Episode 30

FCG030 - The Cranky Editor (feat. James Miller)

This interview was without a doubt the most fun I’ve ever had on The Grill. You may know him as The Cranky Editor, or Chairman Meow. James Miller has been using Final Cut Pro since Version 1 but avoided FCPX until January of this year. He has a very interesting story in which he claims the biggest motivation for jumping the FCPX was actually Premiere Pro. I promise you’ll love this episode. you can’t polish a turd but you can roll it in glitter I’m happy to not understand that as long as it keeps working. so… we sort of talked about FCPX but this was a great chat. Anything that is in the world when you’re born is normal and ordinary and is just a natural part of the way the world works. Anything that’s invented between when you’re fifteen and thirty-five is new and exciting and revolutionary and you can probably get a career in it. Anything invented after you’re thirty-five is against the natural order of things.

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Download

• MP3

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Featuring

• Chris Fenwick
• James Miller - @thecrankyeditor

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Transcription

00:00.001: So I do a lot of that sort of stuff.

00:00.001: I think I'm on my third or fourth feature at the moment.

00:00.001: Or we could just move on and you could trust that the person who's being paid to do the really hard job that you don't understand is going to do it.

00:00.001: So there's no bloody preferences.

00:00.080: 'Cause I mean I've got a big library of plug-ins from from Seven and a lot of them, you know, are never coming over.

00:00.160: So, without any further ado, let's go to this interview.

00:00.160: Hey May, how are you?

00:00.160: business which is overnight just like the hell out of the I just like to think there's a call center somewhere in India or wherever where there's like two guys discussing you know after one of them rings me he's like

00:00.160: Come on, dude, seriously.

00:00.160: I find the native tongue gets to me sometimes.

00:00.160: People say, you know, like if I speak to an American or an English person or just a well-spoken Australian, they'll say, you know, how are you today?

00:00.160: But honestly, mate, you speak to some Australians, you're like, yin, yang, and like, that's not English.

00:00.160: you know, chances are you've probably never heard of that company sometimes.

00:00.160: It's not that it's beneath your level.

00:00.160: You know, I actually you know the the polished turd uh analogy is something that was it e among the circle of editors that I know like

00:00.160: I mean it's more that you know, I feel like you should be able to watch a piece of communications without wanting to gouge out your own eyeballs.

00:00.160: Very best thing that we can.

00:00.160: You know, if you're really visual, what you could do is visualize it.

00:00.160: Oh, 'cause it's all of the you know, it's it's the office politics as well as the you know, the the client being um

00:00.160: You know, I feel like we'll come back and have the same meeting in a week and this will just go on and on.

00:00.160: So, they have to say something no matter how worthless, redundant, or inane it is.

00:00.160: Absolutely.

00:00.160: You know, like I basically saved up all my money, bought a Mac and a copy of Final Cut Pro and a camera, and thought, you know, how hard can it be?

00:00.160: Friend Apple.

00:00.160: You know, I can't remember who it was.

00:00.160: It doesn't work in my workflow.

00:00.160: Trying to manually reconnect.

00:00.160: It's like, Curl, what does that mean?

00:00.160: But like just the ability, especially with red footage, to just go, Oh, you know what?

00:00.160: I went on downloading the money.

00:00.160: I don't know how much stuff you've done with red, but I've.

00:00.160: an After Effects rig to take his big movie and cut it up in it was a six screen uh blend.

00:00.160: You know, it looks like a ruler.

00:00.160: There's like a 216 pixel overlap or something like that between screen A, B, B, C, C, D.

00:00.160: Guys, yeah, you and the thing is, is you were only seeing the front end of it.

00:00.160: but a two thousand dollar audio desk that I can't make talk to my Skype and end up using an iPad.

00:00.160: the six days of work that got lost in Premier Land.

00:00.160: But at the end of the day, you're playing off the raw files, whereas in Final Cut, you just say, you know, I make proxies, cool, done.

00:00.160: Yeah, I know, but just to be able to just drag it on as 20 without like, you know, I don't waste time going to settings for God's sake, you know.

00:00.160: Ultra H D, so it's double resolution, okay?

00:00.160: 5D and it looks fantastic.

00:00.160: Flares and you know, and just rack back and forth on the focus knob, and it's like I can't see anything.

00:00.160: It's a wide dude.

00:00.160: You know, had great editorial and great, great coverage.

00:00.160: I'm pretty, you know, sort of, I wouldn't say new to this game, but relatively, you know, like I've been doing sort of 14, 15 years, not that long.

00:00.160: And to sort of go start again, but actually, it's kind of refreshing.

00:00.160: who have never lived in a universe where they worked in this industry without Funnel Cut Pro one through seven.

00:00.160: that I have heard people say that, it would be astonishing if Apple was not saying, oh, yeah, maybe we need to stay there, you bastard button.

00:00.160: Like that, you know, we'll just we'll screw up these guys who, you know, like sit in front of their edit suites for two days at a time and we'll make an animated yak walk in front of their screen and freak them out.

00:00.160: Key scrolling.

00:00.160: But all of a sudden it's like, oh, really?

00:00.160: Yeah, that's not there's not that's it.

00:00.160: I feel like Twitter's my place for venting.

00:00.160: Cool, Mike.

00:00.160: And share with us some more of your observations.

00:00.240: the interview set up and I realized I didn't even know his real name.

00:00.240: the interview and definitely this guest will be back.

00:00.240: So I believe it is our God given responsibility to keep them on the phone for as long as possible.

00:00.240: And then I, you know, s I just lay the phone down while I'm watching T V and I'll say, I'll be right there.

00:00.240: That's cruel.

00:00.240: Yeah, well I don't know.

00:00.240: Oh mate, our best trick ever.

00:00.240: And they have no fucking idea what to do.

00:00.240: Well, 'cause, you know, like they're wasting everyone else's time.

00:00.240: He said, Oh, you don't sound very Australian, mate.

00:00.240: And it's like we just abbreviate fucking everything, you know.

00:00.240: I understand.

00:00.240: who cares that'll do corporate and the you know like let's spend some money corporate I like the latter they're fun because you know because I like I mean you know because the challenge for me is sort of

00:00.240: Oh, yeah, totally.

00:00.240: They should be forced to watch the rushes first so they can see what the fuck you're dealing with.

00:00.240: And that's it.

00:00.240: And then I want to run screaming from the room.

00:00.240: and make it exciting.

00:00.240: thought or brand ideals.

00:00.240: Where I get to do something that's more entertaining.

00:00.240: have a little bit of a nerdy passion for that, which doesn't sound very exciting.

00:00.240: And I'm sure you have too.

00:00.240: You're kind of internalizing that attitude when you say stuff like that.

00:00.240: Yes.

00:00.240: say, you know, ten or eight years ago, that was a very popular term that people would say all the time, What are you doing today?

00:00.240: But the people that are paying us to do this, this is a big deal to them.

00:00.240: I mean, I'm all for the client.

00:00.240: that sells expensive furniture.

00:00.240: I just hung out with many Germans, but they take no prisoners, which is kind of good.

00:00.240: Because I had I bought Final Cut 1.

00:00.240: It was one of those, you know, gee, I'm glad I spent two grand on that.

00:00.240: So I was just looking at it going, $1,000.

00:00.240: And now we're doing it all again.

00:00.240: With their laptops going, oh, look, I've been editing this.

00:00.240: And then, you know, like you install it and just nothing but crickets.

00:00.240: Premiere, it was Premiere that actually made me try Final Cut, because I've been sort of hovering between seven and Premiere and sort of I'll look at ten again in the moment.

00:00.240: seven because it's all red footage.

00:00.240: Just just even little sort of not big deal stuff that you can you know you can totally do in other apps

00:00.240: Yeah, totally.

00:00.240: I can then move to another edit suite.

00:00.240: Yes, so and but the whole proxy workflow is fantastic where you just go make proxies, it makes them, you keep cutting, and when you're done go, oh, yeah, just go back to originals.

00:00.240: And he started mentioning red, and I just kind of like honed in on that.

00:00.240: No, it was mate.

00:00.240: five, it turned out being six five minute mini documentaries.

00:00.240: Well, I have a story.

00:00.240: and the projection boys backstage were gonna, you know, picture and picture it three times across the gi the big giant screen.

00:00.240: of their opening video, which actually was designed to fill the whole screen.

00:00.240: All the different people that had to buy off on it were like, Oh, I didn't realize this was going to be like this.

00:00.240: No, no, no.

00:00.240: The six parts get loaded into Watch Out in in some sort of magic voodoo land, and then that plays it out in sync, it plays the six files out in sync to the six projectors.

00:00.240: Did you see the um I went and saw uh 'cause I'm old so I like Pink Floyd.

00:00.240: And I kid you not, like they would put a block in and the projection would snap on just for that block.

00:00.240: There's multiple people that it that it can go wrong with at that point, you know?

00:00.240: You know, I kind of I like gear and I looked at that and I was afraid.

00:00.240: Well, I mean, I just downloaded Skype before.

00:00.240: Probably half a day.

00:00.240: That's right, yeah.

00:00.240: Yeah, yeah, totally.

00:00.240: And um, you know, so I would cut in 720p or whatever, um, you know, coming off my 4K Masters and or my R3Ds or whatever.

00:00.240: And the problem is, you know, like every bastard's out there now, it's just like, oh, you know, like, I've got a 1.

00:00.240: I keep seeing deep young DPs with showreels where the wides will have shallowed off and you're going

00:00.240: I said, Well, I said, I know what you mean.

00:00.240: Sure, they're better, but I'm not sure.

00:00.240: I'm not going to replace the red anytime soon, but I was like looking at it going, that's, you know, like that's I could, if at a pinch, I could use a shot off that.

00:00.240: Hey, have you have you ever tried to use the iMovie for iOS, either on your phone or your iPad?

00:00.240: where you put these little tiny magical like Star Trek props that hold video footage or film footage or you know moving pictures

00:00.240: And then you can make something on this magic thing that was in your backpack that you can play on a cinema screen

00:00.240: Just a control surface for five because like that interface to me touch me.

00:00.240: I want the tactile feel of I know what button or knob or whatever I'm touching.

00:00.240: And they're both, you know, they've been they've used nothing but Final Cut Pro 10.

00:00.240: Always said there's no such thing as the good old days in this business.

00:00.240: Yeah, he had a fast I can't remember which one, but it was you know, it was like good 90 grand or whatever.

00:00.240: Number one is anything that is in the world when you're born is normal and ordinary, and it's just a natural part of the way the world works.

00:00.240: Number two, anything that's invented between when you're fifteen and thirty five is new and exciting and revolutionary, and you can probably get a career in it

00:00.240: It's not that I hate change because I don't, but it's like if that change involves me changing stuff, oh, I totally hate that.

00:00.240: You know, like there should be just a stay there, you bastard button, you know.

00:00.240: And also, I want them to bring back Bruce the Wonder Yak.

00:00.240: so that it would just appear when you hadn't touched anything on screen for a little while and only if Final Cut had been open.

00:00.240: sort of suggestible and confused, and then this yak would walk across your screen and he'd have a little patch of grass and he'd just say weird shit in a cartoon bubble.

00:00.240: but only after a really extended period of time and and which is ki like that's really evil.

00:00.240: And it was slightly distressing the first.

00:00.240: Yeah, yeah.

00:00.240: when I started playing with it and I started like, okay, this isn't so bad, but I just couldn't call it Final Cut Pro.

00:00.240: But don't co-opt the name and drag its legacy down with you.

00:00.240: Well, you might be a lot smarter than me, James, but I just know that there was there's there's certain things that yes, you're right.

00:00.240: You know, that's interesting you say that.

00:00.240: Your command S is start over with a whole new idea.

00:00.240: Yeah, even if they just had like you know, leave it like that but have a gear down button like you did in seven on the grading, I think you used to hold shift.

00:00.240: The cool thing was, I mean, I've written, you know, half a dozen angry late night drunken emails to Tim Cook.

00:00.240: And there's some of them, like the second viewer.

00:00.240: All the stuff that relates to one thing.

00:00.240: Yeah, yeah, yeah.

00:00.240: to come and be on this show and on Digital Cinema Cafe.

00:00.240: I think that a lot of people there are names that you read about on the blogs and on Twitter and stuff.

00:00.240: Yeah.

00:00.240: Jerk about it.

00:00.240: Yeah, it was weird.

00:00.240: Yeah, anyway.

00:00.240: Just, yeah.

00:00.240: Yeah, they don't.

00:00.240: Yeah, yeah, yeah.

00:00.240: Hey, James, I should I should wrap this up.

00:00.240: On online www.

00:00.240: editing the piece as I did recording it.

00:00.240: By all means, give me a little ping on the Twitter at Chris Fenwick.

00:00.320: Just so that you can watch them just glare at you and think, why am I with this humor?

00:00.320: Yeah, yeah, it's it's a basically it's a one gag thing where a guy has a conversation with this cat and of course it's a fucking cat so it just says meow all the time.

00:00.320: You know, oh, hold on.

00:00.320: I was uh I was in Sydney a few years ago and I did the Sydney Harbor Bridge climb tour thing and I was standing right next to the to the tour guide and he sounded exa he sounded like, you know

00:00.320: uh Crocodile Dundee and and Jamie the what's his name?

00:00.320: I just sort of fell into documentary.

00:00.320: And in one of the lulls, I kind of leaned over to him and I said, Is your accent really that thick?

00:00.320: And I just I anybody who's cranky at anything is I'm a fan.

00:00.320: How can you take a subject that none of us are interested in and actually make it interesting?

00:00.320: 15 minutes long.

00:00.320: Sucked into doing no budget indie films.

00:00.320: Tell the director or producer or whatever, too, is like, look, you know, it's really nothing personal, but I mean, because basically, you're saying, you know, I think this is a little bit beneath my level.

00:00.320: Uh James Miller, you can uh and I spell it B O B S M I T H.

00:00.320: You know, editors that is, or post people, sort of some level of understanding of what goes into it.

00:00.320: I'm not picky in what I I'm picky about the sorts of things that I do, but not in the form, if you know what I mean.

00:00.320: Exciting or compelling really isn't there because what you're dealing with primarily is the transference of information

00:00.320: to not go absolutely bonkers insane is to, you know, kind of be very comfortable with my station in life.

00:00.320: You know, you can't polish a turd, but you can roll it in glitter.

00:00.320: And basically, I kind of instituted a a rule around the office that we just don't say that because we may hate it.

00:00.320: you know, build a kind of rough idea of what that is, and then you can not understand that either because it's in grayscale and then we can move back to where we were.

00:00.320: you know, and the whole meeting's like that.

00:00.320: And mate, because when I got on to Final Cut One in the first place, that was my introduction to sort of the world of post production.

00:00.320: I did play with it off and on over the last couple of years, but I really didn't every time I just have this major problem with the library thing.

00:00.320: I hate it or hated it because I'm not a I have to know on O C D, like I want to put my files where my files should go, and that's not where you necessarily want them to go, dear.

00:00.320: you know, to make those sort of breakthroughs with the magnetic timeline and audio and all the rest of the stuff that you know that just takes you a few.

00:00.320: You know what it is.

00:00.320: The beginning stages, the setting up and the organizing and the importing, the searching and the finding and the laying out and the, you know.

00:00.320: general effects, general color work, and then the the full export cycle to the point where you've completed it.

00:00.320: I mean, like, as I'm sure some of your feedback you got was, you know, it is a bit fanboy.

00:00.320: I think it was when 10.

00:00.320: I just I've never liked Premiere.

00:00.320: Which is, you know, I like it.

00:00.320: maybe a little bit slower than DSLR if you were doing it in Final Cart VII where you had to do the transcode thing.

00:00.320: I mean, it's important and you need to do it, and you know, that's all.

00:00.320: Like, this is fun.

00:00.320: That was 25 feet tall.

00:00.320: Uh the pixel count was seven thousand thirty-three by by um seven twenty

00:00.320: You know, I wanted to impress them.

00:00.320: To the projectionist, and I said, Hey, do you have any problem?

00:00.320: An hour beforehand to load it into the playback device, and I'm like, Yeah, okay.

00:00.320: I go, yeah, it just feels stupid if I don't.

00:00.320: Like, I'd hate to be the guy when it goes wrong.

00:00.320: Right, right, right.

00:00.320: Yeah, you know, like that's that's fantastic.

00:00.320: uh docco or old history, you might call it.

00:00.320: You know, because often with the historical societies, they've got the negs, and so they'll be able to get ridiculous res out of them.

00:00.320: But I mean, yeah, like I mean the workflow from you know if you've if you've ever dealt with the red or even I mean I did have some DSLR stuff and I was

00:00.320: I like offline because it forces you to focus on the storytelling, not, you know, oh, let's make that look cool.

00:00.320: you know, I was amazed that stuff worked as well as it did.

00:00.320: Yeah, we did an interview on Digital Cinema Cafe with Julian King and Cassidy Gerhardt, and they did the video about the Mustang.

00:00.320: Yeah, yeah, because I'm really inventive.

00:00.320: Totally.

00:00.320: A witch?

00:00.320: iPad accessory type things for them.

00:00.320: which is one thing I'm slightly bitter and shaded on Final Cut Ten because without tracks it's quite difficult to assign stuff to faders.

00:00.320: Looking like the answer is no.

00:00.320: Okay, so how are you finding that?

00:00.320: You know, Ice College.

00:00.320: Yeah.

00:00.320: I've got one mate who does and he swears by it.

00:00.320: At least see how fucking horrible editing on tape was.

00:00.320: And I think he could only hold about I want to say 40 minutes of footage.

00:00.320: Yeah, yeah, he I think he paid 18 grand for a nine gig drive.

00:00.320: Spit that out to tape, clear the drives, you know.

00:00.320: And let's, you know, and let's be fair, there's a lot of people that are using Premiere and not having problems like that, but there are people like you.

00:00.320: Number three, anything invented after you're 35 is against the natural order of things.

00:00.320: Yeah, there's a whole slew of kids listening going, what the hell is a wonder yak?

00:00.320: Yeah, the new stuff is actually quite easy to absorb.

00:00.320: Yeah, no, 'cause it's um that's driving me nuts.

00:00.320: Seen over the wall, so to speak.

00:00.320: you know, much I can move my I can actually move my wrist more than it moves when my heart beats.

00:00.320: And then they had to kind of back down a bit.

00:00.320: Yeah.

00:00.320: And it's cathartic, you know.

00:00.320: I don't know that so much that it was screen real estate, but it was just a logical rethinking of the process, you know, and if, like you said.

00:00.320: that's definitely designed for you know part part of that design is about screen real estate.

00:00.320: You had years and years of what's happening with Final Cut.

00:00.320: oh look, you know, it's as certain people would have it, iMovie Pro, and then total silence again.

00:00.320: Building businesses based on this product, you have to give us a road map or we're not going to play.

00:00.320: You know, collate them occasionally and send them off to the feedback form.

00:00.320: It's like eight terabytes of R3Ds moving over into Final Cut 10, and that's actually behaved really nicely.

00:00.320: everything else and lunch and I I crave anonymity.

00:00.320: I don't die to any of that.

00:00.400: Because of the Apple Inline Mic thing.

00:00.400: I'm with you, brother.

00:00.400: I'm talking to this guy, he's fucking meowing at me like a cat.

00:00.400: No, of course not.

00:00.400: I mean, I love my favourites are the ones that go, Oh, I'm really visual, I need to see it.

00:00.400: You know, why would they need me if they're right?

00:00.400: Yeah.

00:00.400: You know?

00:00.400: One of the first things I learnt was to when people use like marketing terminology, oh, it just needs a little bit more zhuzh.

00:00.400: Mm, that would that was I want to say, was that like a character generator?

00:00.400: the first two years of Final Cut because I was still trying to use my Media 100 and not feel like I got ripped off for spending 30 grand for it.

00:00.400: you know, like there's all these extra steps to sort of get in the way and you know, slow you down before you can start doing anything creative.

00:00.400: In one of the first few episodes, I can't remember the number, maybe it's two or three.

00:00.400: And it's like, and that's from scratch, you know, like bang, bang, bang.

00:00.400: 24 hours after I got there, I had to have a 90-second sizzle reel built about the stuff that they had done over the weekend.

00:00.400: Yeah.

00:00.400: Ridiculously good.

00:00.400: Well, you know, there's a lot to be said for having done it every day for forever.

00:00.400: So so you started using Final Cut 10 in January to do this

00:00.400: it, you know, it'll have a go at playing stuff back and you can switch it down to sixteenth res and all that.

00:00.400: Yeah, like grow shrink.

00:00.400: Six copies of his Grow Shrink one and make a theme out of it.

00:00.400: I don't even remember.

00:00.400: I just wish people had stopped bloody shooting on them.

00:00.400: Good God, I mean, you know, you can shoot like they can see better than my eyes now.

00:00.400: You know, like I brought it into Final Cut X and I was like, my god, the picture quality was amazing.

00:00.400: Okay, that sounds like a bunch of sci-fi crap.

00:00.400: Yeah, and the longer I watch and it's like I've got two kids I'm teaching in Advanced Post that I had in what do you call editing last semester

00:00.400: When you get to be my age, you realize that things change.

00:00.400: You know, but I'd love to see someone should just do a plug-in of Bruce the Lundiak.

00:00.400: You know, wake up to yourself a bit and go, Well, it's not actually getting me anywhere.

00:00.400: Still, it's like it's driving two.

00:00.400: makes more sense than the old stupid way of doing it.

00:00.400: With a source monitor and a record monitor, and you are insisting on holding on to that, well, then, yeah, you're going to need a second viewer.

00:00.400: I'm all for new designs, but like, you know, the old ways are best sometimes.

00:00.400: Which is I mean that's I mean I think that was part of the big problem with the the whole Final Cut pro tem debacle was

00:00.400: Yeah, I do, yeah, yeah, yeah.

00:00.400: Right.

00:00.480: Uh I'm a little confused.

00:00.480: You know what the intent is.

00:00.480: Blue, and so I lost another four days.

00:00.480: And sounds like a huge opportunity for lens flares, too.

00:00.480: And it just smoked it.

00:00.480: Oh, mate.

00:00.480: I couldn't believe before, you know, like when you uh trying to get on to me, it's like you know, I've got a oh I've got a

00:00.480: It's just like I just don't need to render.

00:00.480: Fit will make it fit inside your raster.

00:00.480: When you went to swap them out for your 1080ps or whatever your masters were, any transforms or anything that you'd done in Final Cut Processing were just like a joke.

00:00.480: It's not a thing.

00:00.480: I feel like with the right adapter that could work.

00:00.480: Because it's gonna happen.

00:00.480: And I found it to be a kick in the face.

00:00.480: No, not then.

00:00.480: you know, it's not that I don't mind work, but it's it's like, oh, you know, like I found the magnetic timeline irritating.

00:00.480: at first.

00:00.480: And then they go ahead and they add it.

00:00.480: No, it's like it's completely redundant.

00:00.480: The kind of I'm guessing that was to do with screen real estate.

00:00.480: I think encouraged to to hear that you were using Final Cut 10.

00:00.480: to be absolutely thoroughly enjoyable.

00:00.560: So first of all, I'm having a hard time keeping track of all the pseudonyms.

00:00.560: We have Chairman Meow.

00:00.560: You know what?

00:00.560: The thing is, too, it's like because I sort of feel like you know, if I'm looking at your work or if you're looking at mine or some other editor's work, I I feel like we've all got

00:00.560: Well, I think one of the things that's been nice about I will say about my career is what you're saying is, you know, it's hard to take like a corporate thing

00:00.560: You just find yourself with idle moments during a render or whatever, you know, you'll glance over it and whatever.

00:00.560: I used to do a lot of work for agencies and stuff and I work for myself now and I'm much happier and calmer.

00:00.560: uh three D animation.

00:00.560: And then, so Final Cut Pro 10, I was really pumped for because you know, like, you know, you sound like you're a bit of an Apple fanboy, and I definitely was then.

00:00.560: And until you actually go through each and every one of those steps in any workflow, you really don't understand it.

00:00.560: January the something.

00:00.560: I mean, I'm sure I did listen to that one, but I don't specifically recall it as being like a you know, inspiration to jump on.

00:00.560: And you know, yeah, I'm able to just quickly because I mean, you know, like I'm a madman, so as soon as I got onto Final Cut Pro 10, I thought, like, after

00:00.560: Timeline as opposed to what its actual pixel dimension is.

00:00.560: I found it really interesting teaching the last couple of years since Final Cut Pro 10 has come out because at first I was like, you know, slagging it off to the kids and then I'd see copies of it around the campus and whatever, and you'd be like

00:00.560: And it's amusing to me now that I'm making an effort to come in with, you know, here's stuff you don't know about Final Cart 10, young ones.

00:00.560: You know, like the old dudes who aren't willing to alter their workflows or whatever, they're covered.

00:00.560: And it's you know, I'm I don't like being a fanboy particularly because I think there's, you know, like a lot of negativity associated with that.

00:00.560: sanitized as it is now because it's much better in a post ten point one era.

00:00.560: Because it's very easy to go, you know, oh, people should do it this way.

00:00.560: I mean, I honestly, I don't think it's even is it that you have to learn a lot or is it just that you have to forget some stuff?

00:00.560: Out of the libraries, I thought was just broken, the way that was, it was just like, two folders for

00:00.560: If you forget, if you can allow yourself to forget some of your old habits.

00:00.560: You know, Richard Taylor, who runs fcpx.

00:00.640: Once again, I found this guest via Twitter.

00:00.640: Which a lot of my friends don't understand, but you know, that's that's part of the kick to me is you know, like that's a challenge, that's hard, yeah, especially some of that stuff.

00:00.640: And I didn't know any better.

00:00.640: Yeah, yeah, yeah, totally.

00:00.640: You know, it's the same story again and again that I'm sure you hear from everyone, which is, you know, you sort of get six days into the edit and go, holy shit, I've done 12 days' work.

00:00.640: I don't think so because I already had a pretty good handle on like I'd messed around with the red import thing.

00:00.640: The material very well, but you know, like basically they build the wall slowly over the course of the first half of the show.

00:00.640: A lot of workflow stuff, keywording.

00:00.640: Yeah, no, some of his ten ones are I've talked about him many times, but I just it's just so cool, some of the stuff that he does.

00:00.640: Spatial conform control.

00:00.640: But you know, like you'd you'd cut something because I frequently use offline online workflow.

00:00.640: And, you know, it never occurred to me to ask them what it was shot on.

00:00.640: I was like, ah, brilliant, you know, because it was beautiful and it was so good that it wasn't even part of the discussion.

00:00.640: Line from the Monty Python film is a little bit more.

00:00.640: The viewer issue is a really interesting examination of Apple trying to

00:00.640: I hope it's all of some use to you.

00:00.720: You know, it's 'cause I mean there are different levels of compelling, aren't there?

00:00.720: Because I do leave files in place when I import into Final Cancer.

00:00.720: And the producer of the show, she had built this well, she didn't do it, she paid some guys to do it, this 215-foot-wide screen.

00:00.720: I can do things.

00:00.720: Is it Alex Golner?

00:00.720: Been able to ascertain is when you start on so let's say you take an image that let's just for argument's sake, we'll call it

00:00.720: And imagine imagine taking and reaching into your rucksack and pulling out a laptop

00:00.720: And I really felt that Apple had done a dis a disservice by stealing the name.

00:00.720: You know, encourage us to rethink something, the public being very loud and adamant.

00:00.720: He has a l like um like a uh like a score sheet almost where he says, Oh, f between this version and this version, they adopted fifteen of my suggestions and between this version and this version they adopted seventeen of my suggestions

00:00.720: See, how am I supposed to read anything on this?

00:00.800: Check, check, hello, hello.

00:00.800: The cat thing is from I teach at film school and my student showed me a YouTube video called Detective Mittens.

00:00.800: It is one of the beauties of the English language is that there are so many flavors of it.

00:00.800: I teach my students about that, which is probably not what I should be doing.

00:00.800: And it was gig it was gigantic.

00:00.800: Like, you know, panning scans on giant photos.

00:00.800: You know, we are really spoilt now.

00:00.800: Actually, it would make perfect sense if you could assign a role to a fader.

00:00.800: Yeah, yeah, you think you got the scopes up and you did something.

00:00.800: You know, like the slightest, you know, like if my cat walks in and wags its tail, you know, everything goes green.

00:00.800: Yeah, that's right.

00:00.800: I just want, just put my name on the check.

00:00.800: Thanks, Chris.

00:00.880: That was kind of interesting.

00:00.880: Yeah, yeah, where he's like bacon.

00:00.880: Yes, they work off of a script, but also they are the reason they're successful is not because what they're selling is good, it's because they talk to a lot of people in an hour.

00:00.880: I don't know.

00:00.880: Film editing, and I also teach advanced post, which is basically After Effects and a little bit of color stuff and a little bit of

00:00.880: But with the proxies and stuff, I know exactly where they live within the project structure.

00:00.880: And then of course somebody has to actually like, you know, register those projectors because there's an overlap.

00:00.880: I'll do some animation for him, you know, but I feel like bring back the yak.

00:00.880: Never.

00:00.880: Okay, yeah.

00:00.880: It's you know, like, 'cause it's not, I mean, I'll happily take someone just walking in front of camera and clapping their bloody hands.

00:00.880: And my favorite thing of all time is the, you know, I will just end board it, and then you get to the end and wait, wait, wait, and click.

00:00.960: Oh, it's Austin, Steve Irwin.

00:00.960: He was like talking through his assistant, tell him that that effect is too slow.

00:00.960: It had just like this brief two-year window in the sun and then you know, Pinnacle, Pinnacle bought it and then they sold all their stuff to Abbott, and it just

00:00.960: No, not really, because I've figured it out quite quickly.

00:00.960: And I'm just glad that frankly, I'm glad that you had the opportunity to step into the ten point one era and not the ten zero nine, you know, when it was not as

00:00.960: Apple got sort of got to that point where they launched this product and just sort of went, This is the one true way of editing.

00:00.960: But in reality, there's a whole lot of us that are not using it.

00:00.960: And explain themselves on some of these things.

00:01.040: Who was it?

00:01.040: You're an adult.

00:01.040: And then you get these blank, terrified you know, because you get those people and you get in a room with them, it's like, I have to contribute something.

00:01.040: And as a broad generalization.

00:01.040: You have to force yourself to do a whole job in it, and you have to have no option but it.

00:01.040: Whereas in 10, I feel like they've just nailed that stuff.

00:01.040: So I think I'm doing some math, and I think I heard you say you were 37 years old.

00:01.040: It will be much easier to do this.

00:01.040: Your name is well respected, and I think it's just because you're cranky.

00:01.040: So they are clearly listening.

00:01.040: I was horrible, and I owe a great level of apology to all the people at Apple that have been working so hard on this tool that I am now making a living with.

00:01.040: Just for a moment, make me believe it kind of vacuum.

00:01.120: A little bit.

00:01.120: You're bloody tourists, that's what you want to hear.

00:01.120: But I did the same thing, you know, bought the NTSC Final Cut and just went, Well, you can just modify these settings.

00:01.120: thirty two gigs of RAM and I you know, in ten point one you can now do resolution independent canvases.

00:01.120: At first, I didn't like that you didn't seem to be able to do stuff like make favorites

00:01.120: for effects and filters and stuff.

00:01.120: And then I realized, you know, I mean, there's still elements of it, I think, could be, I just want to be able to just lock a clip.

00:01.200: How did I get here?

00:01.200: Honestly, it was just more total desperation.

00:01.200: Horizontally.

00:01.200: I thought, well, it's pretty obvious I'll keep using this.

00:01.200: And then opening it up and then pressing a couple of buttons and have the screen light up and then have some sort of little magical device that either it's a slot in it or maybe it has to dangle off of it.

00:01.200: An iOS version?

00:01.200: So they're you know, probably much more interested in girls and alcohol and drugs and things.

00:01.200: Apple is absolutely the only company in the world that could take these workflows and this interface that we're all used to.

00:01.200: You were in this business prior to Final Cut.

00:01.200: You're going to have to email that to me.

00:01.200: It's like and then you sort of well, actually, it's just a piece of software that I'm not in fact forced to use.

00:01.280: Yeah, no.

00:01.280: So it really wasn't.

00:01.280: Mainly, and it's boring, but no rendering.

00:01.280: And I found that confusing.

00:01.280: And it's I'm happy to not understand that if it keeps working.

00:01.280: I mean, if you've got someone they could shoot on a VHSC and maybe that's a stretch.

00:01.280: I don't want to sort of say to see Apple vindicated in that way, but to see some of those sort of design decisions sort of go because they're right.

00:01.280: Hitchhiker's Guide?

00:01.280: And looked at what we were saying on Twitter, we'd think, gee, I'm kind of a dickhead sometimes.

00:01.360: Oh, there you go.

00:01.360: Yeah, let's hear it for YouTube.

00:01.360: I do a fair bit of um I I don't want to put down corporates, but I sort of I feel like there's two kinds of corporates.

00:01.360: Cool.

00:01.360: which means it is scaling it down 50%.

00:01.360: And you know, and they're and they're they're you know, they're really good kids.

00:01.360: We got to talk.

00:01.360: Keeps on either doing end boards or shooting the slates just completely out of focus.

00:01.440: I am an absolute fan of all accents, dialects, and little colloquialisms.

00:01.440: No, our economy was in the toilet.

00:01.440: Is that the UK site?

00:01.520: It's no big deal.

00:01.520: I was doing a a a rollout for um BMW.

00:01.520: You know, just like this big, yeah.

00:01.520: So they have like a two hundred foot wall across the stage and they do projection on it sixteen K projection.

00:01.600: No, I haven't.

00:01.600: You know, sort of d not sure what people think of Australians.

00:01.600: Where you're just like, you know, okay, what we started with was really bad, and this is probably not great.

00:01.600: Recently, somebody said, Oh, yeah, so it was going okay, but I went and I edited all my music in Final Cut 7.

00:01.600: And the intention or the understanding was that I was going to cut a two-to-one video.

00:01.600: The whole point is to establish the damn geography of the scene.

00:01.600: And they're like, great, it's so much easier than that clunky thing you use.

00:01.600: It's like, oh, that's just in my way, you know.

00:01.600: I mean, I can remember when I when I contacted you on Twitter, it's like, wait a second, whoa, whoa, whoa, did I hear that right?

00:01.680: What should I call you?

00:01.680: It's awesome.

00:01.680: It's just like, well, I've worked really hard to sort of get to where I am, and I feel like that's a step backwards.

00:01.680: Charles Silverman and the the big stupid agency?

00:01.680: Had I not read that just like earlier today, I would have told you who this guy is, but I'm now realizing I can't really say all of the names out loud.

00:01.680: Well, because I do sort of feel like editors and post people in general do tend to be not massively assertive people.

00:01.680: I mean, they've got Premiere, they've got Fine Cut Pro 7 or Avid or Sony Vegas.

00:01.680: I mean, you know, because that's the thing.

00:01.680: I mean, you would think it was, you know, like Hitler had risen and was, you know.

00:01.760: Just like, you know, occasionally you can pronounce words correctly.

00:01.760: It was like a.

00:01.760: Oh no, that won't link.

00:01.760: Oh, yeah.

00:01.760: I don't think there's a preference.

00:01.760: I mean I think a lot of us if we went back in time to you know uh whenever it was in twenty eleven

00:01.840: And you kind of sort of have to kind of immerse yourself in the whole ecosystem to understand

00:01.840: I haven't really shared this publicly yet, but it kind of fits with what you're talking about.

00:01.840: You know what?

00:01.920: And I think that most of the time n not always, but most of the time, it's in a true corporate environment, the the necessity to make something

00:01.920: I can tile something and mirror it so it looks almost kaleidoscopy.

00:01.920: You have to.

00:01.920: Because that was a pain in the ass, you know, like every time you move something around, and then you went over to your online, it's like, oh, I guess that's broken.

00:01.920: Now that I'm with you guys, you know, I feel like it's real.

00:01.920: Yeah.

00:01.920: You don't do any of that?

00:02.000: And now, that being said, I just typed out: you can't polish a turd, but you can roll it in glitter, because I've never heard that variant of a phrase, and I think that's very funny.

00:02.000: I would map it to the control button because I want to have more control.

00:02.080: Perfect.

00:02.080: You know, because you just sort of look at it and go, well, you know, it's a lot of work, but it is crap, so I don't want to be associated with it.

00:02.080: I mean, no, I totally understand what you're saying.

00:02.080: I think it's a good thing.

00:02.080: You know, because I mean, like, you know, has been discussed at Infinitem, I mean, it was a dreadful launch.

00:02.080: It's getting kind of long, but I would love to talk to you again sometime, maybe when you're done with the feature.

00:02.160: You're going to love this episode.

00:02.160: Yeah, right.

00:02.160: I can't remember his last name.

00:02.160: Um it's just like on or off.

00:02.160: And everyone who sees it goes, wow, you know, what did you shoot it on?

00:02.160: Good luck with that.

00:02.240: So I will say, oh, yes, I'm very interested.

00:02.240: When you pick up the phone, as soon as you realize there's a telemarketer, because they work off a script, right?

00:02.240: I wasn't where I was aiming for.

00:02.240: It's not that hard, is it?

00:02.240: Why didn't I listen to my mother?

00:02.240: I'm an adult.

00:02.240: Like every other cranky bastard, I bought it.

00:02.240: 11 came out.

00:02.240: Oh, yeah.

00:02.240: Yeah, sorry, you know, like nice sorry, but I'm here to shoot you down.

00:02.240: Eight, I had less than 20 hours of time to build this 90-second thing.

00:02.240: You have to open the thing in motion and then you can save a theme and all that.

00:02.240: Because sometimes you know, you know, I'm definitely, you know, five is not enough.

00:02.320: It's a podcast.

00:02.320: Exactly.

00:02.320: Oh, geez.

00:02.320: Yeah.

00:02.320: Good idea.

00:02.320: This will be fun.

00:02.320: Take care.

00:02.400: I'm happy with it.

00:02.400: And so I said to the projectionist, I said, Do you mind if I bring you a six-part file tomorrow morning?

00:02.400: You know, like let's go back a couple of years when you basically had to bring the sun with you to get anything at all at night, you know.

00:02.400: And he agreed to that.

00:02.480: The client absolutely has input and is, but I just I've never been a believer in the customer's always right.

00:02.480: They do a thing, there's a piece of software called Watch Out.

00:02.480: Yeah, absolutely.

00:02.480: It's it's gonna be of if nothing else, it's gonna be very entertaining.

00:02.480: And uh I apologize for my giggling in the background, but I just found James or mister Meow or mister Cranky Editor

00:02.560: Or the other one I'll do is I'll let them go for like four or five minutes and do their whole thing, and then I'll say

00:02.560: Yeah, yeah, yeah.

00:02.560: And that doesn't necessarily have to be exciting or compelling.

00:02.560: I did cut a couple of little jobs like some promos and stuff, and there's definitely some cool stuff in there, but I never spent long enough in it to sort of go.

00:02.560: I mean, it was so pleasurable.

00:02.560: I mean, I only got an iPad pretty recently, and I took some footage of my cat the other day and meow.

00:02.560: You've heard me talk about the learning wall, which is the antithesis of the learning curve.

00:02.640: Although at this stage you're kind of running out.

00:02.640: Yeah, there's a term for that.

00:02.640: And it turns out it can, but it's just there's more steps to it.

00:02.640: It's like so kind of, I feel like, you know, like because I've now I've got to hop in there and make like

00:02.640: I kind of remember being 39 years old.

00:02.640: Yeah, yeah.

00:02.640: I mean, I was like, you know, I'm not fucking touching the bloody thing until it's got a second viewer.

00:02.720: It's so right.

00:02.720: And then I had what did I have?

00:02.720: It's like, and I feel like all Final Cut Pro 10 people should make a pact with each other.

00:02.720: So you have your cranky your cranky theme?

00:02.720: And I just I just we all just make a point of just everyone glares at him and whenever he brings up Sony Vegas.

00:02.720: So I don't imagine I can't imagine what it's like for, you know, like a lot of you really old fogies to sort of go, everything you know is wrong.

00:02.720: And yeah, here we are.

00:02.800: I just read something about slander and libel, and had I not

00:02.800: Um 'cause I'm one of those what level, uh uni level or kids?

00:02.800: And I know that there are people that hear that kind of language and they go, ah, that's bullshit.

00:02.800: Yeah, it's funny because I saw you on Twitter sort of, you know, spruking it a bit and thinking, oh, you know, whatever, dude.

00:02.800: I actually haven't done anything.

00:02.800: It was basically, you know, the west wall of this, you know, convention center.

00:02.800: I had an account, but I almost never use it.

00:02.800: It's like, you know, if you push it, it does get noisy.

00:02.800: And you remember that page they put up where they said, oh, yeah, here's all the features that you guys really need that we're going to add.

00:02.880: Is that better?

00:02.880: Because I can hear you.

00:02.880: Yeah, yeah.

00:02.880: The the greatest time suck of all time.

00:02.880: Wow.

00:02.880: And you're like, no, no, but if I go away and make these vague, formless changes involving juge and other made up words

00:02.880: I'm like, what are you doing?

00:02.880: That's a very contradictory statement to what you said just like five minutes ago.

00:02.880: No, no, no, like a a pro iPad, you know, that's

00:02.880: I don't know about you, but the first time I saw that, I was like, What what's happening?

00:02.880: Yeah, well, like, what good is the information contained therein?

00:02.960: I mean, I'm not saying I'm ashamed to be Australian or anything, but it's just that, you know, sometimes I genuinely find people hard to understand because they're like, you know,

00:02.960: A lot of choices to be made here.

00:02.960: And they just kept saying media pending.

00:02.960: And she's like, Are you sure?

00:02.960: Yeah.

00:02.960: And you drop it in your you drop it in it.

00:02.960: Yeah, no, yeah.

00:02.960: No, I had a friend who got one of the very early NLEs.

00:03.040: I present to you the cranky editor, sometimes known as Chairman Meow.

00:03.040: They have no response with that.

00:03.040: We're both human beings.

00:03.040: That can't be real.

00:03.040: I've got a friend who does real estate stuff and he swears by Filipino 10.

00:03.040: And like I lost six days cutting.

00:03.040: That's a sterile.

00:03.040: Yeah, for two years now I've been hitting Command S.

00:03.040: No, that's the FCP.

00:03.040: It's I have it open.

00:03.040: No.

00:03.120: He's like, Well, what do we sound like?

00:03.120: You know, it's definitely different.

00:03.120: 0 and before you could do PAL and I was laughing at Alistair because he did exactly the same thing as me.

00:03.120: Exactly right.

00:03.120: This is great.

00:03.120: If there is, please tell me.

00:03.120: I was talking to a friend the other day.

00:03.120: I'll be perfectly happy.

00:03.200: So here we are.

00:03.200: It's all scarlet.

00:03.200: But the workflows I don't think the workflow is it's no worse than you know

00:03.200: So how was your let me think, how do I want to ask this?

00:03.200: Yeah, yeah, yeah, totally.

00:03.280: And I gotta say, I've been following this guy for a long time and always appreciated his sort of you know, his outlook on things.

00:03.280: I won't broadcast your Skype handle, but yet a third identity.

00:03.280: Look it up.

00:03.280: But quite often it's, you know, it's the transference of information.

00:03.280: Plus, there's a real frustration of being what I call the hired wrist.

00:03.280: Golner, yeah, from Alex4D.

00:03.280: Well, no, I'm just saying.

00:03.280: You know, what was it saying?

00:03.280: I mean, when it came out on, I mean, you know, like, if you're just logging onto Twitter every morning and saying the audio sucks.

00:03.360: We're not trying to win any awards here.

00:03.360: Call me James, 'cause that's what I am.

00:03.360: Exactly.

00:03.360: And even if you had, you you're like, well, okay, so they organize the logistics for shipping coal out of a giant port.

00:03.360: And I did an edit for this guy a few years ago.

00:03.360: I just thought editors did everything.

00:03.360: Because I had also been peripherally involved in the creation of their

00:03.360: Definitely going to have to have him back on.

00:03.440: Steve Irwin.

00:03.440: And you end up qui you know, quite often you get some really nice high resolution um scans from black and white or color stills or

00:03.440: It means, you know, I don't give a shit about that.

00:03.520: That was a good move.

00:03.520: You know, it's just like the problem is the problem is there's

00:03.520: Yeah, well, that's what I want to see to kick off with, and then you know, we'll go from there.

00:03.520: And I have yet to talk to somebody who drives on a day-to-day basis with the second viewer on.

00:03.520: crankyeditor is not this cranky editor.

00:03.600: Would you mind starting over?

00:03.600: Well, and the dog is like he's like talking to the dog.

00:03.600: No, it's not.

00:03.600: That's what being visual means.

00:03.600: But if you don't have to do it yourself, you know, it's simple, but when it actually involves

00:03.600: It's getting, you know, because like, I mean, I was talking to you on Twitter recently.

00:03.600: How about we sort out what this problem is?

00:03.600: Show me everything at once that's on my entire computer.

00:03.600: I'm bitching about it, but I'm using it.

00:03.680: You want to get to this mate, you know.

00:03.680: Yeah.

00:03.680: I want like a three D uh Yeah but when was the first time you saw Bruce?

00:03.680: Sometimes I just write angry emails to people and just don't send them.

00:03.760: I did.

00:03.760: What happened in Premiere that fell apart?

00:03.760: So you've got Grow Shrink by five, Grow Shrink by 10, 20, et cetera, et cetera.

00:03.760: But on the other hand, I also because you remember, you know, like in the in the good old days, the you know, I feel like, you know, remember back in the final cut through seven days?

00:03.760: And I think what we're talking about with the 100% scaling fit to fill, I think it's about the relationship between the clip and the

00:03.760: Yeah.

00:03.760: But the actual new stuff, it's like you it's amusing to me because you sort of sit there and you abuse Apple all the time.

00:03.760: So if you're thinking, you know, an 80s metaphor of an edit suite,

00:03.760: And I don't know if it makes any difference.

00:03.840: Yeah.

00:03.840: It's one of those ones.

00:03.840: Just tweak it.

00:03.840: It's only right I get to waste some of theirs.

00:03.840: And they're really disappointing.

00:03.840: It's um I mean, just every now and then you get those real you know you get those clients where you're just like

00:03.840: It was like, okay, I really can't use seven because I've been I'd hurt my back and I'd lost a week and then I had

00:03.840: You probably want to start with it on none, I think.

00:03.840: I I stopped transcoding DSLR footage two years ago.

00:03.840: But I got the touch.

00:03.840: And you know, I just tend to make lists of things that I think could be better in it.

00:03.920: We're back for another episode of Funka Grill.

00:03.920: There was probably a whole lot more backstage.

00:03.920: 'Cause even in Premiere, Premiere's got a pretty decent engine, but I would find that chugging up a bit.

00:03.920: And I think the real trick is, are you giving your input in a way that is constructive and coherent?

00:03.920: It's like, you know, I just like, you know, I think people tired of hearing about me uh on on Twitter, so I don't know.

00:03.920: So that's it for this episode of Funnel Cut Grill.

00:04.000: And you're just like, no, no, there's only one syllable in that.

00:04.000: I'm just like, don't say that.

00:04.000: Post 10.

00:04.000: You know, seven was sort of a bit lackluster of an update.

00:04.080: Yep, yep.

00:04.080: You were you just, yeah.

00:04.080: It's absolutely worthless to have it on.

00:04.160: See, mate, I'm sort of a bit, I guess a bit like yourself.

00:04.160: And I mean I mean I can do it in seven, but it's just not fun.

00:04.160: That stuff really, really matters, but it's not why I'm here.

00:04.160: And I did them in 32 hours.

00:04.160: Well, I hope you enjoyed that.

00:04.240: I had just as much fun editing it as I did recording the.

00:04.240: I know I laughed when you had Alistair on a couple of weeks ago.

00:04.240: That's a toy.

00:04.240: Cool.

00:04.240: And I th and I don't even think we made it as part of the interview, but after the interview, I asked him, Oh, by the way, what'd you shoot it on?

00:04.240: And that's fascinating because it's like you sort of watch the

00:04.240: You know, I was really kind of shocked, but also

00:04.320: But as it happens, I'm reasonably good at it, I feel, and I like doing it.

00:04.320: I have not cut a red piece yet.

00:04.320: I had two and a half days.

00:04.320: And I just, and you know what?

00:04.320: But when you look at the transform tab, the scale is set at 100.

00:04.320: Yeah, what are these people talking about?

00:04.320: I don't know what it is.

00:04.400: It's not.

00:04.400: So so how did you how did you come across what what was your first exposure to Final Cut 10?

00:04.400: What is this thing?

00:04.400: And I was like, okay, walk me through this.

00:04.400: But I know that it defaults to.

00:04.400: Trash everything you've done and start over.

00:04.480: And yeah, you ever done one of them?

00:04.480: Right.

00:04.480: You know.

00:04.480: As far as I can tell, you can speak to me.

00:04.480: I was like, Yeah, well, you know, I just couldn't.

00:04.480: I think they call that video mapping.

00:04.480: He's got a fantastic quote.

00:04.480: And then it's really because I feel like we should stop calling it Final Cut Pro 10.

00:04.480: I was tweeting what I tweet last night.

00:04.560: Make proxies.

00:04.560: And so basically, I arrived on Monday morning, and by Tuesday morning, less than

00:04.560: Oh, we we went up to the you know the mixing console where they've also got all the video gear.

00:04.560: Let's look for plug-ins.

00:04.560: Well, you know, I mean, I have said this before in the past that

00:04.560: And he's he goes, I can't.

00:04.640: I gave up on the Mac.

00:04.640: So it's like, you know, I'll open up an older backup of this project.

00:04.640: I go, Yeah, yeah, yeah, it'll be fine.

00:04.640: Yeah, you know, like it's just bang on.

00:04.720: And I had helped the director who was working on that by building him a

00:04.720: I think isn't there a preference that

00:04.720: You know what?

00:04.720: Oh yeah.

00:04.720: It was, but I mean, I don't know what they were.

00:04.720: co.

00:04.720: Yeah, no, it's that's been interesting.

00:04.800: It's like, Because I'm sure you all think we're all, you know, chucking out a prawn on the bardy, mate.

00:04.800: You know what I mean?

00:04.800: But you can tell when something really does work and when it doesn't.

00:04.800: My big fear is the person who feels that if they don't give some input, that their job is not ne necessary.

00:04.800: But I feel like it's a valuable lesson for them.

00:04.800: Just, you know, like, what have they done?

00:04.800: No, it's like it defaults to fit and then there's also fill and none.

00:04.800: I'm just saying it's gonna happen.

00:04.800: I'm pretty smart, you know.

00:04.800: So they're like, oh, great, you know, they're I mean, 'cause they're like, I don't know, n

00:04.800: I mean, there's still stuff like that.

00:04.880: So I went back to my hotel room and I fired up the old Final Cut 10 on an on a 2012 iMac.

00:04.880: What were some of the um what were some of the things that as you were cutting that you were finding that you were really enjoying?

00:04.880: tv, he has an ongoing list of feature requests.

00:04.960: So it's also kind of a long interview, but I just couldn't cut anything out.

00:04.960: It's one of those ones, even if you don't find it funny, it's great to show you your wife or your other half or whatever.

00:04.960: And they hang out within about forty five seconds.

00:04.960: Steve Irwin.

00:04.960: I mean, I've ended up, you know, my name isn't on any of them.

00:04.960: Doctor school wouldn't be that hard, would it?

00:04.960: Yeah, no, I sort of avoided the.

00:04.960: I totally think that's the best way to work.

00:04.960: I can't believe that Final Kart Pro doesn't have to be.

00:04.960: Well, I think whereas I think, you know.

00:04.960: Exactly.

00:05.040: The the the zoo guy who di who killed uh got killed.

00:05.040: They're not words.

00:05.040: But now, are you doing feature length or shorts?

00:05.040: Yeah.

00:05.040: Yeah, you know, um I mean a friend of mine borrowed my Scarlet recently.

00:05.040: Appreciate you listening.

00:05.120: So, James, t tell me tell me a little bit about the work that you do.

00:05.120: And then, of course, there's the Immortal.

00:05.120: Yeah, the the big stup leaving the big stupid agency or something like that.

00:05.120: 1.

00:05.120: Yeah, yeah, that's it.

00:05.120: I think I've listened to all of them, so I would.

00:05.120: You want to use all that screen real estate.

00:05.120: Fantastic.

00:05.200: It's uh it's a c it's I hate our accent, I really do.

00:05.200: Right, right.

00:05.200: And you know, it sort of was a bit.

00:05.200: They just announced their new electric cars.

00:05.200: Yeah, yeah, very good.

00:05.200: Yeah, you know, I didn't get into that just for render issues.

00:05.200: Like, I cut a short that was shot on

00:05.200: You had to stand on one foot, I think.

00:05.200: I wish Apple had the people at Apple, the good people at Apple, had the ability to speak to the public.

00:05.200: You know, because they're not allowed to.

00:05.280: Will you please hold on while I get a pad of paper and pencil?

00:05.280: What's wrong with these people?

00:05.280: Or make it shiny brown.

00:05.280: Yeah.

00:05.360: He's like, you know, if you got hit by a bus in the morning, it really wouldn't bother me at all.

00:05.360: And finally, I just got tired of it.

00:05.360: It's been really good for me because, like, now, you know, when someone says something really incredibly stupid

00:05.360: You know, I was just like, nah, that's too many cadence.

00:05.360: But you know, like it's I mean, people whinge and moan about cameras now.

00:05.360: You are clearly seeing this.

00:05.360: Yeah, no, I never use it.

00:05.440: I feel like when the general public or the punters watch stuff that you do

00:05.440: Right.

00:05.440: I said, but you know, you're comparing to like C300s and whatever, and, you know, you know, the really modern cameras.

00:05.440: And then you have a look at it and go, Oh, that's actually

00:05.440: After the recording, I said, hey, when you've got some more months under your belt, will you please come back on?

00:05.520: And I just don't like listening to people talk nonsense.

00:05.520: Alex4D, I call him, yeah, yeah.

00:05.520: Right.

00:05.520: So he had to and he mainly did like high-end weddings.

00:05.520: And you tell the kids today and they don't believe you.

00:05.520: And I really hope they don't, you know, in the next update, like map a really important keyboard shortcut to Command S.

00:05.520: But there's other stuff, you know, like

00:05.520: And it's like, I don't like that.

00:05.520: Oh, totally, totally.

00:05.600: Yeah, I should know.

00:05.600: Because it's.

00:05.600: Like that's for the kind of work I do, that's kind of deeply sexy.

00:05.600: Hence all the pseudonyms.

00:05.680: Well, that's true.

00:05.680: Yeah, yeah, yeah, yeah.

00:05.680: So t tell me about the work that you do.

00:05.680: Yeah.

00:05.680: It means I'm not gonna I'm not gonna do it in the beginning.

00:05.680: That's the only time you need to get my name right.

00:05.760: Why am I wasting why are you wasting this three minutes of my life?

00:05.760: No, I found the cat thing actually really.

00:05.760: Oh, jeez.

00:05.760: Yeah.

00:05.760: Yeah.

00:05.760: Right.

00:05.760: 4 lens, let's just open the bastard right up, you know, point it at the sun so we've got some

00:05.760: Yeah, it would.

00:05.760: And I know I was.

00:05.760: Yeah.

00:05.840: And uh so

00:05.840: This is episode 30.

00:05.840: I'm an anglophile.

00:05.840: You know, I mean, 'cause I like that saying.

00:05.840: And I mean I probably started out that way, but I own my other half is German.

00:05.840: No, no, it was um really good at Roto and and um paint work.

00:05.840: And I just ignored it until some of the camera operators I knew were coming in

00:05.840: You can't, that can't be editing.

00:05.840: You d you drop it in your um in your H D time line.

00:05.840: Yeah, yeah, but all of a sudden, that's like.

00:05.840: Though I gotta say, I laughed just as hard.

00:05.920: Just don't say that.

00:05.920: So and they're easy to delete or whatever.

00:05.920: I'm not a f I'm not a fan because I want the

00:06.000: This is my iPad.

00:06.000: Yeah, yeah, totally.

00:06.000: I didn't really get tired because I'm sort of sitting here going, hey, this is kind of

00:06.000: And when they finally came, when I finally mentioned to the producer, I go, Yeah, I'm just going to fill the screen.

00:06.000: Don't worry.

00:06.000: So, you know, $1,500 later, you're sort of going, you know, well, I've got enough plug-ins now, cool.

00:06.000: Yeah, right.

00:06.000: You're using Final Cut 10?

00:06.080: But if you think about it, in in all seriousness, if everybody did that, the entire telemarketing

00:06.080: So, you know, when you first talked to me on Twitter, yeah, yeah, like I was in the middle, I was cutting

00:06.080: And yeah, no rendering.

00:06.080: Um so I cut something in proxy and

00:06.080: Exactly.

00:06.160: You know?

00:06.160: I just the thing about Australia is like no words aren't short enough, or if they're really short, we chuck A on the end.

00:06.160: And so, you know, like I'm able to quickly save a bunch of looks and whatever.

00:06.160: Yeah, just.

00:06.160: I mean I hate the colorboard.

00:06.160: Richard Taylor is on the east coast of the US.

00:06.160: I I know people can find you as the cranky editor on on uh Twitter.

00:06.240: And he just looks at me and he goes, No.

00:06.240: It's just sounds.

00:06.240: It was amazing.

00:06.240: But it's actually like a lot of other stuff in Final Cat Protein, it's better.

00:06.240: Old man.

00:06.240: Yeah, that uh would that be equivalent to US dollars?

00:06.240: You've adopted it even though you're post-35 years old.

00:06.240: It's not fair.

00:06.320: I could just knew him.

00:06.320: or how are you going or whatever and you just

00:06.320: And so I just taught myself 3D animation.

00:06.320: Oh, I just opened up a project one day and said, yeah, media pending.

00:06.320: And it just does it, and I don't have to care where they are

00:06.320: Yeah.

00:06.320: That's all I'm asking.

00:06.400: Okay.

00:06.400: Oh, okay, right.

00:06.400: Yeah, my cranky pack.

00:06.400: And everyone's surprised when you say 5D.

00:06.400: Totally.

00:06.400: And, you know, drives were so ludicrously expensive.

00:06.400: Yeah, yeah, that's nice.

00:06.400: Try it out, it works.

00:06.400: And people sort of went, no.

00:06.400: And it's I mean, there's other stuff where I feel I don't know if that was done as

00:06.400: Well, you know what?

00:06.480: He goes, Yeah, so I went to the cupboard and I found this.

00:06.480: There's really no call to abbreviate it.

00:06.480: And yeah, yeah.

00:06.480: It was six projectors across this thing.

00:06.480: Oh, there'd be kilometers of wiring underneath the stage.

00:06.480: It's just, you know, technology is brilliant, isn't it?

00:06.480: They don't need to.

00:06.480: It's just like, well, yeah, I mean.

00:06.480: And the problem with that is that usually meant you'd been not sleeping for a day or two, which meant you were

00:06.480: Brilliant.

00:06.480: It's like a religion.

00:06.480: You know, it's

00:06.480: Take care.

00:06.560: Yeah.

00:06.560: How did all these different names come about?

00:06.560: And how often do you have to record a Skype call?

00:06.560: Because if you've got awful looking clips, you know, they can never look good.

00:06.560: I'll read it to you.

00:06.560: So for the kiddies, Bruce the Wonder Yak was this irritating animated yak that and the point to it was that the software engineers put it in

00:06.560: And that but of course that was when I was very angry and I hadn't

00:06.560: Yeah, yeah.

00:06.560: Yeah.

00:06.640: We have the cranky editor.

00:06.640: Look at this.

00:06.640: I mean, sometimes you get these stuff.

00:06.640: It just has to be clear communication.

00:06.640: I went and saw the um the Wall show.

00:06.640: If you would go back 20 years from today, okay?

00:06.640: And it's so true, you know.

00:06.640: It's okay if you want to make a whole new edit system.

00:06.640: Please go to the iTunes and leave your comments and suggestions.

00:06.720: Right, right.

00:06.720: I'm completely okay with that.

00:06.720: Do you remember FAST?

00:06.720: No, it's not me.

00:06.800: Good grief, 30 of these things.

00:06.800: It's okay.

00:06.800: Exactly.

00:06.800: There's a lot to be said.

00:06.800: I can have multiple windows across it.

00:06.800: So you slice it up.

00:06.800: That thing

00:06.800: So yeah, never.

00:06.800: There's a few people that have written some some

00:06.800: Yeah, no, I don't think that's going to happen.

00:06.880: That's feels like that's a plus.

00:06.880: I grew up watching a lot of English T V and stuff like that.

00:06.880: So I just got back from Las Vegas and

00:06.880: That's right, because it's firm cut protein.

00:06.880: If I can't see bits, it's failing, you know.

00:06.880: Yeah, I mean, I've got an audio control surface and I love

00:06.880: I'm not allowed.

00:06.880: I mean, I was horrible.

00:06.960: Oh, well, it's 4K, so you can punch in and just

00:06.960: Like I'll do ads, I'll do docos, I'll do shorts, whatever.

00:06.960: And he comes into the room, the CEO of the company, and he wouldn't even speak to me.

00:06.960: And I turned around and I said, I'm right here.

00:06.960: Right, right.

00:06.960: Okay, so there was the discussion with Sam Mestman.

00:06.960: Exactly.

00:06.960: It just never came up.

00:06.960: Yeah, yeah, yeah, yeah.

00:06.960: I was 39, actually.

00:06.960: It's this fee I'm doing a feature in 10 now.

00:07.040: You know, because like usually when you take on a job for a company or whatever.

00:07.040: Yeah, yeah.

00:07.040: You know, like, if like we can stop now, and I can open up the 3D animation software, and we can.

00:07.040: And I just thought, screw it, I can't do this job in

00:07.040: 'Cause I don't know about you, but I got into this 'cause I like making stuff.

00:07.040: And I think that's why spatial conform exists.

00:07.040: And but I think that there is a you know, so

00:07.040: Right.

00:07.120: You know why it's better?

00:07.120: Right.

00:07.120: I haven't got time for this, you know.

00:07.120: We were talking about the iPad control surface.

00:07.120: There's a lot of people, let's say around early thirties and younger.

00:07.120: It was definitely a different world, but the main thing is that

00:07.120: Totally.

00:07.120: You know, that's just

00:07.120: I think the viewer

00:07.120: But I mean, you know, like stuff like this, the sound transitions is just like, or you know, the lack thereof.

00:07.120: We'll see you next time.

00:07.200: And, you know, I've just learned to really kind of

00:07.200: Yeah.

00:07.200: Wow.

00:07.200: How did you play it back off the island?

00:07.200: He's a male cat and he's got ginger hair, so I was up all night working on that.

00:07.200: They can go to Avid or whatever.

00:07.200: Whereas I think the color board is sort of, to me, that's like seems

00:07.200: They're just flat out not allowed to speak to the public.

00:07.200: And then it's like, shit, what's going to are they even going to do new Mac Pros?

00:07.200: Yeah, absolutely.

00:07.200: Yeah, yeah, that's why I work in posts.

00:07.280: I kind of do

00:07.280: Yeah.

00:07.280: Right, but it's had some of Alex's

00:07.280: And you can really, you know, you can milk those for a really long time.

00:07.280: And you dragged your feet for a while.

00:07.280: Yeah, yeah, it was one of those.

00:07.280: Yeah, I am.

00:07.360: What's wrong with these Australians?

00:07.360: Yeah.

00:07.360: We're here to do the

00:07.360: Am I too old to become a lawyer now?

00:07.360: Absolutely.

00:07.360: Wow.

00:07.360: And so, um, you know, obviously, I don't have any footage that fills it, but I can.

00:07.360: And they were just really pleased.

00:07.360: I haven't sort of delved into it, so I'm not sure if you can.

00:07.360: It's um but but you know, you sort of get to that um

00:07.440: Old dude, it's like, yeah, 37, not old.

00:07.440: Yeah, you know, maybe that's possible.

00:07.440: And it's like, no, you guys, this is people are spending hundreds of thousands of dollars and

00:07.440: It's like a religion.

00:07.440: Oh, I saw that.

00:07.520: Plus, you get a laugh out of it.

00:07.520: It's like, you know, because you can you can really.

00:07.520: But considering where we came from, this is awesome.

00:07.520: Yeah.

00:07.520: It doesn't matter how meaningless the contribution is, I've just got to say stuff.

00:07.520: So, did you did you hear

00:07.520: I mean, it's great that they've

00:07.600: Technical awards.

00:07.600: This pen doesn't have any ink.

00:07.600: Yeah, that's a really good point.

00:07.600: And I

00:07.600: Well, so much for.

00:07.600: So, so I went backstage and I talked to the

00:07.600: He says, he's come up with a set of rules that describe our reactions to technology.

00:07.600: I will tell you, use the feedback thing.

00:07.680: You know?

00:07.680: But it it's

00:07.680: That's the other thing is there's a

00:07.680: And so they have these big cardboard blocks that stage hands put in.

00:07.680: It's like, and I mean, I'm still hitting Command S.

00:07.680: I can't

00:07.760: Actual name, James Miller.

00:07.760: So you just they start talking to you and you just go, meow meow.

00:07.760: You know, it's like you're approximating language pretty much as well as my cat does, you know?

00:07.760: It's okay.

00:07.760: That's yeah, I own a, what do you call it?

00:07.760: Especially if you've got, you know, like you got those nice big because I do a lot of

00:07.760: You know, I'm sure it's all very artistic, but this is not, you know.

00:07.760: I'm so glad in a lot of ways that I got to

00:07.760: Yeah.

00:07.760: No, I'm really only on Twitter.

00:07.840: Oh, I'm polishing turds.

00:07.840: Bugger it, I'll move it over to ten and

00:07.840: Well, no, I'm talking about a laptop, but but I'm just saying it's going to happen.

00:07.840: Yeah, yeah.

00:07.840: And yet, here we are.

00:07.920: I can't remember his name now.

00:07.920: And this is recently?

00:07.920: But

00:07.920: Like, grab a clip.

00:07.920: I didn't know that it came out on its own.

00:07.920: I don't know if he reads them, but it makes me feel good.

00:07.920: And I turned it on and never

00:07.920: You know, give me something.

00:08.000: And he was talking to us.

00:08.000: Yeah, yeah, yeah.

00:08.000: Yeah, I just had a I just did an interview a couple of weeks or last week ago with

00:08.000: You know?

00:08.000: But that's all good.

00:08.000: Because if all else goes wrong, and I really have issues with Final Cut.

00:08.000: You know, because hard drives then were like the cost of a Toyota.

00:08.000: Have you do you know Douglas Adams?

00:08.000: So when I hit control and everything gets.

00:08.000: Exactly.

00:08.080: It's like you sit down and cut a scene.

00:08.080: But so by the time I actually started editing, I had

00:08.080: Because it's not that hard to learn.

00:08.080: The red feature.

00:08.080: All right.

00:08.160: No, you know, I don't know that I have the attention span to put into anything that's over about

00:08.160: Yeah.

00:08.160: Nineteen twenty

00:08.160: Yes, of course.

00:08.160: I mean, you know, like, what was wrong with wheels?

00:08.160: Oh, cool.

00:08.240: And that is, you know, I'm not entertaining people most of the time.

00:08.240: I'll teach myself television production, pizza pierce.

00:08.240: And I think a lot of people do themselves a disservice

00:08.240: Did you listen to that one?

00:08.240: You know, whatever you do, don't tell the fucking clients how easy it is.

00:08.240: There you go.

00:08.240: It's just, it was a very good looking, very beautiful piece.

00:08.240: That was all very fascinating.

00:08.240: I saw that.

00:08.320: And it doesn't matter if they never hear you say that.

00:08.320: It's like, no, if they're always right, they'd be out doing it themselves.

00:08.320: There's a lot to be said for the process of completion.

00:08.320: And I was like, meh, that's not cool.

00:08.320: And you know, you'd have separate little bits of animation on some of the bricks.

00:08.320: No, I usually want to see the whole image, so that's fit, isn't it?

00:08.320: Because then I can see where I want to zoom in and whatever.

00:08.320: Yet one of these days I am going to do a whole job on an iPad just to be able to say I did it.

00:08.320: You know, it's like, bastard.

00:08.400: Uh, well, mostly I do um do a lot of docco stuff.

00:08.400: Yeah, yeah.

00:08.400: I have a big computer in the corner.

00:08.400: Like everyone else.

00:08.400: I mean, I didn't really find it took that long, but you just have to actually

00:08.400: And they're like they're actually pretty decent.

00:08.400: He goes, Yeah, no, that's fine.

00:08.400: It's that thing you have to climb over in the beginning.

00:08.400: If people actually analyze the content of what I say, yeah, that'll fall spark.

00:08.480: Because I would like to take notes about your new offer.

00:08.480: I was like, Ah, you know, you're throwing in the towel.

00:08.480: It's called the I3 and an I8.

00:08.480: But it's because it was shot by a good cinematographer.

00:08.480: Okay.

00:08.480: But no, it it would come up at random.

00:08.560: Yeah, yeah.

00:08.560: I've been fo by the way, I've been following you on Twitter since I think I got since I found Twitter.

00:08.560: I just yeah, I I had to get out of

00:08.560: Yeah.

00:08.560: Yeah, so you take the big file, you cut it into six parts.

00:08.560: For what it is.

00:08.560: It's like, I mean, who gives a toss about the old dudes?

00:08.640: It's like, ah, it takes too long to say, mate.

00:08.640: Yeah.

00:08.640: Yeah, yeah, yeah, yeah.

00:08.640: And you're just sort of like, well, great, but what does that actually mean?

00:08.640: So what kind of teaching do you do?

00:08.640: Uh uni in film school, yeah.

00:08.640: And it also came with do you remember Commotion?

00:08.640: But also stuff like

00:08.640: You know.

00:08.640: Yeah, I think the controls are way too sensitive.

00:08.640: But yeah, it's fun to moan on Twitter.

00:08.720: Can you hear my air con?

00:08.720: Yeah, no, he because he's got some good oldies, but Goldies from seven.

00:08.720: You mean as in like was that a stumbling block for you when you were dealing with those large images?

00:08.800: Do you ever get telemarketers on the phone?

00:08.800: But it came I don't know if you remember, but Final Cut one came with a cut cut down copy of Cinema four D.

00:08.800: One of the things that really held me up in the beginning was the

00:08.800: Yeah, yeah.

00:08.800: That's a whole

00:08.800: All right, James.

00:08.880: And you sort of go, oh, this is going to be awesome.

00:08.880: And it's like

00:08.880: And so.

00:08.880: Yeah.

00:08.880: And you know you can set change all those settings, right?

00:08.880: That's cruel.

00:08.880: So I

00:08.880: Just

00:08.880: It should just be Final Cut now

00:08.960: By choice?

00:08.960: And I think that one of the things that I've done in my career

00:08.960: Do you understand?

00:08.960: I was actually really excited about it because I'd seen the NAB.

00:08.960: Yeah, media pending.

00:08.960: I'm very OCD and I want to put my files where I want to put my files.

00:08.960: It's like, I mean, he's a clever dude.

00:08.960: And yeah, this I mean, I don't think we talked about software very much, but I sure had a great time talking.

00:09.040: Exactly.

00:09.040: And I've done a few done a few shorts over the years, but yeah, a couple of

00:09.040: Love what you can do with it, but

00:09.040: Later, later.

00:09.120: So, I do a lot of that sort of stuff.

00:09.120: It is sort of a slap in the face when you say, yeah, you can.

00:09.120: I've played around a bit before, but that was

00:09.120: I'd seen how well it worked

00:09.120: But I don't know if you know the

00:09.120: I think that's a good description.

00:09.120: Yeah, yeah.

00:09.200: So I just typed it in seven zero three three by seven twenty and up pops this

00:09.200: And um

00:09.280: I have a much better technique that I deal with telemarketers.

00:09.280: And then I listened to a couple of podcasts and.

00:09.280: But you know

00:09.280: So he had to edit a section

00:09.280: And they should totally call it that.

00:09.280: Just pretend you care.

00:09.360: Exactly.

00:09.360: But then

00:09.360: And is that kind of what encouraged you to think about dealing with the red footage?

00:09.360: Was it last year or the year before?

00:09.360: Yeah.

00:09.360: Yeah, yeah, even for this little show, I mean, it's just amazing.

00:09.360: Yeah, you know, in the very beginning, I was very, very angry, and I.

00:09.440: I think he could only and he was on SP

00:09.520: I was just going to say.

00:09.520: There's like the

00:09.520: Yeah, yeah.

00:09.600: I've chromed up some pretty shiny turds in my time, you know.

00:09.600: And

00:09.600: I can take giant photographs and slide them left and right across it.

00:09.600: It was just like

00:09.600: And some of them are things that I've actually sort of envisioned, but didn't know how to write myself.

00:09.600: I've deleted Facebook and

00:09.600: Well, thanks for sharing.

00:09.680: Right, right.

00:09.680: Totally.

00:09.680: But there was a company, it's a Bay Area-based company.

00:09.680: I just want it.

00:09.680: You know, just give it.

00:09.680: And also Premiere doesn't I mean, it doesn't have a proxy function if you're dealing with red footage.

00:09.680: But if you're doing

00:09.680: Oh, I would say probably version three.

00:09.680: Cool.

00:09.760: And Premiere shat itself for the final time and I just

00:09.760: So I feel like that's a thing.

00:09.760: It's, you know.

00:09.840: Well, I can't remember if I cut it out of the episode, but.

00:09.840: Wow, that's fascinating.

00:09.840: Yeah, totally.

00:09.840: I will say this: that based on the number of times

00:09.840: But anyway

00:09.840: Yeah.

00:09.920: Is that all right?

00:09.920: And at that resolution,

00:09.920: And then, you know.

00:09.920: It's like when you like, so you've thought about it and you know it needs to happen.

00:10.000: Yeah.

00:10.000: An iPad control surface.

00:10.080: Well, and that's an alternate spelling.

00:10.080: There is a company, and I just I just listened to a um

00:10.080: This is why I got onto the tent.

00:10.080: It's like

00:10.080: I don't know that you can.

00:10.080: Maybe we get Alex on that.

00:10.080: And if you know somebody that you think should be grilled,

00:10.160: So I actually pull them out and say, Listen

00:10.160: Yeah, no, it was just.

00:10.160: It's like, oh, you know, it's a great camera.

00:10.240: It's like, really?

00:10.240: You had to do them all again.

00:10.240: I remember that there was a there was a bizarro key

00:10.240: They, you know

00:10.240: And the DP

00:10.320: And

00:10.400: In the last couple of years, I've been

00:10.400: And I got I I tell you, I got really sick of it.

00:10.400: I just want it to be it.

00:10.400: But it it's

00:10.400: You played with the premiere.

00:10.400: People always talk about they want recognition.

00:10.480: And I mean, you know, that's a really tough thing to

00:10.480: You know, I need it.

00:10.480: You know.

00:10.480: And it did.

00:10.480: I have asked Stephen Bayes multiple times

00:10.560: Have you seen the one with the dog and the bacon?

00:10.560: And I mean, when I say compelling too, I mean, I totally understand what you're saying.

00:10.560: We're actually both from, I'm still in Brisbane.

00:10.560: I've seen the demo, it looks so slick, it's amazing.

00:10.560: Sorry.

00:10.640: Yeah, yeah.

00:10.640: Yeah.

00:10.640: You do have to forget a few things.

00:10.720: He was doing this whole tour thing.

00:10.720: You know, it's like.

00:10.720: Look at me, I'm a professional.

00:10.720: Jesus, you know.

00:10.720: Yeah.

00:10.720: We'll talk more later, okay?

00:10.800: But once you get over it, it's nice.

00:10.880: Yeah.

00:10.880: Yeah.

00:10.880: And by default, it is going to go to fit

00:10.880: And he goes, Oh, 5D.

00:10.960: Okay.

00:10.960: Yeah.

00:10.960: Right, right.

00:11.040: Yeah.

00:11.040: You know, but but to see

00:11.120: Oh, yeah.

00:11.120: Right.

00:11.120: You covered this in a wide and.

00:11.120: Absolutely.

00:11.120: I mean, I do anyway, and um and then you sort of

00:11.120: You know?

00:11.200: And you've got to make that, you know, like really compelling.

00:11.200: Yeah.

00:11.200: I mean

00:11.200: Not being a computer technician.

00:11.200: That's a good point.

00:11.200: Oh, because they don't do it?

00:11.360: You know.

00:11.360: Scarlet.

00:11.360: Sorry, I was such a

00:11.440: I I teach at two different places.

00:11.440: Go back to 1994.

00:11.440: So I just wanna say that if you were looking for James

00:11.520: I don't know if you've ever seen it.

00:11.520: I want it to be the way I need it to be.

00:11.520: This is like.

00:11.520: Yeah.

00:11.600: And as it turns out, pretty fucking hard.

00:11.600: Because I mean, there's a lot of stuff

00:11.680: Do you have a like do you have a uh what's your blog?

00:11.760: I did I didn't see it.

00:11.840: I think the thing that I have not yet.

00:11.840: It bagged you, unfortunately.

00:11.920: Yeah, it's ridiculous.

00:12.000: It was just

00:12.080: Tape two.

00:12.080: Um.

00:12.080: There must be somebody out there using it.

00:12.080: And then

00:12.080: It's like, well, go be a bloody actor, you know.

00:12.160: He says it's terrible in low light.

00:12.160: And um he uh

00:12.240: And I had the whole

00:12.240: And

00:12.240: I like that.

00:12.400: Uh I I'm a big

00:12.480: She's like, What?

00:12.560: And.

00:12.720: Yeah, yeah, yeah.

00:12.720: Would they have a big screen thing?

00:13.040: Right.

00:13.120: There are occasions.

00:13.120: I I'm one of those um

00:13.440: It's.

00:13.520: It's like

00:13.600: Why not just do it now?

00:13.680: I see it.

00:13.840: And that's kind of