Episode 37
FCG037 - Reality TV and FCPX (feat. Scott Markowitz)
Reality TV may be a natural fit for FCPX with its vast shooting ratios and the need to dig thru tons of material to find just the right sound bite to further the story along. Scott Markowitz tells how they are slowly adopting FCPX, one show at a time at Shooters Inc. in Philadelphia. We also get into the new paradigm that Motion has created and we discuss the difference between “Making an Effect”, which can be recycled and making a timeline in AE which is a single purpose solution. Very clever your “share with friends and get a discount”… what software does that? Shooters Inc in Philly is where he works. Agency Work
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Featuring
- Chris Fenwick
- Scott Markowitz - @scottmarkdaddy
Transcription
00:00.640: Speaker 1: Chick, chick, chick, chick.
00:02.240: Speaker 1: Hey, welcome to another episode of Final Cut Grill.
00:04.480: Speaker 1: This is episode 037 with Scott Markowitz.
00:09.100: Speaker 1: We're back from the NAB.
00:11.100: Speaker 1: Alex and I got back to the Bay Area a couple of days ago.
00:15.100: Speaker 1: I don't know, three or four days ago now, I guess.
00:17.520: Speaker 1: And we had a great time.
00:20.160: Speaker 1: It was so great to meet people at the Post-Perspective booth.
00:23.760: Speaker 1: Once again, I want to thank Randy Altman for opening up and being so gracious to allow us to use her booth.
00:30.119: Speaker 1: And we got a lot of good use out of the DCC hospitality suite.
00:34.280: Speaker 1: We recorded some a demo that I did with
00:38.340: Speaker 1: Dave Dugdale, you know, Dave wanted to watch me edit one of his pieces, and as it turned out, because I'm editing in Final Hat 10, it became a little bit of a Final Cut 10 demo, which was fun.
00:48.500: Speaker 1: I don't think Dave's gonna be
00:49.940: Speaker 1: Editing on a Mac any time too soon, but I do think he saw some things that were of interest to him, so that's always fun.
00:57.300: Speaker 1: At any rate, today we have a great interview, Scott Markowitz.
01:01.420: Speaker 1: is he lives in let me think he said he lives in Jersey and he works in Philly.
01:05.900: Speaker 1: And I learned a whole bunch about this network of companies that he works for.
01:11.420: Speaker 1: And actually, got some very interesting ideas just about how to share resources between people.
01:17.900: Speaker 1: And I gotta tell you,
01:19.220: Speaker 1: Right at the end, like I think we were just wrapping up, and he tells one last story.
01:23.940: Speaker 1: You're gonna love this story about
01:27.520: Speaker 1: Charlie the tuna.
01:29.040: Speaker 1: Okay, I know that sounds odd, but trust me, you're gonna dig this.
01:33.280: Speaker 1: So let's go to the interview with Scott Markowitz.
01:37.440: Speaker 1: Well, hello there.
01:39.300: Speaker 1: Hey, how's it going?
01:40.580: Speaker 1: Hey, Scott, I'll turn my camera on, see if it works.
01:43.700: Speaker 1: So, how are you?
01:45.620: Speaker 1: How's life treating you there?
01:47.300: Speaker 1: Where exactly do you live?
01:49.220: I live in Mount Laurel, New Jersey, right across the Ben Franklin Bridge from Pennsylvania.
01:55.380: Okay.
01:55.780: So I work in Philadelphia
01:58.540: And I live in Jersey, which is embarrassing, but that's the way it is.
02:02.620: Why is it embarrassing?
02:04.060: Because, you know, New Jersey is the armpit of the United States and everything.
02:06.780: Is that what the kids are saying?
02:08.160: That's yeah, it was like on a billboard, I think.
02:10.720: No, seriously, there was like uh I think it w it was an advertisement for um for some deodorant that
02:17.799: They like had that as like their uh and they went there on the billboard, huh?
02:22.120: Yeah.
02:23.079: Speaker 1: They got in some trouble though.
02:24.760: Speaker 1: Well, some of the New Jersey residents didn't appreciate that.
02:27.879: Speaker 1: I mean, we've had New Jersey guests before, and nobody mentioned the armpit.
02:32.520: Speaker 1: Well, we're not proud of it.
02:33.800: Speaker 1: Who was it?
02:34.920: Speaker 1: Was it Anthony?
02:36.520: Speaker 1: No, it was Art Guglielmo.
02:39.480: Speaker 1: I can never pronounce his name right.
02:41.080: Speaker 1: I think he lives in Jersey.
02:42.740: Speaker 1: I don't know, I could have that wrong.
02:44.580: Speaker 1: So, anyway, tell me about what kind of work you do.
02:47.460: Speaker 1: How did you get into this business?
02:49.620: Well, it's funny.
02:50.580: I actually, like way back in the day, I graduated from college in 93.
02:55.440: And I thought I was going to be a three D animation designer.
03:00.080: Right.
03:01.200: Speaker 1: What software were you using back then?
03:03.519: I used Imagine on the Omega platform.
03:06.319: Uh-huh.
03:07.320: You know, so like that was it was like either Light Wave or Imagine.
03:11.080: And you know, I chose poorly and I used Imagine.
03:14.600: Speaker 1: Lightwave was really
03:16.640: Speaker 1: That was like a big deal because it was like, you know what?
03:19.920: Speaker 1: It was like cheap with the with the video toaster and then it became a separate product eventually.
03:25.879: Yeah, it's still actually very popular among like filmmakers and stuff.
03:32.120: It's still pretty cool.
03:34.220: The toaster is no longer.
03:36.140: They have New Tech New Tech has true.
03:39.500: Speaker 1: There's still Toaster-ish type stuff.
03:42.300: Speaker 1: I mean, New Tech is a monster.
03:43.820: Speaker 1: They have a big booth at NEB every year.
03:46.520: Speaker 1: Yeah, I think they just came out with a new editing system, right?
03:49.000: Speaker 1: I mean, you know, somebody said that to me the other day, and I haven't had time to look into it.
03:52.520: Speaker 1: I've kind of been wrapped up in this Final Cut thing for a few months now.
03:57.020: Well, I think it's like kind of tied into their live switcher kind of environment.
04:01.180: It would make sense, yeah.
04:02.380: Yeah, yeah, but um
04:04.520: I saw like a demo of it.
04:06.599: It seems like it's pretty simple and it's not like full featured yet, but um
04:13.879: Now I'm not sure.
04:15.159: I'm not even sure if they are actually selling it yet, to be honest.
04:19.079: Speaker 1: Well, they would be smart to.
04:20.919: Speaker 1: You know, it's interesting.
04:22.520: Speaker 1: Who wants to build a new
04:25.120: Speaker 1: edit system when there's so many good ones, you know?
04:28.159: Speaker 1: And what's interesting is what's the one there's one that's it's very popular, but it's like an old Windows one and they're just coming out with it on the Mac now.
04:37.680: Speaker 1: I can't remember.
04:38.880: Speaker 1: You know, I tend to focus myself.
04:42.479: Speaker 1: There's some people that are like, oh, I'm going to do a couple of projects on this.
04:46.080: Speaker 1: And then I was like, I can't do that.
04:48.000: Speaker 1: I can't.
04:48.639: Speaker 1: I just, I literally can't do that.
04:51.540: Speaker 1: Light wave, control surfaces, software.
04:54.340: Speaker 1: I'm trying to see if I can find any mention of it.
04:56.820: Speaker 1: Virtual set editor, live text, a speed edit?
05:00.660: Speaker 1: That's it, yeah.
05:02.660: Speaker 1: Yeah, I'll have to check that out.
05:04.340: Speaker 1: Okay.
05:04.900: Speaker 1: So yeah, no, I'm not using that.
05:07.700: Speaker 1: So anyway, you were doing Imagine and you chose not to do the light wave back then.
05:12.820: Speaker 1: Then what?
05:13.540: Right.
05:13.940: Well, I I went out into the world and I found that like hardly anybody knew what 3D animation was.
05:19.220: I didn't want to go out to LA, and that's pretty much where everybody was working at the time.
05:24.900: And I had just gotten married out of college.
05:28.060: And we decided to settle in Atlanta, Georgia.
05:33.420: So I actually ended up getting a job at CNN.
05:36.580: As a, you know, like an entry-level kind of employee.
05:41.620: Right.
05:41.860: So I was like running teleprompter.
05:43.620: I was, you know, running scripts into the control room back and forth and everything.
05:48.280: And now did did CNN still have camera operators at that point?
05:53.720: They they had just switched to robotics at that point.
05:56.840: Speaker 1: There's three more jobs gone to the robots.
05:59.920: Speaker 1: Yeah.
06:00.320: Speaker 1: Next thing you know, Schwartzneager will be kicking us all out of here.
06:05.200: Yeah, so I mean, you know, but we still were running teleprompters and we were still floor directing and everything.
06:10.800: Um
06:12.000: So like I was trying to get into their graphics department, but like an opening came up in the editing track like a lot sooner.
06:19.600: So like, you know, I just kind of like I'll do that for a while and then I'll just hop over to graphics.
06:24.520: But it I never left.
06:26.040: I mean, like, I I once I started working in the editing field, I really enjoyed it.
06:31.000: That's really interesting.
06:31.880: So, were you doing, like, breaking news or more like feature events?
06:35.880: Oh, yeah, I was doing like the current news.
06:38.680: I you know, like their junior editors like really didn't have the opportunity to edit packages and things like that.
06:44.840: So I was doing voiceover sats.
06:48.580: You know, yeah, just like a machine.
06:51.620: It was just like cranking out sausage, you know.
06:54.100: And, you know, I did that for a while.
06:57.940: And then
06:59.560: When you know, I thought I was going to be there for like a career.
07:03.080: I thought I was like a CNNer for life, but then Ted Turner sold to Time Warner.
07:09.240: Oh, yeah.
07:10.039: And the whole environment there changed.
07:12.199: So I was like, you know, I told my wife, we had a our daughter was like 18 months old at the time.
07:17.720: And I told my wife, I'm like, I want to move to LA.
07:20.440: And now's like the time to do it.
07:22.360: Right.
07:22.840: We got to do it now, or it's never going to happen.
07:25.800: I'll be stuck here forever.
07:27.080: And yet, right now, you're in Jersey.
07:28.360: So, what happened?
07:30.440: So I went out to California and I learned uh I taught myself how to use Media Composer.
07:38.400: You know, which is and the way I taught myself was kind of funny.
07:41.360: And what year was this?
07:42.800: This would have been like 97.
07:44.800: Okay.
07:46.080: You know, so I taught myself Media Composer.
07:49.100: Literally, like in the bathroom, in between like talking with producers, because like I sold myself as a media composer editor, and I really only knew avid news cutter.
07:58.720: Speaker 1: So the producer's like, can we put a dissolve there?
08:01.919: Speaker 1: Yeah, I'm I got to hit the head real quick, Quentin.
08:04.240: Speaker 1: Yeah, flipping through the manual.
08:05.680: Speaker 1: Dissolve.
08:06.320: Speaker 1: Search for a dissolve.
08:07.760: I had a set of manuals like up in the cabinet where they kept the you know air fresheners and stuff.
08:12.560: So I taught myself Mini Composer and then like I slowly taught myself After Effects and
08:19.539: and everything.
08:20.419: And what happened was I was out there for about five years and like an old friend of mine
08:28.020: Notified me about a job back in Atlanta that he thought I'd be good for because, like, at that, you know, I had built up my compositing and motion graphic skills and everything.
08:37.780: And he said that he knew a company that was just starting up and they needed a smoke editor.
08:42.660: Speaker 1: And you're like, I faked my way through a media exposure.
08:45.380: Speaker 1: I had to be able to fake my way through a smoke.
08:47.940: How hard can that be?
08:50.820: So I told the guy, look, and at the time, I had actually learned
08:57.960: Discrete edit.
08:59.240: I don't know if you remember that.
09:00.280: Speaker 1: I do.
09:00.600: Speaker 1: I do, yeah.
09:01.240: Yeah.
09:01.640: So like I had been using discrete edit quite a bit and the precursor to
09:11.540: Smoke, flame, flint.
09:12.740: The smoke, yeah, like the uh, it was called Tinder.
09:15.779: Tinder.
09:16.420: Remember, they had like they had edit and fx.
09:18.660: Speaker 1: Yeah, you know what?
09:19.380: Speaker 1: I could never keep track of their stuff at that time.
09:21.860: Speaker 1: It was like, ah, I don't know.
09:23.699: Speaker 1: I'm out.
09:25.460: Yeah, they had like the worst naming convention, you know, for their products.
09:29.140: But so, you know, I kind of talked myself into that job too.
09:33.300: I'm like, hey, I know edit and I know effects, and how hard could it be to make the transition?
09:38.700: Um so I went back to Atlanta and I I worked there for a while and I I learned fire and uh smoke and inferno.
09:47.820: Right.
09:48.300: So um
09:51.100: you know, that was great.
09:52.459: It was a really good position, but like I never quite fit in with the culture there at that company.
09:58.860: So I ended up
10:01.040: finding a company up in Philadelphia that that ran smoke and and stuff.
10:06.399: And um I came up there.
10:09.980: Again, through a friend, like I had a contact who got me in front of the people up here, and I've been here for over 10 years now.
10:17.579: Speaker 1: Wow.
10:18.220: So, it's worked out okay.
10:21.180: Speaker 1: It's worked out pretty good.
10:22.300: Speaker 1: Yeah.
10:23.120: Speaker 1: So when did you first um so uh did you ever use the I call it Final Cut Classic?
10:31.200: Speaker 1: Were you were you a Final Cut editor before you got into tech?
10:34.540: Speaker 1: I I used Final Cut since like version four.
10:37.260: Okay.
10:37.899: You know, I I um right before it went H D, Final Cut HD was 4.
10:42.380: 5.
10:43.140: We used to use it.
10:44.100: We used to use it a lot down in Atlanta to do our offlines and stuff.
10:48.180: And then we would make EDLs, get film transfers and then finish in fire.
10:53.020: Speaker 1: Okay.
10:53.980: So like that was the production path back then for that.
10:57.020: And we even, you know, we we like did a couple of jobs like from start to finish in Final Cut also back then.
11:02.840: But we definitely tried to herd our clients down through the smoke and fire path.
11:10.720: Speaker 1: So was that a financial reason or a workflow reason?
11:14.880: Speaker 1: Yes.
11:15.440: Speaker 1: That's the thing that always bugged me about the medium or large facilities.
11:21.920: Speaker 1: It was what's the line that people say
11:26.380: Speaker 1: When the only tool in your tool box is a hammer, everything looks like a nail.
11:31.579: Speaker 1: You know, it's like, oh, yeah, that'd be a perfect job for our $300 an hour flame or whatever it's called.
11:39.120: Speaker 1: Yeah, I don't I I've always found that to be disingenuous, if not completely just dishonest.
11:47.120: Speaker 1: It's it it bothers me that it happens so much in this business.
11:51.220: Speaker 1: You know what, though?
11:52.100: Like, there was a transitional period where that wasn't really the case.
11:57.540: Like, there was a time when, like, to do the same kind of stuff in After Effects.
12:03.420: Would have taken a lot longer.
12:05.180: Speaker 1: Yeah, and that's not to say that there isn't a genuine need for very high-end applications on occasion.
12:14.260: Speaker 1: But it's but again, if that's if you're just funneling people through there so you can get a few more billable hours in a room, it's like, ugh.
12:23.380: Speaker 1: And I I wonder, do
12:26.840: Speaker 1: do producers or companies I mean, do people don't people realize that this is happening?
12:32.200: Speaker 1: You know?
12:32.680: Speaker 1: It's interesting.
12:33.320: That's a really that's a good question.
12:35.000: You know, you know, Chris, I think that my experience shows that
12:41.620: the clients are a lot like they're a lot like editors in the sense that they're used to a certain workflow.
12:50.420: Speaker 1: Yeah.
12:51.140: And like
12:52.960: Any information that upsets that cart is something that they don't necessarily are open to right away.
13:00.560: Speaker 1: Absolutely.
13:01.200: Speaker 1: And I'll say this also.
13:03.259: Speaker 1: That I think having this sounds ridiculous, but I bet you'll agree with me.
13:09.019: Speaker 1: If the product or the process
13:13.279: Speaker 1: Has a catchy name.
13:16.399: Speaker 1: People go, Yeah, let's take it to flame.
13:19.600: Speaker 1: Yeah, let's do that.
13:21.600: Speaker 1: How much money did I just spend by uttering that word?
13:24.160: Speaker 1: I don't know.
13:26.480: Yeah, we used to we used to joke at um you know at Spin where I used to work in Atlanta.
13:31.520: We used to joke that we were going to charge the clients by the bubble.
13:34.240: You know, like they had that hierarchy of
13:37.339: You know, the schematic that showed you like how stuff correlated to each other on the screen.
13:41.740: Right, right.
13:42.220: And like every effect that you added was a bubble on the screen.
13:44.620: Speaker 1: Oh, you're talking about like node-based editing.
13:46.699: Yeah.
13:46.940: Yeah.
13:47.339: Speaker 1: So each one of those would be like 50 bucks or whatever.
13:49.740: Right, so the clients would be like, oh, that bubble just cost me 500 bucks.
13:53.580: Speaker 1: You know?
13:54.140: Speaker 1: I had an occasion years ago where a guy.
13:57.440: Speaker 1: This was many years ago, and I was doing like PowerPoint graphics or something.
14:01.760: Speaker 1: I think I was charging 60 bucks an hour.
14:03.440: Speaker 1: Otherwise, this story doesn't make sense.
14:05.060: Speaker 1: And the guy said, Well, how much is that job going to cost me?
14:07.540: Speaker 1: I go, I I don't know.
14:08.820: Speaker 1: It depends on how you know picky you're going to get about stuff.
14:11.700: Speaker 1: It's I'm charging you by the hour.
14:13.220: Speaker 1: He goes, Well, I need to have some sort of an idea.
14:15.380: Speaker 1: And I go, Look, do this
14:16.940: Speaker 1: Go to your bank, withdraw all your money, put a stack of twenties on the corner of the table, and every twenty minutes I'm going to take one.
14:22.700: Speaker 1: When the twenties are gone, your project is finished.
14:26.940: Speaker 1: Luckily, he was a good friend and he saw the humor in that.
14:31.060: Speaker 1: Yeah, charging by the bubble.
14:34.660: Speaker 1: That's a good that's an interesting way to do it, or node.
14:38.899: Speaker 1: So I think you told me you've been using Final Cut 10 since the very beginning.
14:43.459: Speaker 1: Is that correct?
14:44.620: I did, but not like in a in a serious way.
14:47.740: Like I I was one of the people that like the day that they announced it being released, I went home and downloaded it.
14:54.339: Speaker 1: Yeah, you know, and all of us.
14:55.620: Speaker 1: Yeah, I think a lot of people did that and then got really pissed off.
14:59.779: I was so mad.
15:00.980: Yeah.
15:01.699: Dude, I was so mad when I first opened it up.
15:04.740: And
15:07.800: It was like a kid on Christmas that found out that the toy that he wanted is just crap.
15:15.639: Speaker 1: There's no batteries, mom.
15:18.759: Speaker 1: I was so upset.
15:20.500: Speaker 1: You know, in um in the commercial, this thing flew around the backyard.
15:25.620: Speaker 1: It doesn't fly.
15:26.980: Speaker 1: This is crap.
15:29.139: Speaker 1: Yeah.
15:30.120: That's exactly how it was, you know, and unfortunately for me, I didn't really
15:38.760: Have a chance to dig into it either because, like, I was so busy.
15:42.360: Sure.
15:43.160: And so, like, my initial gloss over of the product was just like a bad experience, you know.
15:49.960: And
15:50.720: And I wasn't able to really dig into it until they came out with like 10.
15:54.480: 03.
15:55.280: You know, I don't like that was like three or four months later.
15:58.400: Speaker 1: Yeah, you know, one of these days I'm going to have to
16:00.560: Speaker 1: Figure out the timeline of when all the different versions came out and what were the key things because this comes up in every conversation.
16:06.800: Speaker 1: I can never keep track of it.
16:08.720: Speaker 1: So 10.
16:09.200: Speaker 1: 03, I believe, was when Multicam was added.
16:12.160: Speaker 1: Is that correct?
16:12.960: Speaker 1: Yes.
16:13.540: Speaker 1: Yeah.
16:14.019: Speaker 1: I think so, yeah.
16:14.660: Speaker 1: I think that's when it started to get real serious.
16:18.019: Yeah.
16:18.339: And like a lot of the bugs that were plaguing the software went away too.
16:22.500: Because when I first started it
16:24.360: you know, I would try to like import footage and edit stuff and it would just crash like constantly when I first started using it.
16:30.200: And you know, part of it was the hardware configuration that I had.
16:33.819: You know, I had like a graphics card in my computer that barely qualified.
16:37.740: Speaker 1: Okay.
16:38.060: Speaker 1: Okay.
16:38.540: You know, but
16:42.079: When they released 1003, I had just like come back from a vacation with my wife.
16:47.600: And I found myself with like, you know, three or four
16:53.080: HDV tapes full of stuff.
16:57.240: And I'm like, you know what?
16:58.760: I'm just going to force myself to, yeah, to really give it a fair shot.
17:04.020: And so I loaded all the stuff in and I started playing with it.
17:07.699: And I found that like trying to conform
17:13.459: My standard workflow to that was a losing proposition.
17:18.339: I couldn't get it to making string outs was difficult to do and keeping that organized and going back and forth and I couldn't see the time code.
17:26.740: You know, like in the time lines and stuff.
17:28.339: And that's the way I was used to working.
17:30.180: You know, I was very timecode oriented and my whole workflow revolved around the use of time code.
17:37.860: And that just
17:38.760: It was a no-go.
17:40.440: So I was like, well, okay, what angle do I need to approach this at?
17:45.880: Like, how can I make this work?
17:47.880: And that was kind of.
17:51.340: You know, an approach that really did serve me well because I was able to, you know, at some point I had a couple of moments where I'm like, oh, okay.
18:01.120: Speaker 1: Yeah, it's those kind of aha moments that usually puts people over the edge.
18:06.640: Speaker 1: But what's more interesting is why do you think you wanted to even give it a try?
18:12.720: Speaker 1: What was the motivation to say, well, you know, I'll give it one more try?
18:17.360: Speaker 1: Because 10.
18:18.400: Speaker 1: 3 still wasn't like getting any buzz, really.
18:21.840: Speaker 1: Well, the multicam, I guess, did.
18:24.380: I'll tell you what, it's uh I'm a cheapskate and I had laid down the $300 for it.
18:29.340: And I get my money's worth out of this.
18:32.300: Yeah, I mean, that's really literally why I did it.
18:35.420: Okay.
18:37.200: Because I had such a bad taste in my mouth from when I first tried it.
18:42.320: You know, it wasn't because I wanted it to work or anything.
18:46.240: I was totally hi I was totally happy
18:48.820: Using Final Cut 7 or Avid, you know, at that time.
18:52.340: Right.
18:54.900: So it wasn't that.
18:55.780: It was just that, damn it, I paid $300 and I'm going to freaking use it.
18:59.140: Speaker 1: I got to get at least 300 edits out of this thing.
19:02.540: Speaker 1: Funny.
19:03.420: Speaker 1: Okay, so so that's what got you going.
19:05.420: Speaker 1: Then what were the things what were those sort of aha moments when you started to kind of
19:12.480: Speaker 1: You know, catch fire about this.
19:14.560: Speaker 1: Because I mean, let's be fair.
19:16.080: Speaker 1: I mean, you know, you have articles on your website about it.
19:20.320: Speaker 1: You've
19:21.019: Speaker 1: Created plugins for it that you're selling.
19:23.740: Speaker 1: I mean, you're more than just a casual user.
19:26.139: Speaker 1: You're pretty into it now.
19:27.659: Speaker 1: So, what were those things that changed your mind?
19:31.019: Well, the first thing that really
19:34.200: Lit up a switch in my head was when I first discovered how I can sort by favorites.
19:41.640: Right.
19:42.519: You know, that's something that just blew my mind when I first discovered you can do that because I've never seen anything else
19:51.580: That had that kind of fluidity to it.
19:54.220: You know, like I all of a sudden found myself being able to
19:59.780: Go through footage super fast in the film strip mode, you know, scrubbing through, make an in-and-out point real quick.
20:07.640: Hit the F key, move on, scrub, you know, like in and out, ooh, delete.
20:11.320: Now that's rejected.
20:12.600: Yep.
20:12.920: You know, like, just like super fast.
20:14.600: I was able to like log a tape.
20:17.440: In like 10 minutes, where it used to take me, you know, like 45 minutes an hour.
20:23.440: Speaker 1: Yeah, and so what you're talking about there is in the um in the uh what's it called?
20:28.000: Speaker 1: The
20:29.000: Speaker 1: The browser, you have the little find command right there that allows you to sort through that data.
20:36.200: Speaker 1: Because essentially, what Final Fat is doing is it's
20:38.919: Speaker 1: applying much more than just the name of the file to each clip.
20:43.799: Speaker 1: You have notes and comments and camera angles.
20:47.559: Speaker 1: I mean, there's so many different ways that you can sort through your stuff.
20:51.320: Speaker 1: And you're using
20:53.000: Speaker 1: In addition to the little find command, you're also using the I call it the filter.
20:57.480: Speaker 1: I don't know what they call it, but the filter where you can say, show me the rejected, show me the favorited, show me, you know.
21:06.620: Speaker 1: Basically, you're filtering through the data.
21:11.179: Speaker 1: We were so used to
21:13.120: Speaker 1: Only being able to sort things by bin.
21:16.080: Speaker 1: You know, I put item one through five into bin A or whatever.
21:21.840: Speaker 1: And then that's where it lived.
21:23.360: Speaker 1: And if you didn't.
21:24.519: Speaker 1: remember that it was in bin A, you're never going to find that again.
21:28.200: Speaker 1: But final cut ten allows me to one and it it's sort of a weird thing, and it I don't think it really gets talked enough ab
21:36.519: Speaker 1: Talked about enough, but essentially, when you put media into Final Cut 10, it's just in that
21:44.140: Speaker 1: Event.
21:44.780: Speaker 1: It's in that library, and where it looks like a bin is your little keyword collection.
21:51.660: Speaker 1: But that's really just another way of filtering the main window.
21:57.019: Speaker 1: So it's just way it's it's special filters or keyword keyword search strings that say look for things that look like this.
22:06.460: Right.
22:06.860: So it, and that's exactly when I was just like, wow, this is really cool because now I don't have to subclip something and have it exist.
22:15.140: as two separate entities in two different bins.
22:18.180: Now it's one thing that I can cross-reference any way I want.
22:22.180: Speaker 1: Oh, cross-reference is a good word.
22:24.140: Speaker 1: That's a really good way of putting it.
22:25.740: Speaker 1: I've never used that word.
22:26.940: Speaker 1: But yeah, it's different ways of searching and sifting through your data.
22:31.840: Right.
22:32.160: And then like the little, you know, the little search tool becomes like a Google search and you can do Boolean searching.
22:38.320: Speaker 1: Oh, can you?
22:39.039: Speaker 1: I never knew that.
22:40.260: Speaker 1: So explain Boolean and explain how you use Boolean searches.
22:44.419: Speaker 1: Okay, so like if you if you go into the search menu.
22:46.900: Speaker 1: What is Boolean?
22:47.700: Is that like a type of uh
22:49.840: A new or something?
22:51.440: What is that?
22:52.000: Well, it's like it's like logical operations, like and/or.
22:55.360: Okay.
22:56.080: So you know, you can you can cross-reference different things with uh an and.
23:00.640: Like I would like to see the red subaru and
23:04.220: you know, the cross track.
23:06.540: So any shot with both of those words attached or keywords.
23:11.660: Speaker 1: Right.
23:12.460: Speaker 1: Okay, so like I might say
23:16.400: Speaker 1: I need an exterior if I've keyworded things as exterior and the VW rabbit or something.
23:25.440: Speaker 1: Exactly.
23:26.000: Speaker 1: So, oh, so if you keyword things
23:28.820: Speaker 1: at multiple levels in multiple ways, you can search for that.
23:33.220: Speaker 1: So that and that's a Boolean search.
23:35.700: Speaker 1: Exactly.
23:36.420: Speaker 1: And actually, that works in Google.
23:37.940: Speaker 1: A lot of people don't realize that.
23:39.620: Speaker 1: But it's a it's pretty much like a staple of
23:43.419: Speaker 1: People that have good Google Foo, I like to call it Google Foo.
23:47.419: Speaker 1: That's good.
23:48.299: Yeah, it's a very powerful way of using Google.
23:52.160: It's an incredibly powerful way when you're in Final Cut, especially when there's a producer over your shoulder.
23:57.280: Right, right, right.
23:58.160: And they're saying, I know it's there.
23:59.840: I know it's there.
24:00.799: Yeah, I shot that.
24:01.760: Like, I, you know, I remember shooting it.
24:03.760: And you're like, okay, well.
24:05.820: Speaker 1: You know what would be a cool feature?
24:09.900: Speaker 1: Have you ever you ever noticed how when you Google you search for images?
24:15.460: Speaker 1: And there's a filter somewhere.
24:16.900: Speaker 1: I don't know, they move it all the time, but there's a filter where you can say, look for flowers, and then there's little color palette pickers, and you go, show me red flowers.
24:24.900: Speaker 1: And all of a sudden, your screen is filled with Google with flowers that are red.
24:29.679: Speaker 1: It would be great if you could put that kind of logic into the searching tools of Final Cut, where you could say, you know, I know that there was a yellow car.
24:41.980: Speaker 1: And I didn't bother keywording it, but find me any passages of footage that are predominantly yellow.
24:49.720: Speaker 1: Oh, that would be awesome.
24:51.320: Speaker 1: Wouldn't that be great?
24:52.120: Speaker 1: That would be really cool.
24:53.160: Speaker 1: Hello, Apple.
24:53.800: Speaker 1: Please make that for me.
24:56.200: Speaker 1: Okay, sorry.
24:57.080: Speaker 1: So you're talking about Boolean searches.
24:58.920: Speaker 1: Sorry.
24:59.880: Yeah.
25:00.200: And so.
25:02.060: Once I realized how powerful that was, it just kind of sparked something in the back of my head saying, you know what, the rest of this application can't be as stupid as I think it is either.
25:15.080: They must have put as much care into the rest of this as much thought as they put into the keywording.
25:22.460: And like the whole media management process.
25:24.620: Speaker 1: Yeah, I think there's there was such a predominant meme that this was iMovie Pro and crap and stuff.
25:31.580: Speaker 1: And you have to kind of get those little
25:34.540: Speaker 1: those little chiclets of information and when you get enough of them you go, Oh, okay, maybe I was wrong You know Right.
25:41.340: Exactly.
25:42.440: So then I started exploring things like the magnetic timeline, which I which it just it bothered me to begin with.
25:48.679: It irritated me when I first started using it because I didn't understand
25:53.019: why things were moving the way they did, and I didn't know how to wrangle things the way that I wanted them to be wrangled, you know.
26:02.100: So I started exploring how that really worked.
26:04.580: And like, I tried to separate myself from my knowledge that I had.
26:08.820: I tried to just eject anything in my head that I knew about editing in a timeline.
26:14.940: And then I just said, okay, how does this work?
26:17.260: How does this work?
26:18.380: Not how should it work?
26:20.380: Yeah.
26:20.779: Right.
26:21.740: And so I tried from that approach to just, you know.
26:27.200: figure out how the Apple engineers wanted this to function.
26:32.480: Right.
26:33.360: And when I started doing that, things started making more sense.
26:36.600: And then the magnetic timeline became genius to me.
26:39.799: I mean, you know, like now I feel like I can navigate through a timeline so much faster, and I can get a story laid out.
26:49.620: Far more efficiently now than I ever could before in Avid or Premiere or Final Cut 7, especially.
26:56.100: Speaker 1: Yeah, when you embrace the magnetic timeline and you understand what it
27:00.019: Speaker 1: What it is doing for you, it's really spectacular.
27:03.299: Speaker 1: But I think that a lot of people, you know, they do something one time and it
27:10.440: Speaker 1: and it doesn't work the way they would expect it to, and then they just throw their hands up and, like, ah, I hate this thing.
27:17.399: Speaker 1: You know?
27:18.440: Speaker 1: Right, exactly.
27:20.980: It becomes.
27:22.179: Oh, sorry, go ahead.
27:23.539: Speaker 1: No, what were you saying?
27:24.660: Speaker 1: It becomes.
27:26.179: It becomes an extension of your thoughts, you know, like nothing else I've ever used.
27:30.900: It becomes something.
27:32.500: that in a stream of consciousness kind of procedure, I can get my story laid out.
27:38.340: Right.
27:38.740: You know, and there's no
27:40.720: There's no tracks that are getting in the way.
27:43.600: There's no patching that I have to worry about.
27:46.000: Patching.
27:46.880: You know, patching, you know, like whenever I have to work in Avid at this point, it makes me mental.
27:53.460: Because it makes me like literally want to like bash my skull in with like a ball peen hammer.
27:59.700: Yeah.
28:00.500: Because I have to patch things.
28:01.780: It just I just I'm done with it.
28:04.020: Speaker 1: Yeah.
28:04.900: Speaker 1: Do you ever use the uh the rolls?
28:07.980: Speaker 1: Oh, I love the roles.
28:09.740: Speaker 1: Okay.
28:10.300: Speaker 1: So I was having a discussion.
28:12.540: Speaker 1: It was actually on the last episode when I was talking with Sam Nessman and Michael Garber.
28:17.180: Speaker 1: And we were talking about how
28:20.560: Speaker 1: You um how the magnetic timeline allows you to sort of think in a very
28:29.040: Speaker 1: or or or work in a sort of free and easy manner.
28:33.520: Speaker 1: I don't necessarily have to take the sound
28:37.600: Speaker 1: from this clip, which is on track three, and put it down here on tracks, what would it be, six and seven or six s uh five and six, right, that I can sort of be more free form with the way
28:51.919: Speaker 1: I place stuff in my time line, but the roles help me manage that down to something.
28:59.760: Speaker 1: I get to be r real free and creative in one way, but roles help me
29:04.419: Speaker 1: You know, manage it down so I can keep, so I actually can keep track of this thing.
29:08.419: Speaker 1: So, how do you use the roles in your work?
29:12.860: The roles are really important in our workflow.
29:15.740: I don't know if I've mentioned I'm currently working for Shooters Inc.
29:19.020: in Philadelphia, and we have.
29:21.580: Tell me about that.
29:23.340: Shooters Inc.
29:24.220: is it's like one of the largest post houses on the East Coast right now.
29:28.460: And we do a lot of
29:32.120: Agency work, we do a lot of stuff in New York City and Philadelphia and all over the East Coast.
29:38.680: A lot of agency work, we do a ton of political advertising for political consulting firms.
29:45.980: And we do we have a couple of subsidiary companies also.
29:50.140: We have a company called Big Smack, which does
29:54.880: broadcast branding.
29:56.080: So they they just all they do is like IDs and bumpers for like Discovery and for broadcast companies.
30:03.040: Nat Geo is like one of their big clients.
30:04.880: Okay.
30:05.920: And then we have we also have a company called Dive.
30:09.480: which is doing primarily work out of New York City, and they do digital intermediate and visual effects.
30:15.960: That's what Dive stands for.
30:18.040: So they've done like
30:19.440: They just did like a a bunch of visuals for Cosmos, the series on Fox.
30:24.559: Okay.
30:25.440: That's like some of their most recent work.
30:26.799: They're working on M.
30:28.080: Night Shyamalan's current film.
30:32.300: You know, they've done tons of stuff.
30:35.020: The Road, they did all the visual effects for the film The Road.
30:38.620: Okay.
30:39.260: Which won them some like huge, like crazy amount of awards.
30:43.580: Speaker 1: So how are these three companies all intermingled?
30:47.260: Speaker 1: Is it
30:48.380: Speaker 1: You're not under one roof because some of the stuff is in New York.
30:52.380: Speaker 1: What is the connection between the companies?
30:54.620: Well, we share a lot of the creative talent.
30:56.780: Like a lot of the people that work in Dive will also
30:59.940: chip in to do visual effects for agency work.
31:03.139: And like a lot of the editors and stuff will chip in and do some offline, say, for
31:11.519: Shooters New York.
31:13.360: Like we have a lot of back and forth and we can share assets and towns.
31:18.080: Speaker 1: That's really brilliant.
31:19.039: Speaker 1: So is Shooters Inc.
31:20.960: Speaker 1: doing the more agency work?
31:23.780: Yes.
31:24.500: Okay.
31:25.140: Speaker 1: Yeah.
31:26.180: Speaker 1: That's really brilliant.
31:27.300: Speaker 1: So the three companies are individually branded to draw the type of work
31:32.200: Speaker 1: That they are most suited for.
31:35.080: Speaker 1: But let's face it, there's a lot of crossover in our industry of skill sets.
31:40.360: Exactly.
31:41.080: Speaker 1: That's very brilliant.
31:42.200: Speaker 1: I'm going to steal that.
31:45.820: And we also have another company called Shooters T V, which does Reality television?
31:51.500: Reality television, space television, I like to say.
31:54.620: Yeah.
31:56.120: And we also do like product placement kind of uh stuff for corporate you know clients.
32:01.880: So um very interesting
32:05.860: Speaker 1: And are you a full-time editor there?
32:08.179: Speaker 1: Yes.
32:08.899: Speaker 1: Okay.
32:09.860: Speaker 1: And what is the distribution of the type of edit suites that you have?
32:17.480: I'd say that right now we have well, you know, that's an interesting question because every single edit suite
32:30.020: has both Avid and Media Composer, you know, Avid Media Composer and Final Cut Pro 7 in it right now.
32:37.140: Interesting.
32:37.860: And every suite also has Final Cut 10 installed.
32:40.940: Interesting.
32:42.059: Right.
32:43.100: So how much Final Cut 10 is being used?
32:46.220: I'd say about a third of our Project X right now are being cut in Final Cut 10.
32:51.659: And how is the
32:54.019: Speaker 1: What is the discause I was having this discussion with somebody a while back?
32:57.299: Speaker 1: It wasn't on a show, but it was like, you know, what would you do if you just said, oh, it's one of our corporate clients?
33:04.540: Speaker 1: They're at the point where they're finally realizing that Final Cut VII may not be developed anymore, really.
33:11.900: Speaker 1: And they're trying to decide whether they want to do Premiere or
33:16.740: Speaker 1: You know, they're actually toying with the idea of using 10.
33:20.500: Speaker 1: And he was saying, it's like, well, I don't know if we want to leave it up to the editor.
33:25.460: Speaker 1: Like, just, well, use whatever you want.
33:27.460: Speaker 1: You know, I mean, yes, it's true that.
33:30.240: Speaker 1: the thing that really matters is the end product.
33:32.480: Speaker 1: And if it fills the screen and it's color and it moves and it has sound, it's probably going to be okay.
33:37.680: Speaker 1: But when you're in a and this is a big corporate production facility inside a giant
33:44.519: Speaker 1: Fortune five hundred, one hundred company, um, you have to be able to control your assets in some way.
33:51.399: Speaker 1: And you can't just let
33:53.300: Speaker 1: You know, the editor choose which system he wants to use on because who knows, he might be in a bad mood that day and make a really bad choice for that particular job.
34:02.340: Speaker 1: Right.
34:02.980: Speaker 1: So, how are they deciding there?
34:05.840: The producers decide what we use.
34:09.360: Okay.
34:09.840: And the editors abide by that decision.
34:12.800: So a lot of the times editors get a say.
34:17.740: In that.
34:18.139: And there's usually a discussion.
34:19.659: Well, I think it's going to be better this way or that way.
34:23.500: But ultimately, the producer for the individual job decides what's going to be used.
34:27.500: Speaker 1: So, do you know what kind of criteria they use for the final cut 10 jobs?
34:32.079: Yeah, usually it's fast turnaround things that are being originated on like DSLR or like
34:40.500: Things that are difficult to transcode.
34:42.740: So, like red jobs are also candidates for Final Cut 10.
34:46.980: Very cool.
34:48.260: You know, things that they don't want to spend a lot of time converting media.
34:52.560: And things that they need to turn around quickly.
34:56.080: Speaker 1: Do you know I know that my friend Philip Hodgetts has a tool, and I can't remember what it's called.
35:03.200: Speaker 1: Oh, it's called Lumberjack.
35:05.400: Speaker 1: Yeah.
35:06.280: Speaker 1: And he sort of developed that around the concept of being used in reality television.
35:11.720: Speaker 1: I'm sure there's other uses, Philip.
35:13.240: Speaker 1: I'm sorry.
35:15.040: Speaker 1: But one of the things he talks about a lot with Lumberjack is that it would be a great logging tool for doing reality T V.
35:20.720: Speaker 1: Do at Shooters T V do they use Final Cut Ten more than
35:26.119: They're starting to.
35:27.160: Yeah, they're starting to.
35:29.480: You know, like the big the big job that they're doing right now is Restaurant Impossible for the Food Network.
35:33.960: Right.
35:34.680: And that has been on I mean, they're like they're starting their ninth season of production.
35:40.240: So that show is pretty well entrenched in the Avid world.
35:43.280: You know, they've been using Avid since before it became Restaurant Impossible, because that show started off
35:50.500: As dinner impossible, which was like a different format, but really restaurant is
35:58.140: is a spin-off.
35:59.180: I mean, to right, you know, from a from a real s production standpoint.
36:03.500: So um
36:07.040: So it's been in production for like seven and a half years total.
36:10.640: And there was really no other option at that point when they started but to use Avid.
36:18.240: In fact, I was pretty integral in creating that workflow with Shooters TV and getting Dinner Impossible started and creating
36:26.440: A methodology for making the show and getting it to work properly in a post-production standpoint.
36:32.760: So we've made a couple of
36:40.640: Decisions that the next show that we do, we're going to try it in 10 and see what happens.
36:46.720: And I feel very confident that's going to be a very good move because the multicam
36:51.960: In the testing that I've done, it's like so much better than the avid version of that.
36:59.720: In Avid, it's actually kind of crazy what we have to do in order to get that production pipeline to work.
37:05.240: We have to because Multican does not work.
37:08.120: Really?
37:09.560: You literally cannot join all the clips together into a multi-cam because when the camera's start and stop time stagger
37:18.720: Greatly, it the average just breaks down.
37:21.279: It just won't let it just can't do it.
37:23.119: Speaker 1: You know, I just I just last night, I think, posted a tutorial.
37:28.400: Speaker 1: about how to do multicam syncing when you have many clips for one bit.
37:35.040: Speaker 1: And they can be totally staggered because in the demo, I was doing
37:40.599: Speaker 1: There was like a twenty or thirty minute interview, and one camera they they're both 5D Mark IIIs, but they were using the new codec.
37:49.320: Speaker 1: And I'm not smart enough to know what it is.
37:51.160: Speaker 1: One of them, it has like
37:52.640: Speaker 1: It's like all IP or PB or LMNOP or whatever where the data rate
38:01.060: Speaker 1: Is flexes or no, the duration of the clip flexes based on how much motion is in the shot, right?
38:07.940: Speaker 1: Okay.
38:08.340: Speaker 1: So, like
38:09.340: Speaker 1: There were two shots.
38:10.220: Speaker 1: There's like a basically a stationary camera, and then there's sort of a three-quarter angle slider camera.
38:16.300: Speaker 1: Well, that one
38:17.920: Speaker 1: If you think about it, every pixel is moving in every frame.
38:21.520: Speaker 1: So the data rate is different.
38:23.360: Speaker 1: Well, on one, the clips are longer and on one, the clips are shorter.
38:28.240: Speaker 1: But it's the same runtime, right?
38:30.480: Speaker 1: And it's spanning
38:31.760: Speaker 1: You know, the 5d3 will span when it hits its time limit.
38:34.640: Speaker 1: Well, boom, just throw them in, and there's a few little cha-cha-cha's that you have to click on to, like, you know.
38:42.700: Speaker 1: Sort by this and search by this.
38:44.860: Speaker 1: It's actually a really good tutorial.
38:46.940: Speaker 1: And I want to credit a guy named Ryan Christensen, who I met at NAB.
38:52.520: Speaker 1: And I was trying to do something.
38:54.359: Speaker 1: He's like, dude, dude, dude, add this.
38:56.599: Speaker 1: And I'm like, oh, that's cool.
38:59.560: Speaker 1: That's going to be a tutorial.
39:01.079: Speaker 1: So anyway, Ryan, I thank you.
39:03.079: Speaker 1: I know you're listening.
39:04.760: Speaker 1: And he's from
39:06.820: Speaker 1: Northern Utah, I believe.
39:09.220: Speaker 1: A lot of Fannel Hat 10 users there.
39:10.980: Speaker 1: No.
39:11.940: Speaker 1: But anyway, it Fannel Hat 10's multi-cam, even when it's multiple clips, because you know, every demo you always see, it's like
39:20.340: Speaker 1: Here's my A camera, here's my B camera, join them together and sync it and done.
39:24.580: Speaker 1: But when you have, like, you know, I interviewed a guy for 40 minutes, so I got a bunch of clips.
39:29.840: Speaker 1: And it can be even starting and stopping.
39:32.560: Speaker 1: Like, okay, let's stop for a second and fix the makeup or whatever.
39:35.280: Speaker 1: It doesn't matter.
39:36.240: Speaker 1: Just throw it in, string them out, you know, hit go.
39:40.660: Speaker 1: It's really cool.
39:41.620: Speaker 1: It's great.
39:42.420: Oh, it's fantastic.
39:43.620: And like in our productions, we sometimes have like as many as twelve independent people with a with a microphone.
39:50.100: Speaker 1: Oh, gee, yeah.
39:51.640: So like doing that in Avid, it's a process that takes an assistant editor.
39:58.520: Speaker 1: Have you ever seen a sync and link?
40:01.320: Speaker 1: Again, this is more stuff that I learned from NAB.
40:04.600: Speaker 1: So Sync and Link not only will string that stuff, it will sync that stuff up, especially if you're in a real broadcast environment where you're
40:13.120: Speaker 1: probably have time code on everything.
40:15.040: Speaker 1: Most of the stuff I have doesn't have time code.
40:17.520: Speaker 1: But Sync and Link will actually bring through the metadata for the various auto auto excuse me, audio channels.
40:26.500: Speaker 1: So this demo I saw, again, Michael Garber was doing at NEB, his audio recordist, Michael likes to say he's more OCD than I am, and he actually labels all of his audio tracks in his recorder.
40:40.540: Speaker 1: Boom.
40:40.940: Speaker 1: Oh, yeah, it's it's bruff.
40:42.540: Speaker 1: You know, Charlie, Lucy, you know, Linus, Pigpen.
40:46.780: Speaker 1: You know, he names all the all the tracks.
40:49.720: Speaker 1: And all of that data comes from the audio recorder through Sync and Link into Final Cut, and then
40:57.540: Speaker 1: Like the tracks actually are labeled right.
41:00.260: Speaker 1: So it's it just blows your mind when you when you go down to actually start mixing it or, you know, oh, that guy's ran out of the room.
41:07.620: Speaker 1: Let's mute that channel so we don't get the RF hits or whatever, you know?
41:11.500: Yeah, it's fantastic.
41:13.180: And our audio guy is just as meticulous about labeling everything.
41:18.780: And it all comes right into Final Cut.
41:21.580: It syncs right up because everything's jammed
41:24.240: You know, the timecode, they jam sync everything.
41:26.880: So for us, it's like a literally a one-click thing.
41:30.000: You just tell it to sync in Final Cut based on timecode, and everything comes in: the audio components, the original camera audio.
41:37.320: Is you know, is there and like you can reference it if you need to, but I mean, it's just it's a no-brainer.
41:43.560: I mean, the next show that we do is most likely going to be on 10.
41:48.200: The the only thing that could stop us is getting qualified editors.
41:54.839: Right.
41:55.799: That's really the only thing that
41:57.980: that could potentially throw a monkey wrench in that plan.
42:00.940: Speaker 1: But how are you you know you know what the answer is?
42:03.580: Speaker 1: Find younger editors.
42:07.260: Yeah, I mean like it's it's a really interesting conversation because you know we we work with uh with editors who
42:16.299: We have a great relationship with, and they've been avid guys forever.
42:19.819: Speaker 1: Yeah.
42:20.460: And, you know, you tell them, Hey, look.
42:24.220: You know, this is coming down the pike.
42:27.020: And you should probably take the time to learn it.
42:31.180: Speaker 1: And if you think about it, though, you've been doing this long enough that you know.
42:38.440: Speaker 1: That this is not a new phenomenon.
42:42.440: Speaker 1: You learned your
42:45.859: Speaker 1: what would you say it was imagine you had to learn your smoke, you know, you you learned your avid in the bathroom, you print out the manual and hang a copy of it in the restroom, you know.
42:58.240: Speaker 1: But it is part of this business.
43:03.520: Speaker 1: There will be new things to learn.
43:06.320: Speaker 1: And it sounds like it's very interesting because
43:10.680: Speaker 1: Your companies, I'll say, they're starting to see that there is a true financial
43:19.140: Speaker 1: Positive to using Final Cut given some of these things that happen so much faster as opposed to a full day with an assistant editor.
43:26.880: Yeah, and I have to say that I attribute a lot of that to the fact that we also do much of the production ourselves, too.
43:34.000: You know, like we're providing
43:39.299: A service to our clients from start to finish.
43:41.460: So it's not like there's a separate production company involved.
43:44.819: So it really does behoove us to get things turned around as quick as we can.
43:51.740: So we're constantly looking at our methodologies and seeing how we can improve them.
43:57.100: And Final Cut 10 really just it jumps out at you once you really see it in action.
44:02.840: you know, it just it becomes a no-brainer almost.
44:06.120: You know?
44:08.360: Again, the big bugaboo is getting people to learn it.
44:11.800: That's really the problem.
44:13.000: Speaker 1: Yeah, they'll learn it.
44:14.200: Speaker 1: They'll learn it.
44:15.160: Speaker 1: You know, I mean, it sounds like.
44:18.060: Speaker 1: So would you say you're one of the more, no pun intended, avid Final Cat 10 users in the company?
44:24.860: Oh yeah, definitely.
44:25.900: I w I walk around and
44:27.559: You know, I'm like, hey, let me ask you a question, or you know, like, I'm like the cheerleader for Final Cut 10.
44:33.160: Right.
44:33.400: Speaker 1: They get shooters.
44:34.760: Speaker 1: Yeah.
44:35.319: Oh, yeah.
44:35.799: They want to smack me so hard.
44:37.400: It's written all over their face.
44:39.559: But.
44:40.240: But that's okay with me because I really am very enthusiastic about it because I can see the benefits for the editors.
44:50.980: It's not just servicing the clients too.
44:53.700: It's like this is going to make the editors' lives better.
44:57.860: When I was first learning Media Composer, I was
45:03.040: I went to like a symposium out in LA and there was some guru avid guy talking and everything.
45:10.560: And he's like, you know, what does every editor want?
45:15.440: Right.
45:16.640: He asked that, like, what does every editor want?
45:19.200: And people were raising their hands and they were saying, oh, the Emmy Award, or, you know, an Addy or whatever.
45:24.160: And he's like, no.
45:25.280: Like, every editor wants to go home at the end of the day.
45:28.080: Right.
45:28.720: We all want to go home.
45:30.480: Get up.
45:31.280: Do something.
45:32.240: Speaker 1: Yeah.
45:32.640: Speaker 1: That's funny.
45:33.520: Speaker 1: That's very true.
45:35.560: Speaker 1: If you ask a real editor, that's what they'll say.
45:37.480: Speaker 1: And actually, that was one of the messages that Michael Garber was, you know, kept saying over and over at NAB.
45:43.480: Speaker 1: It's like, I just want to go home and this will help me get there quicker.
45:46.680: Speaker 1: Right.
45:46.920: Speaker 1: You want to, like, you know.
45:48.840: See your family.
45:50.840: You want to do other things outside.
45:52.920: Right.
45:53.480: Speaker 1: So, do you see like a
45:56.799: Speaker 1: Actually, before I get into that, so one of the things that I've noticed just in the last literally, like just in the last couple of weeks.
46:05.340: Speaker 1: One of the things that I love about working in a facility with other editors is there's a great sort of give and take where
46:16.680: Speaker 1: you know, you're having lunch or something, somebody mentions something and they'll go, oh, I was having problems with, oh, I just learned something the other day, and you get to like share that with them
46:24.660: Yeah, it's great.
46:25.380: Speaker 1: And it's really it's so much better than working solo all the time, although I will say that there's a lot of resources online.
46:33.460: Speaker 1: But to have those kind of face-to-face, like, oh, I just learned this great trick.
46:37.700: Speaker 1: And like, for example,
46:40.320: Speaker 1: This multicam syncing thing.
46:42.320: Speaker 1: I was just showing that to one of the other editors here Friday afternoon, and he was like, Whoa, that's awesome, you know?
46:49.120: Speaker 1: And I've found myself
46:51.820: Speaker 1: For the last several months, like that feeling is back because, like, in the early days of Final Cut Classic.
47:01.340: Speaker 1: There was a lot of that.
47:02.700: Speaker 1: And then, you know, it got to the point where it was like, yeah, you know what?
47:04.860: Speaker 1: You can't teach me anything about this app.
47:06.780: Speaker 1: I know everything it does.
47:08.540: Speaker 1: And so does everybody else in the building.
47:10.620: Speaker 1: But it is fun to be able to have that sort of camaraderie.
47:15.880: Speaker 1: And I was going to say what you might want to do is start thinking about the various processes that you guys go through
47:24.799: Speaker 1: and doing some quick little screen tutorials, you know?
47:28.720: Speaker 1: And talk people through it.
47:30.720: Speaker 1: Like, you know, this is how you sync a multicam.
47:34.799: Speaker 1: This is how you ingest
47:37.200: Speaker 1: You know, five days worth of shooting.
47:39.200: Speaker 1: This is how you want to keyword it.
47:41.760: Speaker 1: This is how you want to, you know, give it a camera angle or whatever.
47:46.000: Speaker 1: You know, I mean, there's a lot of benefits to those things.
47:49.480: Speaker 1: That you can then, you know, keep a little folder on each desktop and just say, you know, if you get, if you forget how to do something, it's right here.
47:57.220: Speaker 1: It might.
47:57.619: Speaker 1: It might.
47:58.260: Speaker 1: Yeah, that's a great idea, actually.
47:59.619: Speaker 1: Yeah.
48:00.020: Speaker 1: As a matter of fact, a lot of my tutorials are things that I've done for our office first.
48:06.900: Speaker 1: And then it's like, ah, you know, I should share that.
48:10.700: Speaker 1: There's a few that are very client specific that I don't bother sharing.
48:13.660: Speaker 1: But by and large, most of the time, it's something that I'm doing for our office as well.
48:18.980: Speaker 1: That's a great idea.
48:20.100: Speaker 1: There's a new feature as a tutorial maker on YouTube for you.
48:24.500: Speaker 1: Wow.
48:25.060: Speaker 1: Yeah.
48:25.540: Speaker 1: So let me ask you this: if you had the ability to sneak in the back door at Apple
48:31.640: Speaker 1: and go right up to the programmers and ask them for a couple of features.
48:36.760: Speaker 1: Good question.
48:37.720: What would you ask them for?
48:41.920: The very first thing that I would like is the ability to have a connected clip on a connected clip.
48:54.580: That's like the that's the one thing that I run into over and over.
48:58.660: Right.
48:58.980: Speaker 1: So you you go to move the so tell me some instances where that would help you.
49:06.200: Well, a lot of times you have like a secondary storyline.
49:11.720: So like that becomes a connected clip to something that's in the main storyline.
49:18.240: But that could possibly be used in other places.
49:26.000: Maybe it's like a piece of B-roll, but
49:33.460: Maybe I want to attach some audio to that.
49:36.260: Okay.
49:36.900: Like a sound effect or something.
49:38.260: But I want that chunk to be fluid in the timeline as opposed to the actual.
49:42.940: You know, like voiceover that it's attached to on the main storyline.
49:45.980: Speaker 1: Right.
49:46.540: You know, because like a lot of times, like, I'll use this main storyline as like the skeleton
49:50.920: So, it'll include like video clips with audio, but it'll also have like my voiceover.
49:56.920: Right.
49:57.080: Speaker 1: I do my main side.
49:57.960: Speaker 1: I do that a lot.
49:58.760: Speaker 1: I think when I figured out that you could do that.
50:01.900: Speaker 1: it made a lot of sense that you get your radio edit done in your primary storyline.
50:08.380: Speaker 1: And if there's on camera bits, there's on camera bits.
50:10.700: Speaker 1: And if it's VO, it's VO.
50:12.640: Speaker 1: You could put all your little spacers in there to paste things out the way you want.
50:18.160: Yeah, so that would be the first thing.
50:21.640: Let me call up.
50:22.359: I have like a list.
50:25.799: I do have a list that I've sent into Apple.
50:28.279: So let me.
50:29.520: Speaker 1: I will tell you, are you familiar with Richard Taylor, fcpx.
50:33.520: Speaker 1: tv?
50:34.320: Speaker 1: Yes, actually I've been to his site several times.
50:36.960: Speaker 1: Yeah, Richard has a couple of he has a list of the hundred things he'd like to get.
50:41.160: Speaker 1: And he has a pretty good track record of at least about 10% or 15% of them being adopted with each iteration of the software.
50:49.320: Speaker 1: The whole thing is they do listen.
50:52.600: Speaker 1: Let's see.
50:53.320: The cool thing is that a lot of the things that I've sent to Apple over the last several years have been implemented.
51:00.760: Very cool.
51:03.480: Let's see here.
51:07.520: Good night, buddy.
51:08.240: It's okay.
51:09.200: Okay.
51:09.520: Oh, my son just wants to say goodnight, real quick.
51:11.200: No problem.
51:12.080: Good night, bud.
51:12.960: Good night, son.
51:13.680: See you later.
51:15.800: I just taught him how to use Apple Motion, so he's excited.
51:19.000: He's done.
51:20.520: You have an effects generation squad working for you.
51:24.640: Oh, okay.
51:25.440: Here this is the second biggest thing I would tell them.
51:29.599: I would still like to have a better implementation of source time code.
51:35.420: In the application.
51:36.380: Speaker 1: You know, it is pretty interesting.
51:37.820: Speaker 1: I stumbled across the fact that source time code is indeed there.
51:44.120: Speaker 1: if you hover scrub I'm sorry, borrowing an Adobe term, if you skim over a clip in the time line, your your time code window changes to reveal the source time code and not the time line time code.
51:59.620: Speaker 1: Right.
52:01.540: Speaker 1: So it does do that.
52:03.140: Speaker 1: You can access that even from the bin if you select a clip in the bin or sorry, the browser.
52:08.500: Speaker 1: Browser.
52:08.980: Speaker 1: Yeah.
52:09.300: Speaker 1: And then you.
52:11.000: Speaker 1: I can't remember the keyboard shortcut, but there is a keyboard shortcut to go to the time code window, and then you can type in the time code from the source timecode, hit enter, it'll jump there.
52:23.900: Well, the problem is that like once you leave your time code window or your I'm sorry, your once you leave your browser.
52:32.220: your browser and go into the timeline, then the time code window switches to show the time code for the timeline and vice versa.
52:41.260: So like
52:41.840: You can't use that time code window as a reference when you switch over.
52:45.360: You know, like say you match back to your original source.
52:47.920: Right.
52:48.320: Like now you can't see what the timecode was.
52:50.640: You know, and my memory is not that good that I could.
52:53.940: That I can remember time code.
52:55.220: I mean, it's a little thing.
52:57.300: You know, I'll give you that.
52:59.220: It's not like a.
53:00.420: Speaker 1: Well, you know what?
53:01.540: Speaker 1: I'll tell you.
53:02.540: Speaker 1: Editors are picky, grumpy people.
53:05.420: Speaker 1: And it's those little things that make a difference.
53:08.780: Speaker 1: Would you envision the time code section just to be wider and have two sets of time code?
53:15.640: Speaker 1: Yeah, I don't s I would love to see two time code windows.
53:19.000: Speaker 1: Maybe like an expert mode.
53:20.920: Speaker 1: You could chink it on in the preferences, say, yep, I want pro timecode or expert time code.
53:27.240: Yeah.
53:27.560: And expert mode would also allow me to move my windows around, I think.
53:31.480: Yeah.
53:31.960: You know what?
53:32.520: Speaker 1: You know what?
53:32.920: Speaker 1: It's funny.
53:33.640: Speaker 1: I saw something.
53:34.680: Speaker 1: I'm going to launch the app.
53:35.960: Speaker 1: I don't normally do that when I'm talking.
53:39.220: Speaker 1: I saw something in the application.
53:43.700: Speaker 1: I've got to turn my audio down so it doesn't come into my show here.
53:49.820: Speaker 1: I got really excited.
53:51.340: Speaker 1: Like, oh, oh, is that a hint?
53:53.100: Speaker 1: Is that a clue?
53:54.060: Speaker 1: Is that something to come?
53:55.820: Speaker 1: And then I realized, oh, it's probably part of, you know, just the standard OS stuff.
54:00.940: Speaker 1: But.
54:03.520: Speaker 1: There is a command in the window menu called revert to original layout and
54:10.820: Speaker 1: it's like it it it made me think, oh, you know, maybe tearing off windows and palettes and floating pallets and stuff might be more
54:21.960: Speaker 1: More readily available or be very soon on the horizon.
54:26.600: Speaker 1: We don't know.
54:27.400: Speaker 1: But then I thought, well, let's also bring all to front
54:31.660: Speaker 1: and enter full screen.
54:33.420: Speaker 1: I go, you know what?
54:34.060: Speaker 1: I think those are standard, you know, standard Mavericks commands that get dropped into most, if not all, apps.
54:42.540: Speaker 1: But yeah, I I have heard many people say they would like to see their be able to customize the user interface like that.
54:52.619: Speaker 1: I'll give you one more.
54:53.820: Speaker 1: Make it a good one.
54:55.740: Speaker 1: Okay.
54:58.619: I think
55:00.700: Wow.
55:01.180: One only one more?
55:02.220: Because that's you're putting the pressure on me.
55:05.740: I think it's like trying to pick your favorite child, you know.
55:12.940: I'd like to see multiple scopes up at the same time.
55:15.740: Speaker 1: Ah, yeah, yeah.
55:16.860: If I could pick one more thing.
55:18.300: Speaker 1: Yeah, like a quad split of four scopes side by side by side.
55:22.540: Yeah, even I mean, I would love to have just the waveform and the vector scope at the same time.
55:27.180: Yeah.
55:28.300: Speaker 1: And I would like to be able to put it on my second monitor or another monitor.
55:32.599: Speaker 1: Yeah, totally agree.
55:34.839: But that goes back to my other to my second one.
55:37.160: I'd like to be able to rearrange my windows the way I want.
55:39.800: Right.
55:41.079: So, yeah, those are the big ones.
55:42.599: I mean, there's tons more, but
55:46.420: Those are the big ones.
55:47.540: Speaker 1: Motion round trip would be great.
55:49.300: Speaker 1: I will say that well, let me ask you about motion round trip.
55:54.020: Speaker 1: I have been postulating that maybe we don't need motion round trip.
56:01.060: Speaker 1: If you think about what motion is now
56:05.119: Speaker 1: it's it's it's more it's different than After Effects.
56:10.079: Speaker 1: In After Effects you take your clips in and you do your stuff to them
56:15.520: Speaker 1: And then you kick them out and you lay them down into your timeline, right?
56:21.119: Speaker 1: But basically, and this might be oversimplified, and I realize that, but basically
56:27.500: Speaker 1: Anything that you would have done to your clip in After Effects, you could make an effect for that.
56:34.140: Speaker 1: So instead of actually saying, well, take this clip and put sparkles on this clip.
56:41.220: Speaker 1: you could actually make and then and then do a wipe from this clip to the second clip and then have those sparkles like make it look like a magic wand.
56:51.299: Speaker 1: Oh, wait
56:52.520: Speaker 1: You can make an effect that does that.
56:55.480: Speaker 1: I'm teeing you up for a plug here for your effects that you make.
57:00.520: Speaker 1: But you've actually made an effect that goes from source A
57:05.120: Speaker 1: To source B, drops in the sparkles and performs a wipe top, bottom, left, right, diagonal, whatever.
57:13.600: Speaker 1: So, like
57:14.720: Speaker 1: You didn't need to round trip those two clips in order to make that a fact effect.
57:20.240: Speaker 1: As a matter of fact, you've done something much more brilliant.
57:23.039: Speaker 1: You've made a generic effect that you could use on any two clips.
57:27.660: Yes, that and it's and it's customizable too.
57:32.060: There's parameters that the user can define themselves inside Final Cut.
57:35.820: So I do agree with you that
57:38.320: it becomes less important to have that kind of dynamic linking that After Effects and Premiere have.
57:46.599: because now you can what I like to call like reverse engineer your your project.
57:53.480: If you can say, well, I just need to create a
57:58.120: You know, some kind of transition, and I can define how that will work, you know, inside motion in a generic sense, and then I can bring it back into Final Cut and plug everything in on the fly in front of my client.
58:11.420: You know, yes, that's a really brilliant way to work.
58:14.780: And in fact, you know, I just did a job not too long ago for StarCast Tuna.
58:22.420: you know, where it was a big deal because we were working with Cornerstone Pictures and they were working with Star Kiss Tuna for the first time in a while.
58:34.420: And they were like very concerned about the way Charlie Tuna was going to look in this first 3D implementation of the character that they've ever done.
58:46.040: you know, there was like a lot of a lot of angst in the agency.
58:52.120: A talking tuna could be creepy.
58:54.880: A 3D talking tune is not, it's just not natural.
58:57.840: So, you know, so in this particular job, we had the director from the live action there in the edit with us.
59:07.920: We had.
59:09.140: the actual person running the effects, the the 3D animation effects, who is up from Buffalo, Ben Porcari from IBC Digital was there in the edit with me.
59:23.260: And, you know, he had to make sure during the course of the rough cut that anything that I did, he'd be able to incorporate the character into properly.
59:33.099: Right.
59:33.660: You know, so like there was a lot of
59:35.720: you know, tension and everything.
59:37.799: And like he he brought animatics with him from his 3D artists and everything that he provided to me.
59:44.599: I was able to bring it into Final Cut 10.
59:47.839: And I created like custom effects in motion.
59:50.800: I created a random movement effect using a behavior in motion.
59:55.359: And I just was able to make a plug-in for Final Cut.
59:59.820: Where I could drop it onto his animatics, you know, dial in the exact amount of random movement, and then when you say random movement, like almost like a handheld camera look.
No, like he had like an animatic, you know, tuna dropping down from the top of frame. 01:00:10.799 Okay. 01:00:16.240 But he wanted it to look like the tuna was floating in water. 01:00:16.480 Gotcha. 01:00:18.960 Okay. 01:00:19.599 You know, so like I was in like all these other elements, like there was supposed to be onions and scallions, and you know, like why not? 01:00:20.500 Things floating around the ocean with him, and of course, he wanted it to look 01:00:27.380 As close to what it's going to look like when he is done with his artists and everything, so that the client doesn't freak out. 01:00:32.099 You know how that goes, right? 01:00:40.720 Sure. 01:00:42.160 So, what did he think of that little plug-in that you made? 01:00:42.559 He thought it was awesome. 01:00:45.520 And, like, the best part of the story, actually, is that 01:00:46.720 You know, during a lunch break, when all the clients cleared out of the room and the director's gone and everything, Ben came over to me and he's like 01:00:51.520 Dude, you've got to tell me who programmed this software. 01:00:59.620 He's like, I want this editing software 01:01:03.460 Right? 01:01:07.220 Like he thought it was a proprietary piece of software that we were using. 01:01:07.619 Speaker 1: It was and so like I'm like 01:01:13.460 Speaker 1: What do you have? 01:01:16.840 Speaker 1: A piece of tape on your monitor that covers up the word Final Cut Pro in the corner? 01:01:17.320 No. 01:01:21.320 No, but I mean, you know, like it's the FCP is like a little tiny speck on the screen, and he's sitting two rows behind me. 01:01:21.800 Okay. 01:01:29.560 Right? 01:01:30.200 So. 01:01:30.680 So, what did he say when you told him? 01:01:32.000 He about fell over dead. 01:01:34.560 I mean, he's like, no, he's like, Final Cut 10 is crap. 01:01:36.320 He's like, no, that can't be. 01:01:40.960 I'm like, that's what I've been using. 01:01:42.320 And, like, 01:01:43.760 You know, he was just so amazed at how quickly I could find footage. 01:01:45.039 Yeah, that's awesome, Scott. 01:01:50.480 It was so it was like the best thing ever to me. 01:01:52.580 Like it tickled me so hard. 01:01:56.020 That's so funny. 01:01:57.620 Speaker 1: So, what is the software you use? 01:01:59.220 Speaker 1: I'm using File Guard Pro. 01:02:00.660 Speaker 1: No, you're not. 01:02:02.180 Speaker 1: That's crap. 01:02:03.060 Yeah, so I should connect with him again and see if they've actually started using it up there. 01:02:06.640 Speaker 1: He's going to go back to his shop and he's going to go, oh my God, you're not going to believe what I saw. 01:02:12.320 Speaker 1: There's this guy up in Philly. 01:02:18.020 Yeah, and they were probably like, they were probably just like, no. 01:02:20.820 Yeah. 01:02:24.020 You know, he was just messing with you. 01:02:24.820 That's probably. 01:02:26.260 Speaker 1: Yeah, he was on a smoke. 01:02:27.300 Speaker 1: Yeah. 01:02:29.380 Speaker 1: Yeah, it was pretty funny. 01:02:30.339 Speaker 1: That's a great story. 01:02:32.020 Speaker 1: Hey, we should wrap this up. 01:02:33.220 Speaker 1: Thank you so much for sharing. 01:02:34.819 Speaker 1: Why don't you tell people how to find you like on Twitter and stuff? 01:02:37.059 Speaker 1: Sure. 01:02:41.500 Scotty Mark Daddy on Twitter. 01:02:42.220 Speaker 1: That's the best way to tweet me. 01:02:45.820 Speaker 1: And if people want to learn more about Shooters Inc. 01:02:48.220 Speaker 1: , they have a website. 01:02:53.020 Speaker 1: Yes, shootersinc. 01:02:54.520 Speaker 1: com. 01:02:55.800 That's clever. 01:02:56.119 Yep, it works. 01:02:57.400 So you can see like all the great stuff that we're doing there. 01:02:59.880 Speaker 1: So bottom line is, if you're like a monster Final Cut 10 editor and you're anywhere near Philadelphia, you should probably go drop a resume in the front door because it sounds like you guys are going to be looking for more Final Cut 10 editors. 01:03:03.100 Speaker 1: I don't want to get your HR department mad at me, but I would be doing that if I was listening to this. 01:03:17.560 It wouldn't be a bad strategy. 01:03:24.940 It would not be a bad strategy. 01:03:26.460 So, yeah, we're doing some great stuff there. 01:03:28.940 You can also see me at 01:03:31.260 Fcpextreme. 01:03:33.340 com. 01:03:35.180 Speaker 1: That's where you can find the magic wand plugin I refer to. 01:03:35.660 Speaker 1: Magic Wand Wipe. 01:03:39.500 Speaker 1: Yes. 01:03:40.460 Speaker 1: Thank you very much. 01:03:40.780 Speaker 1: I thought that was the best description. 01:03:42.160 Speaker 1: I'm gonna yeah, well, you know, it i it goes to what I was saying about making an effect to do something as opposed to making a dedicated timeline to achieve something. 01:03:43.360 Speaker 1: Right. 01:03:53.660 Yeah, and there's so much more that you can do. 01:03:54.060 You can push that to a whole new level too, because you can create like motion designs and templates, but it's so much more than a template. 01:03:56.940 You know, really. 01:04:06.740 Speaker 1: Right, there's a demo movie on my site from Dustin Hoy. 01:04:07.700 Speaker 1: I believe it's Hoy, yeah, Dustin Hoy. 01:04:12.980 Speaker 1: And he explains how they use motion templates to do lower thirds for their network, their fishing show. 01:04:15.620 Speaker 1: Yeah, it's the way that you can swap out designs so quickly, you know, left side, right side, it's very cool. 01:04:24.039 Speaker 1: Very, very cool. 01:04:31.799 Yeah, it's really powerful. 01:04:32.839 Yep. 01:04:34.920 With that being said, I do wish that there was like more controls right inside the Final Cut 10 application to do compositing kind of work. 01:04:36.640 I mean, I do find that to be a little bit lacking. 01:04:47.600 And I'm really curious to see what's going to develop because it seems to me, I have no 01:04:54.000 privy information from Apple or anything. 01:05:02.040 I mean, this is speculation. 01:05:04.120 But it does seem to me that like there's going to be some kind of movement towards merging the applications perhaps, or there's going to be some new application that 01:05:05.560 you know, maybe it's going to be a little bit more compositing friendly. 01:05:15.920 Speaker 1: You know, you know what I think is fascinating? 01:05:21.200 Speaker 1: I was j just before I called you, I was watching the 01:05:23.680 Speaker 1: Resolve eleven demo videos that are on the Black Magic website. 01:05:27.480 Speaker 1: And when you look at those and they go, Oh, and there's this inspector and there's this over here, the toolbox, and you're like 01:05:32.360 Speaker 1: Yeah, that looks a lot like Fanoka 10. 01:05:41.740 Speaker 1: Oh, it's incredibly like a lot. 01:05:44.860 Speaker 1: Like the motion control, you know, the geometry controls. 01:05:46.940 Speaker 1: I just. 01:05:52.460 Speaker 1: When you started to talk about merging, I don't know, man. 01:05:54.220 Speaker 1: I just see so much similarity between those two applications. 01:05:58.140 Speaker 1: And as a matter of fact, in the demo, 01:06:01.340 Speaker 1: At one point they go, And of course you can import timelines like from Apple's Final Cut 10. 01:06:03.260 Right. 01:06:08.700 Speaker 1: And like in one video, they mention, you know, oh yeah, and Avid and Premiere. 01:06:09.020 Speaker 1: But in one of them, all he mentions is Final Cut 10, and you're like, that's really an interesting thing. 01:06:14.240 Speaker 1: Like, who wants to sidle up and 01:06:21.440 Speaker 1: you know, with the bastard, red-headed, you know, freckled kid from who's your second, third cousin, whatever. 01:06:24.220 Speaker 1: You know, it's like 01:06:31.420 Speaker 1: Don't you want to say I'm compatible with Evident Premier? 01:06:32.400 Speaker 1: You know, because those seem to be the darling childs of the industry right now. 01:06:35.680 Speaker 1: I just find it interesting. 01:06:39.840 It is interesting. 01:06:41.440 It's very interesting. 01:06:42.480 It's very telling, I think. 01:06:43.360 I mean, yeah. 01:06:44.560 You know, there's there's and like you said, you know, you you said this before, you know, editors are grumpy, crotchety people. 01:06:46.500 I mean, it's so true. 01:06:55.540 When I first started, there was like the people doing linear editing on Grass Valley machines, and they all swore that was the best. 01:06:58.680 And then there was like the 01:07:08.359 you know, Ampex guys that swore their system was the best and they like were fighting with each other the whole time that I was learning Avid. 01:07:10.040 And push them out of work, you know. 01:07:18.359 Speaker 1: And two dinosaurs duking it out in the back parking lot. 01:07:21.320 Speaker 1: Meanwhile, there's a dude in the front in the front in a, you know, in a 01:07:24.599 Sports car. 01:07:29.760 Yeah, and it's going to be, you know, that history has a way of repeating itself, and that's going to happen again. 01:07:31.359 I mean, like, the young editors that 01:07:37.520 That just want to get stuff done are going to figure out the best way to do it. 01:07:39.720 And that's going to end up being the way that you know well we'll have this argument again in 20 years. 01:07:43.480 Speaker 1: I'll wrap this up by recapping a story that one of my first guests on this show told. 01:07:51.079 Speaker 1: It was Chip Desard. 01:07:55.960 Speaker 1: And he teaches 01:07:57.880 Speaker 1: High school and college-aged kid video production. 01:08:00.320 Speaker 1: And in one of the schools that he works in, there's two instructors, and each instructor was allowed to use whatever application they wanted to in their class. 01:08:03.280 Speaker 1: And one class decided they were that one instructor wanted to use Premiere, fine, okay. 01:08:12.580 Speaker 1: But Chip said, Oh no, I wanted to use Final Pet 10 01:08:17.780 Speaker 1: And as it turned out, the kids were like his class was far and away the most popular class. 01:08:20.520 Speaker 1: I might be stretching it by saying far and away, but whatever. 01:08:28.420 Speaker 1: His class was more popular than the other class. 01:08:32.260 Speaker 1: And when he'd asked the kids, he goes, Why does everybody want to get in this class? 01:08:34.420 Speaker 1: And he goes, Because in your class, we actually get to start editing sooner. 01:08:37.540 Speaker 1: You know, because the other guy had to teach a whole bunch of dinosaur stuff. 01:08:41.719 Speaker 1: It's just an interesting way. 01:08:45.799 Speaker 1: Interesting viewpoint. 01:08:48.279 Speaker 1: Scott, we should go. 01:08:50.480 Speaker 1: Thank you so much for giving us your time, and I look forward to hearing more about what you're doing, all right? 01:08:51.759 Speaker 1: Thank you so much. 01:08:59.619 Speaker 1: I really appreciate it, Chris. 01:09:00.659 Speaker 1: No problem. 01:09:02.020 Speaker 1: And just so you know, you've been grilled. 01:09:02.659 Speaker 1: All right, take care. 01:09:08.500 Speaker 1: All right, thanks a lot, Chris. 01:09:09.780 Speaker 1: All right. 01:09:11.780 Speaker 1: Thanks again, Scott. 01:09:12.660 Speaker 1: Thank you for participating and being part of the little show. 01:09:13.780 Speaker 1: I want to say thank you to all the listeners for being so faithful with your downloads. 01:09:17.220 Speaker 1: it really just amazes me every week to see the numbers and to see the comments and stuff. 01:09:23.380 Speaker 1: So thank you so much for all of that. 01:09:29.779 Speaker 1: If you know anybody that needs to get grilled, if you know anybody that should be a guest here on the Fannel Kit Grill, let me know. 01:09:32.359 Speaker 1: Excuse me about that. 01:09:39.480 Speaker 1: Send me a message on Twitter. 01:09:40.360 Speaker 1: It's really the best way to get in touch with me. 01:09:42.120 Speaker 1: I am addicted to that little bird. 01:09:47.480 Speaker 1: So, anyway, we'd love to. 01:09:51.080 Speaker 1: Connect with people that are doing interesting and unique things with Final Cut 10. 01:09:54.380 Speaker 1: So, thanks for listening. 01:09:58.940 Speaker 1: We will be back later in the week on Friday with another episode of Final Cut Grill. 01:10:00.060 Speaker 1: Later, later. 01:10:04.620