Episode 34
FCG034 - Like a Little Child (feat. Chris Hocking)
Three weeks in the making, it took forever for Chris Hocking and I to find a sliver of time where we could chat. Chris is a Co-Founder at LateNite and he and I go in to great depths discussing his first edit in FCPX and what he liked and didn’t like about the software. We also spend a bit of time near the end going over some things Chris would like to see changed. Unreliable undo function. Move timeline and playhead to the Undo location.
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00:00.001: So we had to turn around a twenty minute sort of documentary within I think we had about a week, and then a whole lot of other little deliverables.
00:00.001: We're going to be at the Post Perspective booth on Monday and Tuesday afternoons.
00:00.080: Final Cut ten is so instinctive.
00:00.160: This is episode 034 with Chris Hawking.
00:00.160: And I'm like, wow, what I thought it was a typo.
00:00.160: did it you know, he's gonna tell us about uh the first couple of projects that that he's worked on and then the the uh um
00:00.160: for money and then lots of um short films, music videos and some more of that creative stuff for um for our own enjoyment, I guess.
00:00.160: the butchery and refinery sort of doing sort of high end commercials, the occasional feature film and then all the other stuff that all those sort of boutique production companies sort of do.
00:00.160: So the butchery was more of the offline and the refinery was more of a online finishing?
00:00.160: was just getting over the Mavericks and updating everything else, making sure that all worked.
00:00.160: We basically sent someone overseas, a camera operator overseas, to film a whole lot of interviews and beautiful footage.
00:00.160: didn't absolutely but um final cut 10 just yeah just really i was really impressed um and i'm just so glad that it all sort of worked as advertised when um
00:00.160: So all our sort of corporate and sort of advertising work, that was all Final Cut seven.
00:00.160: Like, there's some really good stuff in there.
00:00.160: So they're spending a lot of time making sure that projects can, like you can bring seriously big projects into Adobe, Premiere, and it won't.
00:00.160: prescribed recommended workflows.
00:00.160: he would have to basically, you know, go through his footage again when he was doing their summer recap video.
00:00.160: and sort of cutting to that and then going actually that makes no sense at all and then moving things down and so different parts
00:00.160: to actually sort of group things I like together.
00:00.160: and most importantly, just be able to find it.
00:00.160: since ten point one came out, it hasn't crashed once on any of our machines.
00:00.160: Oh, I also want to say, coming up this weekend is NAB.
00:00.160: For our friend Dave Dugdale.
00:00.240: organizing, finding and coordinating with guests.
00:00.240: Long story short, we finally Chris and I finally hooked up the other night, and it was like a last-minute thing.
00:00.240: It's just it's very difficult for us in California.
00:00.240: Yeah, they're very, very confusing.
00:00.240: Yeah, my sister Jackie's one of the founders of the company as well.
00:00.240: From the ages of 15 to 35, it's exciting and new and looks like something that you can make a career out of.
00:00.240: My first sort of serious editing was on Final Cut Express when that came out.
00:00.240: So, I mean, eight editors, seven, eight editors, that's uh they're they're got to be busy to keep those people working, yeah?
00:00.240: Wow, that's cool.
00:00.240: You definitely joined the jumped in the river at the right place.
00:00.240: So we just sort of had to go for it and just try and make it work.
00:00.240: Yeah, absolutely.
00:00.240: when we did it just because of the tight turnaround and the sheer quantity of footage.
00:00.240: going through and making selects and yeah, everyone yeah loves the scrubbing feature, which is surprising 'cause I hated it in Premiere.
00:00.240: Premiere is it's basically for good and for bad, it's basically Final Cut eight.
00:00.240: It's basically the same app.
00:00.240: I don't like the business model of the Creative Cloud, but I don't really have they haven't really given me a choice to deal with that.
00:00.240: And I know this goes against what a lot of people say.
00:00.240: Sorry, I haven't used Final CardX for a couple of days, so my forgotten all the terminology.
00:00.240: a mixture of skimming through and just JKLing and putting in and out points.
00:00.240: the actual cutting process was a lot easier because I just had it so organized.
00:00.240: Especially if you're revisiting projects or different themes in projects.
00:00.240: maybe there's like a specific note saying, yeah, don't love the sunset sunset shot or something, you can easily just go back to your keyword collections and go, all right, let's just pick a different sunset.
00:00.240: Yeah, I never saw who was actually for the first couple of days, we didn't have any of the transcriptions done yet.
00:00.240: And they did this on camera or off camera into another microphone?
00:00.240: in Final Kart 10 and sort of just put text over the top and can I ask what languages you were doing?
00:00.240: Yeah, you know, we have a workflow that we do and I don't even know where our producer found this service, but th so we've done um, you know, like Portuguese and uh Spanish and German, French
00:00.240: So but they do it in a spreadsheet.
00:00.240: Oh yeah, I made a lot of judgment calls on what I thought was the end of a sentence.
00:00.240: How did you feel about the timeline and the magnetic timeline?
00:00.240: you know, a sound bite and maybe on that sound bite would be, I don't know, four, six, eight bits of B-roll.
00:00.240: And I guess I could have probably solved this using not even with compound clips, but basically a lot of the times I'll have like the interview on underneath the subtitles over the top and then the B-roll sort of in the middle.
00:00.240: Yeah, I think that I would agree both with you and Richard.
00:00.240: Yes, we had the first one we needed to do was a twenty minute sort of edit, I think off memory, maybe it was longer.
00:00.240: a tried and true method methodology of making a B-roll string out and then just, you know, lifting the bits that I like out.
00:00.240: I went for the keyword workflow.
00:00.240: keyworded really well and had favorites and stuff.
00:00.240: I saw it.
00:00.240: a project has been cut on when you do have to like go back and revisit things?
00:00.240: you sort of need to, especially as someone who's really interested in technology and the the industry in general, you sort of need to keep tabs on everything.
00:00.240: And I'm definitely not I love Apple and I love Apple's products, but I'm prepared to use everything.
00:00.240: And maybe even take a note from Premier and bring in like an undo history so you can sort of keep track of what you're doing.
00:00.240: So like you've done something and it's like, oh, how did I what did I do to get those audio files to disconnect?
00:00.240: That is, you know what?
00:00.240: And today I was working on a project that got really sluggish.
00:00.240: record your motions as you push the fader up and down as you play through a passage?
00:00.240: a tap on the table that I need to remove.
00:00.240: Or just like a lot of other filters, like Pro Tool filters that I had and just other things on the system.
00:00.240: Right.
00:00.240: In list view and then others I want it in film strip view.
00:00.240: adding ribbons and like it could do so much stuff.
00:00.240: when my WordPress h processor has an audio meter.
00:00.240: And moving on to the A.
00:00.240: Chris, we should wrap this up.
00:00.240: Well, there you have it, another interview.
00:00.240: I greatly appreciate it.
00:00.240: And I'm not going to bother looking it up.
00:00.240: feel free to tweet me, and I may actually extend an invitation to you to do that.
00:00.240: 15 years, and we had a great conversation.
00:00.320: I just thought it was a a typo.
00:00.320: And they are at the point where they're you know they're weighing their options.
00:00.320: The careful, how do I want to say it?
00:00.320: Yeah, yeah, Chris.
00:00.320: Yeah, right.
00:00.320: overseas doing jobs.
00:00.320: That's insane.
00:00.320: and then sort of got a little bit burnt out and decided to go to film school.
00:00.320: He says to me, he goes, So so what kind of stuff do you normally do?
00:00.320: you know what your what your background is in post-production because
00:00.320: Look at it and go, That's crap.
00:00.320: And so we bought an iMac and we bought Final Cut Express, and that's sort of where I got introduced into the world of Apple and the world of sort of editing.
00:00.320: And then when I was at film school, we were all on Final Cut seven.
00:00.320: I just sort of I yeah, I've never actually used a non ten point one version of it.
00:00.320: the 10.
00:00.320: an older operating system.
00:00.320: Okay, so so you you meant I think you mentioned it was a it was a dock.
00:00.320: work out the kinks and then come back to the tribe and say, All right, I found water.
00:00.320: And every time Abid crashed, she'd send me a a message just laughing basically.
00:00.320: our another sort of big documentary project that is one of our own projects.
00:00.320: serious editing yet.
00:00.320: That's interesting.
00:00.320: Yeah, absolutely.
00:00.320: Yeah, I mean, just I guess they're not so much they're not sort of groundbreaking new features, but they're sort of just making the whole platform
00:00.320: start crying and you can move move sequences across between machines without having issues.
00:00.320: You know, kind of like dealing with the TSA in the United States.
00:00.320: Walk me through your ingest and organization process that you went through on your piece.
00:00.320: and actually just duplicated it across for the simple fact that when I was moving across machines, even though it was only like two clicks, you'd basically you'd get the relink problem.
00:00.320: I think some of the some of the keywording stuff, although it immediately helps you, I think you really begin to see some of the strength of it, like over time.
00:00.320: as I am uh typically doing.
00:00.320: the first pass I did, I was just going off those really rough translations.
00:00.320: And then later down the line, after I had a first cut, then we started getting translations in from overseas.
00:00.320: It was a little bit tricky because at the start, so basically the way they did, they did the interview and then after each question they'd
00:00.320: You know, the guy speaking is he's just he's like a construction worker.
00:00.320: And it might be kind of slangy or something.
00:00.320: We've never gone so far as to hire translators in the suite, but sometimes I think we would really benefit from it.
00:00.320: of my time line were different things.
00:00.320: I sort of it sort of changed throughout the whole edit.
00:00.320: what sort of B role look great.
00:00.320: despite what people say, there are many different workflows that you can choose to use.
00:00.320: decisions based on what you can and cannot find.
00:00.320: And we're still using Avid for a lot of the really sort of long form projects.
00:00.320: So being the post-production supervisor, where are you leaning?
00:00.320: to be problematic that you never are you're you're not certain what project or what format or what edit system platform.
00:00.320: and well years even.
00:00.320: it could become an issue when we've got projects on all these different platforms.
00:00.320: It's been too damn reliable.
00:00.320: Yeah, I like that.
00:00.320: dedicated there's dedicated hardware to do that?
00:00.320: So I think it basically they need to work it so that undo like undoes what you last did, regardless of how sort of minor it is.
00:00.320: The edit, but it doesn't undo like when you expand your audio clips or there's certain
00:00.320: User interface things that you'll do that will might change the appearance of the user interface, but it doesn't actually change the edit.
00:00.320: Well, if I had one more chance, I'd probably.
00:00.320: say for instance, some what am I saying, some keyword collections, like I might want it to be listed in
00:00.320: the view alone per keyword.
00:00.320: And he's so versatile in all three platforms that he he just has really insightful comments about ten just because
00:00.320: He knows Premiere and Adobe so well, he can go, Well, Adobe does that.
00:00.320: But it's almost getting I'd love it if Adobe just sort of stopped and just got the stability
00:00.320: We have new code for you to download.
00:00.320: Oh, that's funny.
00:00.320: where he basically said that, you know, when when Apple released Final Cut 10, all of Adobe marketing went
00:00.320: Adobe and Avid is that they're not they're writing it for Mavericks.
00:00.320: No, unfortunately not.
00:00.320: Yeah, so on the late nightfilms.
00:00.320: Quite an exercise he went through to share with us.
00:00.320: So that's it.
00:00.320: We actually I actually sat down with Steve, who is a tried and true, absolute fan of Premiere.
00:00.400: Messages back and forth.
00:00.400: That's crazy.
00:00.400: Yeah, we have all that stuff here.
00:00.400: like corporate sort of googly things in New Zealand, rock concerts, and yeah, all kinds of things.
00:00.400: So you ha you basically had a whole career and then there was some sort of a awakening or whatever and you decided to go to film school.
00:00.400: Douglas Adam quote to me.
00:00.400: uh Premiere, Smoke, stuff like that?
00:00.400: Yeah.
00:00.400: Okay.
00:00.400: In the States, it's probably, I don't know, it might be May by the time where you are.
00:00.400: Dude, put your sword away.
00:00.400: The front of the stadium, so here's stadium exteriors, it's probably in here, you know, and so
00:00.400: But it really helps on our end, and it's amazing and so funny because you'll have, you know, maybe it is Portuguese, but
00:00.400: quickly and easily, it sort of became natural.
00:00.400: The sound bite and the subtitle, but leave the b-roll alone.
00:00.400: Yeah, absolutely.
00:00.400: Did any of the um Final Cut 10 features aid in doing that?
00:00.400: Well, in terms of doing the cut downs and the promotional stuff that went along with the twenty minute piece, or did you just use kind of tried and true techniques that you would have used in any other app?
00:00.400: I was working on a project and I had done an interview last weekend where I was kind of admitting to the fact that regardless of all the powerful tools in Final Cut 10, quite often I still use sort of the
00:00.400: I threw out all my old practices right in the middle of a project, too.
00:00.400: using Final Cut X as our documentary and sort of yes, just anything with like a large amount of rushes and sort of
00:00.400: Now help me out being a non-Avid person.
00:00.400: No, I think it's very good to talk some of this stuff out.
00:00.400: Only Apple can do this.
00:00.400: toy around with the edit system, they can get away with that.
00:00.400: Right.
00:00.400: Cool.
00:00.400: amazing RadioShack adapter kung fu that he had to put together in order to get a signal out through his iPad actually from Australia.
00:00.480: And I think it's been like three weeks we've been like, you know, it's really hard to do this Australia to the US.
00:00.480: Interesting.
00:00.480: which at the time when I joined, it was sort of a small offline only editing house that sort of did high end commercials and the occasional sort of feature film, and they were all avid.
00:00.480: So we had to turn around.
00:00.480: A lot of the people in our company are very creative, so we just use whatever tool to get the job.
00:00.480: Fast and reliable.
00:00.480: And I was I thought I mean, I tweeted earlier today that oh, hey, congratulations, all my friends using Premiere.
00:00.480: A translator would translate it.
00:00.480: Yes, there was probably I don't have the project in front of me, but there was a lot of interviews.
00:00.480: Uh Korean, I think.
00:00.480: the English translation of that cell, and then in the next cell over or somewhere in that row will be the time code.
00:00.480: Yeah, majority of the time I was pretty especially with doing a sort of a documentary sort of style project where
00:00.480: where I was moving large chunks of the story around.
00:00.480: I think most of the time I just sort of went back and sort of started from scratch because I had everything so organized and logged.
00:00.480: And I'm cutting four different pieces this week, and I had already done two of them.
00:00.480: we've pretty much banned Final Cut seven from our office, which has been good just because especially in my days at the butchery, like Final Cut seven just was such a pain in the ass, especially as like
00:00.480: majority I think at when I left, we only had one editor who was still stuck on Final Cut seven.
00:00.480: So yeah, I mean we could yeah, I'm not sure where we what is going to happen with Final Cut X.
00:00.480: Period of time in twenty ten and then also in Final Cut 7.
00:00.480: Yeah.
00:00.480: if we use sort of Final Cut seven as an example, I'll sort of do actual I'll use the Blade tool to make audio edits and I'll do that.
00:00.480: Same thing.
00:00.480: And I use the icon view with the B-roll.
00:00.480: you know, every time there's something new, it's like, yep, they're doing it.
00:00.480: Yes.
00:00.480: Yeah.
00:00.480: this year is that they'll say, all right, now when you drag a Prearis file into After Effects and press play, it plays in real time with audio.
00:00.480: I'm sure like probably like, I don't know, fifty percent of the crap old code in Avid and Premiere is just because they need multi-platform support, support for so many different GPUs and different processes and
00:00.560: Oh, that's a good question.
00:00.560: sorry, loved filmmaking and films in general and going to the movies.
00:00.560: Is just a freak of nature and against the natural order of things.
00:00.560: I knew a lot of stuff about it, but didn't have any sort of first-hand experience doing it.
00:00.560: Um, what was I I'm assuming the other people around the office are looking over your shoulder, kind of sneering and snickering.
00:00.560: But I don't know if you've seen or heard the news, but Adobe is starting to mention features that are coming out in the next in the April update of Premiere.
00:00.560: It seemed like three or four of them were things that Final Cut has been doing.
00:00.560: Markers to things and started putting things into what do we call it?
00:00.560: I don't even know what language it was all shot in Indonesia, but it was a lot of local dialects.
00:00.560: You know, I'll call it like a passage of time where it's a bunch of sound bites and then all the B-roll associated B-roll.
00:00.560: Absolutely.
00:00.560: He runs a website called fcpx.
00:00.560: Trailers, teasers, et cetera, et cetera.
00:00.560: So I sort of did a bit of both.
00:00.560: A lot of the editors we work with like they just use Avid, and that's just the way it is.
00:00.560: just the ability for Final Cut tend to remember window settings and like I love
00:00.560: Yeah.
00:00.560: But everything runs better.
00:00.560: But all the tech people are going, all right, what can it do better?
00:00.560: some of the accessing those hidden debug preferences.
00:00.640: So it's a pretty small group, and I I'm not trying to be too nosy, but I think either your wife or sister is involved.
00:00.640: one of the things that I hear a lot is and frankly, it was your countryman, Chairman Miao, who read the gr this amazing
00:00.640: So with each release, we did tests and we experimented and stuff, but we never really we never cut a job on it.
00:00.640: And so how did that go?
00:00.640: Yeah, absolutely.
00:00.640: Okay.
00:00.640: And I because I sort of instinctively I just linked to the media.
00:00.640: knowing exactly what I wanted because early on I didn't really know what all the deliverables would be.
00:00.640: Okay, let's well then let's do this.
00:00.640: I guess my biggest the biggest problem I had when I was working on the first project was just how unreliable the undo function is.
00:00.640: sluggish voodoo thing going on that I think could use a little uh little attention, right?
00:00.640: if it's something that has a budget or if it's something that we're releasing for theatrical or broadcast, then we'll definitely take it to a third party.
00:00.640: But if it's sort of for web or one of our own projects or something that's a lower budget, then we'll just do it in house.
00:00.640: You might have to deal with a slightly different user interface.
00:00.640: because they don't trust that Apple is interested in making a professional edit system.
00:00.640: We are building tools and trying desperately to make them drop dead simple to use and easy
00:00.640: it just becomes such a beast that they almost have to sort of it sort of comes full circle.
00:00.640: But we're pros.
00:00.720: We do lots of sort of sort of higher end corporates and lower end agency work for
00:00.720: there's probably seven or eight full-time offline editors and the refinery sort of
00:00.720: a big, very important sort of documentary sort of job.
00:00.720: seventy percent of the training was IT stuff.
00:00.720: Yeah.
00:00.720: And I'm always really careful.
00:00.720: does a lot of work for a a a university here in the States, and he was saying that in olden times
00:00.720: Yeah.
00:00.720: What I thought was the end, I'd go, actually, let's move that whole thing to the start.
00:00.720: Clips to connected clips.
00:00.720: And it gives me the ability to glance at all my B roll and see what I haven't used.
00:00.720: Yeah, just as projects pop up, just throwing them in fun, cut 10, and seeing if we can break it.
00:00.720: what's the the name of the software?
00:00.720: 101 because you can select a bunch of them and pull them up and down together.
00:00.720: You know, a lot of people have said that.
00:00.720: You'll just have to find it.
00:00.800: At any rate, what's interesting about Late Night is they are not 100% Final Cut 10 House.
00:00.800: Actually, it turned out much better for me.
00:00.800: I sort of had a bit of a weird start.
00:00.800: You can actually make a living doing that?
00:00.800: And they and if they're below thirty-five, it just seems like, oh, yeah, that's okay.
00:00.800: they really Adobe is one of the best companies for actually listening and actioning things.
00:00.800: more stable, more reliable, and they're really sort of I think Adobe's big push is to compete with Abbott in long form and sort of broadcast.
00:00.800: where it'd be asking you to relink things.
00:00.800: You have to have a really bomb proof way of implementing a feature before you want to implement it.
00:00.800: So I think just the whole undo functionality, undo redo functionality in general needs a bit of love.
00:00.800: like that just doesn't remember things.
00:00.800: like all the foundations are there and this like the the building blocks, the engine behind it's so bloody fantastic.
00:00.880: And then this year, like when ten one came out, that's when I decided I need to actually take it seriously and actually put a job through.
00:00.880: So I'm pretty lucky in that all the people I work with we've got a relationship where they trust me.
00:00.880: But yeah, I think there are updates to Premiere, and I haven't looked at all of them.
00:00.880: couple of days, I was just going through all the rushes and just organizing it.
00:00.880: And it could be a completely different location, but you've just got everything there.
00:00.880: But luckily, I think we got it most of the time.
00:00.880: Maybe I'm completely going crazy.
00:00.880: In other words, a piece of b-roll on top of your sound bite, that you were given the option somehow.
00:00.880: So the little connection bars might go all the way through something that's on, and I'm using giant air quotes here, video track two.
00:00.880: I think they fixed it a bit in ten.
00:00.880: the amount of detail and the amount of complexity in the audio editing.
00:00.880: Yeah, I call that stop and polish.
00:00.880: Stability and ease of use is a feature.
00:00.880: And I guess the other thing is that what's what makes Apple like so more advantageous than um
00:00.880: And all of the Adobe engineers went, oh, crap.
00:00.880: Very cool.
00:00.960: During the live production, we did a couple of crazy jobs where I was just working twenty four, seven for days on end, just sort of got a little bit fed up and sort of needed a change.
00:00.960: Film school standard like fun, to be honest.
00:00.960: So basically, I just sort of I knew all the like because I'd never worked with anything prior to ten point one, I knew all the issues, but
00:00.960: We had a whole lot of other sort of corporate work that we were doing at the same time, and that was all on Premiere.
00:00.960: And one of the features that he's been looking for is the ability to, when you drop in a connected clip
00:00.960: It might go all the way from track three through track two and connect down to the base.
00:00.960: One bit of B-roll to another bit of B-roll.
00:00.960: Yeah, using it for that.
00:00.960: Yes.
00:00.960: I do most of it by adjusting I I'll make a I'll what will I do?
00:00.960: pull or pull the level down or up, whatever I need to do, and then I cross fade to from one level to the other.
00:00.960: the marketing people are just like, yes, yeah, fine cut ten, it's a piece of shit.
00:00.960: A whole bunch of cables, a whole bunch of adapters, and interestingly enough, he had to go through a wireless mic to make it work.
00:01.040: I don't even know, to be honest.
00:01.040: So and at that time, I was the post production supervisor.
00:01.040: 0 and you know I'll be the first to admit when it when it came to training people to use 10 O anything
00:01.040: And he was saying that now that he's been on Final Cut 10 for a couple of years, it's a really simple matter to use those keywords and say, oh, I need
00:01.040: Because it wasn't really a sort of a direct cut down from the long form version to all the other deliverables.
00:01.040: Right.
00:01.040: You might need to say, oh, itunes now with auto song selection or something.
00:01.040: Yeah.
00:01.120: So I sort of spent a number of years.
00:01.120: And yeah, they pretty much jumped in like even when we first sort of set up the project, like I would just go, all right, here's all the media, just watch through it.
00:01.120: Because you can grab that base layer and with it comes all of its you know all of the bits that are parented to it.
00:01.120: Yeah, I mean, there's pros and cons.
00:01.120: Yeah, I mean, I haven't really played with a lot of the built-in filters, but the fact that a lot of my other audio filters came across, or my like my isotope
00:01.200: about maybe four years after I joined, they sort of set up a sister company, a Flame and a Smoke and a Resolve Suite doing sort of the online for commercials.
00:01.200: So how many editors were on the project?
00:01.200: Why did you hit it in Premiere?
00:01.200: you know, make us a uh a transcription, a verbatim transcription, and then in
00:01.200: Mainly doco stuff.
00:01.200: You'd do things, you press undo, it just wouldn't do anything, or it would do a like it would undo something that you didn't think it was going to undo.
00:01.200: it was a good like it's always good when you open up and then you're going through the filters list and you go, oh, they're all the tools that I use every day on other in other apps.
00:01.200: Yeah.
00:01.280: So the theater stuff, was it like was it entertainment based, corporate based?
00:01.280: And have any of the other editors jumped in?
00:01.280: keyword something and then go through and find go through an interview and then assign favorite bits of it.
00:01.280: And I don't know what these transcriptions cost because it's very tedious to go through and do this.
00:01.280: And you need to do these experiments.
00:01.360: Yeah, she gets a lot of her work there.
00:01.360: I would see a lot more of my family and my brothers.
00:01.360: Well, I've always sort of been interested in film production.
00:01.360: And we've got a couple of people in Melbourne.
00:01.360: So so tell me about su well, actually, no, let's go back to your doc.
00:01.360: Or it'll undo something, but it won't actually move to the place it's done the undo, so you have no idea what it's just done.
00:01.360: I'd love like if you've ever used a smoke or a flame, I'd love the ability just to swipe to reveal the inspector rather than pressing a button.
00:01.360: So in Premiere, and I don't know Avid at all, so I can't talk to that.
00:01.360: V.
00:01.360: And is does the company have any sort of a blog where you talk about the stuff you're working on, et cetera?
00:01.440: Oh, how did you do that?
00:01.440: And a lot of stuff, I did have secondary storylines for certain sort of montage things that I'd move around.
00:01.440: And bend their ear a little.
00:01.440: But yeah, just a whole lot of little things.
00:01.440: And it's sort of baby steps, but yeah, they're getting there.
00:01.440: Yeah.
00:01.440: And I I think a lot of that is you know, it's the leaving leaving Adobe Apple QuickTime behind.
00:01.520: So basically, like if we go back, I sort of started my first apart from like messing around with VHS and all that kind of stuff back when I was a kid.
00:01.520: A lot.
00:01.520: And yeah, the keyword shortcuts, which is just awesome.
00:01.520: The subtitle to my base layer, but sort of keep a clip in the middle, if that makes sense?
00:01.520: But yeah, I mean there's yeah, Final Cut 10 has so many amazing things and it's so grey.
00:01.520: I find yeah, the clip mixer, when they brought that into Premiere CC, it's yeah, it's a real it's it made Premiere usable basically.
00:01.520: And I think I I will say ultimately that that is a very common problem with you know in the tech sec sector.
00:01.600: So I had to make the decision to move to Mavericks.
00:01.600: So since that first trial project, have you done other things in it?
00:01.600: And so I can't remember who it was, but the guy like snaps at me, don't go there, Fenwick.
00:01.600: keep the subtitles in sync with the base layer.
00:01.600: But the bottom line is, what we're doing is pretty complicated, and it's going to involve a little work.
00:01.680: So tell me a little bit about Late Night Films.
00:01.680: So how did you first come to start using Final Cut X?
00:01.680: We'll sort of over the next month or so, they'll really get stuck into it.
00:01.680: I showed them where the S key was and then they sort of just started going through and I said, yeah, here's the scrubbing button, here's the favorite button, let's start
00:01.680: And yes, it's been really interesting having chats with them, especially when we told them that we cut a project on Final Cut X.
00:01.680: Then I basically what did I do?
00:01.680: Actually, um, who was it?
00:01.680: Foundation.
00:01.680: And again, I really wish I could email each and every person and say thanks for the stars and the comments.
00:01.760: As do I.
00:01.760: Like, there's no way Abbott can sort of scrap everything and start from scratch.
00:01.760: I mean it's the same old thing with like After Effects.
00:01.760: And then everyone at Autodesk will just crawl up into a hole and just hide away.
00:01.760: Well, Chris, thank you so much.
00:01.760: You can do that.
00:01.760: And we're going to be doing that at the DCC Hospitality Suite at the Vedara.
00:01.760: We will see you at NAB next week.
00:01.840: And it was funny at the time, like we were my sister Jackie was doing a job over in Singapore.
00:01.840: It's fluid to me.
00:01.840: I don't use the little rubber band and the dots.
00:01.840: Do you find yourself using in a actually, when it comes to like final mixing and final audio, do you do that in-house or do you send it out?
00:01.920: Yeah, that you also have to do that.
00:01.920: One of the things that would be like one of the things that it wasn't frustrating, but it would be I'm not even sure how you'd implement it.
00:01.920: it just requires a lot more work, and every time they fix something, it breaks something else.
00:01.920: We've gone quite some time.
00:02.000: And actually, Chris was the first person to introduce me to an Australian slang term called he called it Arvo.
00:02.000: So we only get to see her very rarely throughout the year.
00:02.000: It's definitely made life a lot easier.
00:02.000: I think the most frustrating thing that happens to me in an edit is when a director or a producer is sitting behind you saying, I know we have it.
00:02.080: I think every Australian interview I've done, it's been around midnight.
00:02.080: I don't want to have anything to do with that toy.
00:02.080: So anybody who complains that this show is too Apple fanboy, I just want to go on record that Chris here is telling me he's really not certain where he's going.
00:02.080: filters and everything, like that's the biggest benefit over, say, FileCut seven.
00:02.080: Whereas Apple can just go, all right, we don't care about the past, it's only going to work on Mavericks, it's only going to work on our modern hardware, and it's going to kick ass.
00:02.160: As a matter of fact, I was doing a sporting event many years ago, sitting next to this director behind the big production switcher, and he says
00:02.160: Yeah, absolutely.
00:02.160: It's sort of the whole system, I guess.
00:02.160: I'll keyframe that out.
00:02.240: So there'll be a sentence or a phrase in one cell, and then next to it will be
00:02.240: And I had times where sort of I want to move a section but keep the
00:02.240: Yeah, I'm definitely like I I'm definitely not like I have a real hatred of Final Kart VII.
00:02.240: I don't know what it is.
00:02.320: I'm much happier here.
00:02.320: Or were they very interested?
00:02.320: Like for some things I cut to the music, other things I cut to the interview.
00:02.320: I'd have like time lines just with like lots of different interview bits that I really liked and sort of used other time lines or other projects as they are called
00:02.320: Well, these days I have to get uh Philip Hodgetts on the show and walk through all of the ins and outs of that because it's it's kind of a fascinating story.
00:02.320: I want to say thanks to Chris for being patient and finally finding time.
00:02.400: I don't want to sound snarky like, you know, I don't like Adobe, because I really that's not the case at all.
00:02.400: And I've been trying to find a reason to bag out Final Cut Ten, but I haven't found it yet.
00:02.480: Basically, it said, you know, I'm going to paraphrase quickly: anything that was in the world when you were born just seems like normal and everyday sort of stuff.
00:02.480: Whereas if I had it in a library, it would just work.
00:02.480: And because there was a lot of local dialect as well, there might be a translator translates it into one language and then another translator translates that into English.
00:02.480: And so just having all that organization done right from the start was sort of the biggest time saver.
00:02.480: It will do everything that the old code did.
00:02.480: You know, it's a long trip, we understand.
00:02.480: com backslash blog, we've got there's a pretty big Final Cut X rant on there and
00:02.560: I said, dude, you're in that Silicon Valley.
00:02.560: But I mean, there's no reason why we can't use it for everything else.
00:02.640: Yeah, so she's basically based out of Singapore now.
00:02.640: I started off in sort of live production.
00:02.640: Like I basically hate all of the NLEs equally, I guess.
00:02.640: You're smart people.
00:02.720: And I said, Well, I do, you know, corporate broadcasting.
00:02.720: I keyworded things and it worked fine.
00:02.720: It is not a fun seat to be sitting in.
00:02.800: And then I was trading some um messages back and forth with um um Jason Wingrove and he said something about Arvo and I was like, Okay, this is an Australian thing.
00:02.800: So you did you you actually chose leave in place.
00:02.800: We both were Final Cut 7 editors, and he went to Premiere, and I went to Final Cut 10.
00:02.880: Good grief.
00:02.880: Like initially, I didn't really know what story I was telling, so I was doing a lot of experimenting, throwing
00:02.880: So we're still using at the moment at least, we're still using Premiere for most of our sort of corporate stuff.
00:02.960: The reticent interest from the rest of the editors at Late Night.
00:02.960: So how did we I found you on Twitter as I do many guests.
00:02.960: And the only way you learn is by doing what we did and just jumping on a project and just going, all right, we're going to go all in and see what happens and just deal with the problems as they pop up.
00:03.040: Yeah, I w I've always been disappointed that I didn't fit in better with my family business because
00:03.040: Yeah, it's just really fluid.
00:03.040: I don't know.
00:03.040: I probably would have just caved in and gone with Apple and just put all the media in their library.
00:03.040: Yeah, sort of cut down specific stories, sort of more like thirty second and sixty second sort of edits and that sort of thing.
00:03.040: And audio transitions and mixing, like I don't know how you'll solve that, but I still find it like if I go back to some of my premiere or even Final Cut 7 projects, like
00:03.040: I mean, we would be over the moon happy if that's what you said.
00:03.120: And every time I ran into an issue, I just went on Twitter and just said, How do I do this?
00:03.120: I'm just literally just saying I'm sure you're going to love it because I've had it for two and a half years, and you'll wonder how you got around without it.
00:03.120: Yeah, yeah.
00:03.120: Yeah, exactly.
00:03.200: So if it could remember on sort of a that would be very cool.
00:03.200: I've said it.
00:03.280: I sort of have to grin and bear it.
00:03.280: Everybody sent tends to do it a little different.
00:03.280: Um so you you had everything uh keyworded.
00:03.280: I'm going to agree with you.
00:03.360: Oh, cool.
00:03.360: Yeah, it went great.
00:03.360: Anyway, what they'll do is they will um they will
00:03.360: No, no, no.
00:03.360: I still had I had like multiple time lines of just selects.
00:03.360: I'm sorry, I don't remember.
00:03.360: I'm like, hmm, I'm going to give it a try.
00:03.360: I think the important thing about that is a lot of people look at that as a negative thing.
00:03.440: Or is it or is ISIS just the software?
00:03.440: Like you'll reopen the application and something will just be different.
00:03.440: But all I wanted to do was write a fucking Word document and jump over to pages.
00:03.440: So, thanks again for listening.
00:03.520: And it's just like we have two guys hovering over the screen going, I think that's where the cut is.
00:03.520: That's an interesting one.
00:03.520: And I guess this is the amazing thing about Final Cut 10, and which is why I am so excited about it, is that
00:03.600: So apparently Arvo, A R V O is Australian for afternoon.
00:03.600: Was it long form?
00:03.600: I do a fair amount of foreign language, and I'm curious how you do it.
00:03.600: Now, okay, so the translations, I didn't realize you were getting into that.
00:03.680: At any rate, I'm sure you don't care about all that.
00:03.680: Like as a kid, we used to always make sort of home movies over school holidays and that sort of thing.
00:03.680: And to be honest, like so I basically like I didn't the the biggest change for me was I had to we were still running
00:03.680: It's their s like their big rackmount hard drive server shared storage solution.
00:03.680: This is a fun exercise I've done on a few shows.
00:03.680: Yeah.
00:03.680: How do people find you at Late Night Films?
00:03.760: I don't know.
00:03.760: But yeah, I agree.
00:03.760: If you have two, I'll give you two.
00:03.760: Yeah, and I think there's a lot of things like that, which I'm sure are on the wish list somewhere, where it's just
00:03.760: I think it was Alex Gollner that I talked to.
00:03.840: How long have we been trying to set this up?
00:03.840: Probably only see it like maybe all up, maybe a month out of the year.
00:03.840: And again, let's remind everybody: this is Final Cut Grill, but what were the features, the new Adobe features that you noticed that you can think of?
00:03.840: Yeah, the main thing you're going to have to deal with is a different color user interface.
00:03.840: tv, I believe.
00:03.840: Because as it is, regardless of how high you stack stuff, everything is always associated to the base layer.
00:03.840: Right.
00:03.840: And that would, I totally agree.
00:03.840: We do this for a living.
00:03.920: So let me tell you a little something about making podcasts.
00:03.920: So that must be really fun to work in a family like that.
00:03.920: Um, well, I sort of like everyone else, I followed Final Cut ten when it first came out.
00:03.920: There's been I've I've spoken with a handful of people now that are basically in the same boat as you.
00:03.920: I thought yeah, I was actually really surprised how
00:03.920: I I hear what you're saying.
00:03.920: I might be able to recite the booth number, but I'd probably get it wrong.
00:04.000: But they let me work there one summer and it was a total waste.
00:04.000: You know, it's not for me.
00:04.000: And maybe that's just because I spent a lot of time on a lot of different applications.
00:04.000: And and you know what?
00:04.000: And I mean, it's even Premiere's definitely getting better, but the problem with Premiere is that because it's based and especially with Avid, because it's based on such old code,
00:04.000: Yeah, there's so much pressure to add, add, add.
00:04.000: They'll date and I'm sure they're going to do it one day, maybe even
00:04.000: Like this is yeah, why are they getting such good playback performance when we've got our amazing Mercury playback engine?
00:04.080: Gotcha.
00:04.080: A lot of it was for sort of internal distribution for a bigger project that they're doing later in the year.
00:04.080: We've got a really good relationship and a really close relationship with Adobe.
00:04.080: I basically just started going through the footage and then used the and just started assigning
00:04.080: So the magnetic timeline was fantastic for that because I could just move things really quickly and I'm not destroying anything.
00:04.080: Like I started off putting the like a the music on the primary storyline.
00:04.080: What are some things that you would like to see different in Final Cut 10?
00:04.080: You've probably said it before you started messing around in 10.
00:04.080: So, we're going to be doing that.
00:04.160: You have no idea.
00:04.160: So I sort of it was my job to sort of keep tabs on all the latest technology and sort of follow it along.
00:04.160: Yeah, I think that's basically what I wanted.
00:04.160: And I also want to say next Monday's episode, it's with an old friend of mine, Steve Miller.
00:04.240: There's something quite natural about it in Final Cut 10.
00:04.240: one point one, but we found with big projects, if you've got the inspector open, the system will run a lot slower than with it closed.
00:04.240: And anybody from the office going to NAB next week?
00:04.320: I was I was just doing that one solely.
00:04.320: But I'll use the actual clip as sort of my master gain.
00:04.400: But once it was all installed, it was sort of because it was a job where I had a very tight deadline
00:04.480: Awesome.
00:04.480: What is ISIS?
00:04.560: So, how long have you been in this business?
00:04.560: So most of my pro life in film and T V has been at
00:04.560: And then so that was sort of the most scary part about deciding to use Vinal Cut X.
00:04.560: I think that would be a nice ad.
00:04.560: Why can't Final Cut 10?
00:04.560: I'm leaving on Sunday to get there.
00:04.640: So we started doing that on Final Cut eight Final Cut ten as well.
00:04.640: Yeah, this actually came up in the last interview that I did with Alan Brazil.
00:04.640: So it sort of be cool if I could sort of join the
00:04.720: What do you guys do?
00:04.720: Yeah, yeah.
00:04.800: Right.
00:04.800: Like when we moved from originally, we did everything on Final Cut seven, pretty much apart from long form projects
00:04.800: So it's not like he's got, you know, perfect diction or anything.
00:04.800: And I guess Premiere is sort of the Microsoft Word of NLE.
00:04.880: And it is an absolute miracle that Chris and I finally hooked up to have the conversation.
00:04.880: I know that um uh I don't know if you know who Richard Taylor is.
00:04.880: Yeah, I think when you look back at twenty thirteen and twenty fourteen, you're going to go, oh, what were we doing?
00:04.880: I know that I had a great conversation with Scott Simmons a few months ago.
00:04.960: I always want to thank you for participating in the comment section on the iTunes.
00:04.960: It's in the South Hall upper level.
00:05.040: And Chris, being their post production supervisor, guru, decider guy, he's the one who's kind of out in front, getting the arrows in the back, so to speak.
00:05.040: So we're recording this on Wednesday, April 2nd.
00:05.040: Yeah, absolutely.
00:05.040: I don't know where it is.
00:05.040: And we've been killing it, which is surprising.
00:05.040: Yeah, and that's exactly right.
00:05.120: And yeah, we basically do an edit and then we'd send it off to someone to actually watch and then we'd find out whether we were completely off or not.
00:05.120: That's what we do.
00:05.120: But in Premiere, do you use the little mixer window and tell it to
00:05.200: And so a lot of people look at Final Cut 10
00:05.200: Are they how are they taking to it?
00:05.200: I get it, don't worry.
00:05.200: I'm sort of I'm a very big, avid and especially ISIS defender.
00:05.200: And I gotta say, personally, I've never used the audio mixers.
00:05.200: I find them to be problematic, although I will say they are much better in Final Cut.
00:05.200: Like FineCut just recognizes it and has them all in.
00:05.200: Yeah.
00:05.200: Ah, yes, yes.
00:05.280: And then when I completed film school, I moved into a full time post production role at a company in Melbourne called The Butchery.
00:05.280: Okay, so you've you did the experiment job, the the corporate dock
00:05.360: So I did film school at Swinburne University in Melbourne.
00:05.360: You know, I'm a professional.
00:05.360: Yeah, it was sort of it's sort of a um
00:05.360: And I closed the inspector and I was amazed.
00:05.360: And everyone knows that.
00:05.440: I started off in animatronics and sort of went into sort of more of the concert lighting and sort of live production sort of stuff.
00:05.440: I literally like I'd been keeping tabs on it, Final Card 10 for a while.
00:05.440: And when we decided to move to Premiere, no one really put up a fight.
00:05.440: And the tricky thing with this project is that it was all every interview was sort of in a foreign language, so everything had to be transcribed and
00:05.520: And he looks at me like I was speaking in a different language.
00:05.520: What did you do?
00:05.520: Absolutely.
00:05.520: It's just, yeah, we need to sort of make the move, I guess.
00:05.520: And also just the inspector in general, we had lots of
00:05.520: I've heard some people say that, and I just, I was like, really, really, seriously?
00:05.520: And if you would like to participate or hang out or kind of be a part of that, he's going to actually shoot it and make a thing for his website.
00:05.520: We have limited space, but we might have people come and hang out.
00:05.600: But that is actually a good thing because it means that everybody's watching everybody else and the end result is we get better products.
00:05.600: And then sometimes I'd like
00:05.600: Did you find yourself using the okay, so at no, hold on.
00:05.600: No, I never I never really record it, but I have the clip mixer open, and that's how I adjust audio.
00:05.680: And we just decided, hell, let's just give it a go and see what happens, see what we can break.
00:05.680: Yeah, we've started another.
00:05.680: Gotcha, gotcha, yeah.
00:05.680: And I said, Okay, Alvin, this one's for you.
00:05.680: Yeah, absolutely.
00:05.680: They're they're scratching all my itches, you know.
00:05.680: You can actually call stability a feature, and I'll be excited about it.
00:05.760: Wow.
00:05.760: So all the new library stuff, it all just made sense to me.
00:05.760: You know, and the ten, one upgrade has absolutely opened up the doors
00:05.760: So I don't want to sound snarky about Adobe.
00:05.760: And one of the features that he has he has an ongoing feature request of things that he would like to see Apple implement.
00:05.760: So I've I've talked to him a few times, but he go he went off on this tirade on one of the interviews that I did with him.
00:05.840: I think the Jackie was probably the most interested, but 'cause she was in another country.
00:05.840: If I say, all right, let's try this.
00:05.840: The ability to connect a clip to a secondary storyline.
00:05.840: It might be it may have been a stupid idea, but um, I
00:05.840: Very cool.
00:05.920: So it was like that I was almost done for the night, and he hit me up on Twitter and dealing with Australian time zones.
00:05.920: So I knew sort of a lot of the backstory, but I didn't actually press the buttons.
00:05.920: ISIS is sort of their Unity, their shared storage solution.
00:05.920: If it would just leave it
00:05.920: There'll be a few Australians there.
00:06.000: I can never keep track of the date change.
00:06.000: And especially with the revisions, if you need to turn around revisions really quickly and
00:06.000: It's not going to do anything new.
00:06.000: They don't have to have Windows support.
00:06.080: I know where it is.
00:06.080: So yeah, we've sort of been
00:06.080: Yeah, a lot of people said that about the Final Cut 10 thing.
00:06.160: Okay, so we're sort of a small production company in Melbourne, Australia.
00:06.160: What kind of stuff?
00:06.160: Is that what you're saying?
00:06.240: Chris works for a company called Late Night Films in Melbourne, Australia, and they do a combination of commercial work and indies and
00:06.240: But I did notice out of the ten, I think, that I saw
00:06.240: Like it's just it's you can do it in Final Cut 10, but it's just a lot slower process.
00:06.240: Like it just it'd be good if it remembers things on a sort of individual basis.
00:06.240: And that's sort of what the general consensus was until ten point one came out.
00:06.240: I think that may be where I first found your stuff.
00:06.320: It's been a while.
00:06.320: So I kind of have to
00:06.320: Um you're relatively new to the platform.
00:06.320: I could just move it fluidly across machines without have to worrying about it.
00:06.320: And the keyword shortcuts is probably one of my favorite features because you can just really quickly go through rushes.
00:06.320: So a lot of the logging I did off that.
00:06.320: Interesting.
00:06.320: But Albin Eggers from Austria started giving me a hard time over Twitter.
00:06.320: What do you think you want to do?
00:06.320: Have you had the opportunity to sit down with somebody from Apple?
00:06.320: I guess one of the.
00:06.400: Yeah, exactly.
00:06.480: What was the question?
00:06.480: So yeah, I was basically for the first
00:06.480: So I sort of wanted to have everything ready to go and then
00:06.480: So they do one one video for the fall and then they do like a recap uh at the end of summer or during the summer.
00:06.480: I'm also going to be doing a software demo, an edit demo, rather.
00:06.560: So it's sort of like one of those corporate documentary sort of things, branded content.
00:06.560: That's correct, yeah.
00:06.560: You know, it works fine.
00:06.560: And like even though I had everything
00:06.560: Really?
00:06.560: We're on Twitter as Late Night Films, L-A-T-E-N-I-T-E, or late nightfilms.
00:06.640: They're still using a lot of Avid.
00:06.640: I use Havit or whatever.
00:06.640: Right.
00:06.640: Yeah.
00:06.720: Okay, so in in true fashion, it's the post supervisor that has to forge his way out ahead
00:06.720: Everyone else was on Avid.
00:06.720: Like, especially when you speak to people at Adobe, like.
00:06.800: Okay.
00:06.800: But we've been doing we've been watching all the rushes off of it.
00:06.800: They did it.
00:06.800: But when in actuality, what what you really want is you really just want to connect
00:06.800: Do you find it
00:06.880: But then, yeah, I think I just
00:06.880: And then we had some older jobs that we were still cutting on, Final Cut seven, just 'cause that's where they were cut on originally.
00:06.880: Like I had a quick scan through some of those feature changes or the new updates.
00:06.880: Like I literally, since we
00:06.960: So, um
00:06.960: And I think a lot of that I think a lot of the holdup of some of this is like
00:06.960: I totally agree.
00:07.040: About how much time do you think?
00:07.040: We never really took it seriously.
00:07.040: Because everybody, even though there's
00:07.040: Yeah.
00:07.040: You know, somebody has to sift through all of this stuff and make heads or tails of it.
00:07.040: And it just becomes so complicated.
00:07.120: I could totally do this.
00:07.120: So the offline um the butchery is just purely offline.
00:07.120: So I just sort of go ahead with it without sort of
00:07.120: I mean, the biggest issues we have with Final are with Premiere.
00:07.120: But yeah, I just started assigning keywords to everything using the control numbers.
00:07.120: Like I haven't used Microsoft Word in so many years because it got to a point where they kept on
00:07.120: You can work for six months and then come to me and say
00:07.200: When my brother was in high school, he started getting into filmmaking sort of things.
00:07.200: Yeah, it's a it's a very busy building.
00:07.200: Were you putting those into uh secondary storylines?
00:07.200: So what else have you done in Final Cut 10?
00:07.200: No, ISIS is sort of dedicated.
00:07.200: Yeah, I think one of the things that I've noticed is that undo tends to undo
00:07.200: Okay, I'll give you one more one more chance.
00:07.280: You know, the time zones are just too wonky.
00:07.280: But anything that came into being when you were 35 or older
00:07.280: What pushed you this direction as opposed to avid
00:07.280: She was cutting on Abbott.
00:07.280: We've been shooting a
00:07.280: Smart list sort of stuff.
00:07.280: Yeah.
00:07.360: Yeah, it's great.
00:07.360: Yeah, exactly.
00:07.360: So for the first project, what I did was everything was shot on Alexa, ProRes, four hundred four, four, two K.
00:07.360: But he wants to be able to connect
00:07.360: Undo.
00:07.440: It's almost midnight here in California.
00:07.440: And I think like the great thing about Final Cut 10 is that like all the
00:07.440: I know.
00:07.440: So it's a great conversation.
00:07.520: Hey, Chris, how are you?
00:07.520: How old were you at that point?
00:07.520: Follow me
00:07.520: Okay.
00:07.520: And I think that's the thing I like about Final Cut 10 is
00:07.520: But I mean it is still like it's a little child.
00:07.520: You don't necessarily have to give me now at the consumer level, you might need to do that.
00:07.520: Also, want to say you may have seen this image on Twitter.
00:07.520: And I've known Steve for like
00:07.600: That's a great description.
00:07.600: They just kept the camera set up and yes, it was just off camera someone.
00:07.600: And when you're starting making
00:07.600: Yeah, I think yeah, I'm not sure what's going on behind the scenes, but yeah, it definitely it definitely does make an impact if you've got it visible or not.
00:07.600: What's the isotope?
00:07.680: How did you get your start?
00:07.680: You know, I don't want to get into it with you.
00:07.680: So just this week, as a matter of fact, I
00:07.760: I'm a huge Adobe fan, except for
00:07.760: Very interesting.
00:07.760: How do you find the audio filters that come with Final Cut ten?
00:07.840: No, that no, you're hitting it.
00:07.840: And everyone else in the office, I mean, we're not we sort of just all
00:07.840: It's like if you're a Final Cut seven editor, you can jump on Premiere and it's
00:07.840: They all have pros and cons.
00:07.840: Because I tend to use list view on interview stuff.
00:07.920: And I don't know what it is.
00:07.920: It's like it's getting so much stuff and it can do so many amazing things.
00:08.000: And someone would send me a YouTube tutorial and I'd quickly have a watch and go, Oh, yep, got it.
00:08.000: We're traveling with Alex McLean from Digital Cinema Cafe, and we have a lot of things going on.
00:08.080: The thing you spend the most time doing is
00:08.080: So then what did you do?
00:08.080: So I knew what interview bits of interviews I wanted to use and what were good and
00:08.080: That hasn't really worried me to date.
00:08.160: But it also brings across all the things that made Final Cut 7 such a pain in the ass to work with.
00:08.160: It's another, like, it doesn't really affect the editing, but just one of.
00:08.240: Yeah, be in the office at Arvo.
00:08.240: Unfortunately or fortunately for Jackie, Jackie spends most of her time
00:08.240: In retrospects, because I was moving that project between a lot of different edit suites
00:08.240: So I basically spend a lot of time just going through all the footage and sort of organizing it into a really sort of
00:08.240: So I had a sort of a mishmash of everything.
00:08.240: Yeah, no.
00:08.240: 1.
00:08.240: Right.
00:08.240: So I just thought that was quite funny and quite
00:08.320: How did you uh and you said it was a doc, so h l like is was it a bunch of interviews?
00:08.400: I was checking out your website.
00:08.400: He was a guest on the show uh a handful of shows ago.
00:08.400: There is definitely some sort of
00:08.480: And it's the older guys like me who quite often
00:08.480: They haven't jumped in
00:08.480: I think so.
00:08.480: And I j I
00:08.480: I will split a clip
00:08.480: Yeah.
00:08.480: I gave up on Microsoft Word when they put an audiometer in it.
00:08.480: And I think that corporations forget that
00:08.560: I don't know where that came from.
00:08.560: I think it just depends on the project and who's cutting it.
00:08.560: Isn't that cool?
00:08.560: It means a lot to me.
00:08.640: They use Premier a fair amount.
00:08.640: Lots of different things from circuses in Asia to
00:08.640: TSA, on the other hand, I'll be as snarky as I want to be.
00:08.720: So let's go to the interview with Chris Hawking from Late Night Films.
00:08.720: Wow
00:08.720: They're like
00:08.720: From here to here, when he when it sounds like this noise, what he is saying is this.
00:08.720: Okay, anything else?
00:08.720: And then I'll use the keyframing sort of for fine tuning.
00:08.800: Does that make sense?
00:08.800: Like it doesn't actually or it won't move the time line back to where you had it when you did the change.
00:08.800: At the consumer level, you might have to deal with people at that level.
00:08.800: They're writing it for a single operating system on limited hardware.
00:08.880: Keyword collections?
00:08.880: This is a guy who
00:08.880: Yeah, I'm sort of the same.
00:08.880: Right, right, right.
00:08.880: All right, take care.
00:08.960: I think it's just because it's so
00:09.040: It's just all this sort of UI sort of stuff that just needs to be tweaked.
00:09.120: He goes
00:09.120: Yep.
00:09.120: Now you have pitch shifted audio scrubbing.
00:09.200: Yeah, in the San Francisco Bay Area, most work is googly sort of thing.
00:09.280: Not too bad, Matt.
00:09.280: And like I've been there's lots of people that have been telling me to use Final Codex for months now.
00:09.360: So, did you, what did you edit on before Final Cut 10?
00:09.360: There's different tools for different jobs.
00:09.360: And then yeah, a whole lot of other sort of shorter deliverables and yeah.
00:09.360: You're gonna love it.
00:09.440: Yeah, I think that's it.
00:09.520: They realized I was of no use to the business.
00:09.520: Um I downloaded it um because at the time, when it came out, I was still working at the butchery.
00:09.520: So, what you're saying is you want to move
00:09.600: Yeah.
00:09.600: So how long was your final deliverable?
00:09.600: And yet.
00:09.600: And it really helps get through these late-night interviews.
00:09.600: You're going to love this conversation.
00:09.680: And I basically just
00:09.680: And then, yeah, basically, I just used one of the generators in.
00:09.680: Ah, okay.
00:09.680: If I could just move the mouse over to that corner and it just sort of pops out instantly, that would be really handy.
00:09.840: So I've always loved theater.
00:09.920: Keyword collections, yes.
00:09.920: That's one of the things where the magnetic timeline really shines.
00:09.920: Yeah.
00:09.920: It's like, you know, well, they make their money off of iPhones.
00:10.000: So I sort of started off with that.
00:10.000: Right.
00:10.000: Well, for this one
00:10.000: There's still lots of things that needs to be fixed and there's
00:10.080: Yeah, absolutely.
00:10.080: I'll sort of
00:10.080: Awesome.
00:10.080: It was very funny.
00:10.160: How are you?
00:10.160: Yeah, and did that for three years and then yeah, got into post-production.
00:10.240: They were just like, oh yeah, let's just do it.
00:10.240: Never, ever.
00:10.240: What what else if you could sit down with the engineers, what would you ask him to change?
00:10.320: And then how did you how did you
00:10.320: It's almost like the Microsoft Word factor.
00:10.400: And sort of it's so
00:10.400: I want to stay on track here.
00:10.480: And I didn't actually learn it from Chris.
00:10.480: She was just sort of following on Twitter, sort of just keeping an eye on what I was doing.
00:10.480: I think that's it.
00:10.480: No floppy disk for you.
00:10.560: I think we spent about three weeks trading
00:10.560: See ya.
00:10.640: Um when I started there was only two editors.
00:10.640: So in the Avid world, there is a
00:10.720: Yes.
00:10.720: That's it.
00:10.800: I'm doing good.
00:10.800: There was some mention of Final Cut 10.
00:10.800: And I mean, Premiere does the same thing, but
00:10.800: And I frankly, everything I know about A.
00:10.880: You would have.
00:10.960: So I knew
00:10.960: So I basically opened up like the keyword collection.
00:11.120: Or you'll like
00:11.120: Yeah, when I when I I cut in Premiere for a
00:11.200: I'm trying to get a grip of
00:11.280: What is it?
00:11.280: And I'm like.
00:11.280: What you mentioned though, when you have
00:11.280: I do all my mixing in the time line.
00:11.280: After the interview, he sent me a photograph of the
00:11.360: I'm getting distracted.
00:11.360: We'll talk to you next time.
00:11.440: In the future, I guess.
00:11.440: Yeah, yeah.
00:11.520: I know we shot it.
00:11.520: It depends on the job.
00:11.680: So yes, I guess it's just a matter of
00:11.680: I was like, okay, tag, I'm out.
00:11.760: If it was invented
00:11.840: Anyway.
00:11.920: So I did that for a number of years.
00:11.920: I think you said it was like twenty minutes.
00:12.000: com.
00:12.080: Did you go by Chris?
00:12.160: Say for instance, there's like a
00:12.240: But I mean, you sort of
00:12.400: So
00:12.480: I think you tweeted me something.
00:12.560: So if they want to
00:12.560: V.
00:12.640: Yeah, exactly.
00:12.720: Gotcha, gotcha.
00:12.720: So we had a big sort of
00:12.720: Later, later.
00:12.800: Foundation I learned from Philip Hodgetts.
00:12.880: And
00:12.960: You had everything going all at once.
00:12.960: Right.
00:13.040: Where did it go?
00:13.120: And it's sort of all getting there.
00:13.200: I think now there's probably
00:13.280: So I was sort of
00:13.440: All the finishing aspect.
00:13.440: There's something wrong.
00:13.600: Here we go.
00:13.680: Yeah, right.
00:13.760: Hello, hello.
00:13.840: And he
00:13.920: Right.