Episode 29
FCG029 - Timeline Kung Fu (feat. Thomas Grove Carter)
Trim Editing is where Thomas Grove Carter works in East London. In the past year he has began to included FCPX in his workflow when it fits and has learned to really enjoy the application. We discuss our respective ways of watching, sorting, and organizing clips in our workflow.
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Featuring
- Chris Fenwick
- Thomas Grove Carter - trimediting.com - @thomasgcarter
Transcription
00:00.080: The Final Cut website.
00:00.080: In ten yet, but then I'd probably use secondary storylines.
00:00.080: Because like 200% is something I use all the time 'cause people shoot 50 frames, well, over here it's 50 frames.
00:00.160: Hello, hello.
00:00.160: with sound people and all those kind of things.
00:00.160: But it's really funny that there's a whole world of people who still you know, 'cause we still send off E DLs for our stuff.
00:00.160: you know, if you took away the sound design or the way it's cut with that track or the way we've broken down the music, it wouldn't it just wouldn't work if you if you had it different.
00:00.160: and eventually I went and became a runner at his company and sort of began to sort of pick up more and more editing work while I was there.
00:00.160: No, no, I think I think I think a lot of people do.
00:00.160: all my job is like that, or you can be a crappy editor 'cause you can't, but it all it all sort of falls into the same thing.
00:00.160: I did that thing where you downloaded it and sort of cocked your head at the interface and it was like And I've done it do you know, it may be because
00:00.160: But it almost worked.
00:00.160: ten video clips and ten audio clips, and it would work out which two to marry up.
00:00.160: If the director was like, Oh, so at this point, what you know, what's going on in the bass line, what's going on on the drums, you could just listen to those portions and then duck the audio or pump it up for those different bits.
00:00.160: you know, and the way it works with handles now, you know, with the ramping in and out of the speed effect.
00:00.160: it doesn't blade the clip, it sort of just blades the speed.
00:00.160: naught to one hundred and where this you remember it did it that's what it does in Avid and that's what it used sort of used to do in Final Cut seven.
00:00.160: And he goes, Oh, yeah, no, I wouldn't do that.
00:00.160: Yeah, I do that quite a lot, yeah.
00:00.160: Yeah, any clips that are next to each other when you lift from the storyline, it's in a secondary storyline instantly, which is so handy.
00:00.160: I only found this last week for ages.
00:00.160: Well, do you know a couple of the older school a couple of the sort of more senior editors where I work they they work
00:00.160: if everything's on one layer, you can look at it and you can see where it starts to get faster or slower or particularly on a music video.
00:00.160: They used to work in just one layer anyway in Final Cut 7 because that's the background they came from.
00:00.160: you know, and I remember thinking, all I want is a like a masking uh you know, an animat tool and and maybe some motion tracking.
00:00.160: I kind of think, oh, I wonder what other things you can do.
00:00.160: Two times speed.
00:00.160: Is that after some of these conversations, Apple actually adds some of these commands in to the stock to keyboard setup?
00:00.160: And that was and that's that was so much quicker rather than going file, export, xml, blah blah blah.
00:00.160: thirty six or something, I think.
00:00.160: Well, I think one of the things that Apple has done really well is they've created this ecosystem where it's very profitable and very friendly for third party developers to develop these additional tools.
00:00.160: to make an EDL.
00:00.160: that I've spoken to that needed to make EDLs.
00:00.160: If you need those extra things, like I've probably bought, I've bought SliceX.
00:00.160: It's like, well, you have to buy this and you have to buy that, and you know, all this stuff.
00:00.160: So when I go into the I don't know, whatever it is, we've got the studio scene, I'll go into it and I can with with the shortcuts, I can flick between looking at all the shots or I can flick between just my favourites.
00:00.160: In Final Cut 10 because I wanted it to be sort of familiar.
00:00.160: the better you get in Final Cut Ten, I think.
00:00.160: for you.
00:00.160: But it's in sync with other stuff down the line.
00:00.160: to hit when the foot hits.
00:00.160: and hit Command T and put in some dissolves and stuff like that.
00:00.160: Well you know if you do with the range tool, if you select the middle of a clip and then you duck the audio in that middle section, it automatically puts in all the keyframes for you.
00:00.240: But we made that work and it was a great conversation.
00:00.240: they'll do all the um yeah, all of that kind of stuff.
00:00.240: Okay.
00:00.240: Because it's so tight not that grade isn't as well, but because the sound's so tied to the picture.
00:00.240: I don't know.
00:00.240: There's a lot because of our because I work in this world, there's a lot of stuff that I read that I'm kind of like, oh, I don't really feel like I need that feature.
00:00.240: you can't do an EDL.
00:00.240: you know, and then one or two of those friends started directing better music videos.
00:00.240: an editor at another edit house, a place called Family Editing, this guy called Vid, and he sort of became my mentor.
00:00.240: pulling out their little toy camera, their little sixty D or whatever, and they shoot they cut their little stuff in their iMovie or their Final Cut Pro and they all of a sudden, you know, uh they're like like
00:00.240: And don't know how to try stuff out.
00:00.240: maybe an awards deal, or you go to like a production company's party and things like that.
00:00.240: And uh you sort of have to have someone take the wind out of yourselves a little bit before you actually become good at any of that stuff.
00:00.240: like this is gonna sound really stupid, but when you have when you get together when you have lunch, everyone sort of sits in their edit suite and has lunch.
00:00.240: You know, the editors are trading war stories.
00:00.240: I think I used it on my first job about probably wasn't until last July, maybe.
00:00.240: I'm a little bit of an Apple fanboy, but I kind of 'cause I think a lot of people just chucked it out, forgot about it, moved to Avid or whatever.
00:00.240: But I kind of I was always a bit like, well, I can't imagine that Apple would fuck us over this badly.
00:00.240: a director might be comfortable with working with you, even if they've never have, because they've spent however many lunches together with you and things like that.
00:00.240: I think the one thing I would always show people is the way that audio would jump out of the way if you moved it.
00:00.240: We've got about six suites, and then we've got an ISIS that is shared between all the suites.
00:00.240: you know, if you want to use a different thing, it's not a it's not a huge deal.
00:00.240: sort of was pushed into into using it more because now I've got that skill.
00:00.240: So that's really good.
00:00.240: So that was one thing.
00:00.240: So all the footage was just looking up at people's faces, and each advert was just one twenty second shot.
00:00.240: you know, making them with end frames and putting them all together.
00:00.240: We had a the track, they gave us all the stems for the track.
00:00.240: And then I could just expand audio components and all sixteen things sort of pop out there in the timeline.
00:00.240: No, I did it I actually did a multicam clip.
00:00.240: You know, put compress it back down again.
00:00.240: The audio components feature is an interesting one, and I have yet to really, I guess, need to deal with it.
00:00.240: they used audio components and it's really it's it's like one of those things where it's like, yep, yep, totally glad that's there, even though I'm not actually using it today.
00:00.240: I know that those features are there.
00:00.240: Yeah, I sometimes completely forget I've even got them.
00:00.240: And just being completely bagged by it.
00:00.240: But yeah, I mean, it's that's one of the things about Final Fed 10 that's you have to keep reminding people that
00:00.240: I had it downloaded from day one, but by th I think the first time I probably worked with it on a live job was probably ten point nine, 0.
00:00.240: So it's quite a long way down.
00:00.240: I want to say three, maybe four camera back before some of the audio stuff was more, you know, tidy, let's say.
00:00.240: for the first time with a program, it feels like they could add almost anything.
00:00.240: Right.
00:00.240: You know, I would have probably said, Oh, it'd be really good to get some kind of graph where we can see and now yeah, someone came into my edit the other day and was
00:00.240: I was showing them that feature, the blade speed.
00:00.240: and change so if you want us it to go from one hundred percent to two hundred percent over the m in the middle of the clip, you'd normally cut the clip, change the speed of the second half and that was that.
00:00.240: Yeah, that's amazing, isn't it?
00:00.240: Like I've done music videos in it now and I've never knocked anything out of sync down the time line.
00:00.240: And I was saying, oh yeah, you know, once I was I was mentioning that phrase you used, the climbing oh, what do you call it?
00:00.240: Is that and I was saying that and I said, Oh, the timeline's so different, the magnet and he was like, Well, it's not really that different, is it?
00:00.240: And it's just that it's the other way around with Final Cut Ten.
00:00.240: That would be command option up arrow.
00:00.240: you know, trim things up or down or whatever.
00:00.240: Whereas now they will automatically jump into a secondary storyline.
00:00.240: So I jump out of the storyline and be trimming and extending, and it's sort of rippling that little section.
00:00.240: and then dropping them back in.
00:00.240: So, what you're saying is you select multiple clips in your primary storyline, hit Command Option and Up Arrow, and it pops it up into a secondary storyline.
00:00.240: So then the next thing is there are times when you want those things to be separate.
00:00.240: it takes it out of the the uh the little shrink wrapper.
00:00.240: Well, not really, but I think not really.
00:00.240: You can't really see the flow of an edit when everything's all over the place.
00:00.240: push those up to like track three or you know maybe maybe it's three and four because there's a title layer and a background layer.
00:00.240: Because you could see it, because you see that stuff up on on track f uh, you know, three and four.
00:00.240: It's really nice when your timelines are neater.
00:00.240: my narrative over the top of it so that any time when the director's like, Oh, I think this narrative thing needs to come on the first chorus, you can pick it up and move it and know that below it there's great performance from that section anyway.
00:00.240: So that's one thing where in seven I used to definitely use more than one layer for that.
00:00.240: But you couldn't one thing that would be really nice is if you could do in and out, which you can't yeah, you definitely can't do in and out because actually one thing one thing I do quite a lot is if I'm
00:00.240: Same playing through an edit and you get to a point in the shot where you think, right, I'm I want to cut out at this point, I'd often just hit an end point and delete.
00:00.240: Right.
00:00.240: all these things are that everyone keeps requesting.
00:00.240: Like when you're when you're select when I select now, I go through and do favorites in the you know, and you just kind of go you're JK and L, you go in, out, F for favorite.
00:00.240: Yeah.
00:00.240: I've been trying to work out me and a couple of the other Edisons where I work, trying to work out what makes Final Cut ten so fast.
00:00.240: you know, there are some people who will highly modify their keyboard shortcuts.
00:00.240: No matter what edit system he uses, he's highly modified the keyboard shortcut so that it's basically the same keystrokes in any edit system.
00:00.240: turn off all the like volume settings and all that.
00:00.240: Photographs of your office.
00:00.240: And all of a sudden, Final Cut looks really comfortable to use.
00:00.240: That's it.
00:00.240: EDLs really, because they've we've I'm working with we get sort of delivered ProRes proxy footage.
00:00.240: to the posthouse, and they'll sort of rebuild the edit.
00:00.240: And then the other one I use quite a bit because for sound as well, I still have to we have to send off OMF files.
00:00.240: I think it I kind of think it's the same with the the philosophy of the whole program actually, is that Final Cut Ten is almost like an editing O S in some ways, and then you buy the basic package for
00:00.240: however much it is, to three hundred dollars.
00:00.240: Tracking tool.
00:00.240: But you know, one thing I found is that when I used to select, I used to put my clip in the viewer, insert onto a timeline, then I'd have a selects timeline.
00:00.240: fifty dollar app that makes EDLs for you.
00:00.240: you know, I'd just chop the heads and tails off clips and had the string out.
00:00.240: And then I'll go through that and then I'll favorite all the stuff that I want to use.
00:00.240: And then you hide.
00:00.240: And the reason I do that is it gives me a very quick visual representation of what I've looked at, what I've selected, but more importantly, what I haven't looked at.
00:00.240: That being said, there's a lot to be said for the hiding and the favorites and the keywords.
00:00.240: And you can just sort of see it.
00:00.240: No, I clearly I'm gonna give that some thought.
00:00.240: you can use the shortcut just to break apart compound clips, and they all just popped apart.
00:00.240: Like one tiny thing that I've only just noticed recently is you know when you put an end point, say you're halfway through a clip and you put an end point, it automatically sets the out point at the end of that clip.
00:00.240: Now in Final Cut seven, it wouldn't do that.
00:00.240: Whereas in Final Cut 10, I just put the end point and then I can press delete straight away and it deletes the end of the tail of the clip.
00:00.240: the exte like is it Shift X, the extend edit or extend No, I use option and the square brackets.
00:00.240: That's when you really start to get quicker than editing one on one.
00:00.240: It's so fast just to especially if I'm doing something with when I'm doing a bit of sound design with Well, here's here's the number one thing I like about the audio and Final Cut ten.
00:00.240: And it will move its connection point.
00:00.240: So you've got a secondary clip, or what do you call it, a connected clip.
00:00.240: And then whereas with this, if you've got the connection point on that punch, when you speed the clip up, it just sort of ripple you know, it'll and it will do it proportionally.
00:00.240: So I when I was work so I had the connection point halfway through the track, and then when I was working on the front, I didn't have to think about
00:00.240: Oh, is that because I've sometimes had it where it hasn't worked, and I assumed it was just a bug.
00:00.240: that you that is synced to a to something in the primary storyline.
00:00.240: But if you swipe a piece of audio, it won't the the playhead will keep going.
00:00.240: Yes, that is true.
00:00.240: So I'll do it on the one that just played, and then I'll while the playhead is still playing, I'll go and select the other music swells and bop them up before the playhead gets there.
00:00.240: That's amazing, isn't it?
00:00.240: At the beginning and end of it, pull it down and then do a transition at the two blade points
00:00.240: Well, the playhead is the playback is going to stutter a little bit, but let's face it, we're not laying stuff off the tape, so it doesn't really matter.
00:00.240: that you see this thing that's like it's like a cliff coming up and the train's running out of tracks.
00:00.240: Right.
00:00.240: Well, it sounds like I'll have to have Thomas back again sometime.
00:00.240: Yeah.
00:00.240: is sort of equal amount of time either side of the cut.
00:00.240: you can do that with the audio and then extend it by quite a long way.
00:00.240: And I lose messages and stuff.
00:00.320: Yeah, yeah, I'm here.
00:00.320: So it's quite a small offline house in London.
00:00.320: special effects, anything like that will be done elsewhere at kind of places in and around London.
00:00.320: But yes, it is really nice to be able to do that and send it off.
00:00.320: people don't really know how to look at a pure offline anymore.
00:00.320: There's a lot of people who use it as a finishing tool, yeah.
00:00.320: Yeah.
00:00.320: you know, sort of dealing with the client hospitality side of it, which is how most people get into it over here in London.
00:00.320: That people don't understand what I refer to as the machine, you know, the big machine, the production machine.
00:00.320: I'll call them a credit card DP.
00:00.320: twice as much fun with me, it might be, you know, I might get the j next job.
00:00.320: Yeah, exactly.
00:00.320: online over Vimeo or something, I think.
00:00.320: I could fit quite nicely into the company.
00:00.320: you know, it might seem sort of frivolous, but no, I totally agree with you about that.
00:00.320: But we always had it on the backbone, and I kept reading like little things every now and again, like from Larry I think I got Larry Jordan training at the time as well.
00:00.320: get us all up to speed because I actually didn't really know I have it that well before, you know, about a year ago.
00:00.320: So that was the first sort of that was the first commercial I did on it, just because it was easy, and it was dealing with a lot of GoPro footage, and then we had to sync sound
00:00.320: it was mainly a time thing.
00:00.320: Yeah.
00:00.320: Slate one, take one, audio and video.
00:00.320: The audio portion ran full length, and then I guess it was spanned clips on the two cameras.
00:00.320: And you know, I just feel like you just select all that and make a make one giant multicam, but but then what I'll do is I'll open up the multicam editor.
00:00.320: and I'll collapse all of the camera A's onto one track, just you know, one after the other.
00:00.320: And you can just pop all your clips on top of that audio within one clip, essentially.
00:00.320: Layers.
00:00.320: Yeah.
00:00.320: Yeah, and it it really feels like it's something like they could add anything, you know, within within reason.
00:00.320: So in Final Cut ten, when you when you what's it, Command R, you bring up the I don't know what is it, the read time menu, where you can just drag the clips, you can drag them out.
00:00.320: push and pull those shots a little bit more.
00:00.320: and then he says his last line, and there's a bit of a pause, and then he says, Thank you, and he walks off the stage.
00:00.320: Now, the music, however, had right at that moment where he said his big final line, there was this nice lull in the music, and then there's this big giant guitar chord.
00:00.320: that I like about the timeline is when you when you learn some of the ru I'll call them the rules of the road, right?
00:00.320: when you learn those rules of the road, the timeline becomes very, very fluid.
00:00.320: generally works the s it works the same.
00:00.320: about traveling around the world.
00:00.320: editing kung fu.
00:00.320: But then again, command option, down arrow, and it shoves it back into the primary.
00:00.320: I will say that one of the things that I used to do a l a lot, and I do sort of miss it, is that I would do things where, obviously, my my basic story spine
00:00.320: was on track one, typically putting my B-roll on track two.
00:00.320: And you can select the role edit as well with the s uh backslash key.
00:00.320: select all the performance stuff and have like a base layer of all the best perform you know, have a cut that's entirely new performance.
00:00.320: It annoys me a little bit that you can't use the keyboard short.
00:00.320: Extend the edit point, whereas in 10 you can just you can do it all on the keyboard completely.
00:00.320: I have to select the edit point and then I can use the keyboard, but I can't.
00:00.320: What would you like in the future?
00:00.320: But um I never would have come up with this you know, like the the way the browser works now.
00:00.320: But I t I use thumbnail view all the time now.
00:00.320: I tend to go back and forth between the two.
00:00.320: So you'd sort of you do an overwrite edit, click back into the viewer, jk and l in our overwrite click back, you know, so there was all this clicking back and forth.
00:00.320: Right.
00:00.320: It's interesting you say that because I'm kind of the same way.
00:00.320: and insert and stuff like that in Final Cut VII.
00:00.320: Yeah.
00:00.320: is that I think that Apple wants to be very powerful for guys like you and I, but they also want to be very accessible
00:00.320: And so they don't want to muddy up the user interface with too much stuff.
00:00.320: But close all those things.
00:00.320: So what other features have you turned on using PPS?
00:00.320: You know, for a bit of slow-mo, and occasionally you want to bring it back up to real time.
00:00.320: projects, sequences, whatever we're calling them.
00:00.320: I think I've probably uh actually yeah, there's about three there's about three of us at the moment who are using it um on smaller stuff.
00:00.320: And in your to get your stuff out and off to color, you're using XML?
00:00.320: Yeah, which just works amazingly, doesn't it?
00:00.320: Not bad.
00:00.320: my first pass, I just go through the footage and reject all the stuff, all the slates, all the stuff with the cameras on the floor, reject all of that.
00:00.320: favorites and those different options, which I think is like control H, Control F and Control C.
00:00.320: between those different options.
00:00.320: press control H and suddenly it's not my selects anymore, it's all the clips.
00:00.320: Yeah, my preferred way of dealing with stuff like that, and I have a good reason for it, I actually still quite often will make a string out of all the B-roll.
00:00.320: Or, what I haven't selected.
00:00.320: you can sort of see that in the browser, the bits you haven't selected because you've got the green bit strip for your favorite and then the bits in between for the bits you haven't touched.
00:00.320: But even still, at that point, you're looking at it for a clip.
00:00.320: or each you know, however I've keyworded it out you know, maybe like you've got a scene in a studio and I've got a studio keyword.
00:00.320: And you would you add it to the end or would you add it in the middle?
00:00.320: quite often, the new paradigm, the new metaphor, the new thought process actually will save you time.
00:00.320: Head completely round it.
00:00.320: I've started using it a bit.
00:00.320: Now, because I copied them off the second layer, they will paste into the second layer over a slug.
00:00.320: And a gap and a clip and a gap and a clip and a gap and a clip and a gap.
00:00.320: That's amazing.
00:00.320: Haven't sort of worked out enough.
00:00.320: tricks and tips that you hear when you talk to people, it just it opens up a huge horizon of possibilities.
00:00.320: Three keystrokes for me.
00:00.320: Yeah, so like, you know, you're playing a clip and a guy starts to talk and you go, you know, just scale back, you know, scrub back just a little bit, top that, scrub down to the end of the waveform.
00:00.320: figure out a faster way to do it.
00:00.320: I think it's eighty there's eighty frames for one video frame.
00:00.320: I just find for building in the timeline as well, for building like an effect like a sequence of if you're trying sound design, you've got a load of different effects and some music and just to build those things up is so quick because you don't have to move
00:00.320: That's where the mad sorry, the trackless thing is amazing because you're not having to if you want to extend an audio clip out, you don't have to move all the other clips out of the way.
00:00.320: I'm trying to think of an example.
00:00.320: is in sync with that frame in the picture.
00:00.320: So then when you edit those shots before, it always stays completely in sync.
00:00.320: Which is one thing I'm trying to think of a thing where that's really handy.
00:00.320: Yeah, I think once you understand how they're working as well, it it makes a lot faster.
00:00.320: I had a section of the music that was sync that was in sync, like halfway through the track, that's the point that needed to really be in sync.
00:00.320: Yeah, that's pretty cool, isn't it?
00:00.320: Oh, I think that clip is it.
00:00.320: What I did was just sort of as a proof of concept was I wanted to show how much editing you could do while the playhead was running.
00:00.320: So the playhead goes past it, and I'll go back and I'll select the audio for that section.
00:00.320: You know, for a director or something, is like, okay, let's see what we got so far.
00:00.320: Oh shit, I forgot I was supposed to duck the audio on that thing.
00:00.320: I think it's command.
00:00.320: Yeah, we should.
00:00.320: Yeah, I guess that's the best way to get hold of me actually.
00:00.320: you know, like mark measures or verses and option drag off versions of them to make to loop things and make it longer.
00:00.320: And we also kind of glazed over some of the XML sharing.
00:00.320: 10, but he's obviously using the EDL X utility to get his EDLs out and send them off to Baselite.
00:00.400: So, um, you know, we we crossed paths on Twitter.
00:00.400: company, um, you're just doing the cuts and then you're sending them off for finishing elsewhere?
00:00.400: um you know, we actually finish.
00:00.400: So it's looking a little dark.
00:00.400: like if they have a crap time with you, I could probably be a worse editor than someone down the hall.
00:00.400: Um, yeah, and I think the other thing is, like, when I did it as well, but when you first come out of university or whatever you wherever you come from, you come out with these big sort of lofty ideas, like I'm a filmmaker now, I'm going to be an editor
00:00.400: Mm.
00:00.400: For the bad stuff or what you considered bad stuff.
00:00.400: I what did I do?
00:00.400: Yeah, no.
00:00.400: More than one thing.
00:00.400: enable and disable different bits.
00:00.400: Expand it within your timeline so you can see what's inside it and edit it and then close it back down.
00:00.400: You know, if you don't like it today, give it a couple weeks because if there might be an update on the way.
00:00.400: That rings out longer than his pause before he says thank you.
00:00.400: Drag that thing out.
00:00.400: The sort of dominant rank mode.
00:00.400: you can just you sort of pop like five clips out of that section.
00:00.400: you know, for three days' time and you just get this really messy time.
00:00.400: I could, I had a really good assessment of how the pacing of the piece was because I could see it very clear as a bell.
00:00.400: And I think the only reason I haven't done it yet in ten is because I haven't done that many of that type of jobs.
00:00.400: If you have it selected.
00:00.400: to listen, to sort of take the suggestion, the stock suggestion that's provided, you know, the factory settings, if you will.
00:00.400: for dads with their kids' soccer teams.
00:00.400: Yeah.
00:00.400: Yes, Shift B is a good one.
00:00.400: I noticed one of the other people I work with has set up like a has set up a new keyboard shortcut for
00:00.400: Sorry, I'm not explaining this well.
00:00.400: And that's a who makes that plug in?
00:00.400: Actually, you know what you were saying about how all the you get like hidden features, all the different hidden functions on the interface that it makes it look friendly or user friendly.
00:00.400: Damn.
00:00.400: Sifting through a whole lot of b-roll, I still use a string out myself.
00:00.400: Tail it, done, move on.
00:00.400: By and large.
00:00.400: Yeah.
00:00.400: 'Cause it by default it's connected to the first the first frame of the audio is connected to wherever it is in the time you know, whatever clip it is.
00:00.400: you know, it does it the right amount, so that frame is always in the same place.
00:00.400: And then have you done any with 10.
00:00.400: anything being in or out of sync, because I knew that that track was locked to the bit it needed to be locked to.
00:00.400: wide banner thing you were doing.
00:00.400: And I find myself doing it while the edit's still playing now and it doesn't stop.
00:00.400: Like the keyframe.
00:00.400: Do you have to make it a secondary storyline?
00:00.480: one of the facilities I used to work at years and years ago, they used to have a a really large lunch area with like a ping pong table and a pool table.
00:00.480: Like little booths, and there was a booth for each edit suite.
00:00.480: So just for our assistants and things, we moved most of us we moved all our stuff to Avid.
00:00.480: But uh just because I don't like Avid that much.
00:00.480: And so I'm giving you my time anyway.
00:00.480: But I'd like the new whole blade speed thing.
00:00.480: All command down arrow, and they all drop back into the timeline.
00:00.480: you know, I did a lot of editing in my bedroom and sort of taught I taught myself quite a bit at Final Cut VII.
00:00.480: Oh, really?
00:00.480: Yeah.
00:00.480: From the ground up.
00:00.480: gotten the indication that you were like the rogue Final Cut 10 editor at Trim.
00:00.480: 80% of the features in Final Cut 7.
00:00.480: most of the post houses using a base light to grade with, which doesn't accept a final cut 10 XML, or maybe any XML.
00:00.480: Uh yeah, with the film strips, yeah.
00:00.480: Whereas if you've got the connection point in the middle, when you like dead centre, when you pull when you make it double speed, the front and the back pull in.
00:00.480: Yeah.
00:00.480: No, you didn't.
00:00.480: Yeah.
00:00.480: you can then extend it like so I've now in a compact in a storyline you can almost have like two so you can have one bit fade out really, really slowly over the top of it.
00:00.480: Instead of just over an edit point?
00:00.560: Share some more stories.
00:00.560: I think the thing that I was most intrigued by, one, I've seen your site, the trim editing, and very impressive.
00:00.560: Um, but I live in London.
00:00.560: Yeah.
00:00.560: and kind of worked, you know, as a runner and did all that kind of stuff.
00:00.560: Which sounds a little bit more elaborate, but no, I get it.
00:00.560: And a dining room table, and everybody eats together.
00:00.560: Yeah.
00:00.560: And then I'd say, Oh, but look you know, you can do this.
00:00.560: It's like I feel every time there's an update, there could be something like that no one's ever thought of.
00:00.560: And they were like, well I think the answer probably was, because that's how it used to be.
00:00.560: And it's a little bit like that.
00:00.560: And it just works really fast, I think, after a while.
00:00.560: It used to be that, say you got five clips and you lifted them from the storyline, you could then lasse them and make them a secondary storyline yourself.
00:00.560: You know, to in and out and delete the end of that thing.
00:00.560: You know what's it called?
00:00.560: So he has that set up so he can carry on.
00:00.560: So he's fav he favorites all his stuff as his selects and then he'll go through the favourites and sort of do a you know, refine his selects more with a keyword.
00:00.560: Yeah.
00:00.560: So and to me, that lineup like that, if you will, or that string out, it's just a very comfortable way of working.
00:00.560: Yeah, it's really good.
00:00.560: Yeah, that's right.
00:00.560: Actually, so if you if you work if you're changing something where after when the playhead's gone past the point, you can change things there.
00:00.560: By putting it in a storyline, you gain all the benefits of all the rippling, and you can.
00:00.640: worked in the machine.
00:00.640: You just get to meet the other directors and you get to meet the other editors and there's creative chat going on and then, you know, if an editor's not free
00:00.640: And then for a long time it was like, well, why aren't you working in it then?
00:00.640: Final Cut seven exclusively.
00:00.640: But when you know expand audio components when you can just see all the different mics that are within the thing, if you do that on a multicam clip now, you can see all the different audio
00:00.640: You know, yeah, and so it was like, Yep, that's good, that'll do, let's go, move on, you know.
00:00.640: Holy crap, I have not noticed that.
00:00.640: Whereas now you just kind of and also the way they've done the keyboard, I really love the new keyboard layout.
00:00.640: Which bugs me every time 'cause I'm like, I kind of want to put Final Cut 7 to one side and be done with it.
00:00.640: So that's probably not more than like one hundred and fifty pounds worth of plug ins on top of the two hundred pounds I paid for the app.
00:00.640: Yeah.
00:00.640: And because it adds synchronized clip to the end of the clip name, in there I just type sync, and then it just showed my sync clips, and then without even clicking to the timeline
00:00.640: Right, which can be a little unnerving if you're not ready to get it.
00:00.720: What's your background?
00:00.720: This last week.
00:00.720: So, you can just skim to the moments in between and you can see the stuff you haven't selected.
00:00.720: Oh, I love it.
00:00.720: then that way I can get a little more gain out of the gain plug-in or just the rubber band audio, which I don't tend to use very often.
00:00.720: custom frame sizes.
00:00.720: You know, I mean, just the thing I always say is hit play and just start seeing how much you can do.
00:00.800: And editing was kind of the thing that I just I liked most or was yeah, I really enjoyed the whole process, but editing was the one that I kind of
00:00.800: I always ended up doing it, so I've thought, Oh, okay, I'll be an editor then.
00:00.800: we use the term democratization, the democratization of this technology where it becomes more and more available to more and more people.
00:00.800: And whereas I used to sort of have my clip in the source window go JK and L in and out and I'd sort of select into a time line.
00:00.800: The new way it works, and just try and forget.
00:00.800: That's how it would work.
00:00.800: The music edits are much better.
00:00.800: But do you know what?
00:00.800: Um does that make sense?
00:00.800: Yeah, you you'd lay your music down below, Command G or uh yeah, Command G.
00:00.800: If you know somebody that should be grilled, by all means, contact me.
00:00.880: Trim editing, and they do commercials and music videos, and I think even some feature films.
00:00.880: And so the highlight is around the whole thing.
00:00.880: And I can't put my finger on any one thing that makes it the reason that makes it so quick.
00:00.880: Browser down in the lower right-hand corner.
00:00.880: But when you open up all those other panes, all of a sudden it's like, ah, that's a little too confusing now.
00:00.880: I made one for blade speed.
00:00.880: So it's still and now it does everything I need it to and that's still, you know, five times cheaper than Final Cut Seven at Boards or something.
00:00.880: You shoot the the camera on the floor a lot, do you?
00:00.880: It's not necessarily a right way or a wrong way.
00:00.880: Go back to what I was saying about how I'll do my string outs, I'll lift up my selects, I'll lasso them all, copy them.
00:00.880: And then I'll toggle over to my working timeline.
00:00.880: great discoveries, sometimes on a daily basis.
00:00.880: and you start grabbing the end of clips, you can make easily let's just let's just say safely, we're doing subframe audio editing
00:00.880: I use the I use the gain feature, which is in the effects tab.
00:00.880: Well, I don't post much, but I'm at Thomas G.
00:00.880: A lot of good information there.
00:00.960: Where I work, it's you know, it's a big communal table and it's a great you know, the producers from various companies, you know, sit and chat.
00:00.960: I mean, you still have to select the two correct clips.
00:00.960: And they're not throwing darts at a dartboard to decide what command to put on what key.
00:00.960: Whereas now, yeah, it's really great.
00:00.960: I never used 'em.
00:00.960: Yeah, I've got the same thing.
00:01.040: it's nice to have like another level of finishing done in it.
00:01.040: And then a few months ago, the guys at Trim made a decision that we should probably like Final Cut seven, whether it was still working or not, was going to die and we should probably just start using what we were going to use in the future.
00:01.040: five seconds longer than it should be.
00:01.040: I'd end up with like a little sort of stairway and then have to like go through and slowly holding shift down, like compress them all back down into one layer, which I probably wouldn't do for
00:01.040: Whereas it used to be you type it in, you tell it whether you're on a ripple or not, and you do all the cust you know, and it's amazing how that saves so much time.
00:01.040: Yeah, and here's why.
00:01.040: And the reason I do that is so the stuff that's up on the second layer is the stuff that I'll copy and paste into my actual working timeline
00:01.040: So here's what I do.
00:01.120: Another episode of Final Click Grill.
00:01.120: Lunch is very important around at least where we work.
00:01.120: So and I think, you know, I don't know how the future will go.
00:01.120: I I I'm always impressed.
00:01.120: Yes, yes.
00:01.120: One little green track for me.
00:01.120: Oh, really?
00:01.120: Once something the thing I used it for recently was before I was sending it off to audio, I needed to like break apart all the sync clips.
00:01.120: Yeah.
00:01.120: Yeah.
00:01.120: But by making the blades, I can actually change the EQ as well as the level.
00:01.120: Something I found recently with doing it that way as well is that you can I always thought we have to do a cross dissolve and you can't it's always then set to that the cross dissolve
00:01.200: But then also I did a I did a commercial.
00:01.200: You gotta be careful.
00:01.200: You know, when you sort of bolt on these different things, it's like Final Cut 10 is like the core package.
00:01.200: Okay.
00:01.280: Although you might think you do.
00:01.280: So anyway, let's talk about Final Cut 10.
00:01.280: And I'd normally have each of those laid up on a track in Final Cut VII or Final Cut Classic.
00:01.280: That's the really exciting thing actually with fun of and the reason we're kind of I kind of want to stick with it because it feels so great at the moment.
00:01.280: Yes.
00:01.280: And so now you can edit, like if you're editing music, you can get in
00:01.280: And I do it a lot where, you know, we'll be playing along and we'll hit like a you know a graphic point where the music wants to swell.
00:01.360: Yeah, do you know, it is really nice actually.
00:01.360: It is, yeah, and it's really good.
00:01.360: Sometimes I'll actually make things as multicams, even though it's not a multicam.
00:01.360: Yeah.
00:01.360: Now go to the timeline index and you will see it'll have because there was space in between those selections, there'll be a clip.
00:01.360: It's much faster.
00:01.360: Yeah.
00:01.360: You know, command option clicking on the clip, and it wasn't changing.
00:01.360: I'll be like, Yeah, it's done, it's done.
00:01.440: All right.
00:01.440: So you have the other thing I've just got into recently as well is l uh I can't remember what the command is, but when you lift from the storyline
00:01.440: Yeah.
00:01.440: There's a couple that I've added, and I think that's a tip that I give people all the time is that if you're bored, open up the keyboard modifier and just start snooping around.
00:01.440: Because they're trying to be more accessible.
00:01.440: So we get like low res, lower res H D footage.
00:01.440: Well, there's a trick that I started doing, and I do it a lot, and it saves me a gob of time.
00:01.440: Which I find, and I you know, my audio friends are going to roll their eyes at me, that really just sort of in the default setting
00:01.440: And it in Final Cut VII, I think you could adjust the volume of a clip while it was playing, if it was already selected.
00:01.520: What's your history?
00:01.520: I was like, well, this is taking ages to sync up in final cut seven, I'm going to try it in ten and uh lo and behold, I just clicked a few buttons and everything eighteen hours of rushes were in sync, pretty much.
00:01.520: I mean, so a ton of stuff got added in those first nine r releases.
00:01.520: I will put that on dialogue, you know, to sort of roll off the tops of things.
00:01.600: And we're out in East London.
00:01.600: So basically, I went from 100% to about 30%.
00:01.600: There's a solution for that, and it's quite simple.
00:01.600: I like how dynamic it is.
00:01.600: Only the word gap.
00:01.680: I really don't want to do why can't it just sound good?
00:01.680: Right.
00:01.680: Trim actually approached me and asked me if I wanted to join, just because I'd met one of the other editors sort of
00:01.680: That's the really good thing I find about the compound clip, sync clip thing as well, is that you get you can have as many clips you know, because audio often they'll just let it run for an hour.
00:01.680: And if you well, if you just think but when I was thinking I was thinking about Final Cut 7, you'd pay a thousand pound and I probably didn't touch
00:01.760: And it's like visually didn't even notice it.
00:01.760: So what I quite often do now is I'll say I'm working on a little section, these five shots.
00:01.760: Yeah, it's pretty ridiculous, yeah.
00:01.760: I think option is compound flip, isn't it?
00:01.840: So we got together late one night.
00:01.840: Yeah, I think the client side is quite a big one as well because like it's m it's probably half of our job is just sort of getting on with people, I think.
00:01.840: we s we used sort of auto syncing sound, you know, the waveforms.
00:01.840: And I asked him, I said, Have you ever been to England, Australia, or Japan and driven on the other side of the road?
00:01.840: When I wanted to put them back in the storyline, I was lifting them from the secondary storyline with up again.
00:01.840: You're providing this template.
00:01.840: If you wanted to do that in Final Cut seven, that's how you do it.
00:01.840: Yeah, do you have to have to click select no or just do whatever the wherever the playhead is.
00:01.840: It's truly amazing.
00:01.840: Now do you use the little dots to duck your audio?
00:01.840: The keyframing of the audio, yeah.
00:01.920: So I could then and I could then edit them as well with uh edit the volume on each of them.
00:01.920: Sometimes it's actually inside the app.
00:01.920: Because I remember when there were rumors about Final Cut 10 or the next Final Cut coming out, there was like rumour.
00:01.920: And that is amazing how quick that has made.
00:01.920: Yeah, I think mine is Alt C.
00:01.920: I don't know if I think I did a tutorial about this.
00:01.920: The foot happens in the center of that shot.
00:01.920: Around the connection clip?
00:01.920: Something that I ran into this last week when I was working fast and furious, I was trying to change my connection points
00:02.000: I think there's just so many there's so many like cool things about it and good features.
00:02.000: to show how long you want it to ramp up to that speed.
00:02.000: And then actually I the thing I picked up from you guys as well was the um toggle colour board.
00:02.000: Well, I use do you ever use?
00:02.000: Do you know what I mean?
00:02.080: I mean, it's just these there's these little tricks that you do when you're moving stuff about on your time line.
00:02.080: Another one I set up recently was I was just exporting a lot of XMLs because we were working sort of collaboratively on this job with an assistant editor.
00:02.080: In the keyword editor you can set different keywords to go down for different
00:02.080: No, you're talking about like control one, control two.
00:02.080: Like if you like if I'm going through my selects and the director might go, like, oh, well, I'm sure after that bit you've selected, there was a really cool bit where something happens.
00:02.080: So like when I'm editing music and extending music or shortening music, it's way easier in ten.
00:02.080: But it didn't work that well.
00:02.160: So, Thomas, how are you this evening?
00:02.160: Yeah, high end UK T V commercials, I guess.
00:02.160: So we end up working back and forth with those kind of people quite a lot.
00:02.160: I did a couple of jobs that were quite small or no budget.
00:02.160: Tell me.
00:02.160: And I told him about an experience I had had in Australia where I almost killed myself because it's dangerous.
00:02.160: But actually, if you can select the secondary storyline, you can drop them straight back in from there into the primary.
00:02.160: Oh, really?
00:02.160: I thi I can totally see how it's amazing, but I haven't I think the same as you, I haven't quite got my
00:02.160: I always hear people saying, oh, I find audio is terrible in Final Kite ten.
00:02.160: Have you done any of that?
00:02.160: Yeah, it was two hundred feet.
00:02.240: Yeah.
00:02.240: Yeah, you should probably yeah, definitely play with that.
00:02.240: They're much more accurate than if you were dropping markers on the video track.
00:02.240: So, you know, feel free to bug me until you hear from me.
00:02.320: Uh w when it leaves my fingers, it's done.
00:02.320: And it's just nice to be able to expand something out and make a few nips and tucks and then squeeze it back together and have a nice tidy time line.
00:02.320: Do you know there was something I wanted this is a really inelegant segue, but there was something I just wanted to talk about in the browser.
00:02.320: So I'll shuttle around.
00:02.320: That gap click thing's great though.
00:02.400: Just because you can buy the camera doesn't mean you deserve the title.
00:02.400: So I'm just going to use I'm just going to use this.
00:02.400: Oh, really?
00:02.400: I think I think they've actually done a really good job of where all the keys are.
00:02.400: And I know that in a typical setup, you have your I don't even know what all the pieces are called.
00:02.400: And it happens a lot where a director will go, nope, nope, nope, I know there was another shot.
00:02.400: So option left bracket and option right bracket will top and tail your clip.
00:02.400: Again, we find something that we can both be working on.
00:02.400: Yeah.
00:02.400: But if you're s editing in the audio time line, you're editing at I believe somebody told me it was eighty frames per second.
00:02.480: I'm going to sound like a total tool here, but by runner, what exactly do you mean?
00:02.480: And if you don't get along in that crowd, you're not going to last long.
00:02.480: Yeah, so d d do me a favor and explain blade speed for somebody that's never seen it.
00:02.480: So if people want to find you, Thomas, what's the best way to find you online?
00:02.560: They don't they don't understand the hierarchy or they don't understand how a client's wishes are going to be
00:02.560: We're kind of quite I don't know what it's like over in the States, but over here, when you when you
00:02.560: What I did was I put them all together in a multi-clip.
00:02.560: Or I would have to step into it, and then you can't see the picture you're cutting to.
00:02.560: And it the magnetic time line should be just now it seems really easy to understand.
00:02.560: That's what I hear, yeah.
00:02.640: I think uh yeah we would normally call that I think a a production assistant.
00:02.640: Yeah.
00:02.720: This is episode 029 with Thomas Grove Carter.
00:02.720: So we yeah, we purely just do the uh yeah, the offline work on it.
00:02.720: If you were a crappy editor, but really fun to be with, you're more likely to get jobs than a great editor who's a pain in the ass.
00:02.720: Just think what you'd have to do in Final Cut VII.
00:02.720: Tell me what didn't work.
00:02.720: And then you open it up, and in there, you've got all the different mics from the different cameras.
00:02.720: So I had something really interesting happen this last week.
00:02.720: It's amazing.
00:02.720: No.
00:02.720: I can't think.
00:02.720: You'd then have to if I wanted to delete the end of that clip, I'd put an end point, I'd press the down arrow to jump to the end of the clip, then I'd go back one frame, then put the out point.
00:02.720: And then we'll press play.
00:02.720: Yeah.
00:02.800: And then actually in the last at so at Trim, we kind of we we've got an avid uh ISIS for shared
00:02.800: No, that makes perfect sense because when you shift delete now, it leaves a slug there.
00:02.800: So like if you just select yeah, if you select the bubble, you know, the shrink wrap, as I call it.
00:02.800: Yeah, I switch quite a bit, actually.
00:02.800: And close the timeline index, which is one of my favorite features.
00:02.800: And then if you want to if you need to use EDLs, which most peo a lot of people won't ever need to touch, you just pay for a
00:02.800: Or you buy you know, you buy the plugin that where you can do, you know, an Animat or a
00:02.800: Yeah.
00:02.800: Yeah.
00:02.880: Always we always try and push especially the sound side, we always try and push that as much as possible in the offline.
00:02.880: So I started in music videos.
00:02.880: Well the sand's yeah, it's kind of empty, the sand.
00:02.880: Yeah, if you're not if you haven't sort of played with it, and there's like an odd switch that goes off in your head, I think, when using 10.
00:02.880: There's many times where having it so having it connected at that first frame can be problematic.
00:02.960: It's quite because then when you get it back as well, you get to see something different to what you sent off in a way.
00:02.960: Okay, so how did you get hooked up with Trim Editing?
00:02.960: Right, it it certainly does do better that way.
00:02.960: Right.
00:02.960: Totally, yeah.
00:02.960: I don't know how they'd work actually in Final in the new sort of in this new world.
00:02.960: Whereas this one in favorites, it's just there.
00:02.960: I select them all again and I force them down into the slug, command shift, down arrow.
00:03.040: And that was about a year ago.
00:03.040: Because with a comp well, the thing is, I did it as a compound clip as well.
00:03.040: But is it not?
00:03.040: Yes, that one.
00:03.040: I do you know what, I did, but yeah, it was seems really stupid now that I'd be either like leaning over and pressing this other button that you had to and then if you're working on a on a uh on a laptop, you had to
00:03.040: Right.
00:03.040: Select all of those and they're all selected in the timeline.
00:03.040: I always tell people, you know, if you do something three or four times in an hour
00:03.040: And then when you edit, you know, because the sound might start three shots before that moment
00:03.120: And like now I look back, I'm like, that's such a boring thing to not like Final Cut for.
00:03.120: So there are about sixteen different stems, you know, like the bass, the drums, all the different elements for the track.
00:03.120: Like, ugh, you know, I because that's exactly what I needed to do.
00:03.120: Like Final Cut 10 has made me super neat.
00:03.120: You know that well, you know, I know someone's like messing about things, but short or in between.
00:03.200: And then we've been chatting viewers.
00:03.200: So what was the first project that you actually did in 10 and what made you d make that decision to use it?
00:03.200: Yeah, and actually what that's just reminding me of something.
00:03.200: Right.
00:03.200: Because there's so many things that they don't tell you about that, just hidden away in there.
00:03.200: And it's important.
00:03.280: There was just one it they were all like it was as if people were using an eye a kind of tablet.
00:03.280: I use keyboard shortcuts quite a lot for you know when you can sort of select the ingoing edit or the outgoing edit with the bracket the square bracket keys, I think?
00:03.280: I'll go, oh, yeah, that looks good.
00:03.280: How do you find audio, generally?
00:03.280: It's a ridiculous two hundred and fifteen feet wide by twenty five feet tall.
00:03.280: Am I right in thinking you can pretty much do anything as long as if it's rippling?
00:03.360: Yeah.
00:03.360: Yeah, and then they're just sort of like loose in the time line and they you know, when you extend a clip out, it'll it won't push the other clip, it won't ripple it down, it will just move it out of the lift it out of the way.
00:03.360: You have these little modules of story that you could pick up and move about.
00:03.360: But yeah, do you know what?
00:03.360: I know, it's really antiquated, isn't it?
00:03.360: The thing I love about this application, though, is there are plenty of ways to work.
00:03.360: And again, it's those kind of little
00:03.360: Yeah, but once you sort of get your head around it, it's amazing.
00:03.360: Uh I don't know what it's called.
00:03.360: But if you you know like if you double click the audio, you can like expand and then you can do like a split you know like a what do you call it, like an L cut or a J cut.
00:03.440: When you press the if you do sh it's they've that's qu in a way, that's all they've done.
00:03.440: And so I sh set up like Command Shift E instead of Command E for export or thing.
00:03.440: It's on the App Store.
00:03.440: And if you have your audio selected and you're dropping markers in with the letter M
00:03.440: It's kind of a circus trick, if you will.
00:03.520: You get around.
00:03.520: So I did that.
00:03.520: Whereas you can't really do that in a secondary.
00:03.520: I've had this philosophy about keyboard shortcuts over the years where I
00:03.520: On audio, I quite often lasso a group of clips and then use control plus and minus to change the volume.
00:03.520: In the audio like let's say I have a music track and I want to duck it for dialogue or something.
00:03.600: They don't understand that raw raw looks raw.
00:03.600: Well, and then there's all all the kind of people I work with, like other offline editors and stuff, the fur when Final Cut first came out, the first thing everyone was saying was
00:03.600: But I think after you play with it for a while, you just there's something switches in your head and you just get it and nothing ever
00:03.600: And actually, you know, a ripple, a magnetic timeline in Final Cut seven you used to do shift delete and that would ripple like ripple delete a clip or a section.
00:03.600: Or I think I might that will be my selecting process.
00:03.600: There might be more logical ways and more traditional ways, but I totally agree with what you're saying.
00:03.600: Yeah, same here.
00:03.600: Yeah, I think it's maybe command option, yeah.
00:03.600: And you just you know, you see it you're doing a playback and you're like thirty seconds in, you don't want to stop it.
00:03.680: We still use Funnel Cut seven in certain jobs.
00:03.680: Someone will say, Oh, can we we've got the um you know, we've got like a lapel mic or a boom mic on that section.
00:03.680: Right.
00:03.680: It's really good.
00:03.680: Now you go back to your browser and you start JKL, zipping around, and you hit the letter E, it will append that to the end of the secondary storyline.
00:03.680: You can turn on the the larger audio meters.
00:03.680: So I'm using EDLX at the moment as a which is really good.
00:03.680: I hear what you're saying.
00:03.680: Never even taking your hands off the keyboard.
00:03.680: So say so say the say I've got a connected clip and I make it two hundred percent speed.
00:03.680: You'd get sort of like you'd hear it stuttering and Yeah, so wha so while I'm playing, like like I'll b I'll do this during like a a play out, you know, a
00:03.680: Carter.
00:03.680: Perfect.
00:03.680: All right.
00:03.760: The conversation runs a little long, so I'm not going to waste your time here.
00:03.760: It's a really cool, small, friendly place.
00:03.760: Oh, yeah.
00:03.760: Maybe behind my back, I don't know.
00:03.760: There's a lot of things that you can actually do in the secondary storyline.
00:03.760: Yeah.
00:03.760: Yes, I haven't really 'cause I'm almost exclusively working like nineteen twenty, ten eighty.
00:03.840: Not to say the Fincatan is dangerous and you can kill yourself, but when you, if you're trying to drive on the other side of the road,
00:03.840: I use that all the time.
00:03.840: I use thumbnail if I'm looking at b roll.
00:03.840: And then when you add a favorite as well, it's like in the old world, you'd have to add it to your select role.
00:03.840: And I've been, he'll say, we want to make that music a little louder.
00:03.840: Yeah, I use the range tool now as well just to like s 'cause to duck a section you have to put in four keyframes and then duck the middle bit down.
00:03.840: Yes.
00:03.920: And also, if I've got um if you've got a s like a sound effect of say someone's foot hitting the ground and I've got two or three sounds that I've layered up to
00:04.000: But I think it seems maybe I'm wrong, maybe it's better now, but I think it seems to get a little bit confused.
00:04.000: So this is the term that I have kind of come up with, and I refer to it as
00:04.000: If you know they're they're doing their uh Weebelos videos or something like that, you know.
00:04.000: One thing I've found is that you can set custom shortcuts for changing the speed of a clip.
00:04.000: You know, the second it stops, they're like, I think that, yeah, it's done, it's fine, it's
00:04.080: The last time we did it.
00:04.080: And then you can stretch out the second half of the clip, and it's still within one clip.
00:04.080: Because it's not when you think about the time.
00:04.080: And then because that annoys me, because I want to use the play thing on the iTunes or turn the brightness up.
00:04.080: So you're not so actually you're bringing up a very good point.
00:04.080: I guess you get the same as well.
00:04.080: Or you could or you could set in an outpoint around the whole clip and then just set the end point.
00:04.080: If you in the old days, when you sped up a clip, it would then be out of sync.
00:04.160: You know, the time difference between California and London makes it a little awkward.
00:04.160: Uh, I g uh you were listening to the show and and uh
00:04.160: We'll probably always I think Avid will always be the main may always be the main thing there.
00:04.160: I was on the commercial.
00:04.160: Do they really?
00:04.160: It depends what I'm looking at.
00:04.160: So let me see what is in your mind.
00:04.160: But it's the same thing with the keyboard shortcuts, that there's a lot of extra stuff in there.
00:04.160: So, like, two times speed is something I do all the time.
00:04.160: Well, thanks for your time, and we'll have to do this again sometime.
00:04.160: We never did get to talk about traveling with gear.
00:04.240: Or I'll try and be an editor.
00:04.240: When did you first start using it?
00:04.240: Right.
00:04.240: And they and do you know what, I think I don't know when they did this, I think it was in ten point one, but they now jump up into a secondary storyline
00:04.240: Because you used to, well, like in Final Cut 7, you used to right-click, or what was it, Command-J or something, and then you type in 200%.
00:04.240: And you think, actually, now, and it's not that Final Cut 10 is a stripped back at all, because that's what it sounds like I'm saying it's not.
00:04.240: Yeah, there's nothing wrong with being a Twitter observer.
00:04.320: And because and actually just being in those sort of editors' circles as well, going to like
00:04.320: I just noticed it one day.
00:04.320: And then I'd copy and paste between time lines, you know, to make my selects, then to make my edit.
00:04.320: And then the d the edit like I'll do it and change the volume on a clip.
00:04.400: And I'd have to kind of say, well, yeah, you know, I'm waiting for it to be ready for me.
00:04.400: I can do I can cut in Avid as fast as almost as fast as I could in Final Cut VII.
00:04.400: Even when some of the the scratch audio is really crap, sometimes I'm amazed that it syncs it up.
00:04.400: You can't see the pace of a cut.
00:04.400: Well, yeah, but do the math.
00:04.400: Do you use the Timeline Index much?
00:04.480: And frankly, I didn't even bother to turn on the optical flow feature.
00:04.480: Do you know, and that has made what I was thinking, well, what did I normally do?
00:04.480: It was like, you know, this is the decision I'm making.
00:04.480: Right.
00:04.480: And then and then I've s all my rushes are sort of broken down into all the different scenes.
00:04.480: And I'm not saying that this sounds like I'm saying you're doing it wrong, but I'm not at all.
00:04.480: I think there's so many small there's so many small changes that may have huge effects, I think.
00:04.480: So you can almost have two tracks of audio within a secondary storyline
00:04.560: Absolutely.
00:04.560: You'd have to move those ten clips down a few layers, then you'd drag it out.
00:04.560: But it but also it's a company-wide decision, but it's kind of like a
00:04.560: I the other day I have my nap to shift B.
00:04.560: Very smart.
00:04.560: Do you know about that?
00:04.560: Yeah, 'cause I kind of get a similar thing when you've got the films review up and you've hide you hide rejected and you've got all the little green bars for the s bits you've selected.
00:04.560: Because what I probably would have done is gone through and clicked all the little gaps and tried to delete them all.
00:04.560: Okay.
00:04.560: Let me know.
00:04.640: And at the same time I was sorry, in in post houses.
00:04.640: So they approached me and then I yeah, obviously had meetings.
00:04.640: I didn't realize that to begin with.
00:04.640: But because of where they were up on like F9, 10 and 11
00:04.640: Yeah.
00:04.640: Uh well, no, I I often have I have like a key so I'll have a keywords collection for each scene or for each day.
00:04.720: Everyone sort of knows roughly who everyone is and you all kind of bump into each other.
00:04.720: Yeah.
00:04.720: You know, everyone and everyone would always come this for two years, people would come in and go, So that final cut's terrible, isn't it?
00:04.720: So give it a go.
00:04.720: I know that's not true, but it because it's this whole new thing and all these new things keep appearing
00:04.720: I never would have thought, oh, blade speed, that'd be a cool thing.
00:04.720: If you're in the app, go to the feedback thing.
00:04.720: That's the sort of way I use it.
00:04.720: I don't even know what they call it.
00:04.720: Right.
00:04.720: Well, let's say let's say the same thing.
00:04.800: Right, and so yeah, so the director will have relationships with colourists and with
00:04.800: I mean, uh our our office has three suites.
00:04.800: So I sort of ganged it all together in a multi-clip.
00:04.800: I had a guy on stage and he's giving his big final wrap up speech thing.
00:04.800: Yeah.
00:04.800: Oh, really?
00:04.800: And you're and frankly, you're the first person in 29 episodes.
00:04.800: The audio popped separate from them.
00:04.800: It wasn't changing.
00:04.880: And so you kind of tended to stay in your group, if you will.
00:04.880: It was quite a in a way it was quite a big job, but editing wise it was quite a sort of quite a simple job.
00:04.880: And sometimes I'll just paste them all at the tail end of my timeline.
00:04.880: Oh, okay.
00:04.880: You know when you if you double click the lower part of an audio clip and it expands out the component.
00:04.880: So I think that's a conversation that should be had again.
00:04.960: And I think that's really interesting because a lot of times I know that in my edits
00:04.960: I mean, I know not to not and that's not to say that, you know, I think
00:04.960: Isn't it cool?
00:04.960: And I'm not saying everything works the same as the primary, but a lot of stuff does.
00:04.960: Because I started working in sequences a lot.
00:04.960: If you I move the connection point to that so it's in sync with so the sound
00:04.960: Sometimes right before the playhead gets there.
00:05.040: Right.
00:05.040: If you have the connection point in the middle of the clip, when you change the speed of that clip, it ripples around the center.
00:05.040: I think we should wrap this up.
00:05.120: We just purely deal with like offlines for music videos and commercials.
00:05.120: Sure.
00:05.120: Well, let's back up a little bit.
00:05.120: I was doing.
00:05.120: And I think I just haven't really done a job like that in
00:05.120: So in Final Cut 7, I'd normally be clicking those clicking those edits and then using the keyboard to extend or you know
00:05.120: So you can for your right hand doing JK and L and your left hand just hitting F or append E or
00:05.120: I think maybe I mentioned that on the show.
00:05.120: Yeah.
00:05.200: There's something very primal and communal about sitting down to share a meal with people.
00:05.200: And it seems to me there's been times when I was able to select
00:05.200: You know, and I'd just be I don't know.
00:05.200: If you've got if you get five if you get clips that are next to each other, let me just try it, I've got it in front, if you do it with clips that are not
00:05.200: So if you command option up arrow again.
00:05.200: I know that I've spoken with Scott Simmons in Tennessee, Nashville, and he's he
00:05.200: I wish we could just send off an XML and because I think most of the guys are
00:05.200: Like on this last job I was doing, I did
00:05.200: Try the caps lock.
00:05.200: And if you don't hear back from me, contact me again.
00:05.280: Or actually, it's morning for you, yeah?
00:05.280: Yeah, last time we tried to uh hook up, you were like, Oh, no, I'm busy.
00:05.280: But anyway, so we have we do have to push it quite far, but it will all sort of be redone.
00:05.280: I'll blade it before and after the bit I like, command shift, up arrow.
00:05.280: So, that's it for this episode.
00:05.360: Um and I got randomly I can't remember how now I got in contact with a
00:05.360: Or you think, oh, well, you know, you can go on and suggest there's that feedback page on
00:05.360: Because sometimes once you've got your edit in a place where you don't want the length to change or you're at sixty seconds for the ad or whatever.
00:05.360: It just and then also, you don't have to then for ages
00:05.360: Okay, that's awesome.
00:05.360: But from an offline perspective, like for me, I find it brilliant.
00:05.360: Timeline kung fu.
00:05.440: You still do in and outs, you still extend, you still
00:05.440: I totally agree.
00:05.440: Like you could I could envision, you know, teaching my brother how to do this, you know, or maybe even my mom.
00:05.440: Well, that's it.
00:05.440: Absolutely.
00:05.440: And you're like whereas now you can just go in without anyone noticing it and just duck it back down again
00:05.520: But do you know it's really different to like listening to a lot of your shows and then reading a lot online.
00:05.520: So as the company, the decision was made to move to Avid.
00:05.520: But um yeah, one thing I wanted to say actually was how
00:05.520: I can't think what else I've done.
00:05.520: I think he's he's remapped whatever control one was, and you know, so something l near F.
00:05.520: You just, if you, the more you forget,
00:05.600: You know, the is it like that everywhere in America, or is it in a lot of places?
00:05.600: So I was able and that sort of gave me the freedom to say to the directors, Well, look, you've got no money, so
00:05.600: But now when I look at anyone else's time loans and I see stuff stacked up, I'm like, hmm.
00:05.600: The matting tool and tracker, yeah.
00:05.600: And it continues playing.
00:05.600: Command G puts it in a storyline.
00:05.680: I was talking to another editor about this.
00:05.680: It wasn't changing.
00:05.760: And a lot of times I feel like I'm really getting mired down and like like I'll get to the end of an edit and then I just look at the audio and like, ah
00:05.760: So when you get people who have just worked for themselves
00:05.760: And then right before he says thank you, I ramp it back up to 100% right at the end of the guitar chord.
00:05.760: The learning wall.
00:05.760: But I think it kind of you don't ever have to stop working with it
00:05.760: No, top and tail, I use all the time.
00:05.760: No, that's really cool, isn't it?
00:05.760: Find audio?
00:05.760: I mean, there are some features that I show that I actually do use in real life.
00:05.840: Right.
00:05.840: This is the one I've just finished.
00:05.840: Yeah, and I remember someone came in and just said, oh, how do you also how do you see you know, can you see a graph where you can see like
00:05.840: Yeah, but they like all the places we send them to are they want
00:05.920: It'd be really nice if you could just select
00:05.920: So it was quite cool.
00:05.920: Um, it's really cool.
00:05.920: But when like on a music video, I would often my first thing would be to if it was a performance video, would be to go through and
00:05.920: Does that make sense?
00:06.000: So it was super in terms of what the actual there was no real editing, it was just sort of sort of selecting the best bits and
00:06.000: It's really good.
00:06.000: Like you know, I you've sent me uh
00:06.000: Because it goes right down to the sample rate.
00:06.080: And I would love to have the type of jobs or the budgets where I could just pass that off and say, here, make more better.
00:06.080: And then I worked in um I got a job as a runner in London
00:06.080: Um, you know, like double speed
00:06.080: So wa you know, once they need to conf when they want to conform back to the full res stuff or the Alexa or whatever, we just send an E uh an E D L off.
00:06.080: Right.
00:06.160: I did quite a cool thing on this last job actually with a multican.
00:06.160: And then a lot of times I would set up like, you know, graphical transitions and I would just
00:06.160: But that's that's cool.
00:06.160: Yeah.
00:06.160: And actually, you know, you can move you know when you move the connection point of a clip.
00:06.160: Okay, yeah, that's cool.
00:06.240: So when people talk about the colorboard being a bit shit and all this all the other stuff, I'm kind of like, well, it works really well for me.
00:06.240: You know, and um but they've never
00:06.240: Yeah.
00:06.240: One thing I used to do in 7 a lot
00:06.240: But that only works for the primary storyline.
00:06.320: I guess it's j I guess the type of work we're doing is like high end commercials or music videos.
00:06.320: Yeah.
00:06.320: But we're all using a lot of it was sort of fifty fifty actually, fifty fifty Final Cut seven and Avid.
00:06.320: It's pretty handy.
00:06.320: I use list view if I'm looking at anything else.
00:06.320: I think especially with this release as well, because it's been built
00:06.320: Toggle the colourboard, which is so good.
00:06.320: So use the find tool in the timeline index.
00:06.400: And I'm actually really glad I've
00:06.400: Right.
00:06.400: But with a compound clip, you when I wanted to edit it, I'd either have to break it apart, which would then mean making a new compound clip I wanted to
00:06.400: I'll jump it out the timeline
00:06.400: I have said that many times.
00:06.400: Right.
00:06.400: And I have to agree.
00:06.400: Because you can do you know what I mean?
00:06.400: 1 now you can make custom
00:06.400: We've gone a long time.
00:06.480: Well, I did a degree in film and video production.
00:06.480: But I think the main thing was to get to try and
00:06.560: How long have you been doing this?
00:06.560: So I kind of I downloaded it on the first day.
00:06.560: And then as time went on, I thought, man, maybe they have.
00:06.560: I had a lot of sort of messy habits, which I think's fine.
00:06.560: Okay.
00:06.560: Kind of go into Final Cut VII, I'm like, Oh, look at you.
00:06.560: Yeah, but I kind of feel like you've got
00:06.560: Before you sit there and complain and whine, do the math.
00:06.560: You can see all the moments in between.
00:06.560: Very cool.
00:06.560: And it's all in the same app.
00:06.640: I don't know, there's quite a few different edits where the
00:06.640: And that's what you have to do.
00:06.640: If I'm a bit slower than usual, that's why.
00:06.640: And now I will say it's definitely worth our time as users to participate in the discussion.
00:06.640: And I was like, no, no, it doesn't do that.
00:06.640: That's the way it's always been.
00:06.640: Um and I I will say that I kind of miss that, but by and large
00:06.720: Thomas works at a place in London called
00:06.720: I needed to be able to expand it out to get at the components, and I couldn't back then.
00:06.720: You know, I can look at my fine.
00:06.720: I'm going to put this in here.
00:06.720: So if I'm trimming clips at the head of the edit, it didn't actually matter because it's not knocking the stuff out down the line out of sync.
00:06.720: I do, but I use the range tool quite a lot now as well.
00:06.800: How did you find them?
00:06.800: Good point.
00:06.800: Yeah.
00:06.800: Right.
00:06.800: And I've now just got a shortcut.
00:06.800: Yeah, it's on the App Store, which is really good.
00:06.800: Right, right.
00:06.800: I was going to ask you that.
00:06.800: Oh, I'm sorry.
00:06.800: And I realized I had the caps lock on.
00:06.800: And yeah, you can find all our work at trimediting.
00:06.800: That's fine.
00:06.880: He contacted me through Twitter and had been working on some projects.
00:06.880: Yeah, kind of all the all the grading, sound work
00:06.880: And then in my time line, it was just one audio file.
00:06.880: And it was just so easy and fluid.
00:06.880: Right, right.
00:06.880: I think as much as you if you can do as much as you can without taking your hands off the keyboard as well
00:06.880: But no, you can rearrange clips underneath the playhead.
00:06.960: So you've got kind of big post houses like The Mill and NPC
00:06.960: You can't say you know, you can say as much as you like, oh, this, by the way, caveat as much as you like and say, oh, this is just an offline, just an offline people will be like
00:06.960: You just don't.
00:06.960: Okay.
00:06.960: So that and at the time I was still on Final Cut seven, I think.
00:06.960: Actually, that's something that I'd really like on compound clips actually is that if you could sort of
00:06.960: The climbing wall, I missed it.
00:06.960: Um so actually I think it's really handy to be able to work better in one you know, just on one layer basically.
00:06.960: And then just the fact that you can switch back with keyboard shortcuts between hide rejected
00:07.040: And I used to send off my music little music video cuts to him and get feedback and he'd send feedback and it was this back and forth thing.
00:07.040: Oh, so I mean like working in the post house, making tea for people, getting the lunches.
00:07.040: And there were little it was things that I really thought were cool.
00:07.040: That would be really cool, make it sixty four bit.
00:07.040: So, like, okay, well, let's go over to the B-roll here.
00:07.120: It is morning here.
00:07.120: So it's interesting that you actually refer to yourself as an offline
00:07.120: You know?
00:07.120: It continues like if you're playing a favorite and then you and then you go hide rejected, it continues playing through that past the end of that favorite.
00:07.120: Yeah, I should get into that.
00:07.120: And the front of the track was just sort of some strings building up and it didn't, you know, it wasn't cut exactly to the music.
00:07.120: Did you see the tutorial I did a a a couple weeks ago about real-time editing?
00:07.200: Okay, cool.
00:07.200: One nice little green track.
00:07.200: You ever do that?
00:07.200: And it's already, I like to, I don't know why, I call it shrink-wrapped.
00:07.200: Yeah.
00:07.200: We'll put it in a storyline.
00:07.280: You would get to it's really good.
00:07.280: I'd have them each laid up and then I'd, you know, if we wanted to dip in and out of the different you know, just go as the baseline, I'd
00:07.280: Because it was just.
00:07.280: I think, okay, so my philosophy about that, well, it's actually my observation of Apple's philosophy.
00:07.280: You have the inspector open.
00:07.280: So you you're looking at it in browser mode in icon mode.
00:07.280: Let me see if I can find it.
00:07.280: Command that's command shift and click on the clip.
00:07.280: But how would you deal with that in a in second in the sort of
00:07.360: Whereas over here we've got uh well, at Trim we've got like a massive dining room table, so we all get out together and have lunch together.
00:07.360: Yeah.
00:07.360: I don't
00:07.360: But it doesn't matter because it's in its own storyline.
00:07.360: I never would have thought that was even when it even when I first started using it, I was like, I'm not going to use thumbnail view, I'm going to use y list view 'cause that's what I'm used to.
00:07.360: Earlier, I had sort of gotten a
00:07.360: Are there other editors?
00:07.360: And I use those as well.
00:07.360: So that was r yeah, that was really quick as well.
00:07.360: Like how sorry, how do you do you think how do you find it works in Final Cut 10?
00:07.360: You just extend it, compress it, and everything jumps around.
00:07.360: I said the wrong thing.
00:07.440: I was doing.
00:07.440: And then you can s you could then you can then sort of scrub over each layer individually.
00:07.440: But there was a time when I'd do something and I'd be like, Ah, everything's now out of sync or ah, everything's
00:07.440: What would I have done in Final Cut 7 with that?
00:07.440: But then I don't know how it would work if you
00:07.440: Final Cut 10 wouldn't be what it is if they'd gone round and asked all Final Cut 7 editors
00:07.440: Which is the way we used to work in seven.
00:07.440: I also use the limiter a lot.
00:07.520: But I'd like I never would have considered I never would have requested that as a feature.
00:07.520: They've switched the other way round.
00:07.520: Huh.
00:07.520: Do you know what?
00:07.520: And it's not that it's really quick at rendering or anything like that.
00:07.520: What else have I got?
00:07.520: Oh, so that's removed that's removed like
00:07.520: Thanks for listening, and we will be back next time on the Funnel Cut Grill.
00:07.600: I know I had to.
00:07.600: Yeah, definitely an observer
00:07.680: There's too much good stuff to ignore to completely ignore it.
00:07.680: I was just talking with my cab driver the other day.
00:07.680: Close all of those things.
00:07.680: Yeah.
00:07.680: You export an XML and then you import that into EDLX and it just makes an EDL instantly pretty much.
00:07.680: Okay.
00:07.760: And yet if they had a
00:07.760: I think that was the first but I'd sort of it I'd had it on the back burner just it from day one I was a bit
00:07.760: I know that there was overwrite.
00:07.760: I know that a lot of people, at least in the States, are using Resolve.
00:07.760: But quite often now if I've got
00:07.760: So you'd have to you'd speed up, double speed, then you'd have to merge the clip back into sync.
00:07.840: They find you?
00:07.840: You just you get really used to the way it works.
00:07.840: This has been a great discussion.
00:07.840: I am on Twitter, but I don't really use it.
00:07.920: So let's go right into the interview with Thomas Grove Carter.
00:07.920: Yeah, it's quite early.
00:07.920: So tell me about trim editing.
00:07.920: It's that
00:07.920: Even if there's narrative other stuff to go over the top, I'd make a performance cut first.
00:07.920: I think maybe I listened to you and just did that.
00:07.920: I'm sure I've set up a few other things, but
00:07.920: Okay?
00:07.920: So every video frame, I think there's eighty steps on audio, I think.
00:07.920: Like if you want to move that shot.
00:07.920: It's okay.
00:08.000: And they're like, well, that's annoying.
00:08.000: I my time lines are so much neater now.
00:08.000: And, you know, and because I sort of came from a
00:08.000: Actually, one thing that'd be really cool is if you could
00:08.000: You can add stuff later to your favorites and it will be there in context, in the middle of
00:08.000: You don't have to leave the app to get subframe audio editing.
00:08.000: Yeah.
00:08.000: And here's the trick.
00:08.000: This is something never to admit, but the amount of times I sometimes forget to
00:08.080: So and and also nowadays as well with the way with clients are, they kind of
00:08.080: Yeah.
00:08.080: Well, there's the ten thousand hour thing.
00:08.080: So, do you know what I mean?
00:08.080: Because everything's so new and it's like the stuff they've added already, I'm just trying to think of some of the most recent things.
00:08.080: I remember people saying, Oh, it's a one window thing.
00:08.080: But think about it.
00:08.080: I hit it and it's done.
00:08.080: So I've done that.
00:08.080: And now and frankly, that's the way you want to edit your music anyway.
00:08.080: Most of us, I think, tend to do all of our finishing inside of Final Cut.
00:08.160: It was a new tablet, sort of low budget tablet computer.
00:08.160: And then all the B's, and then put the audio on the the third track and
00:08.160: Yeah.
00:08.160: I, you know, I was just doing a whole bunch of editing and I did not notice that.
00:08.160: If I've got a secondary storyline, I have to click
00:08.160: That's really handy, actually, isn't it?
00:08.160: And then the director will say, um
00:08.240: You don't even have to lift them out and then drop them back in.
00:08.240: Um, which is kind of annoying because I then have to send it back to Final Cut seven to do that.
00:08.240: Sure.
00:08.240: And also, I don't know if you noticed this, but with if you've got a video or audio as well.
00:08.320: I've got that as alt C, I think.
00:08.400: You know, and people would be like, Okay, yeah, yeah, but it's still a piece of shit, isn't it?
00:08.400: You have to like select
00:08.400: And I would do that so that when I hit shift Z and I could zoom out and look at the whole timeline.
00:08.400: Yeah.
00:08.400: And it's just I find this application to just be a treasure trove of
00:08.400: But if you do it if you do something that ripples, it sort of messes up the playback.
00:08.480: Like because it can't make a you know, obviously you now have plugins and different things that can do that.
00:08.480: Do you how much do you modifi how much do you add keys?
00:08.480: Understood.
00:08.480: Sometimes I get busy and I
00:08.560: Sure, a little.
00:08.560: Yeah.
00:08.560: Who knows?
00:08.560: So if it's a third of the way in, it'll do the front and the weird do some weird thing where it
00:08.560: Yeah, let's do it.
00:08.639: Yeah.
00:08.640: Looking at the website, it seems like this sort of collective of talent, you know.
00:08.640: And then what they had is they they had like um
00:08.640: And also, the reason I mentioned it, the dinner table in the first place, is that it's kind of.
00:08.640: Right.
00:08.640: The learning wall.
00:08.640: It's so quick to jump between those
00:08.640: So
00:08.720: Yeah.
00:08.720: So that's great.
00:08.720: Whereas now you like it's so much easier.
00:08.720: And it's like y you know, if you just okay, so let me see, I'm doing selecting three things.
00:08.720: And what's interesting is back when it first came out, people were using that as a as a complaint.
00:08.720: So that's quite a I just like how dynamic it is that you can just switch that
00:08.720: Now, what I might want to do is I might want to collapse them all.
00:08.720: Hit delete, and you've now collapsed all of your selects down.
00:08.720: Oh, yeah.
00:08.720: No, option G?
00:08.800: Right.
00:08.800: And frankly, this has been my observation.
00:08.800: Yeah, I remember doing a multicam, it was like a
00:08.800: Because I have a fundamental belief that the people that are doing this are not stupid.
00:08.880: Oh, yeah.
00:08.880: It was quite a bit.
00:08.880: It may have been that.
00:08.960: Yeah, and where are you right now?
00:08.960: And so they're just used to like
00:08.960: Like, yep, there's a graphic, there's a graphic.
00:08.960: And then you just hide, rejected, and it all disappears, and then you're just looking at your usable footage.
00:08.960: Just like, but I find that every time I try and embrace
00:08.960: Like say you've got an action in the middle of that shot.
00:09.040: But I'm kind of with you.
00:09.040: So
00:09.040: It's really bad, just clunky gear change.
00:09.040: When you're up in your video time line, you're dealing in either bass twenty four, twenty five or thirty frames per second.
00:09.040: Gotta know how to use your connection points.
00:09.120: Just because
00:09.120: Oh, yeah.
00:09.120: It didn't quite work
00:09.120: 9.
00:09.120: And I just said, well, actually, why do you want that?
00:09.120: I'm like, ah, piece of cake, blade speed.
00:09.120: Like that would probably have been what I would have asked for in Final Kart 8 or whatever it would have been.
00:09.120: Or if you're going to have it, it would be like DNX.
00:09.120: So I've bought that, and I've got an EDL thing, and then I've got X to 7 as well.
00:09.120: Yeah, you click one, delete, click one, delete, click one, delete.
00:09.120: If you click on a piece of audio, it will stop the playback.
00:09.120: You could do a lot.
00:09.200: And I think I was just at a point where they thought I could
00:09.200: So what were you using before ten?
00:09.200: I'll be like, No, no, we've just got one clip.
00:09.200: So so rippling is the is the um
00:09.200: When you first open up Final Cut Pro 10, all those extra pains are closed.
00:09.200: You know what would be really great is if F
00:09.200: Oh, interesting.
00:09.200: Yeah.
00:09.200: Yep.
00:09.200: I do that all the time.
00:09.280: I'd be and I would always be like, Oh, it's uh maybe, but maybe not.
00:09.280: But I was talking with somebody recently and they were explaining how
00:09.280: And what I would have done probably was stack up clips and have
00:09.280: I mean, it it's it th they want to be more accessible to the prosumer.
00:09.280: But when it comes to just
00:09.360: Yeah, it's it's hard to it it's hard to describe how important that is, and it seems
00:09.360: So what drew you into Final Cut ten?
00:09.360: That 'cause in
00:09.360: Normally, if the connection point is at the front of the clip, the back end of the clip will pull in.
00:09.440: I'm in I think you were in Berlin or something.
00:09.440: Um and at the same time I was you know cutting some music videos and short films for friends.
00:09.440: And I've also got a shortcut for reverse speed as well.
00:09.440: Or actually, no, I'd have like a string out of
00:09.440: Thanks, Chris.
00:09.520: Now you say multi-clip, but you mean a compound clip, right?
00:09.600: And you get these little sort of grey handles that you can extend.
00:09.600: But did they chastise you?
00:09.600: So I was exporting quite a few XMLs of
00:09.600: Whereas now
00:09.600: But I think there's a lot more to I can do in there, but I don't
00:09.680: Like you know, if I'm if a director's gonna have to sit in a room with me for three weeks or whatever, it doesn't
00:09.680: So I pick up projects from other people and you know
00:09.680: I just did, I just synced a bunch of stuff last night where
00:09.680: Yeah.
00:09.680: And then you'd write it to the time line.
00:09.680: Everything that's down on the first layer, that's the stuff I haven't used.
00:09.680: Yeah.
00:09.680: I didn't get to talk to you about traveling, but I think maybe we should talk again sometime.
00:09.760: But there might be, you know, four suites going.
00:09.760: Yeah, yeah, yeah.
00:09.840: Yeah.
00:09.840: And then once you get that to length within the section again, you just
00:09.840: So like, you know, like I don't know, whatever you call it, like selects of selects, you know.
00:09.840: It's still cheaper.
00:09.840: I'll pop it up a layer.
00:09.840: Yeah.
00:09.840: And I listen to it and I'm like, yeah, the music could come up a little louder there.
00:09.920: And what you used to be able to do is you'd cut physically cut the clip
00:09.920: Whereas now you can do a blade speed where it doesn't really
00:10.000: Until you do your ten thousand hours, you know, you you really don't know what you're talking about.
00:10.000: So that felt like a good
00:10.080: And I think that's the thing.
00:10.080: Because the other day someone was like, oh, how do you blade speed?
00:10.080: Oh yeah.
00:10.080: I kind of
00:10.160: You don't ever stop and you carry on playing in, out, F for favourite.
00:10.160: Right, right.
00:10.160: You know, you can Lasso a few clips ahead of the playhead.
00:10.240: What's your company like?
00:10.240: But so why how did I get into Final Cut 10?
00:10.240: Like, I'm willing to
00:10.240: It may have been that, yeah.
00:10.320: And I was like, Well, how's that going to work?
00:10.320: But if you really need
00:10.320: When you let go of the way you used to think,
00:10.400: And then
00:10.400: com.
00:10.480: Expands.
00:10.560: Very much so.
00:10.640: The clip is two times speed, and it's
00:10.640: Search for the word gap.
00:10.640: So quick, isn't it?
00:10.640: What do you mean the dots?
00:10.720: And he said, Hey, I'd love to talk to you on the grill.
00:10.720: You know, I think one of the coolest
00:10.720: But um but yeah.
00:10.800: But didn't st I but I only really
00:10.800: Yes.
00:10.880: Yeah, there's a couple of other guys who are using it.
00:10.960: You want to just look on a timeline and
00:10.960: Right.
00:10.960: Yeah, and if you do both if you do both sides of the cut of a cut point.
00:11.040: Oh, look at that.
00:11.040: No, I think it's actually I think it might be eighty
00:11.120: And it was all filmed from the tablet's point of view with the GoPro.
00:11.120: It's got the little black bubble around it, right?
00:11.200: And then I'll realize it's 'cause Final Cut's bundled it all into this nice little
00:11.200: I do that all the time.
00:11.200: There's the effects
00:11.280: I'd be like, No
00:11.280: In Final Cut seven, you then had to click back into the viewer.
00:11.280: So there's like a I've got a shortcut for makers clip
00:11.280: Yeah, I haven't needed I saw your thing the other day actually where you had that huge
00:11.360: Okay.
00:11.360: So if you if you scroll in or if you zoom in
00:11.520: I never would have never would have thought that that would be a handy thing.
00:11.520: We need two windows for this.
00:11.520: They're because of the way they've shifted the way it makes you work.
00:11.520: Just a couple.
00:11.520: And I can just
00:11.520: Do you is it good?
00:11.600: Yeah, you're right.
00:11.600: A punch in a fighting scene.
00:11.680: Okay.
00:11.680: But because I like now.
00:11.680: Section three looks a little short.
00:11.760: I really wish I didn't have to use it at all.
00:11.840: Right now, I'm in Paris.
00:11.840: Yeah, completely.
00:11.920: And I was like, oh, it's Shift B.
00:11.920: See, what I do is I actually just blade
00:11.920: Later, later.
00:12.080: Like when I say high end, I mean sort of like
00:12.080: Yeah, my always faster.
00:12.240: Yeah, yeah, we were shooting in Berlin.
00:12.320: That does turn it off.
00:12.400: Yeah.
00:12.400: Whenever I use a feature,
00:12.400: Really?
00:12.560: And then I realized that
00:12.640: And then I'd sort of have
00:12.720: And
00:12.960: Yes.
00:12.960: And they're like, no, it's not.
00:13.040: Yeah.
00:13.120: Not it wasn't that easy, but
00:13.120: And then press delete.
00:13.280: You there?
00:13.360: It's kind of all right.
00:13.520: Oh, you know what?
00:13.520: Exactly.
00:14.080: Right.
00:14.160: If we can.
00:14.479: Right.