Episode 33
FCG033 - Episode 33 (feat. Alan Brazzell)
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Transcription
00:00.001: Alright, here we go for another episode of Funnel Cut Grill.
00:00.160: You don't, wow, these people talk back to me.
00:00.160: I hope to have more conversations like that, not with Tad necessarily, but not that there was anything wrong with that.
00:00.160: I've never seen seen him face to face, but whenever I call him on the phone, it's weird because you're it's like that voice.
00:00.160: Uh then I also have done some uh work for a uh company out of LA who did some uh T V specials for some uh magazines out of New York.
00:00.160: But just recently I started you know people hiring me in New Jersey and elsewhere and I've started traveling.
00:00.160: It's going to be a rough job.
00:00.160: you know, Hurlbutt or something like that and go, Yeah, I want his job.
00:00.160: Intered took the field.
00:00.160: Oh, that's sweet, honey.
00:00.160: For me, my worst fear is just dead quiet.
00:00.160: the shot stays smooth.
00:00.160: I mean, it's one of those things that you have to take a break from your actual work to do work that you're not going to get paid for immediately.
00:00.160: their money's worth because I'm gonna you know bring a little bit extra flair that's not as common around the area.
00:00.160: that if something changes and all of a sudden it's going to take more time, we kind of will say, okay, well, that's going to add extra time.
00:00.160: For like when I when I first saw it, I was like, oh, this is made for people like me.
00:00.160: Like, just make Final Cut 8.
00:00.160: You know, we're all used to V1 being that main track, you know, back in the old days.
00:00.160: hype videos and stuff.
00:00.160: media management.
00:00.160: When it comes time for the summer, I just load up the project, all my favorites are marked, everything's keyworded, I just kinda you know, it's all done, I just kind of start my edit in the summer.
00:00.160: Too.
00:00.160: After Effects project personally, more clutter in the Finder.
00:00.160: And I just take it and I drop it in there.
00:00.160: Well, I mean, and for me, Final Cut 10, getting a file over to After Effects is as easy as.
00:00.160: Do the keystroke real quick to view in browser, and then from there you can export the media, you know, with that exact piece of clip as a new, you know, ProRes 444 if you need a really high quality, or ProRes 422, HQ, whatever you want.
00:00.160: I can't remember what the plugin is now, but there is an app that will take your Final Content timeline and open it up as a series of layers in After Effect.
00:00.160: I'm going to start probably start looking more into DaVinci Resolve.
00:00.160: with their introduction of uh the m the keying and masking tools.
00:00.160: or they couldn't at the time create their own interface over in the actual plug-in window.
00:00.160: praying there's some developer out there who might be listening to your podcast who can tackle creating a custom interface for that kind of work.
00:00.160: It.
00:00.160: Takeover.
00:00.160: clunky in my opinion, but uh the power it has is worth it to learn it.
00:00.160: I I I stay away from like our hourly rates and stuff 'cause I don't wanna feel ever feel like I'm nickel and diming people.
00:00.160: there's no reason to go through all that hassle.
00:00.160: and not have to worry about it ever again.
00:00.160: So that was really cool.
00:00.240: and we almost didn't mention Final Cut at all.
00:00.240: And then also, I listened to episode 31 the other day, and that was the one where I was really sick.
00:00.240: So, anyway, I'm sorry about the audio quality on that one.
00:00.240: Uh they just hired me as an editor to come in and edit their uh some half-hour and full-hour specials.
00:00.240: 'Cause there's no editors in New Jersey.
00:00.240: We have a style and a talent, and you certainly do when I look at your website.
00:00.240: in New Jersey actually knew me from other aspects of my life.
00:00.240: It's going to be really hard to get that job.
00:00.240: uh tenor saxophone.
00:00.240: 15 people in that whole place will probably learn more.
00:00.240: So everyone's just reacting naturally.
00:00.240: It's just, you know, you know, my worst fear is that there's no reaction.
00:00.240: Oh, it's it's but there's nothing more rewarding.
00:00.240: When I'm shooting the Jumbotron, my hands are shaking because I'm just so all the adrenaline's just pumping with anticipation.
00:00.240: started getting heavier and heavier, I had to get the vest with the with the support.
00:00.240: No, I know who Devin Supertramp is.
00:00.240: Was it GH1?
00:00.240: I would love to interview Devin.
00:00.240: He has custom music written, and it's basically three minutes of beautiful people having beautiful fun in beautiful locations.
00:00.240: Like everybody, all these beautiful people pull up in a little Ford something or other and they hop out and they're like, Hey, we live awesome.
00:00.240: And you look at his shots and you're like, wow, that guy's really good with a glide cam.
00:00.240: an older unit and I learned on it and I kind of kept it upgrading it and upgrading it.
00:00.240: That you do your big After Effects user.
00:00.240: I'm not an extremely talented After Effects person.
00:00.240: I believe it.
00:00.240: I find it very inspiring, you know, in my own work to think, oh, yeah, maybe I shouldn't stop so soon.
00:00.240: what the look will be, and then I'll basically tell them based on what they've how we've decided, how difficult that kind of shot will be, and that will determine how much I charge for that shot.
00:00.240: full out you know, only graphics projects as much.
00:00.240: we have a general idea of how much the whole project's gonna cost.
00:00.240: you know, the original scope of what we had planned on doing.
00:00.240: My first professional nonlinear editor was Premiere back in 2001.
00:00.240: Yeah, that's a tough lesson that a lot of people have to learn when projects kind of break down and all of a sudden it's like, oh boy, they just asked me to completely change this away from the
00:00.240: for the video board at the at at the football games.
00:00.240: I think it's not too big of a secret that the current ten point one, I I think I've said it publicly, has crashed more on me than all other versions combined.
00:00.240: you know, a Mac Pro on a couple of iMacs, even my laptop.
00:00.240: But when it does, it always comes back.
00:00.240: the early days, you know, before multi-cam and before all the crazy stuff that everyone loves nowadays, um I mean, it's it's still it still worked and um it it
00:00.240: As many times as I have crashed in this current iteration, and you know, ultimately, I don't really worry about it because, yeah, yeah, yeah, those guys are working really hard, they'll be a 10.
00:00.240: Well, now that it's quote, ready for prime time, as people have said, now that 10.
00:00.240: Let's talk a little bit about what you had just said just a couple of minutes ago, that there were certain things that you saw that you really liked in it, even in its earliest iterations.
00:00.240: from August of 2011, which is two months after its release.
00:00.240: you know, seeing how audio and video tracks that that belonged together stayed together.
00:00.240: of you know the primary storyline and you wanted to reorder your you know sections of the video and all the b-roll just went with it I'm like
00:00.240: it I can get in there and I can, you know, my my B-roll clips don't move away from the moments and music that I have put it there because that's where I want it to go.
00:00.240: I will make separate secondary storylines and make sure that storyline is connected at the right spot.
00:00.240: Storylines.
00:00.240: Then you'll wrap those and make a storyline out of them.
00:00.240: If I'm changing subject matter as I'm going through, you know, if it's just a long string of B-roll, you know, set to music, but you know, one section is this event and then this section, I'll also create second, different storylines for different areas.
00:00.240: just so visually on my timeline, I can see my chunks of my timing, so I don't lose track of that.
00:00.240: Yeah, makes perfect sense.
00:00.240: But it's not near as easy as just opening up.
00:00.240: Well, it used to be back when I did those projects, I kind of have to go through footage twice.
00:00.240: As much as I'm racking up hard drives, it's looking better and better as time goes on.
00:00.240: automatic timers that my main drive where I'm working on gets backed up on the hour every hour, so that whatever changes I've made, I have an hour.
00:00.240: The moment that fills up, I basically buy two hard drives, make a backup and a copy of that.
00:00.240: Thunderbolt Ray Drive, and just start filling it up again.
00:00.240: I have a drive that I use post-haste from Digital Rebellion, and I just create an archive folder for every project, and I put any
00:00.240: you know now I put a I put one library file in that has all just the footage that's used in those projects um and all the
00:00.240: All the projects in there, and then I'll put the After Effects projects and whatever graphics files I need that were made special for it in my archive drive until it fills up, and then I do the same thing.
00:00.240: Clear the drive off and start starting over again.
00:00.240: It's been a bit of a struggle, but I think I have my method down now.
00:00.240: You know, like, oh, I need to, you know, string all these effect shots together, and woohoo, I have a video, you know?
00:00.240: Or do I need to just record over the original one?
00:00.240: How do you deal with things as you're creating versions of things?
00:00.240: I relink in Final Cut 10.
00:00.240: It just relinks and it updates all my projects and I'm good to go.
00:00.240: Now it might still be seeing the old version one, but you're going to relink version one to now version two.
00:00.240: It's not something massive.
00:00.240: fix that one whatever element they wanted changed.
00:00.240: my artistic vision.
00:00.240: copy of that comp and put it in a folder in After Effects just so I have a version of it in the past.
00:00.240: What you're saying because you say it works, but in actuality, I've been watching the way you work, and it's not really efficient.
00:00.240: Obviously, they get pretty big.
00:00.240: And inside the same folder where my project file lives, I have a folder called zz old zz, just so it's at the bottom of the list.
00:00.240: That again, that's logical to me.
00:00.240: Crazy when I open up somebody's folder and there's like 20 different and the naming convention is all funky, so it's not like it's the last one in the list.
00:00.240: And I think that that has always been one of my issues with the Premier After Effects workflow is that
00:00.240: If After Effects can't it takes two hours to render a 30-second clip, Premiere is not going to do it faster.
00:00.240: Will I start with a clip?
00:00.240: I'll be honest, I'm not sure my workflow would be terribly different if I was over in Premiere.
00:00.240: And if you don't know what I'm talking about, go look at Alan's website.
00:00.240: They have their original shot in case they need to change that.
00:00.240: But it's not that it's not that hard.
00:00.240: Complete timeline.
00:00.240: you know, in their lab, if you will, all of a sudden there's a lot of issues when you start when you let something out into the wild like that.
00:00.240: And there are some third-party curve plug-ins out there, but I haven't seen one yet.
00:00.240: Blacks and mid-tones and mid-tones and highlights, they add like a five-point curves kind of thing.
00:00.240: interfaces, they actually put them on the footage, which they they a lot of those plug-ins claim it as a feature.
00:00.240: Separate from your plugin.
00:00.240: Well, I had overheard somewhere, and I can't remember where, so I'm probably breaking some sort of NDA.
00:00.240: And I remember when 10.
00:00.240: And his his answer was very vague and cheeky, but basically kind of made it seem like, Yeah, we're going to look into it.
00:00.240: Yeah, I've always wished that something like Resolve could just be a plug in.
00:00.240: A more coloring environment.
00:00.240: that can, you know, jump around between apps.
00:00.240: For this one video, and a template.
00:00.240: I finished it in After Effects.
00:00.240: But then I imported all the camera data and all that stuff into a motion project.
00:00.240: And right in Final Cut 10, which renders out very quickly, because all they have to uh they just render out that video for that day and they just keep going.
00:00.240: But then I was able to take an After Effects animation that was used all my plugins that I love and that I use all the time and After Effects.
00:00.240: You know, you hit the nail on the head when you said, Oh, good grief, I'm going to have to render this thing 20 times.
00:00.240: I mean, our typical you know, we have been doing this for a long time, and the typical way of dealing with it would be, well, I'm going to take this shot out
00:00.240: You know, quick and easy, because then I could do a lot of stuff even quicker than the way it is now.
00:00.240: you know, wonky.
00:00.240: They were going to do this without me.
00:00.240: But now I can be the custom put the logo on the home plate guy, and next time when they have a new idea, they're going to come to me.
00:00.240: Absolutely.
00:00.240: Would you be willing to send me a screen grab of your folder structure?
00:00.240: And you can use them together.
00:00.240: All the download love.
00:00.320: Fantastic.
00:00.320: Yeah, there's a voiceover talent guy I use, Gary Williams.
00:00.320: Um, well, I am a freelancer.
00:00.320: you know, digital vagabonds that travel around.
00:00.320: There's not a single editor in Hawaii that could have done this.
00:00.320: went to school there and worked I graduated in their mass communications department.
00:00.320: different colleges creating promotional videos for them and um doing videos for the marching band which got on the jumbotron at the university at the football games which
00:00.320: you know, the sort of celebrities in our business.
00:00.320: you know, especially in today's day and age with all the stuff that happens like on Twitter and social media, you might look to somebody like La Ferre or
00:00.320: You know, your work on a 65-foot screen with, you know, 800 other people, or what whatever a large movie
00:00.320: you know, at that level, you know, that sort of name brand, you know, filmmaker.
00:00.320: I wanna i they were quoting somebody like Bruckheimer or some big filmmaker guy, whatever, it didn't matter who.
00:00.320: you know, Google AdSense and YouTube ads.
00:00.320: You know, I've had to learn to tone it down over time because I used to go sh take that thing everywhere and shoot everything with it.
00:00.320: You know, yes, you're a shooter and a cutter.
00:00.320: But I think a lot of people, when they start talking about the Final Cut ten versus the rest of the industry, a lot of people set seem to think that it's like
00:00.320: Final cut and motion, or premiere and after effects.
00:00.320: those kinds of work saying here's the kind of work that goes into making this stuff look good.
00:00.320: It's important that you don't get into.
00:00.320: And, you know, the more comfortable they are, the more I can speak, you know, speak plainly.
00:00.320: how you know what's going to be the best for that project and that group of people.
00:00.320: give them solid costs, big chunks, how much, based on our conversations, how much production, post-production, graphics, all that will be.
00:00.320: Uh and then I moved over to Final Cut in two thousand and six.
00:00.320: But, you know, as far as this, you know, one computer, you know, when it first came out, it was good it was perfect as far as my needs at the time.
00:00.320: fairly regularly, kind of just update the time.
00:00.320: And it was a motion file causing problems.
00:00.320: you know, I I had seven there as as my backup.
00:00.320: Think so.
00:00.320: I kind of saw where they were going.
00:00.320: And so I just started learning it.
00:00.320: Yeah, I mean exactly.
00:00.320: It you know, it it it worked for me and the projects, you know, no one no one could tell the difference from the video before the year before that I did in you know Final Cut 7 versus the one I did in Final Cut 10.
00:00.320: Figuring out how stuff works is it can be coming coming from Final Cut 7 can be tough.
00:00.320: Yeah, I think the f I think w what you said is d spot on.
00:00.320: will try to do one thing and then it's the classic, you know, throwing the baby out with the bath water.
00:00.320: You know, that's not the best example of how it works for you.
00:00.320: it it's not intuitive that you can put a soundtrack there.
00:00.320: And we just cut the entire soundtrack, both on camera and VO bits, straight in the stor uh primary storyline.
00:00.320: you know, string out my my my B-roll or actually my video clips if the audio is in the uh primary so you'll often have multiple secondary
00:00.320: old projects and that it's just great to have like you know I I do two videos for the band a year.
00:00.320: V1 the first time I export.
00:00.320: uh and and do it that way.
00:00.320: Let me potentially blow a hole in your workflow, although it seems to be working fine for you.
00:00.320: Yeah, and so then it just updates wherever that wherever that file is in any project, it gets updated.
00:00.320: You are constantly torn between.
00:00.320: and you see them doing a whole bunch of extra key keystrokes and stuff, it's like, well, I think I can understand
00:00.320: It's generated by me at a point in time that is logical to me.
00:00.320: And so I'll duplicate it and then I replace the word copy with the date and time that I actually duplicated it.
00:00.320: And I also there's a um there's a plug-in I have called TrueComp Duplicator.
00:00.320: are usually intense enough with third-party plug-ins that are doing particle effects and all this kind of crazy stuff that the if you made one change in the project, you'd have to re-render it in your Premiere.
00:00.320: that typically those things that have been demoed and those linked throughs, they're not really intense and they're not showing a bunch of them in a timeline.
00:00.320: They'll duplicate it right on top of it.
00:00.320: out of After Effects, and then re-import it into Premiere and lay it a third now a third layer up, so they have all their iterations.
00:00.320: they find out just how many different types of people are out there and their code that they've been testing so perfectly
00:00.320: color work in After Effects or in Final Cut?
00:00.320: Smooth the curve up into highlights.
00:00.320: And Resolve offers that.
00:00.320: Control that image a little bit better at at the moment.
00:00.320: is not a pleasant idea to me.
00:00.320: But that's a good skill to have in this day and age, especially.
00:00.320: I thought it was pretty cool.
00:00.320: And my first thought was, am I going to have to render, you know, 20 versions of this video for you guys?
00:00.320: As well as After Effects.
00:00.320: With little verses text in the motion project, and I basically created them their own little title, actually, is what it ended up being a title.
00:00.320: That they could bring in their other team's logo as a 10, you know, select it as a drop zone, you know, scale it, position it wherever they wanted it.
00:00.320: I found out now that's the moment I was like, that is a good use of the connectivity between the programs because I was able to give them a very easy, custom, almost plug-in.
00:00.320: Ending title with a drop zone in the same space as that card because I had the camera move matched.
00:00.320: In the motion project.
00:00.320: But I can't just jump in and just get something done.
00:00.320: Into Cinema 4D and then turned around and turned it into a motion project.
00:00.320: Now there's an argument to be made for maybe that was good money to be making.
00:00.320: you know, fat cat, yo, I'm gonna make a I'm gonna make a pile off of this.
00:00.320: And I'm going to, you know, football helmet it up again, you know, putting a lot of, you know, effects and looks and things and whatnot on it.
00:00.320: And then I will bring it back in completed.
00:00.320: Problems that we would have done a certain way, but now we have the ability to actually just make a special effect that we can use over and over.
00:00.320: Yeah, and it's just and I I very much I like the motion and Final Cut 10 integration and I'm and it's I think it's a very big strength of Final Cut of the new paradigm
00:00.320: What I give them and how I give it and make how easy I make it for them, you know, you know, the more they'll ask you back, and it's just all goodwill and stuff.
00:00.320: find you or f make you fly across the country to make a football helmet for them?
00:00.320: Built an effect that could be used over and over.
00:00.320: Trust me when I say I'm very grateful for the comments.
00:00.400: Thanks for doing this.
00:00.400: Yeah, it I always find it very interesting that there are so many of us that, you know, travel about doing this stuff.
00:00.400: just over time, they you know like, oh, we could so it's a personal kind of contact.
00:00.400: the kind of things that I do.
00:00.400: was my work with the Marching Band, which literally grew out of me being in the Marching Band.
00:00.400: actually for free for several years for several years and and gave it my all uh and I continued and it was the best investment I made because
00:00.400: And then um and then like little things like sunglass companies you've never heard of to Ford Motor Company, you know, like
00:00.400: So, absolutely, interesting guy, and he shoots a lot with the glide cam and always just holding it, you know, like he you know runs like a madman with the thing and
00:00.400: And but now when I when I get the chance to use it, I always go for it because it just it adds a different kind of dimension to your work.
00:00.400: But yeah, those few shots I did back when, it was at a time where just even in my business, I was doing that stuff just because I wanted it to look cool.
00:00.400: Um usually the way I do uh graphics work especially is I've kind of broken down um
00:00.400: hourly rates with the clients per se and all the time because I don't want them to ever feel like I'm giving them an hourly rate and they don't know how much, how many hours it's going to take.
00:00.400: So um so how did you wh what were you editing on prior to Final Cut 10?
00:00.400: crashes and there were there were moments.
00:00.400: Maybe it's attributable attributed, attributed, attributed, attributed to one of the plugins that I use, but I don't
00:00.400: Of course.
00:00.400: Yeah.
00:00.400: Um, nothing changes that.
00:00.400: Using secondary storylines for my video clips.
00:00.400: That way just things stay together.
00:00.400: The secondary storylines help in that regard.
00:00.400: I'm doing hard drives.
00:00.400: um backup box that uh I use carbon copy cloner uh and I just have a series of
00:00.400: In the render queue.
00:00.400: After effects version down because it's at least according to what you said, you keep just changing the current
00:00.400: Do I want to version the After Effects composition or do I want to version the kick out, you know, the render?
00:00.400: worse than the one for Premiere.
00:00.400: I don't know.
00:00.400: Especially for exposure.
00:00.400: format but the exposure controls I have three knobs and they are just gain for the the three areas I can't I can't
00:00.400: more interested in, and they have yet to add something similar to that into TIN.
00:00.400: that Colorista could never be on Final Cut X because of the limitations of the software.
00:00.400: for my needs right now, might negate my need for to completely move the project out into a third party coloring app.
00:00.400: Yeah, and and and that and that would be great.
00:00.400: For the opposing teams logo, so that every game, you know, we'd have a different video that would be like Auburn versus, you know, whoever's logo, Tennessee or whatever it is.
00:00.400: Because mi mainly because of user error.
00:00.400: how people would do it in a premiere After Effects world or how you could do it in a Final Cut motion world.
00:00.400: Um, but uh I just uh you know, I I'm looking forward to the day where I can finally figure out how to make my motion stuff.
00:00.400: You know, time saver for me.
00:00.400: I mean, at the end of the day, we're we're tr our j you know, I feel like our job is trying to make their their life easier, including you know, making making the video project.
00:00.400: And then I'm on Twitter at browselvideo, same spelling.
00:00.400: Okay.
00:00.480: And you when you go to his website, which is Brazzlevideo.
00:00.480: And then the university itself has started hiring me to do commercials and such for them.
00:00.480: in Alabama.
00:00.480: younger people trying to get a foot in this business, they failed to do.
00:00.480: And and and I mean and one thing I do um as I actually record the premiere with my camera.
00:00.480: Oh, and he does like one a week or something like that.
00:00.480: He's a very interesting.
00:00.480: you know, a good tool where you say to somebody, you know, I'd like to put an extra couple days in this budget to do this kind of stuff.
00:00.480: Yeah, so so yeah, I was I was on six and seven, and uh I pretty much switched over to ten on day one for the most part.
00:00.480: like you know the both 7 to x and x to 7.
00:00.480: And it it usually it's dependent on their particular needs.
00:00.480: And, you know, it'll be fine.
00:00.480: So many of the ideas that they brought forth in it just made sense to me, you know, and I, even though they might have not been fully, you know, cooked and fully formed, they
00:00.480: Gotcha.
00:00.480: but they both consist of using well, the one in the summer uses the previous fall's footage, and the one at the end of the fall uses that year's footage.
00:00.480: A nine terabyte RAID box connected to my computer as my primary work drive.
00:00.480: Like, okay, let me back up a little bit.
00:00.480: you're always going to face the and this is getting into nerdy nerdy workflow people you're always going to face the the um
00:00.480: What happens if they say, yeah, I really like it two versions ago, but can you make a little change to it?
00:00.480: what will happen is they'll give you one of a couple different answers.
00:00.480: Right.
00:00.480: I'm a professional shot helmeter.
00:00.480: Yeah, Clip Exporter.
00:00.480: On import, with they couldn't find the right frame numbers.
00:00.480: Someday someone putting that together for us.
00:00.480: that I would love to rough cut the footage in Final Cut 10, and then I'd actually export the whole thing into After Effects and I'd finish in After Effects.
00:00.480: So um it was it was for uh the baseball team here at Auburn.
00:00.480: motion tracked and pixel accurate.
00:00.480: No.
00:00.560: Last week's discussion with my friend Tad Wagner was really just a discussion about art, about digital art in our day and age.
00:00.560: Auditorium seats, you know?
00:00.560: But I was having a hard time explaining to people w w why why you hire me for that kind of stuff, wha why motion graphics are are difficult.
00:00.560: I guess, educational tool, for lack of a better word, for people who don't understand our industry.
00:00.560: Yeah, exactly.
00:00.560: Worried me about a full hour.
00:00.560: Your edit timeline really just becomes a clip player for all the cool stuff you've created in After Effects.
00:00.560: Little details, little things I've added.
00:00.560: one active project continuing on.
00:00.560: Now I don't version it because I always want to go to the same file.
00:00.560: That's an amazing script that for God, we're talking a lot about After Effects here, aren't we?
00:00.560: You know, in the middle of the list because they're naming things differently when they do it.
00:00.560: People put too much stock in the Freddy Mercury playback engine and think, oh, it's just going to play it in real time.
00:00.560: a better way into After Effects.
00:00.560: Yeah, and I think as we move forward in Final Cut 10, we'll eventually get closer to that.
00:00.560: And I came back, and the client came back, and they're like, Oh, we really like this thing, but the final graphic, is there any way we could put a spot?
00:00.560: And then, with a potential that it might come back year after year, and they want to reuse that stuff.
00:00.560: That stuff wasn't part and parcel to the shot?
00:00.560: wholeheartedly since 10.
00:00.640: One thing I want to say is I want to say thank you very much for sort of indulging me for the last two episodes.
00:00.640: Just one of those one-man stops.
00:00.640: Alabama, and I've been living in a pretty rural area recently, just because that's where this university is.
00:00.640: I guess in their workflow, which is fine with me.
00:00.640: Then got my name out there.
00:00.640: putting your work out there for 87,000 people at one moment and the attention that can get for me just as a videographer, editor.
00:00.640: was just immense, and it was worth every moment that I worked with them because it you know, I love the program.
00:00.640: Absolutely.
00:00.640: I camera it's been a while generic camera name here.
00:00.640: I love seeing those kind of things anyway.
00:00.640: So how um I was just curious, how are you maintaining and storing old projects?
00:00.640: I don't get too much detail.
00:00.640: If I'm worried, if I'm ever thinking, oh, I'm about to go on a limb here, they might not like what I'm about to do, I will duplicate and create a.
00:00.640: baked in final renders that I control when they're changed.
00:00.640: And then I just import that into After Effects and get going.
00:00.640: in Premiere.
00:00.640: Exactly.
00:00.640: Because they brought that out really early on.
00:00.640: That's one thing that I would love to see still.
00:00.640: And so I do I do most actually I do most of my finishing in Final Cut though you know I there are a couple issues that I
00:00.640: curves or something thereabout, being able to adjust the color values over the spectrum in very custom ways to get precise control because
00:00.640: Their big theme was the road to Omaha starts here this year.
00:00.640: In 3D, but instead of using like asphalt texture, I used the red dirt of a baseball field and I used chalk to create the road lines.
00:00.640: that a card folded down in front of the image of the final shot of the of the video and just kind of settled with the logo on the front of the card.
00:00.640: and stuff that I can integrate with Final Cut 10's footage without having to constantly go back and re-render.
00:00.640: iTunes.
00:00.720: compete on price.
00:00.720: instincts that yeah, or whatever it was to save control.
00:00.720: But then I had a an hour long for four broadcast special to edit that fall.
00:00.720: This revelation happened.
00:00.720: Relationship.
00:00.720: I think everybody has to come to grips with those things.
00:00.720: But they had several videos, and I didn't know how the videos were going to end yet.
00:00.720: I have always said that people need to have a plan, have a plan, stick to it, make it consistent across your jobs, and everything will just be a lot easier.
00:00.800: He does a lot of motion graphics.
00:00.800: Because we're going to be hanging out a lot together and we're going to be eating a lot of meals together.
00:00.800: But I don't know another kind of project where you get to see your work and hear a reaction with that many people at once.
00:00.800: The cool thing, crashes are never cool.
00:00.800: Of course, this makes sense to me.
00:00.800: It makes for a very clean, very simple edit.
00:00.800: You know what I do in that regard is I'll take and actually I do this in a lot of things.
00:00.800: Okay.
00:00.800: Share with people?
00:00.880: The magnetic timeline.
00:00.880: When they said the words, I think it was in their NAB presentation, it gets out of the way for the editor.
00:00.880: How many times have I spent in Final Cut 7, you know, selecting areas and selecting the rest of the track and pushing it out of the way and moving thing?
00:00.880: attached to it I have a s a second RAID box.
00:00.880: You just hit that location.
00:00.880: After Fix Project.
00:00.880: What is it?
00:00.880: But I it's just not to me, I just it's it's a case of a using a program for something that it's not intended to be used for.
00:00.880: the same way.
00:00.880: in the video, it's so much easier to just move that swap in ten if that title is designed separately.
00:00.960: And it's so weird to have like this booming VO guy like answering your questions.
00:00.960: I had different prices for what I call different complexities of graphics.
00:00.960: That sounds crazy.
00:00.960: The issue of versioning.
00:00.960: And then I quickly if you have the clip selected in the browser and you go to relink, it literally only lists that one clip in the relink window.
00:00.960: This could go wrong.
00:00.960: Yeah, I love that.
00:00.960: Yeah.
00:00.960: Well, generally, unless I have a real need to have the original piece of footage over and after effects, what I'll do is I'll select the clip in the timeline
00:01.040: And then the other thing he does is he s uh because he goes to really great locations and he's a great cinematographer, he ends up selling a lot of stock footage because he owns everything that he does.
00:01.040: to go that route with my my third party clients.
00:01.040: I mean, just all the keywording and I would imagine doing so much stuff for Auburn, you are dipping into your resource files a lot, huh?
00:01.040: Other people were working it fine, and I had emails back and forth, and they were really nice, and they even gave me beta versions of the software.
00:01.040: Niche products or niche, or however you say that word.
00:01.040: It's not so much issues with Final Cut 10.
00:01.040: I don't know motion that well.
00:01.040: All right.
00:01.120: You know, the client comes back and says, Oh, I liked it three versions ago better.
00:01.120: I just, you know, whenever I go to add to render queue, I just click that little link, the little link thing with the file name, add, you know, real quick, keystroke, you know, underscore v whatever.
00:01.120: And so, and that's always interesting.
00:01.120: And I actually save that in my After Effects project folder so that all the media I'm using in my After Effects projects are actually separate from any of the media I'm using in the actual timeline.
00:01.200: It's one of the big Southeastern Conference schools.
00:01.200: I do it all the time.
00:01.200: On a very, very rare moment.
00:01.200: I mean, I'm not saying it was a bad app.
00:01.200: But again, what workflows do we do that aren't a little bit complicated?
00:01.200: Absolutely.
00:01.280: That is I mean, I am I mean I'm not sure.
00:01.280: And it's just I kind of have to feel out the client for how comfortable they are with interacting with the video industry, you know, with and the process.
00:01.280: Clearly, they're not going to go you knew that Apple wasn't going to go back and make a Final Cut Eight after it.
00:01.280: Absolutely.
00:01.280: 1 first came out, I tweeted something to him.
00:01.280: And today's downloads will only help.
00:01.360: How are you?
00:01.360: And so when you need to go to image, it's there.
00:01.360: So it's just getting that file out, opening it, doing the stuff to it, and then rendering it back out and continue as normal.
00:01.360: Talk to you later.
00:01.440: Absolutely.
00:01.440: It's almost professional.
00:01.440: It was the fall of 2011, so it was that right after Tin was out.
00:01.440: I can only lose an hour's worth of work anytime.
00:01.440: Dynamic link that into After Effects.
00:01.520: Appreciate you taking the time to join us on the little show.
00:01.520: Do you break your work down like that?
00:01.520: So yes, so I mean, I keep on meaning to go back and see what the open source community has done for it because
00:01.520: Without really?
00:01.600: I want to do tape backup.
00:01.600: One little known thing is if you have the full version of Cinema 4D, unfortunately I checked in the light version and it's not there that comes with After Effects.
00:01.600: I've been doing it for a long time.
00:01.600: I want to say that we passed we even though this episode is coming out March 31st, we've already had more downloads in the month of March than any other month before.
00:01.600: It's always amazing to hear the nice things.
00:01.680: And I know that I was like, because I've been listening to your podcast and I have not heard someone else who's really said that.
00:01.680: Yeah, it's hard to nail that stuff down.
00:01.680: I think it's called the locate button.
00:01.680: And it's like, okay, yeah, I could totally see why that would be good.
00:01.680: And so for me, when I have a project like that, now I wouldn't do it for just any old you know, that's not the way I would do it for one video.
00:01.760: Okay.
00:01.760: So, you know, I've been using it.
00:01.760: When I realized I could put the music in the primary storyline.
00:01.760: I did all the the compositing and all the effects stuff in After Effects because I feel more comfortable there.
00:01.760: Clearly.
00:01.760: I would be happy to share that.
00:01.840: That's awesome.
00:01.840: I've talked about this many times.
00:01.840: It's not quite as tidy as Premiere Fil uh and After Effects.
00:01.840: I sure can.
00:01.920: People are like, Who made those videos?
00:01.920: Does that sound from GH1?
00:01.920: I'm like, yeah, Adobe did that.
00:01.920: One of my earliest revelations in Final Cut 10, because so much of my videos are based on music tracks, all these, you know,
00:01.920: But what I'll do at the beginning of every day, or sometimes after lunch, or any time that I feel like, hmm.
00:01.920: Well, it's all part of a workflow.
00:02.000: Yeah, they came to me and I kind of developed this style over time.
00:02.000: That's fantastic.
00:02.000: And it's also just easier to make sure clips stay next to each other.
00:02.000: Okay, so uh magnetic timeline is one of them.
00:02.000: I have a motion.
00:02.000: So I have my version one, and then I import it and start editing.
00:02.000: It's a font style.
00:02.000: Because if I had to go back to the other one, I'd have to re-update all those little nitpicky things and there might be countless things I've done and having to remember which ones I did.
00:02.000: So if I've been working on a project for a couple of weeks, there could be a couple dozen ZZ Olds in there, but they're all time and date stamped at a specific time.
00:02.000: So I think that's something that Apple's not going to do, and I don't think they should do it.
00:02.000: Between you and me, and anybody listening to this, I hate learning new stuff.
00:02.000: And so then I could put that title wherever I wanted to, and whatever footage was underneath it would back away with that card, and the card would fold on top of it.
00:02.000: Yeah, no.
00:02.080: I'm doing well in yourself?
00:02.080: So do you tend to not use secondary st uh storylines then?
00:02.080: So, like, if there's a big symbol crash and you need that shot of whatever to happen there, you'll leave that there.
00:02.080: And it's like, okay, but have you thought about the pros and cons?
00:02.080: I'm like, really, I'd be doing the same exact thing over in Premiere, just putting a putting the file in a different kind of time line.
00:02.080: It came out and they've made it open source.
00:02.080: And then at the very end of the road was a home plate that I had modeled that I had put the Auburn's logo on.
00:02.160: I'm hoping, well, one of the things they added in 10.
00:02.160: Cause I do have colorista for After Effects, but the idea of finishing a whole project in After Effects on it just
00:02.160: But this is a series they were going to make a you know, I think it was nine videos throughout a spring they were going to make.
00:02.160: Bye.
00:02.240: Uh and so I started doing video work for them.
00:02.240: He's just an incredible talent.
00:02.240: With Final Cut 10's auto-save feature, even when it crashed, you just reloaded it back up, and you were right.
00:02.240: Yeah, I mean, there's a little bit of a hole there.
00:02.240: Like it might have been either 2011 or 2012 when I was working on stuff.
00:02.240: Totally custom.
00:02.320: So I kind of have to sort of find those things.
00:02.320: And I think that that's you know, so if we sort of reverse engineer this and say, well, how would it have been how would it have been done?
00:02.320: Just drop it in there.
00:02.400: There's no, no one's being nice because the guy who made it's in the room, you know?
00:02.400: You're also, you know, on unabashedly, is that a word?
00:02.400: You obviously do.
00:02.400: So I don't really worry about it because when it does lock or hang, I'm sure they're really pissed at me for talking about this so openly, whatever.
00:02.400: And I'm shooting a lot in log, a log curve, the Sony's S-Log, which is a very flat image.
00:02.400: And I really just kind of need to focus and keep keep my head down, you know, where I'm at.
00:02.480: He does stuff for a Southern University.
00:02.480: And it's grown into a really great relationship with them.
00:02.480: Yeah.
00:02.480: The one thing that people say that takes the longest to get used to, and it does take a while to get used to.
00:02.480: I can either blow the highlights out or keep the highlights where they're supposed to be, but I can't adjust those curves between mid-tones and highlights.
00:02.480: But there is, I wanted to share a story about a project I just did that I think I found very useful Final Cut 10.
00:02.480: That's my problem.
00:02.480: And now it's super easy for my, it's making my clients' life easier because I'm, you know, developing stuff for them.
00:02.560: So you really kind of have to look at your life, your passions, your connections, and say, you know, there are certainly people around me who need
00:02.560: I just keep the library or old event file around from the previous fall that I've already gone through the footage.
00:02.560: Uh and then what I've what I've taken to do uh now is uh I I've uh
00:02.560: Yes.
00:02.560: I don't think it's um I think motion's a good program for the things it does.
00:02.560: That's not a problem.
00:02.640: Like the one you did with the helmet.
00:02.640: So we usually sit.
00:02.640: I will take like let's say my After Effects project file.
00:02.640: Like here's a pretty typical Premiere workflow.
00:02.640: I actually I do like the colorboard.
00:02.640: That's my one area where on the color board.
00:02.640: You have black something.
00:02.720: It may not have looked as good, but let's face it, they're well on the path to doing it without me.
00:02.800: And I want to thank you for indulging me in that.
00:02.800: This is episode 033 with Alan Brazel.
00:02.800: I go around.
00:02.800: It's just kind of a personal thing.
00:02.800: You know, uh I'm I I usually shoot with a a a glide cam on the field and I'm happy to do that because
00:02.800: Oh, he's I'm a huge Devin fan, and if Devin ever hears this, and I know he won't, but
00:02.800: Yeah.
00:02.800: Yeah, exactly.
00:02.800: It always comes back with everything.
00:02.800: I've been using it and I even went back and checked just to make sure I wasn't lying.
00:02.800: Does that make sense?
00:02.880: So, um, yeah, I know you're being kind of vague.
00:02.880: But very few people in that place know who I am, that I worked on it, and that I'm on the field.
00:02.880: Well, it can be professional, Mom.
00:02.880: Exactly, yeah.
00:02.960: So, usually, even though they like something a certain way three versions ago,
00:02.960: And it seems like a lot of extra work, but it actually is an easy habit to get into.
00:02.960: Why almost?
00:02.960: Alan's obviously been doing it since the very beginning, according to what he said.
00:03.040: And I was like, you know, it's like, yeah, that is cool.
00:03.040: Oh, yeah.
00:03.040: Like, I keep one two terabyte footage drive active at any time.
00:03.040: 0.
00:03.120: Yeah.
00:03.120: I do primarily a lot of work for a local university.
00:03.120: Sorry, people.
00:03.120: I'm just not at a point where that initial investment is feasible at the moment.
00:03.120: They'll take the duplicate and they'll send that to their link through.
00:03.120: But there's moments where I want like for one instance, I did a video in which they wanted an ending graphic
00:03.120: I'm going to ask you one other thing.
00:03.200: Well, you know what?
00:03.200: This is totally off topic, but the Glide Cam, do you wear like the whole vest or just the little handheld?
00:03.200: You know, we're sitting here in 2014.
00:03.200: It's a timing thing.
00:03.200: I just go back and adjust it back to the way it was while leaving intact all the things that I've done just technically or
00:03.200: Okay.
00:03.200: Is that the moment I need to make a graphic and I need to make it fast, I'm going to go jump into After Effects.
00:03.200: But what if it was an overlay?
00:03.200: I mean, some people could look at that as, oh, well, you're giving away work, but the smart thing the smart way of looking at it is, hey, look, they already bought the software.
00:03.280: But it's an honor that people ask you to do it, you know?
00:03.280: Yes.
00:03.280: Well, I won't say it's important, but it's definitely a privilege when you can get to the point where you don't have to.
00:03.280: Because at the time, if all of a sudden a project got corrupted or whatever, which only happened to me once.
00:03.280: And after getting ten, I only backed down to seven for one project.
00:03.280: But what if let's just for a moment say what if
00:03.360: And so I started getting other athletic jobs and it just kind of grew from there.
00:03.360: But anyways, I know we got sidetracked from your talk about Final Cut.
00:03.360: Um but if there's certain moments in the piece that I need to stick to certain parts of music
00:03.360: So I'll have a whole bunch of segments.
00:03.360: I just keep upping the versions until we're good.
00:03.360: There we go.
00:03.360: And if it works for you, it will no doubt work for somebody else.
00:03.440: I think that real quality caliber clientele are going to see the sum total of what you do, and they're not going to try and nitpick it and break it down.
00:03.440: Surprise, surprise.
00:03.440: You know, one of the things that we do a lot of is these house tours, you know?
00:03.440: Very cool.
00:03.440: I basically find I use the keystroke to find the file in the event browser, or the browser, I guess now.
00:03.440: I actually have the light version and I might start trying for the projects that have the time line and have the budget for it.
00:03.520: And for the first, I don't know, six months, I always had a backup plan.
00:03.520: both programs were out and so instead of I turned my you know the old command s or yeah command s
00:03.520: Yeah, it really is.
00:03.520: At least I say that.
00:03.520: Yeah, that's awesome.
00:03.520: But when you get how it does work for you, it's mind-altering.
00:03.520: But I think the interesting thing for me, I mean, I have Premiere on my computer and I've used it
00:03.520: Then they go into After Effects and they do all the cool helmet stuff to it, you know?
00:03.520: There's a great shot breakdown of this helmet effect.
00:03.520: So but I do I don't I feel like I'm bagging on Final Cut 10.
00:03.520: You can do and I d and I do do a whole lot of you know, finishing effects in Final Cut X.
00:03.520: All right.
00:03.600: That's the thing that kills me.
00:03.600: I've been doing them my small one minute, two minute videos that I didn't have to I did wasn't really worried about it it ha found Cut 10 handling that.
00:03.600: Yeah, I think that's a really good tip for people because they don't
00:03.600: We're going to go into detail here.
00:03.600: Yep.
00:03.600: I mean, I deal with things a little bit differently, but.
00:03.600: I don't know.
00:03.600: Yeah.
00:03.600: So here, so what I did is I created the animation in Cinema 4D.
00:03.600: And I want to again say thank you for the comments on the on
00:03.600: I mean, it's not anything crazy complex, but it works for me.
00:03.680: It's weird, isn't it?
00:03.680: GH1 sounds like Panasonic, but I don't really know the camera stuff.
00:03.680: Or do you just say, Yep, I have this many days to put into this project, and I'm going to do everything I can?
00:03.680: I u they're usually graphics within shot footage.
00:03.680: And I just I tried to you know, I don't think I've ever priced two projects really the exact w same way because I just kind of feel
00:03.680: I mean, I could kind of go back to my old projects and pull my string out timelines and stuff and kind of see where my good footage was.
00:03.680: You just locate it, and it'll say, oh, I found your original file.
00:03.680: I don't know which version it was that I liked or whatever.
00:03.680: And then I can slip in a different shot, slip in a different shot, slip in a different shot.
00:03.760: Hopefully, this episode will sound better.
00:03.760: And so I don't mean to discount that, but absolutely.
00:03.760: This is going to get out of my way.
00:03.760: I go, Hey, Stu, does this mean we might see Colorista on Final Cut 10?
00:03.840: Doing quite well?
00:03.840: And I actually graduated from there.
00:03.840: I use it all the time because it's a good tool for the kind of simple things that I do.
00:03.840: I'd love to talk a little bit about your motion graphics work, which, by the way, I love the shot breakdown stuff you do on your website.
00:03.840: I mean, yes, it's probably not as simple as right-clicking and say, open it After Effects, but I'm not going to use dynamic linking anyways.
00:03.840: Yeah.
00:03.840: So I didn't have all the footage to put in the card and After Effects.
00:03.840: So I use Cinema 4D as just a transition application, basically.
00:03.920: The opportunity uh came up where they could put a video on the Jumbotron before they uh
00:03.920: Ellen, do that cool thing you do.
00:03.920: Do I want a version the After Effects project?
00:03.920: I I mean I hate finishing color stuff in After Effects.
00:03.920: They're trying to get to you know, get to Omaha to the big tournament.
00:03.920: Absolutely custom.
00:04.000: Absolutely.
00:04.000: I got news for you.
00:04.000: And so I've gotten some videos that have gotten, you know, made the crowd go crazy.
00:04.000: Yeah.
00:04.000: Good.
00:04.000: I think that possibly some of those issues is part of the reason why it became open source.
00:04.000: But in Final Cut 10 would be would be fantastic.
00:04.080: I mean, they're not going to boo.
00:04.080: And you know, there are a few, if you do have a lot of it to do.
00:04.080: You know, people are much more uh cost conscious.
00:04.080: And that's probably the best ways to get to me.
00:04.080: There you go.
00:04.080: But there are a few of us and that's wonderful.
00:04.160: Big After Effects.
00:04.160: And I edited projects for you know, I started with the band pro video that I do for them.
00:04.160: And if I want to go back, I just relink again.
00:04.160: I think that's something that a lot of people don't realize when they watch a demo of a premiere After Effects workflow
00:04.240: com, B-R-A-Z-Z-E-L-L video, two, Z's two L's.
00:04.240: I don't like eyes being on me.
00:04.240: It worried you, but you didn't necessarily have to.
00:04.240: The magnetic timeline, if you get it, it really is amazing.
00:04.240: And I think that what's really interesting is that a lot of times people, when you ask them why they do something a certain way,
00:04.240: No, I mean, there's clearly ways to do it.
00:04.320: People hire me.
00:04.320: You know, like let's say, for example, you know, I want to be a great cinematographer.
00:04.320: It's like there's so many layers.
00:04.320: Making a new version of it means I'm going to have to bring it into my time line.
00:04.320: I've had issues getting it to work for me.
00:04.320: I don't ha I don't have a big thing against it.
00:04.320: I did their intro video for their Jumbotron um and I had finished with a Cinema 4D animation
00:04.320: So that's it for this episode.
00:04.400: I mean, I'm sure as my life goes on, I'll have other great moments of my career.
00:04.400: And so, and I just like, well, I might as well jump on board and start doing whatever I can in it and start learning.
00:04.400: Yeah, and that's and that's what, you know, I like that a lot just because it.
00:04.400: Okay, so like, do I need to make a new version of this file?
00:04.400: Because there are not many projects, but a couple of times with when a project is very graphics heavy.
00:04.400: And I really wish that there was a way that I could email people back and say thank you personally.
00:04.480: Yeah.
00:04.480: When I realized I could put music in there and cut the video to lock to the music, I'm like
00:04.480: So, you know, one thing that I deal with a lot, and it's kind of a
00:04.480: They have the dynamic link into After Effects, but then they actually render it out at After Effects and bring it in, and then they'll make those previous two layers inactive.
00:04.480: And I haven't reconnected with that app in a while.
00:04.480: And that's what I love the motion for is for lower thirds, for custom titles.
00:04.560: It's a very interesting business model because he does a combination of
00:04.560: Like, it just, I mean, it's grown to be able to fit a lot more workflows, obviously.
00:04.560: And I just have it there.
00:04.560: 1, from what I've read, is the ability for people to create custom UIs for plugins with the new FX plug.
00:04.640: Absolutely.
00:04.640: Especially and I don't and I and the reason I don't I don't really do a lot of
00:04.640: I don't know which version it was at by that point, but uh it always looked the same.
00:04.640: Yeah.
00:04.640: I just I there's some sort of a memory leak.
00:04.640: But the fact that I have figured out that there is a way, it's a little bit
00:04.720: No, it's not a problem.
00:04.720: I think it's Gary Marshall who famously said that when he chooses an editor for one of his films, the first thing he wants to know is what kind of food they eat.
00:04.720: I actually get paid to do this.
00:04.720: Did you ever see any of the behind the scenes video of Devin Supertramp run uh working?
00:04.720: Now some of my consistent clients, we've gotten pretty good at shorthand, and we deal more with
00:04.720: But um, but but I will concur that
00:04.800: He's got his job.
00:04.800: That's some of his revenue.
00:04.800: So take this with a grain of salt.
00:04.800: It's cool graphics for my Auburn video.
00:04.800: How do they get in touch with you?
00:04.880: He's in the Bay Area here, and I've worked with the guy for like 15 years.
00:04.880: They know they can work with me, and so it's an one less unknown.
00:04.880: Yeah, I mean, they're there.
00:04.880: Well, when I render something out of After Effects, the first, whatever the comp name is, I leave set, and then I do an underscore.
00:04.880: I love that, isn't that great?
00:04.880: Again, go to Alan's website.
00:04.880: And the color board itself, the color section, it does everything that the old system used to do.
00:04.960: So, Alan, what kind of work do you do?
00:04.960: Yeah, the Milla Mini D V Standard F camera, and it was light and it could I could you know, you could hold that thing for a couple of minutes with the handheld, but the moment I got up to H D and my cameras
00:04.960: And I turned that I turned a I made a keystroke to get importing to XML out.
00:04.960: And then my footage and archive drives are set up.
00:04.960: And I also wanna I just love learning new new stuff and I just that's that's what I'm on my lit my next list of things to learn just because it's another, you know, skill to have is to work in
00:05.040: I'll travel wherever and just give people the best product I can give.
00:05.040: I mean, I and I get it.
00:05.040: But, you know, you got to see your work with 87,000
00:05.040: Just look him up on YouTube.
00:05.040: I don't know why it took me forever to realize you could do that.
00:05.040: I used to do it with old Final Cut VII projects, but I don't do it with library files now.
00:05.040: You see, you can use After Effects and Final Cut 10.
00:05.120: I think my headphones need to be louder.
00:05.120: Uh but for the most part between that I'm
00:05.120: Because I really don't find that Final Cut 10 ever is lacking enough for me to want to go anywhere else at the moment.
00:05.200: Yeah, well, I mean, I mean, I'm from
00:05.200: Uh, you don't mind saying Auburn University, right?
00:05.200: 1 is out, I've been using it in not prime time.
00:05.200: And so I kind of use them as literally secondary storylines.
00:05.200: Yeah, let's talk about that.
00:05.200: Right.
00:05.200: But I'm like, if I'm trying to color correct a piece of footage, I don't need your UI on top of it.
00:05.200: And certainly, a few years ago, that's exactly what would have happened.
00:05.280: And I mean, I'm not going to claim to be a perfect perfectionist at at it, but I you know I'm I've gotten very proficient and I
00:05.280: Uh seeing how you know if you put b-roll connected to a a certain section of
00:05.280: If you're just doing connected clips all the way down, you get those little frames that sneak in that go to nothing.
00:05.280: But when you are dealing with the VO, it's there also, leaving the spaces.
00:05.280: Unfortunately, and amazingly so, the most popular answer is, well, that's the way I've always done it.
00:05.280: Yeah.
00:05.280: Niche.
00:05.280: I want them to feel.
00:05.280: And at that point, it's just in my psychological best interest just not to deal with the stress to spend the time and create this once.
00:05.280: You mentioned some of your folders and whatnot.
00:05.360: I'm one of those band geeks.
00:05.360: Yeah, and me too.
00:05.360: And so basically, I'll talk to them about what they want, and we'll discuss.
00:05.360: I usually find it easier.
00:05.360: But I've also been somewhat impressed with Resolve's.
00:05.440: I don't know how much space is on this stuff, but I have a 16 terabyte
00:05.440: And I've actually
00:05.440: What if it didn't have to be, you know, um
00:05.520: It's like, oh, yeah, that looks nice.
00:05.520: Right.
00:05.520: I currently do hard drives.
00:05.520: Let's get back to the After Effects thing.
00:05.520: So I wanted to, I mean, I know I don't want to don't want to
00:05.600: It's like one or the other.
00:05.600: That's kind of how I saw it.
00:05.600: While you were talking there, I was just looking at the Natris plugin.
00:05.600: You don't have to have any actual files in it, but just the folder structure that you work with?
00:05.680: I love working with them and look forward to continuing with that.
00:05.680: I think I was on 5.
00:05.680: I've used it for, you know, two and a half years.
00:05.680: It also helps me in projects to kind of
00:05.680: And the same is true for my project archives.
00:05.680: Right.
00:05.680: But I really want a fully customizable curves, like where you can set your own points and move them around.
00:05.760: And now, let's go to Alan Brazzel.
00:05.760: My actually what really kick-started my career here
00:05.760: That I had that XML there that I could basically open that in X to 7 and hopefully recover.
00:05.760: Can you think of something else?
00:05.760: I haven't hit that very much.
00:05.760: Perfect.
00:05.840: I'm on the field filming at the time.
00:05.840: Um and so it was it was a good
00:05.840: And I just kind of was like, well, I'm going to be using this someday.
00:05.920: You'll hear all about that.
00:05.920: It's kind of interesting hearing your voice talk directly to me as compared to just out into the ether.
00:05.920: Yeah, and yeah, for me it comes down to, you know, these people actually uh
00:05.920: And by the time I graduated, I was working for
00:05.920: No problem.
00:05.920: It's a great After Effects script.
00:05.920: And for me, I guess I'm doing this a similar thing.
00:06.000: I went back in my archives and I saw my projects.
00:06.000: Like I that's like that's kind of my you know, and so and so for me it's you know and so when people are like, oh well the workflow for Final Cut 10 is
00:06.000: That's something that a lot of people go, oh, well, I don't have Dynamic Link.
00:06.080: So it's that kind of my life is kind of just organically grown.
00:06.080: You know, it's just that that's kind of not in the atmosphere.
00:06.160: Oh, absolutely.
00:06.160: I can't read it.
00:06.160: I know I'm not, but I don't want them to feel
00:06.160: Thanks for listening, and we will be back later in the week for a Friday episode of the Final Cut Grill.
00:06.240: I hope that you enjoyed that conversation.
00:06.240: And if we don't at least agree on that, it's going to be a rough
00:06.240: Yeah, yeah, j yeah.
00:06.240: And I'd been editing my small
00:06.240: So we're dealing with a little bit of, you know, in, out, got to put this new one, you know, here comes the new version.
00:06.240: And when as I render out new versions, I do just tack on a new version number.
00:06.240: I think it as a designer
00:06.240: Well, this has always worked.
00:06.240: Whatever.
00:06.240: The good ones are always complicated.
00:06.320: It's weird.
00:06.320: You know, we we are chosen because
00:06.320: I think a lot of times we look at
00:06.320: I mean, I started using it right at the end of college.
00:06.320: Final Cut 7.
00:06.320: That makes sense.
00:06.320: It's quicker to get in and out of those projects.
00:06.320: At the beginning of the day, I open up my folder where I keep my project file and I select it and I duplicate it.
00:06.320: So they helmet that thing up, and then what they'll do is they'll actually render it.
00:06.320: Most of them offer you another point between
00:06.320: And I if if if I'm trying they're they're trying to get o get around the fact that they can't actually
00:06.400: And I did your camera out.
00:06.400: He also has a lot of sponsors that sponsor the videos and put product placement in it.
00:06.400: I'm not going to disagree, because that first edit.
00:06.400: And I'm like, and then you just select the other one.
00:06.400: Um I I I keep my I don't have to go in the finder at all to ever move any files around or do anything.
00:06.400: They'll start with a clip and a timeline in Premiere.
00:06.400: And
00:06.400: And After Effects is, I believe, more designed for compositing work than motion.
00:06.400: Yeah, absolutely.
00:06.480: And then and unless you're gonna pull a Joe Pescian off the guy.
00:06.480: But they were saying, like, wow, there's nothing like watching
00:06.480: But they're great.
00:06.480: I I'm not I
00:06.480: One is in the summer and one is in the late fall.
00:06.480: And so I basically built a road
00:06.480: And I just used the render from After Effects with an alpha channel.
00:06.560: I know that they were very different than we've done in the past.
00:06.560: Today we're going to talk a little bit about motion graphics.
00:06.560: And it dawned on me, I don't even think we were using the one mic that I said we were using.
00:06.560: On your website, you know, you do a lot of motion graphics.
00:06.560: And that way when you make the duplicate, you know you're making copies of any pre-comps and all that stuff, so you're not going to mess up something later down the line.
00:06.560: Wouldn't we ultimately be better off if we just
00:06.560: Um, well, they can go to my uh my website.
00:06.640: Exactly.
00:06.640: And so you get this, you get this.
00:06.640: Not that they're saying that, but that's what the shot says.
00:06.640: And then what I'm creating the version numbers in the render queue.
00:06.640: I think third parties have shown they're more than willing to create great
00:06.640: So speaking of finishing, do you tend to do your final
00:06.640: It's just, it scares me.
00:06.720: And so at least the
00:06.720: Yeah.
00:06.720: And I just I mean, it just
00:06.800: Absolutely.
00:06.800: You never actually tried to do the whole thing.
00:06.800: But when I saw them
00:06.800: You know, oh, this sucks.
00:06.800: Currently, I have a.
00:06.800: So it's my most recent two terabytes worth of footage that I've filmed.
00:06.800: It's like, really?
00:06.800: Sorry, world.
00:06.800: Thank you so much.
00:06.800: No, and I think that.
00:06.880: Yeah, and I guess for me, like especially with the After Effects stuff, I find having multiple copies of a
00:06.960: But on occasion, I would like to do that, and I hope you enjoyed that.
00:06.960: We're like, you know, these
00:06.960: Yeah, and I think I think it's uh
00:06.960: Well, yeah, and it's one of those things, find a cut ten, you know, I it's designed
00:06.960: Um, well, I I do.
00:06.960: Okay, yeah, I mean, I do the same thing.
00:07.040: Anyway, enough of that.
00:07.040: It's like, hey, even his answering machine is hi, this is Gary Williams on tape.
00:07.040: And so it's taken a while for me to get the contacts out and about.
00:07.040: And clearly at that
00:07.040: I'm a video guy.
00:07.040: And I think that I can't imagine that it's not.
00:07.040: I don't know what it is.
00:07.040: Then I clear off the footage the footage space on my
00:07.040: Because I know they have the dynamic leaking and it's all nice and stuff, but my graphics
00:07.120: Not that I'm a booming VO guy, but I know the feeling.
00:07.120: So you just mentioned your After Effects files.
00:07.120: And so, in doing that,
00:07.120: I feel the same way.
00:07.120: Mid.
00:07.120: But in today's day and age, there's really not a lot of room for those sort of
00:07.200: Yeah, you know, there's not many of the people that I've spoken with that have used it.
00:07.280: There we go.
00:07.280: I mean, just that little thing is, yeah, I mean, I love those shot breakdowns.
00:07.280: They weren't going to it.
00:07.280: Well, but see, because usually for me, a lot of the updates I've been doing haven't been for them.
00:07.280: I'm really missing
00:07.280: I know very well.
00:07.360: What'd you play?
00:07.360: Right.
00:07.360: Oh, that's, oh, oh, yeah, that's really cool.
00:07.360: And I found that's just for me and the clients that I have, it's easier to
00:07.360: We need to add this much for this.
00:07.360: So, yeah, and that was true even in the
00:07.440: I love supporting them as an alum.
00:07.440: He does all these extreme sports things.
00:07.440: 1.
00:07.440: Although
00:07.440: Yeah, and and and they and they and the quality of the video is what they're paying for, you know, and that's why you know
00:07.520: But even when people like hire me and like, I was just in Hawaii doing this thing, I'm like, really?
00:07.520: Yeah, I like what you say about organically grown, and I think that's something that
00:07.520: I like to be behind somebody.
00:07.520: And
00:07.520: There's been a couple.
00:07.520: Um, well, the the uh
00:07.520: So far I haven't gotten hit big with this.
00:07.520: I take that file then.
00:07.520: I laid the After Effects render as the background of the motion project, but then put a drop zone.
00:07.600: When I understood that was the concept.
00:07.600: Uh I always assumed you had to put a video track in because I'm
00:07.600: And then
00:07.600: But I I usually just keep one active
00:07.600: I had it.
00:07.600: Yeah.
00:07.600: Because if they come back and say, Oh, we want that last shot changed
00:07.600: Alan, we should wrap this up.
00:07.680: So I I'll actually 'cause I 'cause for me personally, I get to record the crowd reaction and I that's what I remember from it 'cause
00:07.680: Cool.
00:07.680: Uh I s my very first okay.
00:07.680: Okay, so now let me.
00:07.680: Your after fix projects aren't very complicated then.
00:07.680: I using Cinema 4D, I exported the camera data out of After Effects.
00:07.680: Exactly.
00:07.760: Basically
00:07.760: You helmet that shot up, don't you?
00:07.760: Yeah, and also, and I'm not sure right now, those plugins, all the custom
00:07.760: And then that would completely
00:07.760: And then it dawned on me, they used Final Cut 10 there.
00:07.760: They all wanted to look the same and have that tag.
00:07.840: Oh, no, no, I mean, I don't I don't mind.
00:07.840: Oh, yeah.
00:07.840: They're filled with energy.
00:07.840: And there's a time and a place for that stuff.
00:07.840: But I overheard somebody say that Stu Mashowitz had about six months ago said.
00:07.840: All right, fantastic.
00:07.840: Thanks again for all the
00:07.920: Uh they hire me out a lot, both the athletic side
00:07.920: Well
00:07.920: And so it's
00:07.920: They hire me and they and they and they you know, I might be more expensive than some other local guys, but they know they're gonna get
00:07.920: It's like.
00:07.920: Yeah.
00:07.920: If I only do one video
00:08.000: Hey, so, um.
00:08.000: Yeah, it w it it's it's the it's the precursors to the XH uh series, whatever it is.
00:08.000: Right.
00:08.000: Like that's the thing.
00:08.000: Oh, absolutely.
00:08.080: And it just it's the summer edit has been so much easier since Final Cut 10 for that purpose.
00:08.080: Why can't I do that in my timeline?
00:08.160: It's like when you're showing something you made to your family.
00:08.160: You say, no, I want this for you.
00:08.240: You know, it's interesting.
00:08.240: It's here to hide behind the camera, isn't it?
00:08.240: It's so funny that so many people thought that that would be like the solution.
00:08.240: Two and a half years.
00:08.240: Yeah.
00:08.320: I can't remember off the top of my head.
00:08.320: Yeah.
00:08.320: So it seems like at this point, you don't have the
00:08.320: But then I was able to create a
00:08.320: And I think this is sort of an ideological mindset that you look at when you look at
00:08.320: They they have a purpose.
00:08.400: So one of the things that I wanted to talk to you about, Alan, is you are
00:08.400: Yeah.
00:08.400: And if it's a series of shots that go with that.
00:08.400: Okay.
00:08.400: I was getting errors in After Effect.
00:08.400: It's just I don't I know people who do it.
00:08.400: I didn't do any animation actually in Cinema 4D.
00:08.400: And again, this is sort of like an ideological way of looking at
00:08.480: We're making a video.
00:08.480: Well, you know, that one thing you tried to do there, I I will admit it's not it's not
00:08.480: Now it's a little bit like an auto-save thing, but it's
00:08.480: I just do it within the project.
00:08.480: Yeah, and a lot of people will even tell you when you twist their arm a little, what they'll say is they'll say
00:08.480: Okay?
00:08.480: And then because that's a new term now, I'm going to helmet stuff this.
00:08.480: And I'll say, you know, it's a bummer if there's a whole lot of it to do.
00:08.480: I'm totally impressed with the type of people
00:08.480: And it's like, but the fact that I can do it that way is just a huge
00:08.560: I actually.
00:08.640: I found Alan online and on Twitter, probably like all the other guests.
00:08.640: But all of a sudden, you have all this extra crap in your timeline.
00:08.640: Yeah.
00:08.640: Uh, it's braszlevidio dot com.
00:08.640: Thanks for having me on.
00:08.720: Isn't it a ghast to see your work on a big giant screen with a huge audience?
00:08.720: Um yeah, I think that was seven.
00:08.720: And so it kind of ran past the words: the road to Omaha starts here, and then it ended on the plate.
00:08.720: You can actually export all your camera data to motion.
00:08.720: And you'll, and you'll be back just because of that.
00:08.720: I've done this a couple of times in the past, and I think that your workflow warrants this.
00:08.720: This has gone on a while.
00:08.800: And then I don't know at what point
00:08.800: And it's, you know, it's probably eighty percent VO, twenty percent on camera.
00:08.800: I guess I.
00:08.800: And then you watch people work.
00:08.800: Their UI is very.
00:08.800: And I used grass on either side to create like a baseball-centered road.
00:08.880: By the time I was doing professional work
00:08.880: I mean, it takes a little bit of finesse and a little bit of knowledge of how to do
00:08.960: Hello, can you hear me?
00:08.960: I started with just the handheld back when I was shooting with a Cannon
00:08.960: It may have worked.
00:09.040: I will totally concur with that.
00:09.040: I do find their finishing stuff, especially when you can
00:09.120: Or I think.
00:09.120: What's the audio equivalent of rolling your eyes?
00:09.120: And seeing as both you and I have chosen the After Effects Final Cut ten,
00:09.120: I just go
00:09.200: Yeah, it's Auburn University here in
00:09.200: And they see it seems to work pretty well.
00:09.200: And so, you know.
00:09.200: I usually end up um
00:09.200: How can I possibly get my stuff into After Effects?
00:09.200: You know, and they've done it great.
00:09.280: I mean, it's all good, and I do love that stuff, and I need to do more.
00:09.280: It's the same way of doing it.
00:09.280: I don't have to look around.
00:09.360: You don't know that.
00:09.360: Since I'm not putting them in the primary storyline, I have those there to kind of.
00:09.360: A lot of times, as an editor or an effects editor, we'll say
00:09.360: I'd never come back to 10.
00:09.360: Um and uh
00:09.440: And then they grab their skateboards out of the trunk and they take off or whatever.
00:09.440: And then I just always let them know and we keep communication open.
00:09.440: And I need those curves to
00:09.440: Natris has a Curves plugin, but I think you're right.
00:09.440: Otherwise, I I tend to get lost.
00:09.520: I know first time I started doing interviews for podcasts, it was like
00:09.520: I've had some that have not.
00:09.520: He has.
00:09.520: And so I would just export XML
00:09.600: Yeah.
00:09.600: They need a video for some reason.
00:09.680: And I learned that just over time.
00:09.680: I do.
00:09.680: But yeah, no, a few people have.
00:09.680: That's interesting.
00:09.680: No problem, Alan.
00:09.760: Yeah.
00:09.760: I just read on Twitter, somebody was quoting
00:09.760: I need to see my image.
00:09.760: Exactly.
00:09.920: And so it's so great to be in a moment where there's probably about.
00:09.920: And I found that it was a lot easier to point people to
00:10.000: I got one
00:10.000: 1.
00:10.080: Good morning, Alan.
00:10.080: But you also like it when they support you.
00:10.080: And then all the B roll goes up above.
00:10.080: Why do I have to go to your time line to do it?
00:10.160: No, it may have worked.
00:10.160: I think that a lot of software developers get overwhelmed when.
00:10.160: The graphics I've made in motion, they've been okay, but I don't feel
00:10.240: And I have I don't know if you mentioned it.
00:10.240: What was that for?
00:10.240: Do you do tape backup, hard drives?
00:10.240: I helmet lots of shots.
00:10.320: I wish I
00:10.320: So
00:10.320: I really appreciate you sharing.
00:10.400: You know, I love seeing those things because it's.
00:10.400: Really?
00:10.400: 2 any day now, probably by NAB next week.
00:10.400: That might be what it's called.
00:10.400: There's just a couple more advanced features that I that I'm
00:10.400: You've been grilled.
00:10.480: No, it was clunky.
00:10.480: That's br z z e l video dot com.
00:10.560: Okay.
00:10.640: I think.
00:10.640: And I keep all those past versions just in case
00:10.640: I might go over to finish.
00:10.640: Um
00:10.720: I make two copies and then
00:10.800: And I did that video.
00:10.800: I copy the comp and
00:10.880: Yeah, I hear you.
00:10.880: So, why?
00:10.960: So I kind of just break down my graphics because I usually don't do
00:10.960: I get crazy
00:10.960: I've done that.
00:11.040: But nothing, well, I'm not going to say they might boo, but.
00:11.040: So I usually
00:11.120: Yeah, I um I mean
00:11.120: Yeah, I don't know what it is, and it's been pretty consistent 'cause we have it on
00:11.200: And I'm.
00:11.280: But it's it's interesting that so many people
00:11.280: What do you do to do that?
00:11.280: I mean, practically, just in a very different
00:11.360: I think we were using the mic off the laptop.
00:11.360: And it's a way to gauge your work, isn't it?
00:11.360: It may have been six, but yeah, six and seven were almost identical.
00:11.360: What were some of those things that you can remember?
00:11.440: I mean, there were
00:11.520: Because that's what I'm doing right now.
00:11.520: And then I rendered out the file the final file out of After Effects.
00:11.600: They've been things I have wanted changed.
00:11.600: So I'm, you know, I look forward to
00:11.600: I've done that a lot.
00:11.760: It's on my business cards.
00:11.840: Great.
00:11.840: And we're and the more we the more they're happy with
00:11.920: I mean, and the cool thing, I mean.
00:11.920: Yeah.
00:11.920: It just
00:12.080: And I just I'd rather have my
00:12.080: I'm hoping
00:12.160: It only adds
00:12.240: I mean, I have I have uh
00:12.240: And how are you doing it?
00:12.320: But that's a
00:12.400: The most current one could easily be
00:12.480: But.
00:12.480: And
00:12.560: If people want to
00:12.640: What are you doing?
00:12.800: And I would love to have
00:12.880: Later, later.
00:12.960: Aren't you clever?
00:13.200: So.
00:13.200: I think you told me.
00:13.520: Right.