Episode 38
FCG038 - Reflecting with The C47 (feat. Jem Schofield)
A gifted trainer and prolific producer, Jem Schofield has been a power user of the Final Cut Suite for many years. A few months ago I caught wind that he was using FCPX and, given the prolific nature of his production training I guess it had never occurred to me to ask what edit platform he was using. Jem and I talk a lot about Motion and other workflow issues. Reflecting and looking back and you see… it IS better, no matter how much you hated it.
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Featuring
- Chris Fenwick
- Jem Schofield - @theC47
Transcription
00:00.080: Contractors working for me.
00:00.080: Create a little tutorial or just sort of a hit list, a bulleted list that says, when you're sharing a library, do one, two, three, four, until hopefully we have a different solution.
00:00.160: He got sick, and then I was traveling, and it's just a lot of crazy back and forth, back and forth.
00:00.160: He produced a video every single weekday about some bit of production related material.
00:00.160: It's like, oh, there's another Final Cut 10 user.
00:00.160: No, pre-NAB is just you know.
00:00.160: Future, I wouldn't be surprised if Convergent Design didn't do something in some other companies.
00:00.160: So next question is is Funica 10 dead?
00:00.160: Five months of final cut crew.
00:00.160: At the Super Meet.
00:00.160: But it wasn't I don't think it was fun.
00:00.160: a friend of mine, Steve Navrat, who actually works with us here at Slice Editorial.
00:00.160: They get me out of uh we just did a thing where we had a slightly soft shot and we used uh SliceX to go in and create a mask around the talent.
00:00.160: Thanks, Jim.
00:00.160: Yeah.
00:00.160: to it.
00:00.160: they're going to have reframed everything.
00:00.160: I mean, I did a fairly early HD piece, and then it was like, okay, interesting experiment, but I'm not into it.
00:00.160: But yeah, it's the same sort of thing.
00:00.160: Oh, it's a long time ago.
00:00.160: HD to 4K is going to be easier.
00:00.160: And I've always said that.
00:00.160: to the editor, we're cutting it in ten.
00:00.160: who are going to be cutting in ten that just sort of come out of nowhere.
00:00.160: drop boxing libraries and pulling them down and relinking everything and just going about our business.
00:00.160: cranking through all my titles and everything, and I didn't just step through stuff.
00:00.160: kind of jigsaw puzzle editing.
00:00.160: Because of the type of stuff I do.
00:00.160: I'm like, you know what?
00:00.160: Oh, I don't.
00:00.160: I'm being facetious.
00:00.160: So what is your reasoning behind not putting a mixer in?
00:00.160: Where it'd be nice to bring it up.
00:00.160: And the other thing is that we should discuss benefits of the app.
00:00.160: In 10-1-1, it's major.
00:00.160: That people who are going out to even do an interview shoot are not doing an AB camera situation.
00:00.160: for a big company and they were doing tons of multicam and not being able to detach audio and then be able to tweak that and move that was frustrating.
00:00.160: Because I know exactly, and it, you know, it seems like, oh no, they just use a computer, dude.
00:00.160: that at a certain point I can round trip seamlessly from Final Cut Pro 10 to Motion.
00:00.160: I'm going to rely upon this plug-in to solve this problem for me.
00:00.160: That by clearing out the library and you didn't use this tool.
00:00.160: Right.
00:00.160: But what was happening is I was literally sitting there and I was in the timeline and I would try to move my playhead and I would just get a spinning beach ball.
00:00.160: It was great.
00:00.160: Experienced it.
00:00.160: Give me the ability to respond to those people and say thanks.
00:00.240: We've literally been trying, I think, for about two or three months to set this up.
00:00.240: That you go check out.
00:00.240: you to use spinning platters for reliability.
00:00.240: Is that what I said?
00:00.240: format four four four external recorders.
00:00.240: So you can actually feed four cameras, monitor the picture.
00:00.240: four K basically.
00:00.240: I was doing something a few months ago, and this has been the case in finding guests for the grill here.
00:00.240: And he's like, Hey, I want to be on the grill.
00:00.240: So basically, I don't think we've really talked about this.
00:00.240: I mean, I don't know if everybody know that knows that, but in 2011, you know, the Super Meet is a big is a big event.
00:00.240: there's a lot of people who are trainers out there, and I had been doing a lot of education.
00:00.240: And I had an opportunity to sort of segue into teaching Creative Cloud, Premiere Pro and some of the other apps.
00:00.240: I said, okay, so this is it.
00:00.240: I'm in.
00:00.240: I can't remember exactly which I think it was I I did a series of videos on the C300 multicam.
00:00.240: ever again.
00:00.240: What was his big turning point?
00:00.240: Absolutely.
00:00.240: the project and then you'd slip out the room and you'd just hear his fists, you know, pounding down on the table and damn it, man.
00:00.240: And he's got a great track record of them adopting, you know, 10, 15, you know, features each iteration.
00:00.240: So, yeah, I mean very good, very good track record.
00:00.240: No, I didn't see the apology.
00:00.240: As you know, Adobe and Al Mooney, so to speak.
00:00.240: And so they wanted to be able to do some things with that and do some picture within there and replace it.
00:00.240: added a little bit of sharpening.
00:00.240: And then TrackX is really the app that's designed to allow you to do the kind of stuff that Ted wanted to do.
00:00.240: Yeah, actually I still do a lot of 720 myself, but yeah, I do know what you mean.
00:00.240: This is the first year.
00:00.240: But I think that the Mac Pro finally came out and said, if you want to post four K, you can edit it at the speed of HD now.
00:00.240: And I think that the final piece of the puzzle to me in some respects was the Mac Pro.
00:00.240: 4K could be a master that is quite future proof, that is approaching the kind of quality of resolution once you have the right color science and cameras and all the other ingredients that need to be there, like an Alexa.
00:00.240: And there's going to be a whole bunch of these fuckers, and I don't mean that in a bad way, who are going to get so used to doing this on a regular basis
00:00.240: And it's going to be interesting to see how that happens.
00:00.240: on me financially.
00:00.240: H D, we're now dealing with a transition where our aspect ratio is the same in the transition.
00:00.240: Megabytes.
00:00.240: head in with Premiere Pro.
00:00.240: and the fact that when you place things, large things, in a smaller time line, it defaults to fit.
00:00.240: It's literally just in the last month or so, do I kind of get it?
00:00.240: What happened with me is I got completely hosed on a job by Premiere Pro After Effects Dynamic Linking.
00:00.240: Right.
00:00.240: another NLE.
00:00.240: somebody else who is using Premiere Pro, and then somebody else who is me using 10 for the projects that I'm producing.
00:00.240: supporting the app in the future.
00:00.240: They have access to technology for camera movement and everything else.
00:00.240: And they have some buddies and are friends and they're going out and they're shooting stuff.
00:00.240: That there are a bunch of those 13 to 18-year-olds who are cutting in 10.
00:00.240: One of the things that I've noticed, and it's a common theme that happens on this show, is that people say, I'm just glad to be able to talk about this openly.
00:00.240: And not be scoffed.
00:00.240: When I was at the post-chat and meetup, and I can't remember the guy's name now, and I feel bad 'cause you know, I shook his hand and everything, and we kind of made up at the end of it.
00:00.240: He gave me the the the typical look, like, what?
00:00.240: And he like, you know, pokes my shoulder and he goes, Oh, so you're the guy.
00:00.240: You have no idea what the hell you're talking about.
00:00.240: Huh?
00:00.240: For God's sake, it's ridiculous.
00:00.240: I do it on every project.
00:00.240: And then I just keep it there.
00:00.240: Feel the music and see, but I generally cut to music too when I'm doing stuff with a music shit.
00:00.240: Actually, y you're you're pointing out something that I did not realize.
00:00.240: If I have a music bed underneath the time line, I want to play down that time line and I want to hear how it feels with different music beds under it.
00:00.240: Or essentially muting them.
00:00.240: Like multiple video clips play somewhere in an edit.
00:00.240: you create an audition, then what you're doing is you're essentially creating this option to switch between them, and then you can commit to one of them or whichever one, when you feel that it feels right.
00:00.240: And then you still have all of the same options.
00:00.240: is I'll put a music bed underneath my time line in terms of picture, and then I will keep adding music files to that same original connected clip.
00:00.240: and make an audition out of it.
00:00.240: I can just say that's the one I want to commit to for my time line, and then it just gets rid of all the other ones.
00:00.240: That's right.
00:00.240: you know, I definitely use the magnetic timeline more for that because I find that I'm doing more of a kind of swapping of clips and and reordering them.
00:00.240: And of course, a lot of the things that people, again, have problems with, they don't understand that you can just go over there to the tilde key and you can break a connection.
00:00.240: you know, he hated it for the first half a day and he got over a couple of things.
00:00.240: And he said he was six days into the edit, and he realized he was twelve days into his budgeted time.
00:00.240: Yeah, yeah, I got it.
00:00.240: Yeah, no, and that's a very common story that that you hear.
00:00.240: That's what we do.
00:00.240: And we are so accustomed to doing these things the way we have done them that it's hard for us to imagine that there might be another way of doing it.
00:00.240: Nope.
00:00.240: Right.
00:00.240: because it'll just feel a little warmer.
00:00.240: Right.
00:00.240: I would rather have EQs that don't reset themselves.
00:00.240: The slider shot for my B camera or for my A camera.
00:00.240: And we even slate interviews.
00:00.240: The other thing it's great for is multicam because if you're trying to sync clips, which many people do with either third party or built in features of an app, and you're trying to sync to audio
00:00.240: And then when we lay it into the timeline, we will just create a marker right on the slate, which can I give all the production people in the world a pointer and I'm telling you, you have no idea how much your editor will appreciate this.
00:00.240: And if you want to be really awesome and have editors around the world love you, write the name of the audio file that you're recording at that moment.
00:00.240: is a lot of people have to put time code stamps on their time lines, and they have to provide their clients with a time code stamp for review.
00:00.240: It's a time code stamp.
00:00.240: and sneak up to where the programmers are working and just say, hey, hey, forget what those other guys were saying.
00:00.240: That's kind of an aside.
00:00.240: I think a sorely missed feature set, and you know, this is not to bang or beat a dead horse, is Motion is the best $49 plug-in that you could ever ask for for Final Cut Pro.
00:00.240: And it really is the engine that drives sort of what's happening graphically inside of the application.
00:00.240: I see that I'd rather do it in the timeline, but being able to do something in motion would just be more efficient.
00:00.240: I can't remember what it's called.
00:00.240: the eye touch thing, the little scratch and sniff desktop thing.
00:00.240: But there are checkboxes that allow you to essentially remove anything that could create a problem on the other end.
00:00.240: This is really interesting.
00:00.240: quote unquote user error.
00:00.240: Of course, you're not able to work efficiently because we're constantly trying to find these files, and we're showing you that the files aren't there.
00:00.240: But when you click on relink, sometimes it doesn't even show you.
00:00.240: but it absolutely brings Final Cut Pro down to its knees.
00:00.240: That are sitting somewhere inside of your library, inside that structure that is, you know, unless you say show package contents, you can't get to.
00:00.240: you know, space one or two or whatever it is.
00:00.240: Yeah, absolutely.
00:00.240: Hey, Jem, thanks so much for doing this.
00:00.240: get to that presence.
00:00.240: they're relinking to the same places the original files were on the other person's side.
00:00.240: You know, services you provide?
00:00.240: The on-camera education.
00:00.240: you know, I always love catching up with Jem.
00:00.240: It's a surprise.
00:00.240: maybe Saturday night, Sunday morning, something like that.
00:00.240: So that's it for this episode.
00:00.320: It will to an external recorder.
00:00.320: Hey, hey, this is the most anticipated, talked about interview I've ever done.
00:00.320: will use some form of recording media.
00:00.320: And if you want to learn all about the C forty seven and how Jem got started doing that, there is a whole episode of Digital Cinema Cafe out there somewhere where we talked about that.
00:00.320: And were you like, like everybody else, like, uh, or did you go, oh no, I get it?
00:00.320: and then start to make a transition into ten for the projects that made sense.
00:00.320: kind of the muscle power or the plug-in support that seven had.
00:00.320: And then over the last few years, I've been producing a lot of educational videos for Canon, for their digital learning center website.
00:00.320: And you're going to kick and scream, and we're going to get through this thing.
00:00.320: Right.
00:00.320: Getting off the highway.
00:00.320: Steve, you're gonna just have to learn this 'cause we're doing everything here.
00:00.320: He's gotten to that point where he's like, Yeah, I get it.
00:00.320: You know, what am I going to get into here?
00:00.320: who were acquiring content in some H.
00:00.320: from motion into trend.
00:00.320: So you're like three years old when you went the first time.
00:00.320: and every year was the year of H D at NAB.
00:00.320: And what's going to happen, I think, Chris, and this sounds crazy, is there's going to be tons of people who are going to get into these GH fours and these A seven S's and these cameras that can acquire in four K.
00:00.320: I need an 8K image so that I can reframe everything.
00:00.320: there is a simplicity that is available.
00:00.320: as long as the systems are fast enough and the software is not choking, as long as the codecs are more refined and we can get file sizes which are similar
00:00.320: Right.
00:00.320: Well, all I'm asking is for a mixer, and it would be nice when I actually go into EQ things, when I go back in, that they're not reset to flat.
00:00.320: Did I actually apply that?
00:00.320: So for you, because when 10 was released, you
00:00.320: You were obviously cutting on many versions of, and of course, seven at the end of Legacy Final Cut Studio.
00:00.320: of where we are today.
00:00.320: And I'm I'm just not, you know, in a place where I'm gonna learn an app again.
00:00.320: And let's talk about the thing that a lot of people don't talk about, which is the fifteen or sixteen year old who is a budding filmmaker, or they're twelve or they're thirteen or whatever they are.
00:00.320: I think we're going to be surprised in a number of years how many people are actually using this app.
00:00.320: But they aren't.
00:00.320: Rev or version one.
00:00.320: I mean, that changed everything.
00:00.320: I think for me, not being a career editor, but being an editor and an educator, a lot of it boils down to spending the time on real projects
00:00.320: you know, it's about tagging stuff and then it's about bringing it to a timeline, and a lot of it is about reordering.
00:00.320: And I'll put like three or four underneath the actual stuff, and then I'll just switch between them so I can see how it flows and how it feels.
00:00.320: in there separately as connected clips.
00:00.320: audio fades and stuff in them separately?
00:00.320: two of these tracks and I want to still feel, you know, kind of how that feels, you know, under there.
00:00.320: from many people that I've spoken to on the show.
00:00.320: Totally gave up the ghost.
00:00.320: And then we're going to start we're going to create our radio edit, and then we're going to go through our B roll and start lathering that up, and we're going to tell a story, and then we're going to modify it, and we're going to tweak it, and we're going to shorten it, and we're
00:00.320: And I think that that's you know, I I love it when I'm talking to people and they're like, Oh, I I c I can't play out the tape
00:00.320: either that we don't know we need, so we're not looking for them, they just show up, or we should be asking for the things that are not there that are going to make today's workflows more efficient.
00:00.320: Right.
00:00.320: And he's, you know, kind of struggling through the learning process.
00:00.320: So it'd be just nice to just sort of say, okay, good.
00:00.320: it can visually make it a little easier for you to say, here I am in this part of it.
00:00.320: kind of window structure without breaking off things and using HUDs for new stuff.
00:00.320: Interviews.
00:00.320: So multicam is not something that is happening occasionally now.
00:00.320: Yep.
00:00.320: There was and would still be for me a huge advantage to be able to take individual or selected clips within my timeline and to be able to send them to and round trip to motion to work on them.
00:00.320: But at minimum, what I would like them to do is do something similar to what SmartSound is doing with SonicFire Pro, which is essentially create a generator.
00:00.320: You know, have a communication between Sonic Fire Pro and Final Cut Pro 10.
00:00.320: If you don't basically clear out your render files, you can get some gremlins sitting in the library structure, where you might have these FCPX gremlins sitting in there.
00:00.320: And what winds up happening, at least it did on this last project, and we fixed it by just spitting out a new library after clearing out the render files.
00:00.320: And so essentially what you're doing is you're connecting to Hytail or to Dropbox or to an FTP server.
00:00.320: So anyway, that's that's an interesting so what you what you when you said you had a a project that got super sluggish
00:00.320: And as soon as I got a clean library without those render files in it that I could just relink and then just go to town, everything just woke up again and became normal.
00:00.320: Go creative.
00:00.320: He just bought a new raid.
00:00.320: And it got wicked slow.
00:00.320: But it was super sluggish.
00:00.320: what you're saying here is that there's some sort of we'll call it a low level corruption because it's not a loss of the data, it's just
00:00.320: you get the library from somebody else.
00:00.320: And you may link to something that's an alternate file that is essentially the same file.
00:00.320: And so I think the best recommendation is just to make sure you send very clean libraries with no render files.
00:00.400: not traditional DSLRs, but are mirrorless cameras, uh, like this Sony A7S.
00:00.400: And a lot of people used that for their camera systems and felt it was a little more reliable than some of the other solutions that were out there.
00:00.400: ditch in the backyard, so we can bury this app for once and for all.
00:00.400: So let's talk about Final Community.
00:00.400: because I had worked on books for PeachPID, and I was one of the lead trainers for Apple on Studio.
00:00.400: And you were like, Yeah, I've been using it a long time.
00:00.400: as a company when I'm producing projects.
00:00.400: And then just started to do smaller projects with ten.
00:00.400: And lo and behold, six months later, I had a conversation with him, and he wasn't cutting in seven anymore.
00:00.400: At speed of workflow.
00:00.400: Other other producers would be in the building.
00:00.400: I like what you say that it's not philosophical at all, but there is that point where you look back on it.
00:00.400: then it's up to them.
00:00.400: on TEN.
00:00.400: And so you got to do what you got to do sometimes.
00:00.400: That when we have to deliver it in 4K.
00:00.400: And right?
00:00.400: you know, just a short while ago in HD.
00:00.400: You know, Final Cat HD came out, and drives got a little faster, and you know, Fireware 800 became ubiquitous.
00:00.400: Yes, I mean, that's definitely part of it.
00:00.400: Right.
00:00.400: But of course we had to take everything from tape and we had to many, many problems, long gop, etc.
00:00.400: Classic.
00:00.400: Let's not only look at what's happening today, and let's talk about the realities of what people are going to be cutting on ten years from now.
00:00.400: Seven, eight, nine, ten years from now, there's going to be kind of like a shitstorm, you know, and there's going to be all of these people.
00:00.400: Even from this audience, where people are like saying, you know, can we just not talk about the old stuff anymore?
00:00.400: Quote-unquote track, and I can put more of those clips into there, and then I can just switch between them live.
00:00.400: Right.
00:00.400: there are certain holdovers like that.
00:00.400: On the slate.
00:00.400: Sometimes people don't realize that when you put that time code stamp on there, every single time you make an edit change in your time line, it has to re render the entire time line.
00:00.400: Like, I would love a share this library.
00:00.400: And that'll be production related.
00:00.480: And what was it?
00:00.480: And um I I remember stumbling across it going, Jim, what are you doing?
00:00.480: multiple SDI inputs, so you can actually feed multiple cameras into it, and you can actually see a four up, which is really cool.
00:00.480: are really much more along the lines of what we started to see with generators in motion a long time ago.
00:00.480: You know, and it's also interesting to see what choices Apple has made.
00:00.480: for the Mac Pro and a Promise 2 raid or whatever.
00:00.480: And I think most of us are actually going to be cutting UHD, which is the ultra high definition, which is four times the resolution of
00:00.480: the transform pull-down menu in this whole in this whole ride back and forth between 4K and HD
00:00.480: And it's kind of been hard to like I again, I haven't actually articulated why that's such a big deal.
00:00.480: And he or she is producing content with a DSLR or one of these new mirrorless cameras
00:00.480: and then actually realizing how much faster you can edit in this app.
00:00.480: And instead of just laying three or four or five clips into your time line and then turning them on or off
00:00.480: It still has a ways to go.
00:00.480: Do you find that you edit faster or just more efficiently?
00:00.480: I can archive it.
00:00.480: I mean, not that you can't do it, but it would be nice to have a little mixer.
00:00.480: Never used the mixer in classic, Final Cut Classic.
00:00.480: And for people who see recently I just did a a tutorial on my site about how to sync
00:00.480: Multiple clips in multicam.
00:00.480: splattered over six to eight clips or whatever.
00:00.480: it can take a really long time in terms of the analysis.
00:00.480: I think I'd also like kind of this evolution of the library structure to get more
00:00.480: and for audio or for video files.
00:00.480: was um was it Final Cut Pro 10 got really, really slow.
00:00.480: Okay.
00:00.480: And you can get to them.
00:00.480: Not functioning the way you would expect it to.
00:00.560: That they'll tweet something or post something, and all of a sudden I'll go, Whoa, are you using Final Cut 10 too?
00:00.560: In post, the most that I could take on would be one app.
00:00.560: videos like still almost daily.
00:00.560: And we did it in a studio in New York City.
00:00.560: Because part of it when you go through it the first time is if you're a career editor, it's really a reeducation because it's not like going from seven to Premiere Pro.
00:00.560: projected images of the speaker and then they cut to slides.
00:00.560: To rig and publish it into Final Cut Pro 10.
00:00.560: And it tracked their movement because it was sort of talking head stuff.
00:00.560: And what they're going to do is they're going to drop this four K footage into their time line, and they're going to drop it into a ten eighty time line, and they're going to reframe shots.
00:00.560: We also moved from 4.
00:00.560: quite frankly, needs to be able to get around all of these NLEs.
00:00.560: But if trends move towards one NLE being more popular than another, then if you're making a living as an editor, then you have to have a sense of how to use that.
00:00.560: And one of the things that I wanted to discuss was let's crystal ball this, and let's look at ten years from now.
00:00.560: And then there's all the mom and pops.
00:00.560: And then, oh, what would happen if I put a different ten-second clip in there?
00:00.560: He was six days.
00:00.560: And I think it's oddly enough, I think it's because I kind of come from a bit of an audio background.
00:00.560: So, you know, you're going to your signals are going to be hotter.
00:00.560: We saw them show up in certain software pretty early on.
00:00.560: Because the timecode stamp is there as a connected clip.
00:00.640: I was intrigued.
00:00.640: And so I was very intrigued.
00:00.640: And I kind of had to make a decision because there was obviously this huge push from Adobe, and a lot of the people at Adobe I know
00:00.640: which is not 4k but probably will be at some point, where you can acquire digitally and you can have something that has a long life.
00:00.640: Because film, of course, is just constantly being repurposed to these new digital resolutions because it's capable of doing that.
00:00.640: And I think that in some respects, HDV did help with that.
00:00.640: Because again, I was like, yeah, I don't need that.
00:00.640: And but they have a history with HUDs or heads up displays.
00:00.640: And now that we can actually detach audio in multicams, that's also a big thing, relatively new feature, something I ran into when I was doing some training.
00:00.640: There's probably a better way to do it in some other app.
00:00.640: Oh, you know what?
00:00.640: to another person who has those source files.
00:00.720: And then here came Apple, and they came in with this with this presentation.
00:00.720: audition because I had been teaching Soundtrack Pro.
00:00.720: maybe not a lot of people at the time, which was cut the projects that we had to cut in seven.
00:00.720: Almost certainly, there's no, I take that back.
00:00.720: that were not career editors that tend could possibly make a lot of sense to them, though I'm very impartial if somebody wants to cut in Premiere, they want to cut in Media Composer, if they want to cut in an iMovie.
00:00.720: Track X, we couldn't really do it.
00:00.720: Pretty late into the game, you know?
00:00.720: And it caused, you know, a lot of, you know, lost sleep and not like worrying.
00:00.720: And now, I want to say because I have good friends that work at Adobe, and I know a lot of people that love and swear by the cloud.
00:00.720: it exists now as part of 10.
00:00.720: how you use it, what it offers you as a producer?
00:00.720: And I turned around that I walked away because I didn't have anything better to tell him.
00:00.720: It's not something you have to do that way.
00:00.720: What would you ask them to add?
00:00.720: So because what was happening was I was getting a library that had render files that were within the library structure.
00:00.720: and keep sharing that content or keep putting that content up there so that the other person on the other end can put that into their structure so that when they relink
00:00.800: Hey, good morning.
00:00.800: Resolve in a minute, too.
00:00.800: I mean, if you looked at D V or it's close, it's within like ten megabits.
00:00.800: We just have to go to another tool.
00:00.800: I don't think they even live in Brooklyn.
00:00.800: It is obviously possible to get those clips into motion and work on them and get them back into Final Cut.
00:00.800: and the app is going to look for render files unless you clear them out.
00:00.800: With whatever the name of those files are, assets, and then under assets, you know, stills, music, whatever it is.
00:00.800: Sometime over the weekend, okay, this is a Friday edition.
00:00.880: I think we clearly understand that four K from a resolution standpoint, unless we're looking at a thousand foot screen in terms of the way our eyes work and everything, we're kind of getting to the point where
00:00.880: And says that's not for me, says that they get projects done faster now.
00:00.880: Yeah, those are commands commands something like commit to audition or I can't remember what it's called, but basically it just flushes out all the other shots that you don't need to
00:00.880: Or you can just leave it as an audition and then just leave the track you want there.
00:00.880: more efficient.
00:00.880: If there's new media, then you need to package that up, and you need to leave it outside of the actual library file.
00:00.960: I'm going to go into ten from the beginning.
00:00.960: And what's interesting is when you follow and I've spoken about this before, but when you follow people like Richard Taylor on his website and you see that
00:00.960: Richard has been very vocal about the things that he'd like to see changed.
00:00.960: And it's really interesting to also see how the plug in community has sort of come into play and where their place is, because the plugins that we're seeing for this app
00:00.960: and you can bring them down from your event library, and you bring them into a time line, and they look like in any other NLE, like a track.
00:00.960: I don't have a safe in the secret location.
00:00.960: And it was a lot of the times it was single camera.
00:00.960: Yep.
00:00.960: Very much.
00:00.960: Oh, I would have.
00:01.040: for a long time.
00:01.040: There's no employees.
00:01.040: Yeah.
00:01.040: I'm not saying that Creative Cloud retains all of those issues that I had.
00:01.040: Totally.
00:01.040: And I think that that's really important.
00:01.040: That's not a feature.
00:01.040: I don't.
00:01.040: a lot of it really boils down to right now the features that we don't know we need.
00:01.040: I'll probably bug you again another six or twelve months and see how things are going.
00:01.120: In theory, a crappy HDMI-based monitor or something.
00:01.120: And I had to downshift back into Final Cat seven to salvage a project.
00:01.120: And you know, I got a lot.
00:01.200: where the pluses are and where the minuses are.
00:01.200: Well, no, it's I I don't mean that in a bad way.
00:01.200: And that's really key, I think, to the transition.
00:01.200: And I like what you said about your panel discussion, where you said, let's crystal ball this out 10 years into the future.
00:01.200: But anyway, they have a cut it's and the app is called Final Cut Library Manager.
00:01.280: And I did shoot some of those videos for them in that studio space.
00:01.280: And I'm not a career editor.
00:01.280: now that may have been problematic on the first version three years ago.
00:01.280: I'm completely playing your I'm playing your dude.
00:01.280: Put this, hold the slate up, point the cameras, then roll.
00:01.280: I think I'm literally looking at the Arctic Whiteness website now and I'm purchasing my copy of this tutorial.
00:01.360: What was it?
00:01.360: And that means that your geometry chain is preserved as you toggle up to your higher resolution, et cetera, et cetera.
00:01.360: Well, what about this?
00:01.360: He made the switch.
00:01.360: We are given a pile of media and we are going to manage it and we are going to put it in bins and we are going to sort it and we are going to organize it.
00:01.360: Wow.
00:01.360: I just had this discussion just last night with Ben Consoli.
00:01.360: And thank you for having me on the show.
00:01.440: So I would say we might as well just move on to the next topic.
00:01.440: We know about that.
00:01.440: You know, we had I mean, you've been at NAB for a long, long time.
00:01.440: I mean, there are situations where a lot of people would say because of this podcast, all evidence to the contrary.
00:01.440: And I fully understand that things have changed, and I don't want to be, you know, sound like the fanboy, whatever.
00:01.440: I mean, look, you can sh say show package contents and you can link to them.
00:01.440: You one of my first on-camera directors back when I was.
00:01.520: One of those.
00:01.520: the audition feature.
00:01.520: I take the hard drive and I put it on the shelf.
00:01.520: No, but if I put it on tape, then it'll it'll last forever.
00:01.520: I know it's stupid, but we have to put those things in when we remember them, I think, sometimes.
00:01.520: And it's designed basically to like manage your library files.
00:01.600: Yeah, I've been losing my it took me like half a day before I realized: wait a second, this is a bug.
00:01.600: Um y you did for a period of time uh either dabble or go
00:01.600: I mean, we're not going to go through feature sets, but hello, Timeline Index.
00:01.600: I mean, lost everything.
00:01.600: I don't see a mixer being a permanent part of sort of my layout.
00:01.600: So we just turn it on right at the end.
00:01.680: Welcome to another episode of Final Cut Grill.
00:01.680: Correct.
00:01.680: Is this a James Miller in the UK?
00:01.680: Absolutely.
00:01.680: That's and they make a few other things.
00:01.680: Thanks for listening.
00:01.760: It was episode 020.
00:01.760: 7Q.
00:01.760: I just want to say, as Chris Fenwick, I've enjoyed doing this show, but apparently, according to Jim, it's all been superfluous.
00:01.760: And they wanted to do, you know, some stuff where they wanted not pitcher in picture per se, but they wanted to do screen replacements.
00:01.760: So then the question is, when do we move to eight K?
00:01.760: And then what happens when the client says to them, I know you guys acquired in 4K, can we have a 4K master of that?
00:01.760: It's a big reveal for all of our faithful listeners, all of y'all.
00:01.840: That's like shifting lanes in a highway.
00:01.840: You're getting in the DeLorean.
00:01.840: It's generally not narrative.
00:01.840: Like a mixer would be nice.
00:01.920: Now, let me double check here and I'll get some stats for you.
00:01.920: Yeah, you know, this has been an interesting journey for me doing this show.
00:01.920: Yes, and I think we you and I share the same view in that we're not trying to convert people.
00:01.920: because I just did a a job right before NAB for Canon, another series of instructional videos, and the library structure
00:01.920: And that's huge.
00:02.000: And I said, So what do you do?
00:02.000: And it was interesting because that was really the transition from it becoming the Final Cut Pro users group to that was all starting to happen or happening
00:02.000: I'm not kidding.
00:02.000: But I mean, I love the fact that he posted that to begin with.
00:02.000: Well, I think it's inevitable at a certain point, for sure.
00:02.000: And it's funny because a lot of people say, what do you mean?
00:02.000: That's interesting.
00:02.000: Yeah, I mean, it's not good.
00:02.000: And one of the things that the slate is good for is for us as editors or for whoever is going to edit your project.
00:02.080: They used to be really one of the only players that used flash bass recording, which was the Nano Flash.
00:02.080: My children work for me occasionally.
00:02.080: I was not which I had been for many prior versions of Final Cut Studio on beta.
00:02.160: I mean, another panel I was on was sort of a panel of somebody who was using Media Composer day in and day out.
00:02.160: Yeah, it's totally been solved.
00:02.160: Well, they're moving to Queens now, but so editors in Brooklyn, never in Manhattan, you know, they're not in Jersey, they're in Brooklyn.
00:02.160: But I mean the engine that's under this thing, the speed at which you can work on a system
00:02.160: But when he does speed tests on the raid, you know, using whatever utility you do for speed test, he says he's great in getting great reads and writes.
00:02.160: But it's also learning how an application thinks.
00:02.160: How do they find you?
00:02.240: I was like, Did not know that.
00:02.240: We're in.
00:02.240: You're totally in another realm.
00:02.240: And even though the talent shot wasn't as tack sharp as it should have been, even with the sharpening, the illusion of throwing the background more out of focus sold the shot.
00:02.240: And so what I can do is I can just keep playing down the time line.
00:02.240: And yeah, so that's his show.
00:02.240: So I think you're on to something here.
00:02.320: Well, I I think that in the end you you reflect, not to be philosophical about it, but you you look you look at
00:02.320: Yeah, I think that is huge.
00:02.320: It's when it becomes ubiquitous that then you can say, okay, it's not a giant hit.
00:02.320: It's too early.
00:02.320: DV, I think, topped out at 25, and then we had HDV at 35.
00:02.320: I think it's an irrelevant conversation because if they do stop supporting it, they stop supporting it.
00:02.320: You know, we shoot a lot of footage for educational stuff, or I'll do documentary or documentary style stuff.
00:02.320: I had already been producing projects and helping other people, but that was near the beginning of me doing on-camera stuff.
00:02.400: What I'm wondering is why you're still playing out to tape.
00:02.400: We do that on our interviews all the time, and it just makes it so much easier
00:02.480: So that's so now we have SliceX, which is great for stuff with mocha tracking for blurring and for masking and stuff.
00:02.480: 3 to 16.
00:02.480: And you can say, okay, well, that's been around for a long time.
00:02.480: And then syncing to marker, right?
00:02.480: You might be touching on something that I've been trying to trying to figure out.
00:02.560: And Atamos has announced and will be releasing the Shogun recorder, seven inch monitor
00:02.560: And apparently some guys that I know who have been on set have told me you can do a pass through also.
00:02.560: Heads rolled, and it was an ugly situation.
00:02.560: They're like, What's that?
00:02.560: And frankly, that's one of the things, and I've discussed this a little bit on the show here, about the benefits of the transform
00:02.560: So, why are we going to speculate on that?
00:02.560: I just think they they like to say that they edit in Brooklyn.
00:02.560: It's a good episode.
00:02.560: So I've got all these dialogue tracks, and you know, it might be nice to just go ahead and, boom, I'll just go ahead and bring them down a couple of dB.
00:02.640: That would make sense if you could s if you could record four H D's, you should that's the same number of pixels as
00:02.640: Pretty much.
00:02.640: I'm just going to leave it at that.
00:02.640: He was.
00:02.640: Oh, yeah.
00:02.640: And I think that's it.
00:02.720: So speaking of NAB, I was just noticing on your website, uh, you were on the um uh you were at the Teradec booth, I believe it was.
00:02.720: Yeah.
00:02.720: Yeah, I have to call him that because he has so many pseudonyms.
00:02.800: That I might want to be interested in teaching that makes sense for workflow.
00:02.800: 264 based codec.
00:02.800: But I'm doing that for somewhat selfish reasons because I'm the post supervisor and almost all of the time I'm going to have to jump into the project and do something.
00:02.800: There's all the small businesses.
00:02.800: You know, because sometimes once I start to build the story, I'll find that, you know, I want to kind of
00:02.800: That's right.
00:02.800: You both have matching media on your two systems.
00:02.800: Thanks for commenting.
00:02.880: Got to talk with him.
00:02.880: Well, clearly what we have you mentioned the Mac Pro, and what we have now is
00:02.880: What you're doing is you're saying, let me go ahead and lay one down in the timeline that's going to have a start and an end.
00:02.880: He had a project that was on a single platter that was actually quite functional.
00:02.960: And so, I've been saying that, you know, Apple is listening.
00:02.960: But there is one thing that I think will be easier in the transition.
00:02.960: I think that my job is very different.
00:02.960: We both had matching drives.
00:02.960: You can actually take one AIFF, put it under your stuff, and you can actually make an audition of an audio file.
00:02.960: You can still ripple, roll, slip, slide.
00:02.960: And then maybe tweak that EQ, maybe not.
00:02.960: Thank you.
00:02.960: I also want to thank all of you for all your continued support about our little show here.
00:03.040: Which was.
00:03.040: And you know, when I look back at my adoption rate, that's basically where it was for me.
00:03.040: So I can say, okay, so here's a 10-second clip.
00:03.040: Like they don't even have to be starting and stopping at the same time.
00:03.040: And those are files that are buried in the library.
00:03.040: I would love that.
00:03.120: You look at the tools that are in there and you start to decide
00:03.120: Or maybe not the first DeLorean.
00:03.120: Yeah, it's been I saw a post from Al Mooney recently.
00:03.120: It's 10 things.
00:03.120: We're done with that conversation, too.
00:03.120: They're not evaluating what the app is doing right now.
00:03.120: So yeah.
00:03.120: It's archived, done.
00:03.120: Yeah, you know what?
00:03.120: I would like the parallax shot, or you know, let's hook up this, and I want to float one camera and I want the other one always moving.
00:03.200: And then this seven and seven Q have been getting a lot of buzz.
00:03.200: I just I I think I'm fourteen years, which and you go back further than that.
00:03.200: Yeah, exactly.
00:03.200: I'm not that anal about it.
00:03.200: And we're mixing stuff to like, you know, minus six now, not minus 12 to minus 18, because people are playing back on iPads and crap.
00:03.200: There's going to be an extra episode, and it's kind of hilarious, but it's also great news and good fun.
00:03.280: And he gives me like a you know, in 140 characters, I was sold.
00:03.280: Were you doing all of those in ten?
00:03.280: It's affordable.
00:03.280: I totally agree.
00:03.280: You send the library to somebody and they can't get into or you don't know exactly what you're supposed to be relinking to.
00:03.280: Right, right.
00:03.360: And then we've got the whole thing going again.
00:03.360: And then I just switch, yeah.
00:03.360: Yeah, it's a key.
00:03.440: Obviously, I was excited about the possibility.
00:03.440: So up until what was it, like January of this year or December last year, you were doing the C forty seven
00:03.440: Oh, that's just Steve editing.
00:03.440: You can rig and publish almost anything, but for some reason the tracker is not publishable
00:03.440: Oh, well, we're you know, we've always cut in ten, but they're sixteen and they're not on a podcast or they're not in a classroom or they're not producing a feature film right now or directing a feature film, but they will be.
00:03.440: And I'm like, you know what?
00:03.440: Do you find that it's an organizational thing?
00:03.440: And there's obviously ways that we can get to that point.
00:03.440: And what's happening is it's trying what's happening is you've still got these render files
00:03.440: Always great to talk to you about stuff, see where it goes.
00:03.520: This is episode 038 with my good friends Jem Schofeld.
00:03.520: I just can't believe three years have passed, because it's so un Apple the way this app has evolved.
00:03.520: And I think we're seeing the same thing with 4K.
00:03.520: 9.
00:03.520: I was very big into Premiere Pro, and I've talked about this on the show, but yeah, I basically.
00:03.520: Essentially, the whole purpose is you're trying to spit out the library.
00:03.520: What you did is you just created a new library.
00:03.600: Well, for me, what I'm doing is is a little bit different.
00:03.600: Can I just take my levels up by three dB across the boards without having to select option plus?
00:03.680: There's a crap load of them out there.
00:03.680: And Jem tells about his whole media em I call it a media empire.
00:03.680: We're going to use it.
00:03.680: And I kept seven on my system, obviously.
00:03.680: There's still things he doesn't like about it.
00:03.680: You should go back and listen to it.
00:03.680: We have it laid there, and then we'll do a render out to the client and then give them that time code stamp.
00:03.680: Again, j it was just such a pleasure to see.
00:03.760: And I kind of decided I wanted to focus on production based training and
00:03.760: And I spoke to Apple about it, and they don't allow you to take the tracker that's in motion
00:03.760: I would love to twist the arm of the Apple people and say
00:03.760: You kind of have to do it and sort of trust it.
00:03.760: Like take forty minutes of camera A spattered you know, splattered over eight or ten clips and forty minutes of camera B
00:03.760: That's where do you go?
00:03.760: All right.
00:03.840: When 10 was announced, I was at NAB.
00:03.840: And how much of what you dealt with was a re-education as opposed to just you really actually hate the thing.
00:03.840: Well, what about, you know?
00:03.840: So I do know that there are many people that listen to this show that actually don't use Final Fed 10.
00:03.840: I don't know of a better way.
00:03.840: One of the things that I find is that if you're working with a library and you want to share that
00:03.840: I mean, there's weird things that happen.
00:03.840: Best way is to just go to thec47.
00:03.840: Thanks for leaving stars on iTunes.
00:03.920: So I sought him out and I wanted to hear what his take was on our little app that could.
00:03.920: I use it for music all the time, not necessarily for video clips.
00:03.920: And I walk through his suite, and he's like, Does this thing have a mixer?
00:03.920: It's instant as opposed to syncing to audio.
00:04.000: That's when they decide to actually do something.
00:04.000: I had already sort of transitioned into my production based training stuff with the C forty seven, but I was still doing post training.
00:04.000: And I said to the editor, Multicam had been released, which was, what, ten zero three?
00:04.000: And they wanted to be able to do things because there are sync issues in their multicam where there may be some delay on that image that's up on the screen.
00:04.000: You know, I want to go through and just check all of my settings.
00:04.000: That's the whole time.
00:04.000: And so what we normally do is if we're doing a two, three or four camera shoot is we'll point all those cameras to that slate.
00:04.000: Sometime over the weekend, I'm gonna release a special episode
00:04.080: And we can't take ten eighty stuff now and push it out at seven twenty to gain a little bit of sharpness because everything is at minimum going out at ten eighty.
00:04.080: And you know, anything that you have heard, tell me what you've heard.
00:04.080: What I'll do is I'll just create an audition version of that, and then I just keep playing it down
00:04.080: Well, if when you add the clip, instead of replacing the original clip,
00:04.080: Yeah, so he was doing double time.
00:04.080: So, yeah, so keep it off unless you want to fill up your old hard drive because renders constantly.
00:04.080: They make a little gizmo to it works with the i
00:04.080: But I believe that it may actually do that.
00:04.160: So I think that in terms of 4K acquisition, all the pieces are in place.
00:04.160: Really?
00:04.160: We'll talk more later.
00:04.160: Take care, and we'll see you next time on the Funnel Cut Grill.
00:04.240: And it was funny, you'd you'd lea you you'd boot up the
00:04.240: I totally agree.
00:04.240: No, he's in Australia.
00:04.240: But you know, it's funny.
00:04.320: Let's talk.
00:04.320: I said this all over in AB.
00:04.320: That's how you shot an interview.
00:04.320: And I'm so glad we're having this conversation because yeah, this is a big, big deal.
00:04.320: And I would venture to guess that it would even do it on a Mac Pro.
00:04.400: That's a good point.
00:04.400: Probably one of the most interesting was the cranky editor, Chairman Meow, James Miller.
00:04.400: What I like to call the learning wall as opposed to the learning curve.
00:04.400: And I think that a lot of it has to do with the fact that we and I've said this before too, editors are people of process.
00:04.480: And you will be able to record 4K from the A7S to that, and I'm sure to other recorders in the future.
00:04.480: Continued to keep going back to seven for the stuff that he was doing.
00:04.480: Yeah, so I actually and then so then each audio file, you'll do your various
00:04.480: I ran into an editor here at our office just a couple last week.
00:04.480: Right.
00:04.480: And they do a few things, color grading without limits.
00:04.560: And he was like, Oh, yeah, I totally want to do it.
00:04.560: Yeah, they've been around for a long time.
00:04.560: So the engine in 10 made a lot of sense to me.
00:04.560: When we have to actually deliver masters in 4K, they're going to be like, crap, we can't do that anymore.
00:04.560: Some of them are production businesses.
00:04.560: You know?
00:04.560: And it could also be, well, where would we put this in our locked down?
00:04.640: But we finally set this up.
00:04.640: This episode is over, and for that matter, the whole show is over.
00:04.640: And he cut the whole thing, kicking, screaming, cursing, came out of it on the other end, saying, I'll never use this app.
00:04.640: Everybody I talk to is like, oh, yeah, I got a list of things I'd like to change.
00:04.640: So basically, what happened though, just to sort of really backtrack, is part of my decision was educational because as an educator, I was sort of like
00:04.640: And then we took the background and we basically created a different depth of field.
00:04.640: Because there's going to be a whole bunch of problems.
00:04.640: That's just the most ridiculous conversation.
00:04.720: You go check out there's an older episode of The Digital Cinema Cafe.
00:04.720: He posts an explicit list of it with screen grabs of how he proposes that I should look.
00:04.720: I was doing some on-site training with TED Talks
00:04.720: I've been doing it for a long time.
00:04.720: He even reached out and like touched my shoulder.
00:04.720: I was here.
00:04.720: If you're doing multicam now, and it's very, very rare
00:04.720: But it's a hack and you don't know you're doing Hail Marys and hoping that shit's going to work.
00:04.720: I love your presence on camera.
00:04.800: I believe they're sticking to their CADDI system where you can put in either a spinning platter or an SSD, though they prefer
00:04.800: Yeah, exactly.
00:04.800: I've been there for a long year long, long, long time.
00:04.800: And then finally it showed up, and then everybody started to really seriously get cameras and because the post workflow was there.
00:04.800: Yeah.
00:04.800: As an educator, I have to be very aware of what the realities are in terms of what decisions people are making of the tools that they're going to choose.
00:04.800: And that would be a great question.
00:04.800: And if people don't know what we're talking about, there is a pretty major bug.
00:04.800: We got tons of spinning beach balls, or I did, when I was trying to figure stuff out.
00:04.880: This is insane Anyway, um a few months ago, I'm reading something on Twitter and Jim mentioned something about Final Cut 10 and you know how me how I am.
00:04.880: If you're willing to pay the extra cash for the
00:04.960: We've been trying to do this for a few months now.
00:04.960: In the water.
00:04.960: You're getting in the DeLorean that, like, you put bananas in your shit.
00:04.960: But my clients are asking me to give them 1080 masters now, so I can't cheat that as much as I used to.
00:04.960: We're at the point where to post with 4K is as difficult essentially as it was
00:04.960: And frankly, I had sort of an epiphany at NEB.
00:04.960: He's really funny.
00:04.960: Thanks.
00:05.040: Do you have somebody who works for you that it doesn't have to be okay?
00:05.040: And for better or for worse, I said
00:05.040: So the editor was like, F you, you know, and I said, it's happening.
00:05.040: It's you know, it's like almost nothing or megabyte
00:05.040: And again, it's just like it gets tiring.
00:05.040: And when you click on the next clip that's in the audition, it automatically just starts playing down the time line.
00:05.040: Because there are definitely times where I
00:05.040: And it asks you, or there's a checkbox, it says remove render files.
00:05.120: Yeah, everything.
00:05.120: And so there's more pixels there.
00:05.120: Their mom or dad is a dentist, so they have disposable income.
00:05.120: Good grief, you scared me.
00:05.120: I mean, it's so easy to work with Multicam.
00:05.200: And I know that's a kind of a stupid thing.
00:05.200: When we went from SD to HD, HDV's data rate was actually lower than SD.
00:05.200: Well, it was like one was 25, which I think actually, and then one was 35.
00:05.200: It's like, okay, I see why that stupid menu is there now.
00:05.200: And I kind of snapped at him a little bit.
00:05.200: Well, I mean.
00:05.280: And it's definitely something that is a big part of sort of Apple's approach to software design.
00:05.280: Just they're going to just use a computer.
00:05.280: Was that serious?
00:05.360: Or are you just one of those blind fanboy followers that go, yes, Mr.
00:05.360: Also do a lot of them on location.
00:05.360: They have a lot of opportunity to keep this unified
00:05.360: He was saying, he was like, dude, I don't know how to, I don't know what's going on.
00:05.360: All right.
00:05.440: So there were supposed to be like ten other companies presenting.
00:05.440: So, let's just say that they're all around in some form or another.
00:05.440: What are the things that are really working for you in Ten as a career editor?
00:05.440: Never once.
00:05.440: I mean, it's almost kind of.
00:05.440: Yeah, and it came out while I was working on the project, and I was sort of terrified to say, I'm going to.
00:05.520: Very short form projects, nothing that required
00:05.520: They don't necessarily have to make them their NLE of choice on a day in, day out basis.
00:05.520: So seeing how two clips play different ways.
00:05.520: I never ever
00:05.600: Editor was in Brooklyn, of course.
00:05.600: Thanks, Chris.
00:05.600: I cannot tell you how much I appreciate that.
00:05.680: So, did you start using it right away?
00:05.680: All of that stuff is still there.
00:05.680: I don't have to go to the time line and say, okay, let me select those other three or four music beds and get rid of them.
00:05.680: I will.
00:05.680: You know, really?
00:05.760: And I was using and still do use motion quite a lot because I taught that a lot.
00:05.760: Yeah.
00:05.760: Sure.
00:05.760: And then if you want to go back to it later on and say, hey, I still want to fee you know, I really liked
00:05.760: And we'll see.
00:05.760: So you had a single camera switching them.
00:05.760: But they're the engineers, and I would hope
00:05.840: And you can see the four up on that as well.
00:05.840: And it was like, you know what, that was way too much ice to be skating on and not knowing how thick it was.
00:05.840: That's their mailing address.
00:05.840: Okay, it's a different James Miller.
00:05.840: So you're actually still laying everything off.
00:05.840: Yeah, yeah, yeah.
00:05.840: That was the first time you were on camera?
00:05.920: Yeah, Convergent Design is the one they have.
00:05.920: I said that Final Fit 10 is solving problems for editors that we don't even know we have yet.
00:05.920: I have my faith in tape.
00:05.920: And of course, when you do a base boost, all your levels go up.
00:05.920: Like, I think it's going to stay.
00:05.920: I'd love to do it again.
00:06.000: And I'm not saying that that's anything that we're seeing in the near future, but it's just the laws of the way things work.
00:06.000: He was doing double time.
00:06.000: But I completely agree with you.
00:06.000: So there's just going to be sort of this multistep process.
00:06.080: In the beginning, it was in seven.
00:06.080: Yeah.
00:06.080: And I think Adobe is doing some great stuff as well.
00:06.080: He made the switch when Premier rolled over and died on him.
00:06.080: It's happening a lot.
00:06.080: Take care.
00:06.160: They've been making external recorders.
00:06.160: They should just exhibit at the booth, but that's another we're not talking about that.
00:06.160: And not really as a full-time trainer, but just sort of, you know, what do I want to make my decision in terms of where do I want to go?
00:06.160: That's like going from the middle lane to the left lane.
00:06.160: And frankly, if you're I like your term career editor, if you are a career editor
00:06.160: They're just not as obvious.
00:06.160: That was pretty interesting.
00:06.160: But the difference in data consumption in terms of file size was not a lot different.
00:06.160: Because I just want to learn this application.
00:06.160: That means the slate will be on your, on your, you know, your first frame.
00:06.160: You got to make these features for me.
00:06.160: And you may or may not have those files.
00:06.160: And it's going to be fun.
00:06.240: You know, we had uh one of these days now I'm going to have um
00:06.240: And they have to decide what tools are available to them and what are they going to cut in.
00:06.240: And frankly, I don't think it's going to take a number of years.
00:06.240: Yes, I mean, basically, Audition allows you to take clips that are sitting up there in the library.
00:06.240: And I look at this, I'm like, man, I wish I had this on my old mixer, you know?
00:06.240: Because there are I mean, I also have some audio background.
00:06.240: Very cool.
00:06.320: And then radio silence.
00:06.320: The answer is definitely no, but we are seeing a lot of cameras that are now
00:06.320: Now, if you want to know some more detail about Jem Schofield, I'm going to highly recommend
00:06.320: And until we had
00:06.320: Whether or not we need to transition, that's debated based on the type of project.
00:06.320: And what I want to do is I want to feel how that 10-second clip feels.
00:06.400: But possibly you have better clientele that is actually willing to pay for those things.
00:06.400: For one almost one for one, everybody I speak to who actually does continue to edit in ten as opposed to just dabbled in and say
00:06.400: But he lost everything.
00:06.400: I didn't, I, you know, I
00:06.400: Right.
00:06.400: We don't have to go back to the audio mixer.
00:06.400: So I'm sure they have their hit list.
00:06.400: And that sped it up?
00:06.480: I was like, Dude, that sounds like a show.
00:06.480: And Apple just came in and said, Yeah, we want to talk, but we get the whole hour or whatever.
00:06.480: Um, at least not
00:06.480: I mean, we just we just really moved through a whole nother level now.
00:06.480: Just sometimes visually, if you have things selected and you have a slider
00:06.480: But there are times where I'll go and do an EQ and I'm taking somebody's voice and I'm saying, okay, let's just go ahead and do a bass boost.
00:06.480: So let me ask you this.
00:06.480: Yeah.
00:06.480: So let me ask you this, Jim.
00:06.480: But I would love it if when I'm spitting out a library that it would say
00:06.480: Bye.
00:06.560: And he had a very similar experience.
00:06.560: And I'd like to take a single clip and I'd like to go to motion, and then I'd just like to replace the clip in the timeline with whatever I did.
00:06.560: And you go to Relink, and it's looking for these little files in parentheses that say fcpx.
00:06.560: We shouldn't be relinking to render files.
00:06.560: com.
00:06.640: Seven Q especially because it has
00:06.640: But, you know, I've I've had the conversations with him now, and he's, you know, he's
00:06.640: Not all of them, but there's a lot of them who are cutting in 10.
00:06.640: Some of them are dabbling in many types of media.
00:06.640: I mean, you know, when I'm at the end of a job and I'm just like
00:06.720: You and I have known each other for nearly 10 years, something like that.
00:06.720: And at the time, I believe that was CS5 or Five Five.
00:06.720: Yeah, I mean, you and I are done with it, but
00:06.720: I'm just trying to get a sense for
00:06.720: And we do it, we do it all the time, sure.
00:06.800: It's 2014.
00:06.800: Because you're not always going to have a white paper or an engineer sitting there in the room telling you, hey, you stupid idiot.
00:06.800: Oh, wow, Jem Schofield's using 10.
00:06.880: Little segue there.
00:06.880: Did you see the one from the did you see the apology the next morning?
00:06.880: And it's like, okay, I can now sort of do this.
00:06.880: Everything's on hard drives, my man.
00:06.880: And I mean and and there's other little tips in terms of production.
00:06.880: Do you know Ben?
00:06.960: So I went to the Dog and Pony show.
00:06.960: A lot of the classes I was teaching at the time, though they are much broader now, were very much focused on people.
00:06.960: People are going to do a whole bunch of 4K acquisition, 1080 delivery.
00:06.960: Yeah, exactly exactly.
00:06.960: They cut faster.
00:06.960: Don't bother.
00:06.960: Not doing the daily video podcast anymore, but I will be starting up a new series soon.
00:07.040: Now, this is kind of funny.
00:07.040: We were shooting with three cameras.
00:07.120: I also thought that for new people who were getting into NLEs
00:07.120: I mean, I think 4K acquisition, everything's in place now.
00:07.120: Not that the Mac Pro is necessarily the system that I need right now.
00:07.120: I'm so sorry, I can't remember your name.
00:07.120: Three years ago that are not problems anymore.
00:07.120: Yeah.
00:07.120: And it's giving you the ability to basically within the app share it.
00:07.120: Yeah, I just found it.
00:07.120: Very cool.
00:07.200: It's ridiculous.
00:07.200: Yeah, you know, I saw that announcement and I was so busy doing other things, I didn't really get it.
00:07.200: So at any rate, so he.
00:07.200: You can buy the two for one hundred fifty bucks.
00:07.200: Huge, huge time saver.
00:07.200: So what I do
00:07.200: Right.
00:07.200: So what's that new plugin?
00:07.200: And once again, Apple, please
00:07.280: But that's what caused me to take a second look at 10.
00:07.280: Where else would an editor be but in Brooklyn on the East Coast?
00:07.280: So I mean, I love the feature.
00:07.280: The other thing that I see, and I know we're kind of I'm going aside
00:07.280: But if we get into these workflows where we start to understand how the app's thinking,
00:07.280: It's been a lot of fun.
00:07.280: No, it was not the first time.
00:07.280: Thanks, Chris.
00:07.360: And then they came out with the Gemini, which was one of the first small
00:07.360: And if you hear that sound, that's the sound of somebody who works for me digging a six-foot
00:07.360: And so I had done a lot of stuff with the other apps in the past.
00:07.360: etc.
00:07.360: I mean, you know.
00:07.360: But Final Cut's still going to be looking for that specific file.
00:07.440: Yeah.
00:07.440: I mean, look, well, when we move from SD to HD, and this is just sort of a mindset thing.
00:07.440: So I can see how either a video clip
00:07.440: Would you rather have an audio mixer or EQs that don't reset themselves?
00:07.440: He moved it to the raid.
00:07.520: He's a very gifted trainer, and for the longest time, for like two and a half years.
00:07.520: Like literally, I have to stay up and fix this.
00:07.520: I mean, we should be looking for features
00:07.600: News, gear, kit, clamp, tripod, monopod, camera, recorder, monitor, everything.
00:07.600: So you can push that to the video village or something.
00:07.600: And I had contacted you based on something you tweeted.
00:07.600: He's cutting everything in ten.
00:07.600: Like he was.
00:07.600: And.
00:07.600: Because you know, because we won't have any problems with condensation, and you know, if there's heat issues, nothing will happen to the tape.
00:07.600: And I just looked at my win.
00:07.680: And we kind of did what a lot of people did.
00:07.680: Well, whether it's been around for a long time in other solutions in some form or another
00:07.680: So he was six days into a giant premiere job, and it.
00:07.680: But it very well may be that the reason there isn't a mixer is that they're maintaining the same mindset that I have.
00:07.680: $35,000.
00:07.680: Just roll it.
00:07.680: So create a folder
00:07.760: Just earlier this week on the Monday show, Scott Markowitz contacted me.
00:07.760: And he said something like a yeah, that's BS.
00:07.760: Clever.
00:07.760: All right.
00:07.840: And then I got my hands on it right away.
00:07.840: So there is going to be some
00:07.840: Yeah, yeah, yeah.
00:07.840: No, I don't.
00:07.920: And then
00:07.920: Yeah, my first NABs were in the like late eighties.
00:07.920: It was near it was a near disaster.
00:08.000: Let's do it.
00:08.000: I went to ten right away because it made a lot of sense.
00:08.000: Editor, Brooklyn, USA.
00:08.000: Yeah.
00:08.000: Yeah.
00:08.000: So here you are in your shiny new Mac Pro with your.
00:08.080: And I believe you can actually record four separate streams of HD.
00:08.080: Yeah, I mean look, it's only been around for three years now, so it must be dead.
00:08.080: Last time we talked about any of them now.
00:08.080: Just let that drop.
00:08.080: I've done a little bit of 4K, very little.
00:08.080: But there are jobs that I do where I'll say
00:08.080: And
00:08.080: And it's about
00:08.080: I'll create music beds underneath
00:08.080: Because it's really hard right in the beginning, but then it's clear sailing after that.
00:08.080: It's so easy to create it.
00:08.080: And this is something I've been doing on the more recent shows.
00:08.080: Thanks for helping me
00:08.160: Come on.
00:08.160: I mean, it does stay, but yeah, it's bogus.
00:08.160: Well, finally caught up with Jem, and there you have it.
00:08.240: It was quite interesting to watch that whole thing go down, the way they just took over
00:08.240: They're really apps within apps.
00:08.240: We get that.
00:08.320: You know, it's just and maybe it's a type of things that they're cutting, but for me, a lot of what I do is
00:08.320: You probably covered this.
00:08.320: I'm going to let you go.
00:08.400: Thank you for listening for the last
00:08.400: And I think that, you know, and we'll talk about
00:08.400: No, I I agree with you.
00:08.400: Yeah, I mean, it's almost, you know, we used to go out and shoot out.
00:08.400: They'll figure it out.
00:08.480: Yeah.
00:08.480: I was like, you know what?
00:08.480: Yeah.
00:08.480: Essentially, what we did is we went into it and we got rid of all the render files.
00:08.560: God only knows, whatever the situation is.
00:08.560: I don't want to tell you anything about it, but I'm just going to let you know.
00:08.640: I only have independent content.
00:08.640: I basically started putting projects in front of him and I said
00:08.640: Right.
00:08.640: And then I figured out these gremlins
00:08.720: No, it's fine.
00:08.720: I'm a long, long time.
00:08.720: But he totally gave me the Happy WrestleMania.
00:08.720: I was introduced to him by Scott Simmons.
00:08.720: And then he's like, ah, okay, well, let me try this Final Cut 10 thing.
00:08.720: I'm going to give it a run after we get done here.
00:08.800: I want to, is it like what's it called?
00:08.800: And people are talking about.
00:08.800: And I use the
00:08.800: I don't use it for picture very often.
00:08.800: Oh, that's interesting.
00:08.880: But you and I had known each other for a long time.
00:08.880: Yep.
00:08.880: No, we're not going to the audio mixer.
00:08.880: Ben does a podcast called
00:08.880: I'm sure you could figure out a way, Chris, to
00:08.880: Later.
00:08.960: They're going to use one shot for two or three shots.
00:08.960: It's not me.
00:08.960: Final Cut Classic.
00:08.960: Well, because we can archive it.
00:08.960: On multiple hard drives, we always have data and edit drives.
00:08.960: And then I would just wait.
00:09.040: It's called Arctic Whiteness.
00:09.120: When we get started here, you'll understand that
00:09.120: I think it's already happening.
00:09.120: And there's so many things that you can do
00:09.200: So you're basically feeding into the seven Q, seeing a four up display and then you're feeding to an external monitor.
00:09.200: And so that's interesting.
00:09.200: Exactly.
00:09.200: Yep.
00:09.280: Yeah, day one.
00:09.280: Will you?
00:09.280: If people are trying to find out more about Jem, the kind of stuff
00:09.360: You're a busy guy.
00:09.360: I'm trying to learn here.
00:09.360: It's a utility somebody wrote.
00:09.360: But it was definitely part of
00:09.440: Yeah, whereas the transition to 10 feels more like you're.
00:09.440: Exactly.
00:09.440: You're like, how the hell did I go from one terabyte to 200 megabytes?
00:09.520: And frankly, I really resisted HD.
00:09.520: I think the change between
00:09.520: Select all.
00:09.600: Steve, this must be perfect?
00:09.600: And I'm going to get away from the stupid discussion of whether or not Apple is going to be
00:09.680: Yeah, last we talked, you were in the final stages of getting your studio set up.
00:09.680: And it was just like, what's you know, and
00:09.680: So, you know, they you have a big TED talk and they have those huge
00:09.680: And this is pretty typical, almost expected by a lot of clients.
00:09.680: So we can do that now.
00:09.760: And they are like essential plugins for ten, in my opinion.
00:09.760: No, no, I'm not going to let it drop because I was just on a panel at NAB
00:09.760: So instead of taking four or five of those and laying them down,
00:09.760: So walk me through what an audition is.
00:09.760: And then what I can do is I can take that.
00:09.760: It's like, you know what?
00:09.760: Right.
00:09.760: For me, that would be something that I would like to see.
00:09.840: So here is Jem Schofield from the C47.
00:09.840: We had the SD, the HD transition.
00:09.840: I mean, I'm just I can't even really articulate those benefits because
00:09.840: It was like going back ten years.
00:09.840: And basically.
00:09.840: I did not realize that.
00:09.920: I need an 8K
00:09.920: And frankly, I think I'm starting to get it.
00:09.920: Now it's like, oh, I want
00:09.920: Yeah, I mean, it's you know, it almost always boils down to
00:10.000: I love using it for that.
00:10.000: There are just times when I'm in a project
00:10.080: And it's not a little bug.
00:10.160: Please let me modify it user interface.
00:10.240: I just sit here and I go, please, Jem, talk to me.
00:10.240: The Q7 or something?
00:10.240: three, right, exactly.
00:10.240: And now I'm just thrilled that I did because
00:10.240: And then I can get a sense for how it feels.
00:10.240: Yeah.
00:10.480: Wow.
00:10.480: Um, a couple of things that, you know uh well, first of all, we slate.
00:10.480: If you had the ability to slip in a back door at Apple.
00:10.560: Yes, no, definitely the speed is different.
00:10.560: Yeah.
00:10.640: And
00:10.640: Right.
00:10.640: I just want to wring your neck when I hear that stuff.
00:10.720: We're already seeing it.
00:10.720: So we have matching drives and we're just you know, we're just
00:10.800: So pretty cool stuff.
00:10.800: Maybe I maybe I should need to be talking to him.
00:10.800: But multicam in Final Cut Pro ten
00:10.880: And what's kind of interesting is that
00:10.880: And I've seen it happen on the Mac Pro, and I think what you're
00:10.880: I would not have guessed having experience.
00:10.960: Okay, so I was at that.
00:10.960: You know, we put the background more out of focus.
00:10.960: Yeah.
00:10.960: And the generator allows you to sort of
00:10.960: So I want to thank him for taking the time to chat with us and.
00:11.040: And I think that Final Cut Pro ten is no exception to that.
00:11.120: So tell me, is uh is the DSLR dead?
00:11.120: And quite often I run into people
00:11.200: We went to another level with this last Rev.
00:11.280: Shop it around, it's what we do, we are people of process.
00:11.280: It was really frustrating.
00:11.360: And they're like, Okay.
00:11.360: I think that
00:11.440: Yeah.
00:11.440: So I do think it's interesting that
00:11.680: It's going to be an education.
00:11.840: So when 1003 came out,
00:11.840: Does that mean you're going to start shooting 4K?
00:11.920: Yep.
00:12.000: I think that
00:12.080: Yeah, very cool.
00:12.080: I still do sometimes as far as on sites.
00:12.080: It's awesome.
00:12.080: They're going to use it for a wide, a medium and a close up.
00:12.160: Now, d does that thing shoot four K?
00:12.160: I don't think four K, but H D.
00:12.240: Yeah, he's like
00:12.480: But a career editor
00:12.480: And then whichever one I like,
00:12.480: And
00:12.640: And my gut is
00:12.720: Why what was his
00:12.720: So.
00:12.720: Redundancy exists.
00:12.800: And I get this
00:12.880: And there's hardly any people using it.
00:13.040: You know what I mean?
00:13.040: Sometimes fcpx
00:13.200: We'll pay.
00:13.520: Yeah.
00:13.840: Did I hear that right?
00:14.000: But uh
00:14.640: Anyway.