfect perfect system.
00:01.040: And that was great.
00:01.040: Yep, just like before.
00:01.040: Wow.
00:01.120: So corporate communication, branded content, that kind of things.
00:01.120: And we got to formally study and kind of experiment and explore.
00:01.120: So this is sounding like there's like a file size limit or something and you and two weeks into it, you hit that limit or something and it just choked and gurgled.
00:01.120: We only had enough storage on the G three to capture to store about the first third of the documentary.
00:01.120: And I remember feeling pretty dark about the whole thing.
00:01.120: It was about the time of the multicam update.
00:01.120: It was a big, it was a complex job.
00:01.200: I mean, you know, from the time I spent cutting T V commercials, as an editor, you aspire to that great height, but then you get there and
00:01.200: And that kind of roadblock knee jerk.
00:01.200: You know, look, my first crack at going through the rushes, and you know, we shop for four days, we had a fair bit of rushes, but I set up keywords for
00:01.200: Two bits in this job that we've just finished.
00:01.200: Let's face it, every designer thinks that their user interface looks awesome.
00:01.200: and a really, really solid editor, but he doesn't have the mind for the technical side of the editing process.
00:01.200: started by producers and then they come in for us to just fix stuff for them.
00:01.280: I think I have one monitor that's a Sony monitor, and it's actually just a TV that's hanging on the wall in one of the suites.
00:01.280: just started playing around with it really.
00:01.280: It's, but at that point, I was working part-time in an Apple store, in a reseller.
00:01.280: Because it wasn't that it couldn't do it, but it just didn't have a preset for it.
00:01.280: being in that first wave of people going, Oh, you can't do that with Final Cut.
00:01.280: And then I had to mention it, so now I look like the idiot that I am.
00:01.280: If we look back to was it two thousand when the first iMac was released, USB as a standard was
00:01.280: Secondary storylines.
00:01.280: I don't want to see the car you drive.
00:01.280: Let me know.
00:01.360: And that was like, yeah, it just it was really cool.
00:01.360: The old Sony edit controllers.
00:01.360: My thing with Ten One is or sorry, Final Cut Ten is that it's and I say to other editors, it will make a lot more sense in three years' time.
00:01.360: bump good shots up onto the next layer, great shots up onto the top layer, and then that would kind of loosely form my
00:01.440: It's going very well.
00:01.440: So how did you get started?
00:01.440: Crap.
00:01.440: Yeah, yeah, yeah.
00:01.440: Yeah, maybe.
00:01.440: That's been great.
00:01.440: Thank you so much for taking the time to talk today.
00:01.520: We've actually got a budget to play with, and we can have a bit of fun with it.
00:01.520: I mean, remember that was the era of like Tupop, and everybody'd go to Tupop, and then, of course, a little later, it was the beginning of the Creative Cow.
00:01.520: like in quick succession.
00:01.520: And they were my main action keywords.
00:01.520: An interesting one I came up with in the job I finished the other day, doing these multi-language edits, I was having to bounce between
00:01.520: I know that sounds like a kind of really odd comment, but again, with other edit systems I've worked with
00:01.520: It is very likely that if you want to dig your heels in and not use and not embrace Fanucha 10 at all, that's fine.
00:01.520: And when I finally kind of I don't think gave up is the right word, but relented and went, okay, I'm going to try doing this the way Final Cut 10 is designed to do it.
00:01.600: Alastair, thanks for being on the show.
00:01.600: So having come spent some time there, this side of things is heaps of fun.
00:01.600: So, you know, it's just about quickly setting that up and like, bang, okay, we can use it.
00:01.600: And, you know, I ended up at this weird place about three days into the cut.
00:01.600: I love, I love doing this.
00:01.600: But that being kind of five days from now, but that we're not sure.
00:01.680: And one what was it?
00:01.680: So well, I mean, exactly with this, we went ugh, you know, kind of stumped up and got into it again, and two weeks into cutting the second time
00:01.680: And people who've been editing for a while don't like feeling like a fool in front of their clients.
00:01.680: Converting of Russias.
00:01.680: If you do have a series of clips that are up on additional layers, kind of arranged in a form, and you need to move them to the other end of the edit.
00:01.680: And look, so it's not, you know, it's not without its foibles.
00:01.680: Storyline-centric.
00:01.680: Oddly, I have a something looming that I may be in Portland on the weekend.
00:01.680: Alastair Robbie from Melbourne, Australia.
00:01.760: And we had boards that would do uncompressed, 10-bit, I.
00:01.760: What's next?
00:01.760: Now, look, that's something I find exciting about the further I delve into what is Final Cut 10, like there's so many opportunities to do something cool in there.
00:01.840: I wasn't.
00:01.840: So, you've been through this story before, you know what it's like to have people look at you and go, Final Cut doesn't do that.
00:01.840: And what I realized was, even with me learning the program and even with me coming up to speed with
00:01.840: To the guy going to the help menu.
00:01.840: Yes, something that would normally take me half a day to do in seven, I can do in about fifteen or twenty minutes in ten.
00:01.840: And it's like, oh, no, why have you done that?
00:01.840: Some transitions will put that into a storyline container.
00:01.840: And that sorts that out.
00:01.920: So to that end, it's pretty yeah, it's heaps of fun.
00:01.920: Every once in a while, I get one right.
00:01.920: My PageMaker 3 doesn't work anymore.
00:01.920: I'll have to find that.
00:01.920: So do you ever use do you ever use the um the Alex 4D plug-in called um Gross Shrink?
00:01.920: You know, one is my English, one is my Arabic, one is my Vietnamese.
00:01.920: And which couple was kind of random.
00:02.000: But I mean, the good thing is that, you know, having come from T V and T V commercials and a little bit of film
00:02.000: Yeah, Premiere.
00:02.000: Dawn, day, night.
00:02.080: Alastair lives, I believe if I recall, he's in Melbourne, Australia, or Melbourne, or however he says it.
00:02.080: You said the year before.
00:02.080: We did four, five five projects out of one set of interviews.
00:02.080: And again, you know, the conversations you have on Twitter, I have luxury.
00:02.080: And every time I did that, when I looked back on the process, I realized that I just completely tortured the process and made things infinitely more difficult.
00:02.160: But then eventually, did it turn into a more lucrative passion, if you will?
00:02.160: Yeah, and I feel bad for saying that because I have read the piece that Ken wrote kind of vilifying the use of the phrase Ken Burns effect.
00:02.160: It's not quite as UI intensive.
00:02.160: Right.
00:02.240: But was it more insane than cutting a third of the piece and then erasing it?
00:02.240: And and again it was, Oh, this is terrible and it's you know, my stuff doesn't work and that you know, that that version of Quark that I've been nursing for the last seven years, oh, it's not gonna work anymore
00:02.240: Okay, so let me ask you this, and this is something this is a portion of the discussion I've never had with anybody.
00:02.240: No, it changes the keyframes with it.
00:02.240: m.
00:02.240: Cool, very cool.
00:02.320: huge fleet of broadcast cameras and flyaway edit suites for outside broadcasts and stuff like that.
00:02.320: Premier dumped its guts and we lost everything again.
00:02.320: Yeah, yeah, yeah, good shots for an edit.
00:02.320: And I you know, it's that's that's Premiere is very good.
00:02.320: Oh, I still have to call my wife.
00:02.320: And I tend to gravitate towards them because they annoy me less.
00:02.400: And I went, oh, well, I can build a flyaway.
00:02.400: The one of the things that you did mention in terms of you hated in the past, all the transcoding stuff.
00:02.400: If you just have something up above, it's not really a storyline, it's just a connected clip.
00:02.400: It's a year that I should be there.
00:02.480: This space is we've got a lot of creative latitude.
00:02.480: So that's the key.
00:02.480: Oh, that's great.
00:02.480: So analysing that moment where they see Final Cut Ten and you watch their faces drop.
00:02.480: Very good.
00:02.480: Yeah, so the thing is, it's like it's you know, you set a percentage, go to 110%.
00:02.480: And then nine times out of ten, it does.
00:02.560: Once again, I appreciate the comments.
00:02.560: It's like, you know what, you're missing the point.
00:02.560: I will say that probably over half of the interviews that we've found are user suggestions or
00:02.640: And can I just say that as an interviewer, I think that was an awesome segue I just did.
00:02.640: And that's where we would go to find things, you know, because let's face it, in 99 and 2000, and maybe even part of 2001.
00:02.640: Well, and that's it.
00:02.640: Like, you know, I went through this interim period where we finally got 10 where
00:02.640: Yeah, they'll strip all their audio off and put it down below.
00:02.640: Keep an eye on the Twitters.
00:02.720: Hold on.
00:02.720: I thought you're in Segway, man.
00:02.720: So for example, one of the brewery jobs we did a few months back
00:02.720: And that brought up yeah, I was about to get onto Twitter and start moaning about grading and not being able to decompose my multicams.
00:02.720: And yeah, maybe, like, you know, only because you went to get a cup of coffee in the middle of it.
00:02.800: I know this has nothing to do with Final Cut 10 people, please.
00:02.800: Yeah.
00:02.800: I won't say which ones, but some of them are just so damn ugly.
00:02.880: The year before you're referring back to 99?
00:02.880: So okay, well there's yeah, there's two thirds of my edit done for that.
00:02.880: And kind of, you know, all of the little curve sort of trim ends, things that are done in, suddenly, oh, that's all clean.
00:02.880: Yes, I do have to interact with my colorist, but we seem to have figured that out pretty easily.
00:02.880: I think the only trip up we've had in that is to do with shooting with the Canon C300 and C100, which both
00:02.880: So, thanks for listening.
00:02.960: It's always the fear.
00:02.960: I'm going to give it a crack.
00:02.960: I think.
00:03.040: You don't sound very Australian.
00:03.040: So it shouldn't be a surprise, like to anyone who's worked with Apple stuff over the years, it really shouldn't be a surprise.
00:03.120: I'm going to stop you there.
00:03.200: And I had a go at it and it you know, it didn't feel like old Final Cut.
00:03.200: And then later, when Grant did the drivers for the first Argy cards to come to Mac.
00:03.280: You know, when I started doing I was doing docs, it's not like there was any money associated with it.
00:03.280: And it's like, Oh, yeah, yeah, we probably can.
00:03.280: Yeah.
00:03.280: You're just moving the clips that are up above.
00:03.280: Like, if I want to overlay, you know, D always goes to the main storyline, you know, the overwrite.
00:03.280: And I think the key thing for me is that getting into it is not that hard.
00:03.280: Coming up on Monday, we have a really cool interview.
00:03.360: Hey, this is another episode of Funnel Cut Grill 027 with Aleister Robbie.
00:03.360: Yeah, 40 gigs.
00:03.360: I hear what you're saying.
00:03.440: And as part of that, yeah, just really found my love of post.
00:03.440: It was that weird time in September graphics history where they built those intels.
00:03.440: And it was like bang.
00:03.440: Yeah, it's worth a look.
00:03.440: Hey, d by the way, did you see I did a tutorial a while back about a a multicam trick that I had to do with one of my clients where um they were doing a we we had
00:03.440: Interesting.
00:03.520: I really, really appreciate you taking your I guess it's Monday morning for you right now?
00:03.520: Yeah, yeah, yeah, yeah.
00:03.520: Yeah.
00:03.600: And you know, it's interesting on Twitter because you've got 140 characters, you're not entirely sure what this person is like.
00:03.600: And it's like, oh, okay.
00:03.600: You know, the the emotions that they go through at that point, it's very emasculating and and you know, and I don't mean that kind of flippantly, like it's genuinely emasculating.
00:03.600: That's really wondered if
00:03.600: No, 10 a.
00:03.600: So, thanks for listening.
00:03.680: And I went and I remembered my headspace back then going, well, I was the guy that could
00:03.680: Apple released a machine that had only USB on it.
00:03.680: It'll never work.
00:03.680: It doesn't work in my workflow.
00:03.680: Ugh.
00:03.680: And then it even has a pointer.
00:03.680: Wow.
00:03.680: Um, if I'm if I'm there, a lot of people will know about it.
00:03.760: Borrowed a G3 tower out of stock and just started cutting.
00:03.760: So it was like, oh, wow, this works.
00:03.760: But then, yeah, I was training and still editing and designing.
00:03.760: Why?
00:03.760: Do you have any things like that that you just dig in the user interface?
00:03.760: Compress the limiter on A, bring the levels up nice, background noise, cool.
00:03.760: And this year, are you going to be at NAB this year?
00:03.840: Yeah, yeah, yeah.
00:03.840: I go, yeah, yeah, yeah.
00:03.840: You were already four days ahead of schedule.
00:03.840: Right.
00:03.920: And and, you know, frankly, I love these conversations that come out of this.
00:03.920: And really just went, wow, there's no going back.
00:03.920: I really appreciate it.
00:04.000: So, you know, where you go through and you essentially line up what the edit is, and then you create the EDL, and then you
00:04.000: Oh, hell yes.
00:04.000: I totally st I lost my own Segway.
00:04.000: That is cool.
00:04.000: Yeah, yeah.
00:04.080: You mentioned doing some DACA work and some spots.
00:04.080: So I was actually quite comfortable with that process.
00:04.080: And I grabbed the Ripple training and kind of did a force feed through that.
00:04.080: And so I put myself back into that mindset and went, well, I'm just going to make it work
00:04.080: And it's like, okay, that's that's pretty damn awesome.
00:04.160: And having come from kind of docco where there's very little to no budget.
00:04.160: You know, I was just explaining to somebody the other day who's very new to the industry and I said, you know
00:04.160: Okay.
00:04.160: It's like, yes, it all worked and yes, it produced some beautiful pictures at the end.
00:04.240: Basically, everything in your influence is going to be Sony gear, is what you're saying.
00:04.240: That's a huge jump that you just said there.
00:04.240: And the other thing I noticed was, and this was kind of the really telling thing for me with Final Cart, was.
00:04.240: I think where my mind shift happened was
00:04.240: And I suddenly thought back to 99 and even kind of more recently, you know, 2001, 2002, 2003, and my work then with it.
00:04.240: Oh, so things like that, being able to throw it in the timeline, I need a bit more.
00:04.240: And are you using the Ken Burns effect as advertised?
00:04.240: And I went, oh, hang on, whoa, you're, you know, you're not.
00:04.320: And this is this is kind of the weird bit because it was Final Cut One.
00:04.320: Yeah.
00:04.320: I can't remember what the name of it was.
00:04.320: Yeah, whatever.
00:04.400: So you had to go in and manually set it and create your own preset.
00:04.400: So I kind of completely, you know, that took a few minutes to figure that out and just kind of create capture presets and create.
00:04.400: Have those PAL presets already?
00:04.400: Sounds like you were reading my blog at that time.
00:04.400: m.
00:04.400: And that that is an interesting thing.
00:04.400: Do you find that that handshake is working well?
00:04.400: I really loved what Alastair had to say about just the perspective change and looking back on Final Cut.
00:04.480: Yeah, and again, that's one of the other things that I tell people all the time.
00:04.480: Yeah, yeah.
00:04.480: That's not really a logical.
00:04.480: It's not a real tool.
00:04.480: Yeah, what's next?
00:04.480: And it was a 45-minute interview.
00:04.480: Yes, there is stuff there that annoys me, but
00:04.480: Some people do that where they'll do like one of the hacks I've seen where is they'll just put a slug in the main storyline.
00:04.560: Oh, no, we were using internals, but it was still around about
00:04.560: Being a complete noob is really emasculating.
00:04.560: And then I just had a good.
00:04.560: No, denied.
00:04.560: Like, you can't frame the shot the way it's going to start and end.
00:04.560: Oh, yeah.
00:04.560: Trying to put a transition on something that's on a secondary storyline automatically puts it into this
00:04.560: I don't want to look at a sci-fi display, you know, I mean, so it it does make sense.
00:04.560: That's all fine there.
00:04.560: So you're using field dominance over to push that back to back to progressive.
00:04.640: This is not like it is now 15 years later, where you can.
00:04.640: It wasn't that it was different, it's that it made them look like an ass in front of their clients.
00:04.640: We recorded them locally.
00:04.720: It meant, you know, when I was going for a job, you know, at the start of 95.
00:04.720: No, what am I going to do?
00:04.720: It is a complete mind shift and very, you know, if you go to a uni degree, they have this.
00:04.720: And but I think I think again, these now we figured out that we can just again batch batch force progressive.
00:04.720: We will see you next time on Funnel Cut Grill.
00:04.800: Yeah, I can build a flyaway SP kit and you know, work with Digiby.
00:04.800: And one of the guys from Apple was there.
00:04.800: And then I'd go and Google audio and final cuts in this shit.
00:04.800: And then all of the USB stuff came out, and everyone's like, whoa, this is amazing.
00:04.800: Um I set up for um brewery hospitality area.
00:04.800: So, you know, we were getting ready to online and doing doing
00:04.800: Thanks for being a part of the show.
00:04.880: That's not quite a terabyte.
00:04.880: So I'm sorry.
00:04.880: Premiere's awesome.
00:04.880: And then I just cut the thing live.
00:04.880: What what would you tell them?
00:04.960: Just helping companies to tell their stories.
00:04.960: Yeah.
00:04.960: And didn't think too much more about it until it was released.
00:04.960: Particularly 'cause i in those days I would take over other or come on at the late end of someone else's edit to
00:05.040: So managed to get a little bit of funding to cover costs and went back to Central Queensland and kind of did a documentary there.
00:05.040: As you said, you got into it out of the passion for doing it.
00:05.040: Yeah.
00:05.040: Oh, they've changed the interface.
00:05.040: But that's ridiculous.
00:05.040: Yeah, it was a very fluid working environment.
00:05.040: Yeah, exactly.
00:05.040: Yeah.
00:05.040: I mean, if somebody said, oh, I'm going to make it, you know, Tom Cruise Minority Report, high-tech, modern, and somebody else would be looking at it going.
00:05.120: Wow, and and so
00:05.120: You know, it was a creative outlet for the skills because
00:05.120: So switching that to doing keyword tagging and even just marking good in X.
00:05.120: Oh, yeah, yeah, yeah, yeah.
00:05.120: And it's like, oh, I've got to look at this for like nine, ten hours a day.
00:05.200: What happened?
00:05.200: So five, six minute finished piece, but I needed to do it in five languages.
00:05.200: Now I was doing five different versions of the edit for five different languages.
00:05.200: Change them, render them.
00:05.280: Yeah, it was it was 99.
00:05.280: What was that?
00:05.280: And and eventually you were like, well, I could be waiting for this Final Cut 7 version to catch up with me or I could keep working on the Final Cut 10 and keep going forward, huh?
00:05.280: It's the same thing.
00:05.360: But then one of my best mates at school, his dad was the broadcast sales manager for Sony.
00:05.360: And then after that, when he started Black Magic, and again, there was all of these early points where people are going, No, you can't do broadcast editing.
00:05.360: And particularly, you know, every time there was a new camera out
00:05.360: It's interesting.
00:05.360: Yeah, and I mean, I found, you know, I went through this period where I was fighting it.
00:05.440: Yeah, yeah, absolutely, absolutely.
00:05.440: Yeah.
00:05.440: I just can't use it 'cause it it annoys me.
00:05.440: Absolutely pleasure.
00:05.520: And I had a mate of mine.
00:05.520: There's little little things like
00:05.520: Yeah, yeah, yeah, yeah.
00:05.520: And the first I knew about it was he was kind of two-thirds of the way through cutting a documentary.
00:05.520: We are so darn busy at the moment.
00:05.600: It wasn't bad.
00:05.600: Right.
00:05.600: And so they would they would do their selects by creating subclips, but subclips had finite boundaries, so you couldn't extend beyond that.
00:05.600: Right.
00:05.600: Uh we had to break for lunch, because you know it's lunch.
00:05.680: Yeah.
00:05.680: There's a lot of those similarities to back learning
00:05.680: Yeah.
00:05.760: And I was like, I knew that would be the name.
00:05.760: That's awesome.
00:05.760: Exactly.
00:05.760: And he said the phrase, I'm so glad I made the jump to 10.
00:05.760: You know, uh, point you know, yeah, go that way toward that tree over there and zoom.
00:05.760: But as soon as it's inside that storyline container, it then becomes a complete pain in the balls to
00:05.760: It's cool when you grab a whole bunch of them and try to move them and then just watch them spring load.
00:05.760: I wasn't sure that I was experienced enough with X to do that.
00:05.840: And at the moment, the bulk of our work is branded content
00:05.840: No, no, sorry, sorry.
00:05.840: 10 I think that was 10.
00:05.840: And I'd go, Well, have you actually used it?
00:05.840: I'm not that smart.
00:05.840: It's like Final Cut 8.
00:05.840: Yeah, yeah, absolutely.
00:05.840: It's just him going, what people call that plug-in is actually the antithesis of what we're attempting to do with
00:05.920: Good morning, Chris.
00:05.920: And it was this.
00:05.920: It's not evolutionary.
00:05.920: I mean, you you said it
00:05.920: That's just infuriating.
00:06.000: I think that's one of the things that's actually really nice about working in a corporate environment as opposed to just doing
00:06.000: But how did you get from there to doing documentaries?
00:06.000: So we were cutting this documentary, Student Doc, on Premiere.
00:06.000: Like it was another six months until One Point Two came out.
00:06.000: So, one of the things that I hear people say a lot is, I don't want to have to change my viewpoint.
00:06.000: So, but look, I mean, for me, you know, I really got under that first project, then knocked out a second major project.
00:06.000: You know, starting
00:06.000: But he spits out progressive files, and when they come back to Final Cut,
00:06.080: And any moment it could crack and you could fall in.
00:06.080: And there were lots of people, people were starting to get interested in it.
00:06.080: Tell me about the first time you saw Photo Cut 10, but I totally just blew it right there.
00:06.080: And, you know, it's sort of the same thing.
00:06.080: Yeah, I think all of them will, actually.
00:06.080: And so bouncing between those, the vertical scroll on the timeline resets itself every damn time.
00:06.080: I own my own small shop.
00:06.080: Yeah.
00:06.160: Um i in I was in year eleven in ninety three and um the the school the private school I was at
00:06.160: I just had never seen computers
00:06.160: I know how to spell the name of the app, and it's totally different.
00:06.160: But and I have had quite a few cracks at going to Premiere
00:06.160: So look.
00:06.240: I think we're going to have some cool news on the Final Cut Grill coming up in the next
00:06.240: Where's my ADB port?
00:06.240: Again, when we're doing a peaceful hospitality, it was hospitality day or hospitality night good
00:06.240: If you have somebody that you feel needs to get grilled,
00:06.320: Is that a good thing or a bad thing?
00:06.320: Yes.
00:06.320: So, you know, in 93, we had shot and finished a project on BDCam SP, which
00:06.320: So I caught a little bit
00:06.320: And then and then a whole bunch of people who don't use Final Cut 10 would go, Oh, yeah, totally, you should take it.
00:06.320: That's because and not because it was bad, but because it was different.
00:06.320: And then Q 12 months later, 18 months later, people are like, wow, OS X is amazing.
00:06.320: People expect that when you go to a new version of the application, you expect some recognition of prior learning.
00:06.320: I hadn't thought about that.
00:06.320: At any rate, I hope you enjoyed that episode.
00:06.400: So that's great.
00:06.400: Yeah, yeah, yeah.
00:06.400: Yeah, I think I had a conversation with somebody via Twitter.
00:06.400: They wanted to do a little CNN two box up effect, but they don't have two channels of DVE in the studio to do that.
00:06.400: I mean, literally, and this was a thing where they finished recording.
00:06.400: How can people follow you, find you on the Internet, your company, all that stuff?
00:06.480: And yeah, it's just kind of it growing growing up with that, you fight pretty hard to drop that accent when you get to the city just
00:06.480: It's similar kind of work, but just we actually can
00:06.480: So we yeah, we started cutting on it.
00:06.480: Yeah, yeah.
00:06.480: It's not like it was.
00:06.480: And I happened to be helping out an editor mate of his, and he would, you know
00:06.480: And then, depending on which specific edit I was doing out of that footage.
00:06.480: Which I never understood.
00:06.480: I'm not sure.
00:06.480: You know?
00:06.480: I call it below the equator.
00:06.560: We can have a lot of fun with it, and we've got clients who are willing to explore and kind of see
00:06.560: So actually, that's a good.
00:06.560: No.
00:06.560: Yeah, which brings us to where we are today.
00:06.560: And the other big thing is that
00:06.560: And good grief, we talked for another hour and a half after that.
00:06.640: Um I got
00:06.640: So Final Cut saves your bacon, where you pretty much
00:06.640: So at the time I started editing in X on my main machine
00:06.640: And I went.
00:06.640: So and yes, it's just such a pretty interface as well.
00:06.640: All right, thanks for your time, Alistair.
00:06.720: O.
00:06.720: Maybe the ice on the lake is not quite so firm as we thought.
00:06.720: Oh, okay.
00:06.720: You know, can you finish this for me?
00:06.800: Um so just wh when was Final Cut One released?
00:06.800: So, so final captain.
00:06.800: I'm called out as a fraud.
00:06.800: That is not practicing good logic.
00:06.800: And I'd allowed half a day for grade and half a day for audio mix.
00:06.800: And without my involvement, he's just kind of bumbled his way into it and is doing some really solid work.
00:06.880: Yeah.
00:06.880: And yet you just said
00:06.960: And frankly, they're more likely to pay for it because they have sometimes billions of dollars on the line in terms of
00:06.960: How long have you been doing this?
00:06.960: Yeah, whatever that was.
00:06.960: Yeah, this would probably have been
00:06.960: Absolutely.
00:06.960: Very cool.
00:06.960: And I got to tell you, the interview coming up next week, next Monday.
00:07.040: So, you know, get people to listen.
00:07.040: Hello, sir.
00:07.040: You know, seven and previous, there was a lot of
00:07.120: And so they
00:07.120: It had no PAL setting.
00:07.120: And
00:07.120: One was feed two, and then the third source was the composite of feed one and two.
00:07.120: Yeah.
00:07.200: And it was like
00:07.200: And that happened to be like the day after, or a couple of days after, Final Cut One was released.
00:07.200: Oh, woe is me.
00:07.280: I was in Brisbane at the time.
00:07.280: So thank you very much.
00:07.280: Like even even
00:07.280: Okay, there you go.
00:07.280: And so because he couldn't do that, he was just doing Q, Q, Q, overwrite, and he had these little stairways to heaven.
00:07.360: Instead of telling me all the great things that you like about Final Cut Ten, we'll do some of that.
00:07.360: Again, just these
00:07.360: And then in olden days, when you were track-based, you could say
00:07.440: You were working in a rental house.
00:07.440: Yeah, I think that's so common.
00:07.440: That's pretty sweet.
00:07.440: It really is kind of revolutionary.
00:07.440: So th there's a few things in Final Cut ten that when I sit down and I and I start using that feature, I still kind of get kind of
00:07.440: I'm not sure, but it's fairly clear that he hates the use of
00:07.440: And so I'm editing happily in Progressive Land.
00:07.440: It was
00:07.440: It's very likely you're going to have people bringing projects in to you.
00:07.520: Yeah, yeah, yeah, yeah.
00:07.520: That you'll hear like, yeah, they're like, wow, now with PAL presets, like, yeah.
00:07.520: Do you ever have the conversations with other editors where you get to defend that viewpoint?
00:07.520: And I think that's also something that's very interesting.
00:07.520: And then I one other thing that I just want to say, just in the interest of being fair and not sounding like
00:07.520: So if people are listening to that going, well, well, Premiere does all that, I don't need that.
00:07.520: One, there was a series of stock shots stock
00:07.520: That's so cool.
00:07.520: So it's been I mean, it's been a really good step.
00:07.520: And the flags in the Canon stuff don't seem to be set right.
00:07.520: He admits himself, he's not the most technical editor in the world.
00:07.600: So that really gave me that technical
00:07.600: Yeah.
00:07.600: And particularly growing up in the country
00:07.600: But the production or Discovery stepped in and went, No, this needs to be cut on Avid.
00:07.600: Twice.
00:07.600: And I'd already seen people kind of bitching and moaning about it on Twitter.
00:07.600: 06 or 3.
00:07.600: It's like, no, I like it.
00:07.600: And so it hasn't happened since.
00:07.680: It was just
00:07.680: And I've been in ahing about whether to bring him across to X.
00:07.680: I'm not
00:07.760: I know where this is going.
00:07.760: Absolutely.
00:07.760: Yeah, where's my ADB port?
00:07.760: I find that I tend to actually work neater, however.
00:07.760: Like just a couple of clips or all of them?
00:07.840: And I was a student at the time, so student.
00:07.840: And I was doing long days on it, but about three days into the cut, where I realized I was a week into my schedule.
00:07.840: Yeah, yeah, yeah.
00:07.840: No, absolutely.
00:07.840: He wanted he w he was looking for the ability to just be more
00:07.920: Yes, it is.
00:07.920: And they're like, oh, you've shot with that camera?
00:07.920: Oh, that was very smooth.
00:07.920: And I'd go, oh, actually, audio editing on Fine Carton is actually really awesome.
00:07.920: And then again
00:07.920: I never understood why that had to be a thing.
00:07.920: Yeah.
00:07.920: That is so cool.
00:07.920: That's very cool.
00:08.000: No, it's it's just an observation
00:08.000: Our Year twelve project, we shot on SP and I think finished a Digibeta.
00:08.000: To be fair, that was not Premiere Pro.
00:08.000: Done, moving on.
00:08.000: Yeah, so if you have a clip that's up above.
00:08.000: If it gets pushed back a bit, then I might try and swing that into a
00:08.000: Later, later.
00:08.080: It's like, this is one place where people
00:08.080: Yeah, yeah, yeah, yeah, yeah, yeah.
00:08.080: Right.
00:08.080: You know, Apple have kind of thrown a you know
00:08.080: B.
00:08.080: What would it be?
00:08.160: Cold Mountain.
00:08.160: I just
00:08.240: How did you get started?
00:08.240: And he's like, oh, what's going on, man?
00:08.240: Like, you know, a couple of minutes of snooping found that there was the power.
00:08.240: Well, it it was weird because I'd come from that broadcast end of town.
00:08.240: And I think that when you kind of open your
00:08.240: Yeah, absolutely.
00:08.240: I was like, boom, boom, done.
00:08.240: But it was just one of those annoying things.
00:08.320: You become a hired wrist for the day.
00:08.320: Yeah, maybe, but you weren't the only voice saying it.
00:08.320: and the RAIDs to support it.
00:08.400: This is in 99.
00:08.400: I had a mate in Sydney.
00:08.400: So, other things.
00:08.480: The good fun is that our niche at the moment is brewery.
00:08.480: So my first
00:08.480: Yeah.
00:08.480: So, there's a lot of.
00:08.560: I've come from that documentary background.
00:08.560: .
00:08.560: And I'll give it a crack.
00:08.560: And to going from that and being an editor of Experience.
00:08.560: Very good.
00:08.640: And from there, we started doing all of these student documentaries.
00:08.640: And
00:08.640: So I'm in Australia, so we're working with PAL.
00:08.640: And I saw a lot of people
00:08.640: Um
00:08.640: Is this one of your odd years?
00:08.720: Twice, twice.
00:08.720: Hold on to Final Cut 7.
00:08.720: Right.
00:08.720: And there's plenty of things in Final Cut that annoy me.
00:08.720: Oh, I see what you're saying.
00:08.800: In the future.
00:08.800: Yeah, so so tell me about the first time you saw Final Cut 10.
00:08.800: I had a job come in.
00:08.800: Interestingly enough, he
00:08.880: I was too busy to really spend the time with it.
00:08.880: Yeah.
00:08.880: Like, can you please make your interface look a little bit better?
00:08.880: It's
00:08.880: Absolute pleasure.
00:08.960: And the big the big aha moment for me with with Ten was that
00:09.040: That's a big jump there.
00:09.040: Yeah.
00:09.040: Exactly.
00:09.040: Down the block.
00:09.120: Right.
00:09.120: Okay, so a secondary storyline
00:09.120: Okay.
00:09.200: You know, we're doing our best here to give you good, qualified information or a qualified.
00:09.200: And as I say, two weeks later, we had a dock out.
00:09.200: That was very smooth.
00:09.200: And I could just imagine this is a really interesting thing.
00:09.200: I mean, you're gonna you're only gonna please so many people.
00:09.200: So you may be seeing it whether you want to or not.
00:09.280: And then, really, the first time I got hands-on with it was the day it was released.
00:09.280: Like, hmm, okay, that took.
00:09.280: So I don't have to deal with
00:09.360: A lot of trips to breweries or a lot of free swag getting sent to the office.
00:09.360: Was it ninety nine?
00:09.360: It was like one of those things.
00:09.440: Yeah, it's not what I'd call a qualified opinion.
00:09.440: But as I thought about that, I realized, you know what?
00:09.440: Although listening to listening to some of the other FCPX grills, there was the observation
00:09.520: Cool.
00:09.520: So from there,
00:09.520: So it felt a bit shit.
00:09.520: Drag, drop, copy, paste, attribute, done.
00:09.520: Hmm, which one?
00:09.600: Yeah, I have.
00:09.600: And
00:09.600: Yep, okay, cool.
00:09.600: So things are firming up and things are becoming more solid.
00:09.600: I was going, oh, I can make it.
00:09.600: Take care.
00:09.680: Oh, cool.
00:09.680: And Premiere had this weird bug at the time that
00:09.680: So it was reasonably technically complex.
00:09.680: Same thing if I'm doing stuff with audio.
00:09.760: It's like, how's your documentary?
00:09.760: The second job I did was a multi-cam, so a two-camera switch.
00:09.840: But grew up in the Australia Outback.
00:09.840: Although
00:09.840: Yeah, yeah.
00:09.840: I like the multicam so much, I try to make up reasons to use it.
00:09.840: And I think at the time we first did that
00:09.920: And he kind of slipped me a copy of it.
00:09.920: Now I've ruined it by calling it out.
00:09.920: People were probably thinking.
00:10.000: Where's my floppy disk?
00:10.000: Same thing again in 04, 05-ish, somewhere around there.
00:10.000: Or actually
00:10.000: That was no, no, no, that was back in the nineties.
00:10.000: What is your colorist using?
00:10.000: And one guy is an amazing director, amazing cinematographer, and
00:10.000: And then sometimes when we get back at it, you know, as we discussed,
00:10.080: So, yeah, just for the Sydney Thousand Olympics, and I'd shown them
00:10.080: And so I set it up on my main machine.
00:10.080: And we were doing that.
00:10.080: It was like
00:10.080: There are definitely other tools out there.
00:10.160: So tell people a little bit about the kind of work that you do.
00:10.160: And that inevitably means extending some shots.
00:10.160: But when
00:10.160: Right.
00:10.240: Yeah.
00:10.240: Three.
00:10.320: I think it was um
00:10.400: Absolutely.
00:10.400: And because I spent 10 minutes in there going, hmm, huh.
00:10.400: Like, I can't believe I get to do this.
00:10.400: And it was done early, waiting for the lawyers to show up.
00:10.400: Cheers.
00:10.480: You know, I certainly found in my
00:10.640: Why can't I overwrite what's in a secondary storyline?
00:10.640: And for him to be able to.
00:10.720: Yeah.
00:10.800: Yeah, I think it was 10.
00:10.800: And so when it comes in, it identifies as interlaced.
00:10.880: So that would, that was kind of cool.
00:10.880: But it really does mean that
00:10.960: So it meant our Year 11 project, we
00:11.040: Yeah, 300 bucks was out of the question.
00:11.120: If you dig hard enough, there are actually quite a lot of similarities.
00:11.120: And it and it works the same way as the Ken Burns effect, but it's much faster.
00:11.200: Right, right.
00:11.200: Which one?
00:11.360: And about
00:11.360: I will say that Final Cut 10s.
00:11.520: And I find at least
00:11.520: 03.
00:11.600: I just want to make sure that everybody knows that we know that.
00:11.600: Which one?
00:11.760: So
00:11.760: Yeah, one of the things that I've been telling people is that.
00:11.840: I didn't even see that coming.
00:12.080: Very interesting.
00:12.160: So
00:12.160: Yeah.
00:12.240: Yeah.
00:12.400: Oh, cool.
00:12.400: This is awesome.
00:12.480: No, about the time of 10.
00:12.640: But if you're in a
00:12.720: Right.
00:12.720: I was used to timecode.
00:12.720: Yeah, yeah, yeah, yeah.
00:12.880: You know, I I found it coming from
00:12.960: Oh, wow.
00:13.040: Oh, yeah, very cool.
00:13.040: Yeah, yeah, that was insane.
00:13.040: That was just.
00:13.040: It was awesome.
00:13.120: And and um
00:13.200: I should let that go.
00:13.440: 03, I went.
00:13.760: I was used to.