Episode 31
FCG031 - Shared Responsibility (feat. Stephen Luksic)
As we wrapped a multi day edit on Kona, The Big Island, Steven Luksic and I decided to chronicle our workflow that neither of us had actually used before. Two guys, two computer, one timeline, and we seamlessly were able to work side by side with Stephen feeding me selects in a fast workflow that allowed me to continue cutting while he was sifting thru 4 cameras worth of material for me. Excuse the audio quality, we only had one mic and had to share it.
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00:00.001: Then I moved out to Los Angeles.
00:00.001: That there were many jobs in LA at the time.
00:00.001: But you're literally just sort of peering across the network, looking at it through gigabits.
00:00.001: It's basically just stuff that's been pushed up to the second layer.
00:00.001: I could give you the cards, I could give you a little shuttle drive, I could have you do all the stuff onto there, and then like every hour or whatever, oh, here's my drive.
00:00.001: And media offline or media missing was non-existent.
00:00.001: Well I just finished a job with 4K on the new Mac Pro with Final Cut 10, which by the way, the new Mac Pro is the best upgrade to Final Cut Pro I've ever seen.
00:00.001: And that's newbies as well as old dog editors.
00:00.001: But he read this great Douglas Adams quote, and you'll love this.
00:00.001: It's like when they came out with the iMacs without a DVD drive or a C D drive.
00:00.001: I have a strong immune system.
00:00.080: So that's what an assistant organizes.
00:00.080: cloner but they're super duper anyway uh but anyway it puts all the data on one machine and then that one machine has an online account that's unlimited data so but it's per machine
00:00.160: There were a lot in Hollywood, but not at AFI.
00:00.160: And I met Randy Uvilas and sh he showed me Premiere.
00:00.160: It was a lot of fun.
00:00.160: like a turning point.
00:00.160: Final Cut 10 then?
00:00.160: Yeah.
00:00.160: Or basically, you connected Lacy drive to your.
00:00.160: And we were just we didn't even have a switch set up.
00:00.160: Rate for speed, right?
00:00.160: and see, oh, here's the ten shots I pulled.
00:00.160: a candids module or happy faces or my friend Danny calls them smiley tapes, you know, whatever you want to call it.
00:00.160: partying and having a good time.
00:00.160: the masses to the things that you thought that I would make use of.
00:00.160: Well sure, once I made the compound clip, basically it's of course stored in the event and it's all nice and neat and of course all the original clips are still there.
00:00.160: I don't think I rendered anything at all.
00:00.160: It's 59 gigs.
00:00.160: You know, you might have 30 minutes worth of stuff on your timeline, right?
00:00.160: And then you just shift-click down to the last one, hit delete, and they go hold on, everything's squished together.
00:00.160: Because all the library is the XML.
00:00.160: But basically what he does is every computer in his home office is all networked and like he uses like not carbon copy
00:00.160: To the media, but you had to manage it in the finder.
00:00.160: You know, and when I try to explain to people, backup is an emergency archive you have in two places and two locations.
00:00.160: But if we don't have to think about it during an edit session, we could really focus on the quality of the edit and the content of the edit rather than managing media and moving stuff around, and is this in the right place?
00:00.160: And have it update right in Final Cut 10.
00:00.160: with the SMAPL engineers, what are some things that you would like to plead with them to change?
00:00.160: or just send me all of this for this section.
00:00.160: I'm going to recap this, but I was talking to Captain Meow, the cranky editor from Twitter, on the last show.
00:00.160: Anything that's invented between when you're 15 and when you're 35 is new and exciting and revolutionary, and you could probably get a career in it.
00:00.160: things you had to jump through with Final Cut 7 was just it saved me hours of time.
00:00.160: So thanks.
00:00.160: It's subjective and technical.
00:00.160: Very cool.
00:00.240: And we just finished an edit, like literally just finished.
00:00.240: Well, I've been editing for over thirty years.
00:00.240: And so my introduction to that was as an intern, I would look up all the file film footage and log it in paper and hand, all the file film footage.
00:00.240: Yeah.
00:00.240: Hey Aloha.
00:00.240: and then taking your edit decision list and taking it to a linear bay and conforming the list and doing the real online work.
00:00.240: We looked at it and we just for our turnarounds, it was like, ah, we can't, we don't do that.
00:00.240: That was around 1992, 93.
00:00.240: you know, we search the country and pay the cheapest ones that we could pay.
00:00.240: This is home.
00:00.240: So I moved to Maui, this is 20 years ago.
00:00.240: After we proved that we could do high-end animation here and set up the internet.
00:00.240: which was a camera pointed at the golf course of our beautiful ocean view, uploading every uh ten minutes and it would have a replay.
00:00.240: to heaven.
00:00.240: they wanted the editor to use Final Cut Pro and I'm like, no way.
00:00.240: I guess when they came out with version five or whenever it was the when you could customize the keyboard, I switched over.
00:00.240: I could sit down and actually edit on it.
00:00.240: It's like, whoa.
00:00.240: Seeing the rise and fall of Avid.
00:00.240: which is great.
00:00.240: I think they just re but anyway, whatever the things was.
00:00.240: You know, but we, between the two of us, we came up with a really good workflow.
00:00.240: I typically use CF cards and Canon cameras, but with the S by S and the P2s, essentially what we did is the first thing we do is we clone the card onto the hard drive in a folder called A1, A2, A3.
00:00.240: Okay, so that folder gets left on the LaC drive, which is attached ThunderTube to my computer.
00:00.240: You pull down to the it says like choose, I think it says.
00:00.240: it automatically makes that cable into like a what's it called crossover yeah so it's just a magic cable just like hello little mini network okay so then
00:00.240: So it's got a couple of platters in there, but they're the little ones.
00:00.240: And that's what the import window is.
00:00.240: Faster.
00:00.240: Okay, so now how do we get your timelines that you've done the little promoting and the selecting?
00:00.240: is I would import, you would name your XMLs by the name of the card.
00:00.240: So you would name the XML as b5selects.
00:00.240: Boom, I got the exact same timeline or compound clip that you had.
00:00.240: The trick about selecting the gap clips.
00:00.240: All of the second row clips, the secondary storyline, copy them over to your tech.
00:00.240: It's it's not it's not it's not re It's not a track, it's a storyteller.
00:00.240: into the base ring so that so basically you have selection gap, selection gap, selection gap.
00:00.240: The amount of organizational tools.
00:00.240: What do you do?
00:00.240: I knew that at the very least I could give you a Thunderbolt Drive.
00:00.240: But I always contend that the number one time that drives get messed up is when you're doing all of that stuff.
00:00.240: it's much safer.
00:00.240: Right.
00:00.240: and then copying the media and then it lives on both editing systems, which I'm not going to do anymore.
00:00.240: And periodically I would make copies and duplicates of things.
00:00.240: And it's called the three O's of data, you'd really like it.
00:00.240: I think is our goal.
00:00.240: I made a mistake.
00:00.240: And the media in the second place.
00:00.240: Now, to keep things straight, I wanted to make a new folder, label what the new card was, and put the media there.
00:00.240: Yeah.
00:00.240: we because you said, oh, I think I have a problem.
00:00.240: Well, magic.
00:00.240: Exported the XMLs on both of our systems and I said, Oh, I made a mistake.
00:00.240: So that's really exciting.
00:00.240: working in 4K is extremely exciting and working with the REDD or the Epic ERAW naturally in there and being able to jump back to Red Cinex
00:00.240: And just programmed some macros.
00:00.240: a knowledgeable editor out here in the islands.
00:00.240: For years, and I don't want to change.
00:00.240: But anything invented after you're 35 is against the natural order of things.
00:00.240: There you go.
00:00.240: technology-wise, I believe it's what.
00:00.240: Whatever.
00:00.240: Yeah, but a lot of fun.
00:00.240: Well, where are the hard drives to keep up with that?
00:00.240: And for anybody that may not know what subframe editing is, is audio happens a lot more frequently than one frame every thirty seconds.
00:00.240: how easy that was.
00:00.240: the audio edits drop at the subframe.
00:00.240: and the real-time waveform monitor.
00:00.240: Family, because it's not about the job, it's about spending time with our Ohana.
00:00.240: And being able to use the tools quickly and efficiently and learn the tools and learn your craft, solve problems quicker, get the job done and
00:00.240: Hey, go have fun with your family.
00:00.240: And the comments that we're getting on the iTunes, it just really touches my heart, to be honest with you.
00:00.240: And I gotta admit, I feel like crap right now, so I'm probably gonna save this file and go to bed.
00:00.320: Wow.
00:00.320: So 16 years old and you started on film.
00:00.320: And then I got introduced to Avid around 1989.
00:00.320: And all I remember thinking when I was in 89.
00:00.320: Abbott gave them like the first AVID and uh nobody knew how to work it and I live
00:00.320: Yes, Randy Eubilos introduced me to Premier when I was at the American Film Institute.
00:00.320: lead character.
00:00.320: But, you know, a lot of fun.
00:00.320: So this job was interesting.
00:00.320: We I didn't really know what what I was getting into, but I was told by Peter the producer, oh, yeah, and we have this local guy and he's going to help you out.
00:00.320: So, when we came in, when I came in, you said, Hey, I've got the workflow down.
00:00.320: Okay, first we put the data there.
00:00.320: You open up a fresh, blank, naked library on your laptop that actually lives on your laptop.
00:00.320: and you go through the import window.
00:00.320: you're pushing that data right back onto the La C drive that I'm actually editing on.
00:00.320: Or I can look at something nearby it.
00:00.320: I think it's going to file on the textport XML.
00:00.320: Set the start point, set the end point.
00:00.320: I copied it out of your compound clip.
00:00.320: Right.
00:00.320: Select another gap, delete.
00:00.320: That are your, you know, you've done a lot of legwork for me because I'm over here finessing and cutting to the bead and color correcting and the fun part.
00:00.320: So all of the data from all of his computers all funnels through that one machine up to some online account.
00:00.320: Well, the thing is being an editor and talking about switching over to Final Cut 10 and what are the problems, you can always find the problems.
00:00.320: Where you were going to use this workflow.
00:00.320: And now I'm really excited.
00:00.320: Send multiple files out at a time.
00:00.320: These cutters are there in town or on the in the state?
00:00.320: It might be hard for you to take it pick it up.
00:00.320: Well, no, I mean this.
00:00.320: 30 frames a second, rather.
00:00.320: may very well be able to use a handful of Final Head 10 editors coming up in a couple of months.
00:00.400: That's correct, the northwest side.
00:00.400: And we'll talk about all of that in a little bit.
00:00.400: I was like, ah, that's not a real video.
00:00.400: So I landed a job at the job at the local TV station where I used to volunteer my time.
00:00.400: finding out where it can be better or whatever, or they're still writing the code and trying to implement it.
00:00.400: Talk about how you were working on your system.
00:00.400: Raw.
00:00.400: and you know keywords and all that stuff.
00:00.400: media that I brought in from the S by X card into a folder that was from the last thing I imported, obviously.
00:00.400: Well thanks.
00:00.480: Very exciting stuff.
00:00.480: because Jurassic Park had just come out and it was the advent of digital filmmaking with the character being the dinosaurs being the main
00:00.480: Merrill Lynch kind of sustained me for about 15 years, traveling around the world doing multi-screen, multimedia presentations with them, all on Avid, all media composers and Expresses.
00:00.480: And then tons of money for various clients.
00:00.480: Let's try it, man.
00:00.480: I don't think it was you were able quite as elegantly at least no, we wouldn't have been able to do this at all, because really the key to this was a library in one place
00:00.480: Basically, I I convinced him to go to Final Cut ten, get off of seven right away, and we did it on the job and it's like, okay, this is why and helped him along.
00:00.480: a lot more is start changing my workflow from going to After Effects and working in motion and trying to get things done in motion because the two are symbiotic.
00:00.480: beat or whatever, you want to find something, put your markers on the audio line.
00:00.480: You'll find out about it probably by the time this thing comes out.
00:00.560: Hello, hello.
00:00.560: There was no preview button because you remember tape, you know, you'd have to pre-roll and wait for it to roll and catch up and edit decision lists.
00:00.560: Anything at NAB is usually when it's new technology.
00:00.560: the people that invested their money, their systems, their businesses, all based around Final Cut seven and then it topsy turvy through around.
00:00.560: So let's kind of break down how we were working together.
00:00.560: First of all, I was stoked to hear and you wanted to try it, because I've always been wondering where am I going to get the time to investigate this.
00:00.560: Actually, we have a small studio audience here.
00:00.560: on my computer.
00:00.560: and I really miss the render queue.
00:00.560: Heck, they're showing me things and doing things.
00:00.560: With the Thunderbolt 2.
00:00.640: What were they nine gigabyte hard drives for like five thousand dollars for nine gigs?
00:00.640: or two, and all the original media was there, then I would import it into my library on my computer, but I would save the media to the Lacy drive.
00:00.640: is the ability to log and catalog and keyword and organize.
00:00.640: 80% of editing is organized.
00:00.640: So how how I I'm curious, how big you should check, how big is the library file that you have on your laptop?
00:00.640: And all the media, now the beauty of this, and this is one of the things that I always think is like a really big deal.
00:00.640: The fact that you're able to link your library and link all the clips to a a a storage area over the network is just great.
00:00.640: And I go ahead and I moved all the media files, reopened up Final Cut Pro.
00:00.640: 100 gigabit Ethernet or not gigabit Ethernet, Thunderbolt.
00:00.720: I mean, for the type of job you do, you're going to have a different workflow, and discovering a workflow for your specific needs is what's critical.
00:00.720: Blade, which was a little weird, blade the select clips or subclips.
00:00.720: So basically with Final Cut 10, you select the first gap within that and go to your timeline.
00:00.720: And that's what I was going to say.
00:00.720: So I can't wait to get mine.
00:00.800: How did it run for you?
00:00.800: Sort it?
00:00.800: It seems like my audio edits are better because it, you know, are you using like beat detection or something?
00:00.800: Cool.
00:00.880: Okay, so I remember actually one of my clients back now I used to work for a company called Computerland.
00:00.880: You know, technology is just fun.
00:00.880: collapsed, shall we say, when Bank of America bought them.
00:00.880: So working at there, we actually trained community producers how to edit.
00:00.880: As a mistake.
00:00.880: I warned you that I would ask you this.
00:00.880: Motion, I would really love to see some sort of render queue.
00:00.960: But a lot of fun.
00:01.040: Okay, so the other thing I want to mention, we're sitting in a hotel room, and I have just like my one mic, so we're kind of sharing a mic here.
00:01.040: It's like those hard link files that you see every once in a while, you know, those hard links.
00:01.040: Remember?
00:01.040: Hey, so this is going to be a short episode.
00:01.040: Well, that's years of being an online editor.
00:01.120: Raw, and we were labeling them raw because that was the actual, I think in the Sony world, it's the BPAV.
00:01.200: I should look that up someday.
00:01.200: So there it is.
00:01.200: Assistant editor is piece of cool.
00:01.200: But a lot of fun.
00:01.280: Well, Final Cut 10, you know, kind of following Randy Ubilis gave his demo at what was it, some kind of fi uh LA user group?
00:01.280: Basically, what I did is I dunked all the capturing on you.
00:01.360: 16?
00:01.360: And so I'll do whatever it takes, you know, and then I freelanced with a lot of A V companies around do whatever.
00:01.360: Working faster and better and having more time for creativity and less time for media management is awesome.
00:01.360: All right.
00:01.440: Yeah, so we are in oh actually we're on Kona, the big island.
00:01.520: I have my master library, which is show name here.
00:01.520: Yeah, I think it makes a huge difference.
00:01.600: But I realized at some point it's not about the equipment, it's about the editor.
00:01.600: Pretty quick and simple, and we could still find anything you wanted at at a given moment.
00:01.600: Thanks for I picked up some new techniques and new tricks and I can't wait to share them with other editors.
00:01.680: Yeah, so because basically it's just a bunch of pointers to the media that's on my system.
00:01.680: Well, hey, thanks again.
00:01.760: Hey, so um this is going to be a different sort of episode of Final Cut Grill.
00:01.760: Of course, it was all small.
00:01.760: So I would uh for the longest time then Final Cup Pro was being used more and more and I was actually turning down jobs because
00:01.760: So now you network into so you have the S by S reader.
00:01.760: I'm glad I found somebody willing and able to try it with.
00:01.760: It happens every once in a while.
00:01.760: Yeah, yeah, what's this USB crap?
00:01.840: I gotta admit, it was better than I thought it would have to do.
00:01.920: So when I look at things like this, I always try and find a workflow where you're not unplugging drives, because it's just dangerous.
00:02.000: Yeah, I knew what I wanted to do when I was young.
00:02.000: I'm out.
00:02.000: So of course this is all computer ease.
00:02.000: This is home.
00:02.000: I want to see how this solution actually works when you're working with 4K media.
00:02.000: You live in paradise.
00:02.000: Oh, well, let's talk about the markers on the audio track because everybody who uses Final Cut 10 understands that right within Final Cut 10 you have subframe editing.
00:02.000: Hey, so when you come to Maui, make sure you uh give me a jingle and I'll show you some of the new technology that we're implementing at the T V station.
00:02.080: I worked at the American Film Institute, which was a partner with Sony.
00:02.080: Oh, sorry.
00:02.080: Tell me about that.
00:02.080: And basically being able to go clip to clip to clip and color correct without having to open up a window or do something or whatever kind of loo hoops and
00:02.160: So that's the key, is that the media starts and ends
00:02.160: So I'm happy to see that when you open up iTunes I see the Funnel Click Little logo there.
00:02.160: So basically, once you open up your timeline index, you say just show me all the gaps or organize
00:02.160: So, one of the things that I knew we could have fallen back on, if we couldn't figure out this X amount thing, I knew I could give you the card reader.
00:02.160: I can't wait to tell them, hey, this is the way we're going to do it now.
00:02.160: I just ordered mine last month, which means it'll be here in a few weeks.
00:02.160: I mean, I love technology.
00:02.160: Yeah, I don't know if I've ever heard that.
00:02.160: Yeah, it's much easier to be motivated to it's much easier to be motivated to do that when you live in paradise.
00:02.240: You know, I'm kind of alone out here on Maui.
00:02.320: But I said, I may have to go back to LA to find some work and get work.
00:02.320: So basically the library file with all of the stuff that we shot over four days with four cameramen, S by X cards.
00:02.400: I love it.
00:02.400: So I did that.
00:02.400: So luckily they gave me a job, so that kind of kept me employed.
00:02.400: It's kind of weird.
00:02.400: We literally just one Ethernet cable directly between the two computers.
00:02.400: When we first heard about this technology that was developed a few years ago, they were like, oh, it's going to be 100 megabits.
00:02.480: Okay, so we're here, and we're not going to actually say who the client is.
00:02.480: I grew up on the East Coast.
00:02.480: So it was all Sony.
00:02.480: Well, maybe.
00:02.480: I go, yeah, let's fix that now.
00:02.480: I mean, there are so many things about this that just make my life so much easier.
00:02.560: That's where we're dumping the media.
00:02.560: But most importantly, when the producer says, don't we have anything better than that?
00:02.560: But what do we what's this thing down here?
00:02.560: Or you could say send me all the favorites or something.
00:02.560: I'm going to wrap this up.
00:02.640: I think it was version five or version six, but once I could program the keyboard to be like an add,
00:02.640: Now, what you're doing is all you're so at that point, what did you do once the stuff was re what do we call it, rewrapped?
00:02.640: But you don't have to do them individually.
00:02.640: Well, you're over thirty-five and you picked it up pretty fast.
00:02.640: Roswell technology.
00:02.720: Then you open up a fresh library.
00:02.720: And the real key is in the import window, when you select where you want to save the media,
00:02.720: But, you know, overall, it was really fun working with you.
00:02.800: But I saw it and I said, I think that will be one of the most talked about new product releases in the history of tech.
00:02.800: Yes.
00:02.800: No, I mean it's actually even more than an assistant editor because I don't know.
00:02.800: But yeah, very very fun.
00:02.880: The hard drives were outrageously expensive.
00:02.880: And I'm like, hey man, just let it go.
00:02.960: Right.
00:02.960: Yeah.
00:02.960: About the job?
00:03.040: The client just walked out of the room.
00:03.040: That's like a cheap avid.
00:03.040: But the reason I do this, and I've actually done tutorials about this on my website, the reason I do it is it's a great kind of overview.
00:03.040: That's awesome.
00:03.040: So at that point, I have the XMLs.
00:03.040: Whereas, this, it's all managed with Final Cut Pro.
00:03.120: They're little laptop drives.
00:03.120: That's correct.
00:03.120: Okay, so the index.
00:03.120: I actually placed it at the tail end of my timeline that I'm working at.
00:03.120: First gap and select all of the gaps underneath.
00:03.120: I don't know if you could tell, but I'm really sick, and I want to apologize because we're sharing this mic, and I hope you don't get sick, dude.
00:03.280: And during the conference, you know, people are like, Steve, we'd never seen you so happy.
00:03.280: Okay, so now you would open up the timeline that you'd make the compound clip.
00:03.280: What are some things that you would if you if you got the chance to sit down
00:03.280: And looking at one frame, there's a lot more points within the audio track.
00:03.280: Yeah, there's so many things.
00:03.360: Well, it wasn't.
00:03.360: That's correct.
00:03.360: I just export a little XML over to a folder that you're aware of.
00:03.360: Okay, so I take that stuff, I open up your compound clip, I
00:03.360: It might be on Twitter or something.
00:03.440: We edited on Avid almost exclusively.
00:03.440: How can you get away from it?
00:03.440: I've always loved technology, so it's always new and exciting to see what engineers and developers come up with.
00:03.440: But I think we're going to wrap this up.
00:03.520: So the Sony 910 editor was most of my editing offline and some online.
00:03.520: 1989.
00:03.520: So that kind of business went away.
00:03.520: You basically got the people that jumped on board, and myself being one of them, basically beta testing it for them.
00:03.520: It's not technically a story line.
00:03.520: So once you have them in your library as events now, because you imported it, you have everything I have.
00:03.520: I mean, you could have done it the other way, but it wouldn't be as elegant, and Final Cut Pro wouldn't have managed it.
00:03.600: That's what it does.
00:03.680: We're doing it over gigabit Ethernet.
00:03.680: What?
00:03.680: Thank you, everybody, for listening.
00:03.760: I don't know.
00:03.760: I'm not for sure.
00:03.760: And that's something I've talked about in the past.
00:03.760: I don't know why.
00:03.760: And the newbies get it right away, especially kids.
00:03.760: Roswell.
00:03.840: In the state, I don't know.
00:03.840: He says, anything that's in the world when you're born is normal and ordinary and is just a natural part of the way the world works.
00:03.920: So um so now you're you've lived in Hawaii now for how long?
00:03.920: You know, Dennis Muirin was there, a whole bunch of people there.
00:03.920: And it was fascinating, it was interesting.
00:03.920: Makes life a lot easier, doesn't it?
00:03.920: Yeah.
00:04.000: You know, the big challenge at the time was basically doing your offline edit on a postage-sized QuickTime.
00:04.000: And being a Linear Editor, I'm like, you know, it's too mousy for me.
00:04.000: This is what we're going to do.
00:04.000: Right.
00:04.000: So I did have it on two drives.
00:04.000: Yeah, first we both shut down Final Cut Pro.
00:04.080: My introduction to nonlinear editing was on the Avid Media Composer to get certified
00:04.080: Yeah, don't tell the client stakes.
00:04.080: You have to do them one at a time.
00:04.080: That's interesting news.
00:04.080: You're doing color correction.
00:04.160: So, Steve, first of all, how long have you been doing this?
00:04.160: And it was a lot of fun, you know, and it was basically the advent of computer editing
00:04.160: So the company ended up closing, and I'm like, I'm not going to leave Maui.
00:04.160: It's not it's not fit to fill, it's retimed to whatever it is.
00:04.240: I had no idea what I wanted to do when I was 16.
00:04.240: But this would be like Final Cut 1, 2, 3, like in the very beginning.
00:04.240: And then you just got tired of it?
00:04.240: Do you know anything about it?
00:04.320: What other like edit systems did you work with in the past?
00:04.320: The other thing is like a batch export within your browser.
00:04.400: Wow.
00:04.400: Right.
00:04.400: I came in from California and
00:04.400: Yeah, and then you point it back at my computer across the gigabit.
00:04.400: So now that stuff, you're still touching and managing the media that's still on my technically it's on my computer.
00:04.400: Because I like to keep things tidy for archival purposes.
00:04.400: But when you get old editors, you know, it's like, oh, I want to do it this way.
00:04.480: I started out when I was 16 working at a T V station in Philadelphia, WHYY.
00:04.480: So it's 7,200, a terabyte of data, a little tiny guy with a range here on the right.
00:04.480: Yeah.
00:04.480: Topher has some really ingenious ways that he does his own personal storage about.
00:04.480: I should fix this.
00:04.560: Basically, then I would just take all the clips, select them all, make a compound clip, go through the compound clip.
00:04.560: People are going, Why do I can't give up my D V D drive or the iMac without an A D V port.
00:04.640: Because you remember when it came out, it was the first one based on sixty four bit processing.
00:04.640: So we take the S by S card, we thunder to Ethernet it from the S by S reader into the La C drive on my iMac.
00:04.640: Now I have the main library because I'm doing the main edit on the iMac
00:04.640: I thought that was a little creepy, actually.
00:04.640: I would really love to set up a render queue the way After Effects works.
00:04.720: You mean once we discussed our workflow and
00:04.720: It's going to just speed everything up, the whole process.
00:04.800: When you first walked in, you go, dude, you're crazy.
00:04.800: xml or whatever it makes it.
00:04.800: One of the first things that sold me on Final Cut 10 when I got it was the color correction.
00:04.880: And all I remember thinking is when I would do an edit, where's the preview button?
00:04.880: Anyway, so thanks for listening.
00:04.960: Right.
00:04.960: Do you remember how I did that?
00:04.960: And so I have these like 10 or 12 clips spread out over 30 minutes.
00:04.960: Now Thunderbolt, Thunderbolt 2.
00:04.960: Yeah, you kind of gilted me into a whole lot more color correction today.
00:05.040: So back in 1995, I set up MallyCam
00:05.040: Yeah, and I've actually done a lot of edits across Gigabit like that.
00:05.040: Send me all the favorites, yep.
00:05.040: This is going to be a real short episode.
00:05.040: And again, the faster we can edit and get our job done and get it done efficiently, the more time we can spend with our
00:05.120: I'm in Cabo.
00:05.120: We're on a big.
00:05.120: As we say in Hawaii, ohana is family, and that's what's important, you know, and that's what we got to do.
00:05.200: Uh what is the city or town or oh what's it called?
00:05.200: And when they employed me, they gave me the opportunity to do freelance work as well.
00:05.200: On Maui, I've been training a lot of them.
00:05.200: So Thunderbolt right now is what, 20 bit, 20 megabits?
00:05.200: I've been saying it since day one.
00:05.200: He goes, no.
00:05.200: I'm going, where's your video scopes?
00:05.280: Yeah, I don't understand those, to be honest with you.
00:05.280: Yeah, I'm a freak though.
00:05.280: I can't tell you how pleasurable it's been to watch the downloads happen.
00:05.360: So it just didn't work for us.
00:05.360: When I told my wife, I'd go, and they have to move back to LA.
00:05.360: Okay.
00:05.360: You know, one of the powers of Final Cut 10
00:05.360: I'd want to let you know because we're going to have to relink and it's going to be a problem, and blah, blah, blah.
00:05.440: Thanks, thanks.
00:05.440: Now, there were some interesting things that happened that I found just fascinating.
00:05.440: No, that's where macros come in.
00:05.440: Yeah, so they're kind of letting it out.
00:05.440: Oh, there you go.
00:05.520: And oh, that's the other thing we'll talk about.
00:05.520: I remember in nineteen ninety four, we bought
00:05.520: Totally.
00:05.600: And she's like, okay, well, send us a check and we'll stay here.
00:05.600: Well, you search by gap.
00:05.600: Always backup your media.
00:05.680: That was frustrating.
00:05.680: But uh, you know, watching Avid come out, you know, you spend a hundred thousand dollars on a media composer with the pizza box to do 3D effects, and then they come out with the Media Express for twenty grand.
00:05.680: Isn't that where fiber optics came from?
00:05.760: Yeah.
00:05.760: And so I want to talk about how we did that.
00:05.760: I'll promote them to the secondary storyline.
00:05.760: So we had camera A, B, C, D, so you're like, oh, here's B3 or B5 or whatever.
00:05.760: It's all about just moving along.
00:05.840: Yeah, I remember about 95 I bought some nine gig full height drives that were like thirty five hundred bucks and we
00:05.840: And your workflow is basically: I'm going to Ethernet this Lacy drive.
00:05.840: Okay, so that one and it's and it's the La C little big disk is what we use.
00:05.840: You could, well, there's really no reason to have the library because you have the library.
00:05.840: I'm working with an editor from LA.
00:05.840: It's very cool.
00:05.920: And there were a lot of when Final Cut 10 came out, of course, you remember it was quite the upheaval, and I understand the upheaval because
00:05.920: Well, the other thing that I was doing independent of you is I did have an additional drive hooked up.
00:05.920: That's pretty cool.
00:05.920: So I accidentally saved the
00:05.920: Because that way when you go in there, it's going to be a lot more accurate than if you were to mark it on the video track.
00:06.000: Um this is episode, what is it, 031, and I'm sitting here with Steven Luxick.
00:06.000: So basically, I learned on the Sony 910.
00:06.000: Well, the flexibility.
00:06.000: But I had already given you the media, you already cut it in the timeline, everything was working, and we had it all.
00:06.000: How many more final pet ten islands?
00:06.080: Oh, I got to return that to whoever it goes to.
00:06.080: I mean, I tell all my students back on Maui
00:06.080: And I don't normally work with multiple events, but this actually worked out really good.
00:06.080: Yeah, that was kind of cool, huh?
00:06.080: Yeah.
00:06.160: Yeah, I think you said to me the other day that you'd spent like 100 grand of your own money on Abby.
00:06.160: I'm going to create the library on my computer.
00:06.160: So it's basically just people
00:06.160: And at that point, and I think I've made a tutorial about this, I showed you the
00:06.160: You know, trying to come up with the nomenclature.
00:06.160: Well, not necessarily plead with them.
00:06.240: And you know, having gone from film to linear editing to non-linear editing.
00:06.240: It was really good to get some
00:06.240: Even though there's some big name rock star outside playing at our show, which
00:06.320: Then the shop closed up.
00:06.320: And some people don't realize this, but when you do that with two Macs.
00:06.320: And you could just go select a gap, delete.
00:06.320: I teach a lot of kids
00:06.320: And so if you're over 35 as of July 2011 when Final Hat 10 came out, you're going to.
00:06.320: Yeah.
00:06.320: Share one.
00:06.400: And I remember when I got to Kauai thinking
00:06.400: I ended up up editing freelance corporate gigs.
00:06.400: And we were bringing in what do they call them S by S cards, right?
00:06.480: We won't do that.
00:06.480: Basically, once you get the compound clip, you basically select the first or actually you select
00:06.480: But thanks for doing this.
00:06.560: Well, not that I got tired of it.
00:06.560: Yeah, it's pretty clever.
00:06.560: At least.
00:06.560: And it would be great to be able to batch export right from within the browser with your in and out points, of course.
00:06.640: How did I get that stuff into my system?
00:06.640: Also on my hard drive.
00:06.640: Okay, so now at that point
00:06.640: A timeline index.
00:06.640: Right.
00:06.720: Do you remember that?
00:06.720: I was so basically we had two systems.
00:06.720: Always backup.
00:06.720: I'm glad everybody is enjoying the show.
00:06.800: So I open that one on my system
00:06.800: No, that makes sense.
00:06.880: So basically, you've cut on everything.
00:06.880: So when did you first see
00:06.880: Is that what it's called?
00:06.880: This is almost like
00:06.880: Take care.
00:06.880: It knew where everything was.
00:06.880: I just finished a job.
00:06.880: Of course, the funny thing is, is they're milking the technology because I believe you you're able to get
00:06.880: Ah, scopes are for amateurs.
00:06.960: I worked in the advanced technology programs with computer technology.
00:06.960: You've never worked that way, right?
00:06.960: We'll be back next time with more Final Kick Grill.
00:07.040: That actually sounds familiar.
00:07.040: I know exactly where to look.
00:07.040: I actually dusted off my old quick keys and said, Okay, quick keys, come out and help me with this.
00:07.040: Share one now.
00:07.120: You're editing on a little monitor.
00:07.120: Yes, and I think that we
00:07.120: Where can we just hit the buttons and punch in the numbers?
00:07.120: Yeah, I'm not sure where that was.
00:07.120: Let's be clear because it's hard on audio.
00:07.120: And it took me a while to figure out.
00:07.200: Well, they were still shooting the news on film, so we had a film processing lab down in the basement for the evening news.
00:07.200: So
00:07.200: And with the release of ten point one, obviously, we're able to do what we just did.
00:07.200: I think I trained about uh right now about thirty editors to edit in File Cut ten in Maui.
00:07.200: If you haven't heard it, please go download it.
00:07.200: I'm kind of a freak too.
00:07.280: We'll talk about networking.
00:07.280: Well, look where we are.
00:07.280: Sure.
00:07.280: Sure, yeah.
00:07.280: So everything that shows up in the time-lab index says gap.
00:07.280: Two places.
00:07.280: I'm really excited.
00:07.360: And we should also say that what we were cutting here is basically just
00:07.360: He talks all about it in that
00:07.440: But this was an interesting problem.
00:07.440: Paste it in.
00:07.440: Then
00:07.440: It's awesome.
00:07.440: Yeah, I think it's faster.
00:07.440: And then they came out with 10.
00:07.520: Well you just select the event within the library.
00:07.520: We worked for about, you know, how many years now?
00:07.520: Where are they?
00:07.520: Maui Pepys, you may have a job opportunity.
00:07.600: So, so yeah, what a nice fast.
00:07.600: The audience is leaving.
00:07.600: If you just plug and drive in and leave it.
00:07.680: A ThunderTube?
00:07.680: But being able to work faster
00:07.680: Sure.
00:07.680: So one of the things you showed me is: hey, when you're marking an audio,
00:07.680: I even contacted one of my friends at Apple and I'm like, hey, what are you guys doing in the audio?
00:07.680: But yes, I totally agree.
00:07.760: Yeah, BPAV.
00:07.760: On your hard drive.
00:07.760: I mean, it works fine.
00:07.840: I can't remember who it goes to.
00:07.840: So when Final Cutters, we have pretend words.
00:07.840: There's an episode of uh the other show, um Digital Cinema Cafe, with a guy named Topher Martini, my friend Topher.
00:07.840: So I'm excited.
00:07.920: No, I never worked that way.
00:07.920: I've got to know what I'm getting into over here.
00:07.920: I don't I don't know that I'm coming to Maui, but I am going to put you in touch with my boss because he
00:08.000: They were like the radio shack of computer stores.
00:08.000: We're at the Princeville in Kauai.
00:08.000: No, NAB 2011.
00:08.000: No better place than a paid job.
00:08.000: I have one XML for each one of the cards that you managed.
00:08.080: And then I worked my way up to the 9100.
00:08.080: Of course, this is during the Depression, not
00:08.080: I love the timeline index.
00:08.080: Two places, please.
00:08.080: So, hopefully, I'll get a couple more 4K jobs because
00:08.160: Well, you know, I cut my teeth on Sony, you know, the Sony 800.
00:08.160: I think I may have seen that.
00:08.160: It took me 30 years to get
00:08.160: I've never worked with an assistant, really.
00:08.160: And then I just moved them into the new folder, reopened up Funnel Cut Pro, and
00:08.160: But they've done that with technology for years and software.
00:08.240: R
00:08.320: And of course, I think they just released it just early.
00:08.320: You're promoting up the key shots that you were kind of culling
00:08.320: It pasted up on the second layer.
00:08.320: There didn't seem to be that.
00:08.320: I think so.
00:08.400: So you have one library on your desktop.
00:08.400: You place the retime now.
00:08.400: I again, making your job easier.
00:08.400: It might be hard pressed to get that much data across.
00:08.400: Being able to select a bunch of clips because you know how often does a client want to see just these clips or just these parts of clips.
00:08.400: This is the way I've done it.
00:08.480: It was in the very beginning, so it was not quite there yet, but it was catching up.
00:08.480: They couldn't stand it anymore.
00:08.480: Right, I don't need your library at all.
00:08.560: We're on the Kahala coast near Waikaloa.
00:08.560: Because one of the things that people always say about Final Fantasy is: it doesn't work in a work group, it doesn't work in a work group.
00:08.560: Yeah, that's kind of my old timey sort of workflow.
00:08.560: It's only like 15 seconds worth of stuff.
00:08.560: It's like, where's the 100?
00:08.560: I was really, you know, as this started to come together, I was like, God, this could easily be a whole episode.
00:08.640: Sorry about that.
00:08.640: Basically, I landed a full-time job on Maui recently because Merrill Lynch, of course, had its
00:08.640: A Thunderbolt, yeah, whatever.
00:08.720: You're an editor, you've been editing for how long?
00:08.720: So it was a brave new world back in 1989.
00:08.720: You import it.
00:08.720: You know, you could do it and manage it because you could always have your original media have pointers.
00:08.720: Right.
00:08.800: I'm like, I don't know how to do that.
00:08.880: And so Steve, say hi to everybody.
00:08.880: I'm going to copy the original S by X card media over to the Lacy Drive, which took a minute.
00:08.880: Yeah, it's some funky folder that has all the magic in it.
00:08.880: It goes to you.
00:08.880: And it was actually.
00:08.880: I'm not going to get sick.
00:08.880: No, no, it was good, and you were right, and I was getting lazy.
00:08.960: It's just that.
00:09.040: And then we'd have to unplug the drive, unmount the drive, unplug the drive, hand it over, plug it in.
00:09.040: And I'm used to basically having the media on OneDrive and then transferring it over a network.
00:09.040: I don't know how.
00:09.040: And that's a great question.
00:09.040: And you have to kind of trust them.
00:09.120: I did most of my.
00:09.120: I've lived in Maui for twenty years.
00:09.120: Oh, the timeline it's indispensable for finding stuff within uh it's just amazing the
00:09.120: It's really funny.
00:09.120: Actually, I'm twelve really.
00:09.200: I've heard people talk about that as being like a
00:09.200: It's not actually a secondary storyline.
00:09.200: Yeah.
00:09.200: I get to spend more time with my boy.
00:09.280: You may have.
00:09.280: I had an iMac and you came in with your MacBook Pro.
00:09.440: I used to volunteer and teach and it's public access.
00:09.440: I had a job that I did, I forced myself to do it in motion.
00:09.440: Later, later.
00:09.520: Yeah, and that turned out to be the key.
00:09.520: Well, there's backup and there's archive.
00:09.520: I think it's safer because, again, you're not unplugging drives and stuff.
00:09.600: So I could maintain clients and do that as well on the side.
00:09.600: Right.
00:09.600: Yeah.
00:09.600: He's a photographer.
00:09.680: NAB 2011.
00:09.680: Six years.
00:09.760: It was pretty popular.
00:09.760: Exactly.
00:09.760: There's no need to copy anything.
00:09.840: .
00:09.920: Totally overmodulated.
00:09.920: And we did the whole media transfer thing, hook up the drive, do the things.
00:10.000: Which was like, come on, where is that then?
00:10.080: What year was that?
00:10.080: Yeah, yeah.
00:10.080: I can look at the whole card with the data.
00:10.160: And somebody offered me a job on Maui at their animation studio.
00:10.160: Luckily, the people that download this show like it better.
00:10.240: That's where you learn your stuff, is right on the on-the-job training.
00:10.240: Now the trick is, is I
00:10.480: It was written about in the New York Times.
00:10.480: So, what I would do
00:10.560: But why not?
00:10.560: One of the things that I started doing when I was working with Final Cut ten
00:10.560: Tajui Ho.
00:10.720: And now all of a sudden, I have 10 or 12 clips.
00:10.800: When I was working at the American Film Institute, they had a conference on Kauai.
00:10.800: So I watched that and I go, oh, I see it, it looks great.
00:10.800: It was like a little bit of trust to say, what is Apple doing?
00:10.880: So you find the first one, select it.
00:10.880: I mean, they have stuff developed that's way ahead of this.
00:10.960: And so
00:10.960: I mean, the less we have to think about that stuff, we should know about it.
00:11.040: So that'd be like the northwest
00:11.040: It's not keep going.
00:11.040: So now I want to collapse it all together.
00:11.120: The BPAV has to be turned into a bunch of MOVs.
00:11.120: And I realized that there's plenty of ways to do like favorites.
00:11.200: Actually, I should probably get that.
00:11.280: Apple did?
00:11.280: In internet in internet years.
00:11.440: Right.
00:11.520: So
00:11.840: So.
00:11.920: And it I and I was amazed at
00:12.000: Because
00:12.080: And I remember
00:12.160: Yeah.
00:12.160: So you said you had a job coming up.
00:12.240: Now you know you can
00:12.400: And
00:12.480: You could see the writing on the wall.
00:12.560: I don't know why I would need it.
00:12.560: It's not mark in and mark out.
00:12.560: .
00:12.640: So yeah, take care.
00:12.640: Always use your scopes.
00:13.200: And of course it was all smoke and mirrors.
00:13.520: I think
00:13.760: Right.
00:14.560: It's