Episode 40
FCG040 - You’re Using What? (feat. Marc Bach)
Ever leave a week of production with 60TB of data?? Yea… me neither. Marc Bach has a very unique position creating original content for DirectTV and tells an AMAZING story about how his boss decided to let him usher in a new era of workflow for their environment with 12 edit suites making content for “Audience”, on DirectTV. Performance in Old Mac Pros sucks because of the old GPUs but the kids have better machines with their MacBook Pros
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Featuring
- Chris Fenwick
- Marc Bach - theinterfacelab.net - @marcplanb
Transcription
00:00.001: It's better and better.
00:00.001: But anyway, I thought that was a brilliant bit of insight from Mark, and I wanted to point that out.
00:00.080: DirecTV.
00:00.080: Final Feds VIII on it.
00:00.160: Now if you listen to the special episode from yesterday, Sunday, you'll know that yes, Premium Beats is the new sponsor.
00:00.160: I have had it happen so many times where a producer is like trying to find the right thing, and I just sort of spin over to my computer and I search, you know, premium beats.
00:00.160: there's these devices you connect to the camera and you can stream live your own channel if you want to.
00:00.160: before like say six to seven days in a row.
00:00.160: the ProRes LT trans codes, are you do you actually cut them in a 4K timeline?
00:00.160: Instead of like in Resolve, when you load the XML, it reaches the timeline and all this stuff, but you can tell Resolve A.
00:00.160: It's like my wife takes care of all that stuff, and then she tells me, like, sign here, do this, do that.
00:00.160: You do the payable work.
00:00.160: So, I'm a freelancer, but I go to work every single day there.
00:00.160: And they are really comfortable cars and they have everything you can imagine.
00:00.160: He said it in a very condescending way.
00:00.160: Do you want to see this?
00:00.160: For the whole environment.
00:00.160: Final CAD ten point one plus with the drivers of the cars and Mavericks, it doesn't have this fluid playback that it had before if you have the monitor out active.
00:00.160: up to the point that my boss said, Okay, whoever wants to go go back to Final Cast seven can go back.
00:00.160: Go, okay.
00:00.160: You know, quite often I still do, you know, string outs of B-roll, and it's like, yeah, it's at the far end or it's in the middle, you know.
00:00.160: What do you mean, go back?
00:00.160: Yeah.
00:00.160: Gimmer.
00:00.160: That's why he said that everybody should be working fine like a 10, so then everybody's on the same page and we don't have these problems like, oh, you know, you're using this.
00:00.160: hot the audio actually is.
00:00.160: He opened up like the geometry panel, you know, like rotation and position and scale.
00:00.160: You know, it's just a city where everybody's working in this thing, but everybody in the world, I think that the majority, especially kids,
00:00.160: Are using Final Cat 10 is accessible, it's cheap, and it's easy to learn.
00:00.160: 30 years old, and you're going to have millions of people working with Final Content versus thousands working in the other ones.
00:00.160: When you start giving away free Macs, now you got my attention.
00:00.160: Richard as Richard Timeline Richard scrolling timeline tailor.
00:00.160: and speed and XML.
00:00.160: The workflow that you were describing, he would be using like an iPhone or something like that, and you know, putting next to the speaker, right?
00:00.160: Yeah, I heard I heard it from your last episode, I think you said it.
00:00.160: To be the schemer viewer, so then you can see two clips of the timeline: one is the playhead, and the other one is the schemer, and then you can compare them
00:00.160: So, what a lot of people are experiencing when they first open up Funnel Qatar, if they're on like in a pro environment, hooked up to a sand, whatever.
00:00.240: Time spent looking for music, which is like 95% of the time, and then time spent actually editing, which is like 5%.
00:00.240: Hey, welcome to another episode of Final Cut Grill, episode 040.
00:00.240: From me, because I love premium beats.
00:00.240: But anyway, we're extremely excited to have Premium Beat sponsoring the show.
00:00.240: Thanks for contacting me.
00:00.240: Yeah, it's shot with multicam epic cameras, like five to six cameras.
00:00.240: Is a full channel.
00:00.240: Yeah.
00:00.240: And he was saying, Oh, yeah, I should really you know, we could talk all about that.
00:00.240: big show that they do from the from the show floor is showing how easy it is to stream out using their gear.
00:00.240: So there's like in the morning that we do like one band and then we do the interview and then in the afternoon we do the second one.
00:00.240: Post-produced in 4K.
00:00.240: A soundstage or it's a have you been ever at the Guitar Center sessions?
00:00.240: No, I haven't.
00:00.240: audience like with like I think five hundred people or something like that.
00:00.240: Wh when is your next shoot scheduled?
00:00.240: Oh, good night.
00:00.240: Yeah, yeah.
00:00.240: directly created this for that it's boxing, but instead of being in a ring, it's in a pit.
00:00.240: This is, I'm, I'm, I'm getting completely sidetracked by the music thing because I love doing music so much, and I almost never get to.
00:00.240: Man abandoned members.
00:00.240: That makes perfect sense, Mark.
00:00.240: you know, you have several cameras rolling B-roll, and then you have one audio guy doing one take.
00:00.240: Yes, we get a mix that is done by music kind of mixers, you know what I mean?
00:00.240: look in this folder and forget about the extension.
00:00.240: So they gave us that thing, it gets approved by the artist, and then we get the mix, and then we put it back to with the color version.
00:00.240: Yeah, actually for that show that I told you about boxing, that one, sometimes the turnaround is so quick that we don't have time to transcode or we're interested footage and
00:00.240: and we're going to deliver the show in five in four days, so we don't have time to do anything.
00:00.240: So that would actually make sense because before we before we talked, I started doing a little snooping and I found the interface lab.
00:00.240: Oh yeah, it's all out it's completely outdated.
00:00.240: Okay.
00:00.240: I was I started working at Fox, Fox Sports, and I was doing After Effects graphics in there.
00:00.240: I go home and I play with final cut all night long, you know, and which is actually quite interesting because that is such a parallel to the way Final Cut I was, you know, 15 years ago.
00:00.240: So how did how did you get where was audience before you got there, technically?
00:00.240: Okay.
00:00.240: What the hell are you doing?
00:00.240: That's where I am.
00:00.240: and then you you trim the head of one and then the tail, all that stuff without stopping the playhead.
00:00.240: And I always do this comparison, like just imagine that it's a car, right?
00:00.240: Is the difference, right?
00:00.240: And we got the new SEN and all this stuff.
00:00.240: Yeah, that's actually is still today.
00:00.240: Is there a resistance of people to learn it?
00:00.240: And in this new world, they don't know anything, so they don't feel safe or secure, right?
00:00.240: So when you press play s press y when you press play, it takes like a second to start playing, right?
00:00.240: and having fifteen people doing the same thing constantly, plus reading files, like pressing play and all this stuff, sometimes what happens is that you would do like five edits
00:00.240: But at the same time, we use XMLs to interchange the sequences.
00:00.240: and then one library is is created, we copied it to an external drive with all the media, and that's what we send to him.
00:00.240: Yeah, it's so much faster.
00:00.240: to find the click that you want.
00:00.240: In my mind, I store things very relationally, uh positionally.
00:00.240: And a producer over your shoulder says, Wait, wait, go back.
00:00.240: Yeah.
00:00.240: Yeah, the same happens here.
00:00.240: and the content that comes from the outside.
00:00.240: And I think that that's the reason why they they want to stay in Fanaka 10.
00:00.240: and then it's not translating fine or whatever.
00:00.240: And I just it's the same palette of colors as Finney Catena.
00:00.240: I don't know how they call it exactly.
00:00.240: And in the viewer, you see your actual frame of the reference cut, and then you can see on the canvas, you can see the actual frame of the resolve cut, right?
00:00.240: It's interesting.
00:00.240: The quantity of cameras that should draw is increasing constantly.
00:00.240: because it's television and movies.
00:00.240: I was there, I heard it, but I was made a little bit nervous about what I could, I couldn't say.
00:00.240: is up to twenty machines.
00:00.240: the obviously Apple cannot officially say this.
00:00.240: The fact of the matter is, that is what is going on.
00:00.240: that slip our mind.
00:00.240: hundred things he'd like to see.
00:00.240: and scenes and all this stuff, so you can find stuff really quick.
00:00.240: Right.
00:00.240: to be able to look for the dialogue, right?
00:00.240: I mean, yes, this guy was using markers too, but he was the link was happening from the iCloud.
00:00.240: This is all your technology.
00:00.240: would stop listening through the double tap of the function.
00:00.240: to make that work.
00:00.240: And it says if you want to use the enhanced dictation, it's going to have to download another 785 megabytes of magic.
00:00.240: So I could look for things that have Alex 4D plug-ins or something.
00:00.240: But that's actually something you need to turn on in the system preferences.
00:00.240: Yeah.
00:00.240: and they see a lot of images blinking.
00:00.240: And the other thing going with the same thing, it would be like recycle the schemer.
00:00.240: That's not a bad idea.
00:00.240: Yeah.
00:00.240: There's plenty of things like that that would be that would be really cool.
00:00.240: You're welcome, man.
00:00.240: And the kid is seeing a much better performance characteristic than the Pro is on an older computer that doesn't have a great video card experience, whatever word.
00:00.240: Through the receiver of DirecTV, and you can look for content to watch on demand, and you can watch the guitar center sessions, and
00:00.240: and all the shows that we do, like the BKV show and Full Circle is another show that we did.
00:00.240: they're probably on not probably but very possibly on an older Mac Pro that doesn't have a great video card that Final Cut 10 can take advantage of.
00:00.240: And then he said, so what's really interesting is they'll go home or they'll talk to some kid or whatever, and they're like working on a new MacBook Pro or a new iMac, which actually is optimized and works very well with Final Cut 10.
00:00.240: all of that just helps this little this little project, this little experiment.
00:00.320: Nothing about what they want me to do or say yet.
00:00.320: And there are so many ways to search for things and sort things.
00:00.320: These are things that I'm all things I'm going to talk about very, you know, a whole lot in the in the coming weeks and months.
00:00.320: a show called, for example, Guitar Center Sessions, and it's concerts and interviews with famous artists.
00:00.320: And do you think the bands suffer from not having an audience?
00:00.320: We had Soundgarden.
00:00.320: So you're just in a big hole beating the crap out of each other.
00:00.320: Yeah, that we have several shelves running at the setup.
00:00.320: But but you're obviously shooting a little extra th than that.
00:00.320: So we create a Doku series to support the live event.
00:00.320: And then we edit with those.
00:00.320: I saw it, yes.
00:00.320: Roll the thing for the whole hour and a half or whatever?
00:00.320: So what we do, we have two these two editors working in the time lines.
00:00.320: And then after that, what we do is we export an XML.
00:00.320: we change from the quick times to the R three D is coming from the red cameras.
00:00.320: and we overcut it.
00:00.320: And then they want like we want to start with this song or we don't like this song, we didn't like how we performed this one, can you switch it for the other one?
00:00.320: that would be up to like 60 terabytes.
00:00.320: Tell me how you initi actually a year and a half, yeah.
00:00.320: Yes.
00:00.320: You don't have cup holders, you don't have a stereo, you don't have all this stuff.
00:00.320: How long did it take him to pick his jaw up?
00:00.320: is when we got everything new, new MacPros, but not the new one, but the gray one, but it was new one when we got it.
00:00.320: We still didn't start with that, but I was able myself to work with Final Katen.
00:00.320: are looking at you like they're walking down the hall looking at you with like death in their eyes like you bastard I don't want to use this software
00:00.320: But then you don't go back.
00:00.320: And then you would get the spinning beach ball, and three seconds later, you would see the five edits done like brrrr in a row.
00:00.320: that singular problem disappears.
00:00.320: I think it's the one that is doing the concerts is not on site, so it's it's remote.
00:00.320: Very good.
00:00.320: When you once you I mean, you don't realize how many double clicking you do in Finland until you go back and you do it, you know?
00:00.320: you have the browser, you have I don't know how many clips in Icon View, and then you go with the schema with a one click, and you start going through over ten clips and you go like, it's not this one, not this one, not this one, not this one, this one
00:00.320: And then the third click is to grab the scrubber and then start scrubbing back and forth.
00:00.320: Wow, wouldn't that be neat though?
00:00.320: through the things that you have actually just skimmed through.
00:00.320: Unofficial post supervisor.
00:00.320: Resolve is looking more and more like Final Cut X.
00:00.320: So if you have something that you have it like super low volume, you would not see the waveform.
00:00.320: If you have before, if you had a clip that it was one clip, but it would be bladed in speed, it would not translate properly
00:00.320: Now, you can even do the same thing exactly in Resolve.
00:00.320: But from Fina Cut10 to Resolve, I just find out that it's like the same frame because you can export a cut, a reference cut, and then you put in Resolve, and then you have, let's say, the VWAN and the canvas.
00:00.320: And these people at BlackMagic are seeing that Final Cat 10 is in the future is going to be the one that's going to have the biggest pool of editors working.
00:00.320: That gets talked about a lot.
00:00.320: But as you know, you can buy one and install in five computers.
00:00.320: than sending the Software Publisher Association down and to hunt down people that are pirating it.
00:00.320: Yeah, me too.
00:00.320: Yeah.
00:00.320: you know, we're we're currently on 10.
00:00.320: significant and important ten point one was, there's very few it doesn't appear as though at first glance and we all know that there are things that were
00:00.320: Yeah, it's very it's very peculiar.
00:00.320: you have to see the two timelines at the same time when you're translating a project.
00:00.320: That's how I do it.
00:00.320: So then you don't need to have an install of Final Cut anymore.
00:00.320: So in my case, what I do is I import the XML into Premiere so that I can have both open at the same time and see that that is exactly the same clip.
00:00.320: And whisper in their ear, you know, the thing that you really need, a couple of things that you would really like to see.
00:00.320: And then it would open like a fan, like kind of what Finder does in the dock.
00:00.320: And then switch the word, you know, just the audio take of the word.
00:00.320: The dialogue should be.
00:00.320: you know, a framework of the OS and then it's easier for them to put into Final Cut.
00:00.320: Right.
00:00.320: So she was sitting with me and she was like, oh, you know, I have to look away.
00:00.320: So it would be a good option to have the schema work only in the monitor of the computer and not in the broadcast monitor.
00:00.320: Yes, yes.
00:00.320: um the size of what DirecTV is doing.
00:00.320: audience channel?
00:00.320: When they air, and you can watch it on demand.
00:00.320: Post-show wrap-up.
00:00.320: It's a pleasure that the show is being accepted as well as it is.
00:00.320: So that's it for this episode.
00:00.400: Okay.
00:00.400: In just a moment.
00:00.400: meltdown of data and information just getting lost on people's desktops, right?
00:00.400: Wow.
00:00.400: are creating content.
00:00.400: And then one shoot, like a day week, or no, no, like it, it's like every day there's two bands
00:00.400: with like thirty two to thirty five terabytes of footage from each season.
00:00.400: Okay, so it's all um it's we should 5K, we're future proofing ourselves.
00:00.400: And then they perform inside of that.
00:00.400: Right.
00:00.400: Yeah.
00:00.400: And then when we finish, we we start it all over again, you know, so it's like back to back.
00:00.400: Oh, I'm much more interested in the music thing.
00:00.400: workflow for that.
00:00.400: And then we get all these ProRes 1080 LT.
00:00.400: And then we split it.
00:00.400: Interesting.
00:00.400: And sometimes it's like different interviews for different people, but you just have one big audio or something like that, and just like put it in there, create a multicam.
00:00.400: B-roll clip.
00:00.400: with the ProRes L T's.
00:00.400: We that's why we transcode it.
00:00.400: And then we went for a gig and I was on the road with with my laptop and we were ingesting footage and I was doing it in Fina Gaten and my boss saw
00:00.400: So I did a demo for like 10 minutes and showing like few stuff and the best thing for me of Final Cut is like the browser and the timeline index, right?
00:00.400: Interesting.
00:00.400: Or working in 10 environments, what we find out is that you know that when you are working in Finaca 10, every single change that you do is being read in the database, so you can undo without having to save.
00:00.400: were the anchor points or the touch points where they said, yeah, I want to stay because of this.
00:00.400: That was from my discussion with Jem Schofield last week.
00:00.400: you can organize the footage because this these other editors, we we have, as I said, this kind two kind of content, right?
00:00.400: Is your boss has your boss been happy with this transition?
00:00.400: Right, right.
00:00.400: they draw the audio, right?
00:00.400: A ghosted version of how hot the audio was, and now the bright green waveform is how
00:00.400: Yes, actually Resolve has the same issue the same thing that you can grab a clip and say, I want to create a RAM from zero to one hundred or from one hundred to zero.
00:00.400: Very interesting.
00:00.400: It's amazing.
00:00.400: Good for Apple or bad for Resolve, you know?
00:00.400: paid subscribers.
00:00.400: Dialogue, would you like me to make auditions of those?
00:00.400: Yeah, I know.
00:00.400: having a highly optimized modern video card was is was not necessary.
00:00.400: bit of insight.
00:00.400: of um Final Cut Grill.
00:00.480: It's like from working at the same time, we can have like twelve to fourteen.
00:00.480: Okay.
00:00.480: Okay, DirecTV and it's called Audience.
00:00.480: At South by Southwest we we we did some recordings in there with some bands and it was with li you know, like live with
00:00.480: The last season we had corn and then like rock bands, like well known bands, you know?
00:00.480: And uh that's thirty minutes each one.
00:00.480: Yeah.
00:00.480: and then I color the whole show in 5K, I export 4K ProRES 4444 clips, and then we go back to Final CAD.
00:00.480: Okay.
00:00.480: And at that point is when little by little, people would come to my bay and say, like, what are you doing in there?
00:00.480: and or Schofield, sorry, Jim.
00:00.480: I took the problem library and I flushed all of its renders and optimized media.
00:00.480: there is the potential of libraries becoming confused.
00:00.480: You know, knock on wood yet.
00:00.480: And then that's how we obviously he has a copy of the media at his other location.
00:00.480: They don't want to tell me.
00:00.480: and they just bring these episodes full fully edited, you know, with stems.
00:00.480: The the timeline with with audio and video, you know, with the tracks.
00:00.480: The decision makers, what are they going to want to use?
00:00.480: for audience in DirecTV in terms of Final Cut 10?
00:00.480: So you would be able to go to the timeline and say, like, I want to find another take of this line.
00:00.480: Through iCloud, okay, that note file was updating on the guy's iMac.
00:00.480: That's a cool feature of the Mac OS.
00:00.560: either turn to you for advice or you're sort of in charge of keeping hurting I like to say hurting the cats.
00:00.560: If we start like working with a new camera, so let's make sure that the workflow is exactly the one that we should follow, you know, and everybody's on the same page.
00:00.560: I mean, still, there's nice work on there.
00:00.560: I just like.
00:00.560: Now I'm thinking maybe it wasn't Jim, I can't remember.
00:00.560: That's it.
00:00.560: Like what before it would take them like, I don't know, a couple of days working.
00:00.560: Um so you're we began this conversation a half hour ago where you said, I am I think the phrase you used was the
00:00.560: Closer alike?
00:00.560: Is apparently aligning itself with the least popular editorial tool.
00:00.560: Are the new features?
00:00.560: Oh, we're I mean, there are more shows coming.
00:00.560: sometimes we have to go back to Final Cut just to open the project and export an XML.
00:00.560: you could have all the takes with an specific line already created for you, like in auditions.
00:00.560: No, I think it it may even be part of creating multicam clips.
00:00.560: They were playing a line of copy into um their Siri into notes
00:00.560: And then paste it into a marker at the beginning of that line of the dialogue.
00:00.560: I've just once I heard this person say it, I was like, Yes, please, I want that.
00:00.560: Right.
00:00.640: between Netflix and cable and satellite and over the air and let's not forget YouTube Vimeo.
00:00.640: So right now, we're going through another season of Guitar Center sessions, and we record like I think it's like eight, twelve bands in a row.
00:00.640: You you've been working for audience at DirecTV for how long?
00:00.640: Final content.
00:00.640: there was probably some nerves on your part, I would assume.
00:00.640: And that's it.
00:00.640: And I noticed and I had never really noticed this before, but the audio waveform will show you
00:00.640: That FanalCat 10 has the fastest adoption rate up to a million
00:00.640: And then one is already set up.
00:00.640: More control in there.
00:00.640: The best thing is Twitter.
00:00.720: They were just inundated with stuff.
00:00.720: Well, I guess eventually I would have thought of it.
00:00.720: And they were doing promos for shows coming from you know, from other sources.
00:00.720: Wait, wait.
00:00.720: Well, I I find out that when you work with scripted, it would be something related like scriptsing from Avit, where
00:00.720: Yeah, I've been wanting to be able to name my color corrector layers and also be able to copy and paste them individually.
00:00.800: And then we have another show that is called BKB at the moment, and it's a a new take on boxing.
00:00.800: I actually just started playing.
00:00.800: And I stopped having the problem.
00:00.800: Somebody just said to me, Oh, who was it?
00:00.800: And then what they were doing is si saving it in notes.
00:00.800: But it's taking your spoken words or are you listening to the timeline?
00:00.800: Or just sorting the stuff.
00:00.800: People might wanna um or if you're color correcting I know you're doing it in Resolve, but not everybody does.
00:00.880: And it's like an hour show like an hour long show.
00:00.880: Their little gizmo is like a Wi-Fi connected hotspot encoder streamer, you know, and that's sort of why they do their
00:00.880: Five to six cameras.
00:00.880: Until my boss did like, okay, guys, you have three months to learn Final Caten because in three months we're going to switch, and everybody's going to be working in that.
00:00.880: And so the thing with this is that there's a lot of in and outs to the sin.
00:00.880: For example, I had a library file just the other day where I would open it and it would say, oh, you have some missing media.
00:00.880: Get distracted, needed to go do something else, quit final cut, came back to it, and I opened it up, and it says that the same media is missing.
00:00.880: Open Recent.
00:00.880: So how so given the opportunity to change, all these editors actually decided to stay.
00:00.880: Okay, so they actually won't tell you what they like about it?
00:00.880: Does it make sense?
00:00.880: You know, and again, there's you know, the blade speed is new.
00:00.880: Even even logic or iMovie, right?
00:00.880: And just be able to tell them, hey, forget what the marketing guys tell you.
00:00.960: They have a place there that they change it.
00:00.960: Wow.
00:00.960: Okay, tell me what that battle was like.
00:00.960: An issue of dealing with the SAN primarily?
00:00.960: And I'm not going to I don't want to say corrupted because I personally have never had a library file become corrupted.
00:00.960: Using XML files to trade timelines.
00:00.960: Was it ah reflecting and looking back, and you see it is better no matter how much you hated it.
00:00.960: Yes, and the other thing that I would like to improve is would be the timeline index, where you can actually look for clips that have effects in there and stuff like that, have more columns in there, and then you can look for whatever you want.
00:00.960: And it would be cool to have it right there.
00:01.040: So it feels so much better.
00:01.040: Yes, we use XMLs.
00:01.040: Yes, we have an assistant editor that ingests all the footage inside of the SIN, then preps it in the library, creates the multicam clips and with the metadata and all this stuff, and then ready to go.
00:01.040: I can't tell if Resolve is trying to be more like Final Cut or Final Cut is trying to be more like Resolve, but it's very interesting that the arguably one of the most popular color and finishing tools
00:01.040: four or five year old Mac Pro.
00:01.120: And then mu uh audio wise, and I'm a bit of an audio nerd, so I'm curious about that.
00:01.120: Exactly.
00:01.120: And are just out of curiosity, do does that editor is there a assistant editor prior to him that actually creates the metadata and the multicam clips and sends him all of that stuff?
00:01.120: Yeah, yeah, yeah.
00:01.120: And in here we don't have a way of muting the whole application.
00:01.200: Yeah.
00:01.200: Yes, we had to.
00:01.200: I also want to say thank you to all the people that are going to iTunes and leaving comments and giving the show stars because
00:01.280: And I'm the unofficial editor in chief, we can say.
00:01.280: So by editor-in-chief, what you're saying is that other editors are going to be a little bit more expensive.
00:01.280: Wow.
00:01.280: You know, I was going to say, if I could, I'd love to come hang out and watch that go down because that sounds incredible.
00:01.280: With the scrubbing or the skimming rather, is when you have a producer over your shoulder and you're looking at a bin of icons, okay?
00:01.280: It doesn't have to translate it to XML like a FindaCat 10 XML.
00:01.280: maybe the next the next not Mavericks, but the next one, you know, ten point ten.
00:01.360: Wow.
00:01.360: And how many cameras do you do on the interviews?
00:01.360: But it was not shot in 4K or anything like that.
00:01.360: I'm sitting in Oakland right now.
00:01.360: And can you please get working on that?
00:01.360: So tell me, Mark, you're doing a lot of stuff in Resolve, the color work you're doing.
00:01.360: Yes, the translation of speed ramps when you go to color is one of the things that it's been super difficult.
00:01.360: That's amazing.
00:01.360: Yeah, I mean, there are it's not to say there's not new features, there is.
00:01.360: That's funny.
00:01.360: All right.
00:01.440: So how we do it, we just get all the footage.
00:01.440: So it's like you're you're complaining all the time about having to learn Fineka 10.
00:01.440: If you could just mute the output of Final Cut Pro, that way you could listen to your podcasts or your music, you know, while you're doing something that where you don't need the audio.
00:01.520: I also want to say that this is my very first episode that is sponsored by our good friends at Premium Beats.
00:01.520: It's a audience is a channel that is owned by DirecTV.
00:01.520: Yeah, what do you do with that?
00:01.520: But the engine is the best engine that you can imagine.
00:01.520: Yeah, I talk about the difference between looking for files and searching for files.
00:01.520: I just jump, you know, because you know, if you move your skimmer from like row two of icons to row three of icons vertically, you could easily jump over you know several minutes of content.
00:01.520: We do have you know, all the other machines do have it.
00:01.520: I I tried doing I think I tried doing it with Final Cut and it wouldn't it was too much going on and the computer
00:01.600: Yeah, I don't know if you'd caught this, but just I don't know what day today is.
00:01.600: Go back.
00:01.600: Yeah, yeah, yeah.
00:01.600: But at first glance, it's not like you can say, oh, yeah, well, it does this and this and this and this and this better.
00:01.600: And that insight is this, that a lot of professionals are working with kind of legacy hardware.
00:01.680: In one week, we record that thing and then it takes us like four to five months to do the post of all the concerts.
00:01.680: Because I already had the keywords and all this stuff.
00:01.680: It was just this, the this thing where you press a key and it takes like a second to start doing it.
00:01.680: Now the double tap of the function key, obviously you need a function key on a laptop, and I know that there's an equivalent on a desktop.
00:01.680: Take care.
00:01.760: I'm sure you understand that you could be doing the 4K in Final Cut.
00:01.760: No, I mean, I I agree that they are still sort of in the sweetheart stage, and I know that this is not.
00:01.840: And you're doing this at discovery, you said?
00:01.840: Actually, if if you to be honest, it's thirty clicks because well, maybe not.
00:01.840: So in our case, we just bought one final card and we can install it in all the company.
00:01.840: I I was like, wow I mean, it kind of made sense given the the previous big Apple announcement when they said, Oh yeah, Mavericks is free and iWork is free and iLife is free.
00:01.920: So, yeah.
00:01.920: Actually, you know what?
00:01.920: Yeah.
00:01.920: Later, later.
00:02.000: You're welcome.
00:02.000: Maybe I should get DirecTV.
00:02.000: Now in at this one that is going to be at the store, we have Alice in Chains we and all the bands that I don't know.
00:02.000: Yeah.
00:02.000: Never mind.
00:02.000: So, like, you hold down the option key JKL or something.
00:02.000: Yeah, the other thing that I have heard a few people say, and it actually makes perfect sense, and I
00:02.080: So what do you think the biggest what do you think in your workflow and with your people was the biggest the number one complaint that people did have?
00:02.080: It is called Final Cut Library Manager.
00:02.080: And then the same thing in Final Cat 10, if you go through I mean in Fin Final Cat 7, if you go through ten clips, that would require twenty clicks.
00:02.080: They won't tell you?
00:02.080: That it goes like from from green to yellow to red, you know?
00:02.160: And you're like, sitting in the hotel lobby or on a plane somewhere.
00:02.160: He doesn't care about the tool that we use.
00:02.160: Yeah.
00:02.160: Yes.
00:02.160: And another thing that I would like, because this is kind of it's two things, okay?
00:02.160: Quite often when we hit stop, the conversations keep going.
00:02.240: Right.
00:02.240: So, as soon as I well, actually, what happened at the same time is that we changed location.
00:02.240: It's really good.
00:02.240: So let me ask you this, Mark, if you had the ability to sneak into Cupertino and find find the guys that are programming Funnel Cut 10
00:02.240: It's yes, Mark Plimby.
00:02.320: 11.
00:02.400: You know, it's like there are so I'm continually amazed.
00:02.400: And it's a great time to be a video editor.
00:02.400: I would you say like an hour, hour and a half, or was did I say that?
00:02.400: I you shouldn't you shouldn't hide from that.
00:02.400: Yeah, I just had a very long discussion with I believe it was Jem Schofeld.
00:02.400: It's like, oh.
00:02.400: Yes, it's actually what he's showing you that that shadow in there is how it would be if it was optimized.
00:02.400: Yeah.
00:02.400: And he's got a good track record of making those things come true.
00:02.400: I would imagine that probably the reason they're not doing it is it's not accurate enough and people would make fun of it.
00:02.480: Exactly.
00:02.480: And then it's when I started like seriously working with Final Cat10 in a professional environment, talking about Xen and sharing files and all this stuff.
00:02.480: It's not that we want it, but we had to, yes.
00:02.560: I've been using it now for a while, and everybody knows that feeling in an edit when you're just like, uh, you know, there's even a little fake pie chart that says, you know.
00:02.560: Good grief.
00:02.560: It's inside of the store.
00:02.560: And I think we could bring it back to the topic of the show and start mentioning Final Cut 10.
00:02.560: Jem last week just said, look at the fifteen, sixteen year old kids that are doing their short films.
00:02.640: It's pretty simple.
00:02.640: So we cannot put that.
00:02.640: Perfect.
00:02.640: Okay.
00:02.640: So the content that comes from the outside, we don't do anything to it.
00:02.640: But it's something about the wavefirms.
00:02.640: Why can't you just listen to the timeline and give me an estimation of what you think the
00:02.640: Yeah, yeah.
00:02.640: You do.
00:02.640: And don't miss in your other feed, the DCC feed, um we have a great interview with a guy I work with all the time, a producer, um, that will be coming out um this Wednesday on Digital Cinema Cafe.
00:02.720: And one editor is doing the performance and the other one is doing the interviews.
00:02.720: And the only moment that we deal with the high resolution files is when we do the color.
00:02.720: Let me see if I can find it.
00:02.720: That would be a really cool feature if there was a way that the skimmer could create a little database of where you've skimmed.
00:02.720: Does it make your workflow jumping between them easier?
00:02.720: So let's say, hey, we need to replace this word in here because the this take is not good.
00:02.720: Well, it's like it's airing at different times.
00:02.800: And then you go through the B-roll and you mark the favorites.
00:02.800: Well, he was like right away, he was like, Oh, you know, that's weird, but I believe you because I'm seeing it right away, right?
00:02.800: And we were talking about the issue of libraries that get
00:02.800: It's not something that is actually new.
00:02.800: And it is very sort of Siri like.
00:02.800: And I had I was sitting actually I was working with Mimi Leader that she is the she was the director of Deep Impact.
00:02.880: Hey, Chris.
00:02.880: I think that would be awesome.
00:02.880: Depends on the card.
00:02.880: Now I think you said that you would ma you're mastering them in 4K.
00:02.880: Exactly.
00:02.880: So I mean, it's all data.
00:02.880: They are doing a really good job.
00:02.880: And they think that this is the reflection of what's going on in the world.
00:02.960: Do your cuts have to be approved by the artist?
00:03.040: Yes, so uh tell me a little bit bit about yourself.
00:03.040: We've been using that actually.
00:03.040: You know, what comes in 10.
00:03.120: Oh my goodness.
00:03.120: So there's no audience.
00:03.120: Okay, very interesting.
00:03.120: So as long as the name of the file matches, just load these ones.
00:03.120: Yeah.
00:03.120: Yeah, because if you could do that in Final Cat seven, you would go to the mixer and you would have that global mute.
00:03.120: Bye.
00:03.200: So, we create our own content, and at the same time, we buy some content from other places.
00:03.200: How does that work tax-wise now that we are just past our tax day?
00:03.200: But final cut right now is just a Ferrati, but it's just the chassis
00:03.200: Anyway, we were talking about libraries, library files that can get confused.
00:03.200: But so do you guys ever deal with
00:03.200: And uh so do those programs do the m like for example, the music stuff, is that just like, you know, check your listing?
00:03.280: Yeah, that'd be fun.
00:03.280: So, so, and you, but you do a season's worth in a week.
00:03.280: And then from there, we take it to resolve.
00:03.280: Perfect.
00:03.280: And I said, like, oh, you know, like, it y it's not that, it's final caten.
00:03.280: No, no.
00:03.280: Because that would be wonderful.
00:03.280: Editor-in-chief, yes.
00:03.280: If everybody's on Financer 10, everybody can open the same projects and work on them.
00:03.280: So that's what it is.
00:03.280: And if people want to follow Mark Bach online, how do they find you?
00:03.360: And then um so how much time what's the what's the edit
00:03.360: And how does that work with does the epic run for long periods of time?
00:03.360: So we were at the lobby of the hotel and I was with the laptop and I was displaying the 4K footage inside of Final Cat, right?
00:03.360: Are you working with that?
00:03.360: I mean, still today because it's the the curious thing of Final Cat 10, it's not the that it's difficult to learn.
00:03.360: I I let me read you a quote, and I think I put it in the show notes of an episode, and maybe it was
00:03.360: You don't need to hear the output of the application, the audio output
00:03.440: Yeah.
00:03.520: It's like it takes like five minutes.
00:03.520: It's much better we don't talk about taxes.
00:03.520: Maybe now in one day, they already have the cut and mixed and all the stuff, like rough mix, but they can show it to the producer right away.
00:03.520: And the other thing that I like that you said it was that the color board, when you get into the color board section, that you don't you cannot add more color corrections.
00:03.600: You imagine that Final Cat VII and Premier and Aviat, they are cars.
00:03.600: Really?
00:03.600: Actually, I think you said that, sorry.
00:03.600: Exactly.
00:03.600: And let me ask you this.
00:03.600: You tell me when you have it.
00:03.680: Okay, you're blowing my mind here.
00:03.680: Yes.
00:03.680: And it got to a million way faster than Final Cut VII did.
00:03.680: So everything is going it's going good.
00:03.680: So yes, y you're right.
00:03.760: Hey, Mark.
00:03.760: It's happening right now.
00:03.760: Actually, you can install the private license
00:03.760: Click on the screen.
00:03.760: And although they might have great add ons and cards and stuff, not everybody has the best video cards.
00:03.840: Audience, yes.
00:03.840: I was like, click, you see it right there.
00:03.840: Yeah, that would be cool.
00:03.920: And now I'm drawing a blank.
00:03.920: They don't want to admit that they actually like Final Cat 10 or something.
00:03.920: Yeah, you had it right there.
00:04.000: Now this is is this stuff that is like interstitial stuff that DirecTV does?
00:04.000: So yeah, you are you are in a circle and then there's no rope.
00:04.000: And uh yeah, that's that's another show that we do.
00:04.000: The same.
00:04.000: So still today, you can see people that they just try to find any excuse to try to go back to Final Cat 7 because they feel comfortable in their own shortcuts.
00:04.000: These people are black magic.
00:04.000: And there's a system preference called dictation and speech.
00:04.000: Well, Mark, I I want to thank you for contacting me.
00:04.080: There's a room that they have with like custom guitars and all this stuff, and they move everything up you know, they take it out
00:04.080: What is it?
00:04.080: Yeah, he's he doesn't care, you know, like our boss is like, you have to do it.
00:04.080: Yeah.
00:04.080: We're doing scripted also.
00:04.160: Yeah.
00:04.160: So we bring red footage straight into the timeline and that's how we work.
00:04.160: And I'd say, yeah, it works fine.
00:04.160: It can go faster than anybody else.
00:04.240: How do you merge your interview stuff and your performance stuff?
00:04.240: So here in LA, actually, what happens is that the majority of people are working in Abbott.
00:04.320: There's just like the band performing, like if it was like a rehearsal, but in that place.
00:04.320: And that was so much nicer because you can see that, you know, there's the feedback of the energy coming from the artist to the audience and go and back, you know.
00:04.320: Oh, okay.
00:04.320: Yeah.
00:04.320: Editor-in-chief, yeah, yeah.
00:04.320: So where do you see um what do you see coming up next?
00:04.320: I can't remember who it was, but somebody recently, a few weeks ago, maybe a couple of months, I don't know, they were showing a workflow where they were using Siri on their iPhone.
00:04.400: No, uh, audience.
00:04.400: And th so then you're cutting initially on
00:04.400: They're still putting them.
00:04.400: And I look over my shoulder, I go, Go back.
00:04.400: Oh, yeah.
00:04.480: How are you doing today?
00:04.480: So we are at DirecTV headquarters in El Segundo, next to well, next to LAX.
00:04.480: Okay.
00:04.480: It's like five.
00:04.480: We have 200.
00:04.480: You can have a clip and blade only the speed and change the speed of the clip exactly like that.
00:04.560: So what kind of programming are you guys putting together there?
00:04.560: Very cool.
00:04.560: Okay.
00:04.560: And that's what they were.
00:04.560: No.
00:04.560: But I did see that somebody else tweeted this: that the um
00:04.560: Yeah.
00:04.640: And then uh and then this hold on.
00:04.640: Oh, but I could probably do because I literally just played with this yesterday.
00:04.640: So now they say go back, you hold down some sort of modifier key and JKL, and it skims back
00:04.640: And then, for all of us that are buying it and paying for it and using it faithfully, I was shocked that 10.
00:04.640: What we do is we and you can have Find ACAT 7 and Find ACAT 10 open at the same time.
00:04.640: I need this.
00:04.640: So, a lot of people, when they're doing like B-roll.
00:04.640: Perfect.
00:04.640: Well, Mark was an absolute pleasure to talk to you.
00:04.720: So how many um so how
00:04.720: I was noticing that that there was a drop-off at about 2011.
00:04.720: Because I have spoken with multiple people and heard messages on Twitter where people are like, ah, my boss is making me use this or that.
00:04.720: Again, I want to say, I've never lost one
00:04.720: These kids in 10 years are gonna be like 25
00:04.720: 12, 10.
00:04.800: I don't know.
00:04.800: You should.
00:04.800: And it was like, Good grief, it looks exactly the same.
00:04.800: I love the blade speed.
00:04.880: And you can make your favorites list that you can go back to when you're searching for stuff.
00:04.880: Like right this week?
00:04.880: Yeah, the same workflow to get like interviews or stuff like that.
00:04.880: So, yeah, that actually makes a lot of sense.
00:04.880: So does the it's in the preferences.
00:04.880: But right now, they're more interested in people adopting the software.
00:04.880: Yes, but it's curious to see that actually everyone.
00:04.880: If you go back and listen to episode one, I said, this is going to be an experiment and I don't know if it's going to work.
00:04.960: Today we're going to talk with Mark Bach.
00:04.960: I stopped having the problem with that particular project.
00:04.960: So back to the resolve, do you find that as these two apps are starting to look
00:04.960: Exactly.
00:04.960: I might have to mock that up.
00:05.040: The card that you put in the camera.
00:05.040: No, I think that they like the browser and the way that
00:05.040: So there's always the need to go to color.
00:05.040: We're we're gonna have to have an old copy laying around for a while, unfortunately.
00:05.120: And I highly, highly encourage you to go check out their website, premiumbeat.
00:05.120: It's a circular pit, and it doesn't have ropes.
00:05.120: I'm glad I feed it up for that.
00:05.120: Yeah, we entertain well, no, what I said before was that we use XMLs for going to resolve.
00:05.120: Gotcha.
00:05.120: Yeah.
00:05.120: You're talking about like the green audio and exactly the green audio and the way that they they
00:05.120: But the primary thing that came with Ten One is the library.
00:05.120: Because sometimes we have projects that we have to revisit.
00:05.120: No, sorry, recycle the event viewer.
00:05.120: Yeah, that would be cool.
00:05.120: So thanks again.
00:05.200: I've been the Guitar Center, the store in Hollywood?
00:05.200: I guess it was last weekend.
00:05.200: It's incredible.
00:05.200: We have to keep one just for that.
00:05.200: Final Cut 10, on the other hand, actually does need and want a really good video card.
00:05.280: That might change.
00:05.280: And if you are trying to hide from it, you're not doing a very good job.
00:05.280: I think so, because as soon as you copy the library local.
00:05.280: So then we can copy the interview with the concert.
00:05.280: I just saw it.
00:05.280: Work on this for me.
00:05.360: And we put it in our SEN.
00:05.360: So are you the one responsible for getting audience onto Final Cut 10?
00:05.360: Yes, we feel the same.
00:05.360: And I also think that I and you know, I don't use Resolve, but I've looked over Alex McLean's shoulder a few times.
00:05.360: I think what they're seeing is that the majority well, first is that
00:05.360: Because actually right now, you can double tap the function key in the keyboard and you can you can uh talk.
00:05.360: And at the same time, you can go with the iPad application and you can watch it on demand, or you can go actually
00:05.440: It's been transcoded and archived to LTO in Onset.
00:05.440: It could say it could come to you and say, I am seeing multiple versions of this
00:05.520: So then we create this big multicam
00:05.520: Right, right.
00:05.520: For a year and a half.
00:05.520: Yeah, I know it.
00:05.520: Like I know that it's at the top of the bin or at the bottom of the bin or
00:05.520: But using that shadow, you can see if you want to cut it there or not.
00:05.520: iMovie, yeah, iMovie or any other every other software, I mean audio software, it has that.
00:05.520: Yeah, that's cool.
00:05.520: Well, Mark, thanks for your time.
00:05.600: Exactly.
00:05.600: You know, I'm going to feel real bad because I know I talked to somebody exactly about that on one of the episodes.
00:05.600: So at that point, we change from ten eighty to five K.
00:05.600: So I started like doing some tests, you know, like when you start playing, pressing play and you edit on the fly.
00:05.600: Exactly.
00:05.600: 13, it's going to be interesting.
00:05.600: How do you see the next year or two panning out?
00:05.600: That's a really good idea.
00:05.680: I've talked to so many people.
00:05.680: You overcut the whole thing, we add the graphics in 4K and then we output the whole time line in 4K.
00:05.680: And it's like this is the engine of the software.
00:05.680: We just create promos.
00:05.680: Just Find a CAT 7 project to FinaCat 7 XML.
00:05.680: And you would double-click that clip or do something or a shortcut or a shortcut.
00:05.680: So once again, thank you, Premium Beats, for stepping up and helping us make Funnel Cut Grill a reality.
00:05.760: No, no, I said it.
00:05.760: Really?
00:05.760: And then at the same time I got this gig with with Direct T V just doing like a couple of documentaries that they they wanted to do.
00:05.760: That would be cool.
00:05.760: It's interesting that they haven't branded it Siri.
00:05.840: Good.
00:05.840: I would think so, yeah.
00:05.920: And then in resolve, we relink.
00:05.920: You know, you cannot feel more than 65% of a sand because if not it starts going slow.
00:05.920: And then it happened that a week later, nobody went back.
00:05.920: And so
00:05.920: Yeah, totally.
00:05.920: You know?
00:05.920: He said to me, he goes, Oh, there was something I really wanted to mention that I forgot to mention.
00:06.000: Audience.
00:06.000: This is fun.
00:06.000: And uh the whole show is posted.
00:06.000: And every time that they put a new thing,
00:06.000: I mean, yes, you've been using it, you love it, you know its advantages, but now all of a sudden a dozen other editors
00:06.000: I would like that by this by next weekend.
00:06.000: Yeah.
00:06.000: Yeah.
00:06.000: Yeah, that's what he was doing.
00:06.080: Or making sure that everybody's working using the same workflow, using the same folder structure.
00:06.080: Yeah.
00:06.080: I have no idea.
00:06.080: I just saw the colors
00:06.080: Right.
00:06.160: And then we have interviewed also multicam.
00:06.160: Do you guys are you guys like multi-tracking it into Pro Tools or something and somebody else is deal dealing with that?
00:06.160: I don't have to that's that's the thing, right?
00:06.160: So in this case, he was like totally sold.
00:06.160: So he emails us the XML
00:06.160: Yeah, it was right there.
00:06.160: Yeah, that is an interesting thing.
00:06.160: Did you put Final Cut 7 on it?
00:06.160: And then you would see the takes in there and see them.
00:06.240: So the bigger the card, the more recording time that you have.
00:06.240: Right.
00:06.240: The only thing that he he wanted to establish a workflow that everybody follows, that why
00:06.240: Yeah, for putting notes and stuff like that, you know, or keywords, you can just like double tap and start talking and then it you know, it it writes the words.
00:06.320: Really good.
00:06.320: Yeah.
00:06.320: Look here or look there, yeah.
00:06.320: I don't know anything about taxes.
00:06.320: We're just like we just acquire two Mac Pros of the new ones, you know, the black ones.
00:06.400: So and w are you shooting this in like
00:06.400: Yeah, yeah.
00:06.400: So now you've cut this thing down in a 1080 timeline.
00:06.400: The lone the the lone wolf black sheep of the of the office.
00:06.400: Okay, good.
00:06.400: What do you think about that?
00:06.400: I think you have to click away from it and click back to it, which will actually save it.
00:06.400: W working with a director or a producer in the room, sometimes when you're skimming, they go crazy because they are not used to it.
00:06.480: But thank you, Premium Beats, and please go check them out.
00:06.480: I posted a tutorial on how to do multicams with multiple clips.
00:06.480: That's a good analogy, Mark.
00:06.480: Yeah.
00:06.480: So we have the same metadata.
00:06.480: No, it would be me talking.
00:06.560: There are so many outlets where people
00:06.560: Yes.
00:06.560: Wow.
00:06.560: Yeah, okay.
00:06.560: That's kind of close to what Sam Esme was doing with markers.
00:06.640: You know, it's interesting.
00:06.640: Yeah.
00:06.640: It's not like dialogue kind.
00:06.640: So I came in and I did my first job in Final Get seven.
00:06.640: We had the office in one of the buildings, and then the whole department was moved to a new building, and at that point.
00:06.640: From Arctic Whiteness, I believe they're called.
00:06.640: And so when you're whipping around through the hover, the um, the skimmer in the bin.
00:06.640: Yes, yes, totally.
00:06.640: We are using that all the time in our office.
00:06.640: Yeah.
00:06.720: But I told them, I go, you know what, this is just going to be a very genuine endorsement.
00:06.720: And I supervise all the workflows and stuff like that in there.
00:06.720: And we have like seventeen stations with Final Caten.
00:06.720: One thing that I saw at NAV was live stream and the way that it works with you know you
00:06.720: So seven days in a row, six cameras.
00:06.720: Yeah, like this is a VHS tape.
00:06.800: The final show, it's like fifty-five minutes long.
00:06.800: When it when it peaks you know the other thing I noticed in the audio the other day?
00:06.800: And I see that it's actually the opposite.
00:06.800: I mean, I thought it was going to be a paid one.
00:06.800: We will be back for a Friday episode
00:06.880: So, you shoot one of these concerts, five cameras.
00:06.880: I don't know.
00:06.880: Oh.
00:06.880: And then they go through, they mark the favorites and then they go they can put a promo super quick.
00:06.880: Yes.
00:06.880: Be careful, I mean I was a very
00:06.880: Yeah.
00:06.880: I really appreciate you chatting.
00:06.960: I think my mic is too hot.
00:06.960: Okay.
00:06.960: So it would be good if there was like a little application just to open a project and
00:07.040: But
00:07.040: What kind of work do you do?
00:07.040: And and what um what cameras do you shoot that with?
00:07.040: We started two days ago, I think.
00:07.040: Oh, because because you sit down with like the whole band, so they're picking singles and reactions.
00:07.040: Yeah.
00:07.040: Yeah, I would imagine because they're very worried about their image and looking cool and
00:07.040: It was that.
00:07.040: I don't understand.
00:07.040: But it makes you realize, well, hey, Apple.
00:07.040: He was literally holding his phone up to the speaker.
00:07.040: I might have to mock up what that user interface would look like.
00:07.040: Yeah.
00:07.120: Wait, why did I hear discovery?
00:07.120: Right, right.
00:07.120: So if the other guy is beating you, you can get out.
00:07.120: It was Final Cat 7, and then they had After Effects and Cinema 4D for graphics.
00:07.120: And then they had like a couple of they still they they already had guitars and sessions running.
00:07.120: That's how we start.
00:07.120: Exactly.
00:07.120: The ones that have color correction applied or something like that, and then you know which ones that you have.
00:07.120: So yeah, and I think that sometimes it's like it makes people get dizzy, right?
00:07.200: That's incredible.
00:07.200: Yes.
00:07.200: We join them into one time line.
00:07.200: Unless it's just JKL.
00:07.200: Would that be awesome?
00:07.200: What would those features be?
00:07.200: It's going to have Cedar integrated.
00:07.280: Right.
00:07.280: And then we go back and we just like cut another song.
00:07.280: And they were like actually they used that as an excuse to try to roll back to Final Cat 7 and
00:07.280: So tell me about
00:07.280: Right, right.
00:07.360: But they have actually literally told me
00:07.360: Sign here and go back to work.
00:07.360: Final content?
00:07.360: And yeah, you you feel that.
00:07.360: What do you think about that?
00:07.360: I think at NAB, Apple officially announced, I saw it from somebody who went to the demo suite.
00:07.440: And Mark works for DirecTV.
00:07.440: Yeah.
00:07.440: Oh, very interesting.
00:07.440: So, to my good friends at Apple, we're going to call that the Fenwick's
00:07.440: Right there, yes.
00:07.520: Yeah.
00:07.520: And actually, it was in San Francisco.
00:07.600: We have
00:07.600: There are so many outlets for entertainment these days.
00:07.600: Yeah, no, that and you know, I think Teradeck
00:07.600: And that can
00:07.600: And that is shot with Epix again.
00:07.600: You double click on it to open it.
00:07.600: Yes.
00:07.600: The number one is that one of the timeline, you know, constant.
00:07.600: You don't need to hear all the And yes, you can turn off skimming, but it it would also be nice
00:07.600: I th I think there's a
00:07.680: So um, ab approximately how much content are you guys creating each week, month, year?
00:07.680: How do you get from the ten eighty up back up to four K?
00:07.680: Are you seeing the same thing that I'm seeing?
00:07.680: And uh Final Cat Ten is really good for that, you know, because of all the metadata and the takes and and
00:07.760: Exactly.
00:07.760: So all the majority of the editors that we have in there are promo editors.
00:07.760: As much as we have spoken about how
00:07.840: And, you know, within like a couple of minutes, it's like, hey, what about this one?
00:07.840: I mean, we had like last one that we had at South by Southwest, we had a
00:07.840: So I'm not going to use that word, but
00:07.840: Oh, and you know what?
00:07.840: Totally in house, it's a scripted show.
00:07.920: It's it's
00:07.920: Okay.
00:07.920: So that's the that was the biggest complaint, the performance.
00:07.920: We create a hard drive for like we ingest all the footage.
00:07.920: It's like, what what one?
00:07.920: With the content that we create.
00:07.920: Yeah.
00:08.000: Yay!
00:08.000: No, we do it we do it in a 1080 time line.
00:08.000: What happens is that sometimes halfway they have to reload the cameras.
00:08.000: Exactly.
00:08.000: I like that.
00:08.000: In your case, you had me.
00:08.000: I had no idea.
00:08.080: Now, I want to say I want to tell you a little bit about this relationship.
00:08.080: We have a 200 terabyte SEN.
00:08.080: You might want to take that offline.
00:08.080: And the thing is that
00:08.080: And then you you want to find that audio with this without word.
00:08.160: Oh, are you working?
00:08.160: We give you the opportunity to stop using it.
00:08.160: Yeah.
00:08.240: And and so he said it.
00:08.240: Yeah, that's a good point
00:08.240: Everybody's talking about the library structure.
00:08.240: Oh, Richard has a good point.
00:08.240: And that would be an amazing thing for Apple to do is that
00:08.320: There we go.
00:08.320: It's actually like a nice room and it looks good on screen.
00:08.320: And actually, the translation of the XML is getting more and more accurate to the point that
00:08.320: I can't tell I can't I've said this before, I can't tell if it's if that's
00:08.320: And the thing is that those are sold licenses.
00:08.320: So we have one of the new Mac Pros in our office, and we didn't bother putting
00:08.400: This something weird.
00:08.400: That would be awesome, man.
00:08.400: And there's a little dictation thing.
00:08.480: So, fascinating.
00:08.480: Oh, interesting, yes.
00:08.480: And I know I'm sorry everybody I know at Apple.
00:08.480: And I think that what's going to be really interesting is to see what comes out of
00:08.480: You know, I love looking at Richard Taylor's blog where he chronicles the
00:08.560: Right.
00:08.560: That is like a lot of things in a row.
00:08.560: Yeah, and the and there's also the inspector is almost the same.
00:08.560: And what software are they using?
00:08.640: What was I thinking?
00:08.640: Okay.
00:08.640: So we at that point
00:08.640: Of course, you know.
00:08.720: Or for Bro, we've been using it also.
00:08.720: I never would have thought of this.
00:08.720: But for guitar scene sessions, keep in mind that if we have two sessions at the same time in the sand,
00:08.720: Right, right.
00:08.800: Have you ever toyed with that workflow instead of going back out to Pro Resolve?
00:08.800: Very, very good.
00:08.800: That you don't look for stuff, you find stuff.
00:08.800: And it was that was like a year ago
00:08.800: Oh, no big deal.
00:08.800: Well, when they started with the editing and they just brought
00:08.800: So then it's going to be
00:08.800: Maybe a
00:08.880: So I'm a colourist and I'm an editor at Audience, that is a channel from DirecTV.
00:08.880: Oh, wow.
00:08.880: And we had
00:08.880: So
00:08.880: It could be an Audi and a VW or a Mercedes.
00:08.880: Oh, let me see.
00:08.880: Right.
00:08.880: It's just it's just a niche.
00:08.880: Yep.
00:08.960: Hey, so, um.
00:08.960: We went to shoot some aerials for one of the shows.
00:08.960: What do you think
00:08.960: Yeah, no, I think that's a big thing.
00:08.960: So maybe there is a lot more technology to come in that regard.
00:09.040: You can turn it on and off.
00:09.040: Yeah, I think everybody did.
00:09.120: So so there's not a big crazy
00:09.120: Right.
00:09.120: Oh, that's not a bad idea.
00:09.200: The way that you can organize stuff right away and it's like, okay, what do you want to see?
00:09.200: But yeah, that's
00:09.280: So and then we put it all together.
00:09.280: Yeah.
00:09.360: Like one second ago or two seconds ago?
00:09.360: And does the ramping work the same?
00:09.360: Actually, what what we do sometimes you
00:09.360: And then he would copy it.
00:09.440: And that would be fun.
00:09.440: Yes.
00:09.440: Like actually it happened that we
00:09.440: Yes.
00:09.520: But I think it's because they are comfortable with the browser and
00:09.520: And it does exactly the same thing as Finding Katen.
00:09.520: And it's the same.
00:09.520: Richard has a good point.
00:09.520: It could be that
00:09.520: But I totally agree.
00:09.600: So that kind of makes sense.
00:09.680: Okay, yep, fascinating.
00:09.680: That's one.
00:09.760: They have a channel called Audition.
00:09.760: So, how many editors do you have there?
00:09.760: Okay.
00:09.760: He was like, okay, I like it, I like it.
00:09.840: What what are these concerts, like an hour, hour and a half?
00:09.840: Uh Epics.
00:09.840: Yeah, the thing is that I I made a website and then I got the job
00:09.840: You know?
00:09.840: I think Yeah, it would be it would be like a JKL of the scrub frames.
00:09.920: I don't want to claim that it fixes everything, but I do think that
00:09.920: You click on that.
00:10.000: So let's go now to the interview with Mark Bach from
00:10.000: Relink, go through that cha cha cha.
00:10.000: Yeah.
00:10.000: Right now.
00:10.000: It's in the preferences of Final Cut 10.
00:10.000: Yeah.
00:10.000: And it was it's actually a very brilliant
00:10.080: Or is it's a full channel?
00:10.080: And we do three episodes
00:10.080: We put it in there.
00:10.080: And you're thinking, because like
00:10.080: Yes, that's funny.
00:10.080: Right, right, right.
00:10.080: Very cool.
00:10.160: Because actually, one of the editors that is doing
00:10.240: Wow.
00:10.240: How it feels as though
00:10.240: Every other software has that, but final cut.
00:10.320: Right, right.
00:10.320: And little by little, people would be like curious but afraid to try.
00:10.400: Yeah, we have the same issues.
00:10.480: They're like, oh, that's great.
00:10.480: Okay.
00:10.480: I'll tell you one thing that I find kind of comical.
00:10.480: It's accurate.
00:10.480: And when they become
00:10.560: So you have to always attack.
00:10.640: com.
00:10.640: Can you just
00:10.640: So, tell me.
00:10.640: There's that's a common story.
00:10.640: And all the shows that we create in there.
00:10.720: Yeah.
00:10.720: So your boss is looking over your shoulder and you're cutting, and he's.
00:10.720: And
00:10.800: In 10, in Final Cut 10.
00:10.800: That's about when you when you hooked up with DirecTV.
00:10.800: We create one library.
00:10.800: Yeah.
00:10.800: Yeah.
00:10.880: So
00:10.880: And you start moving clips, you turn it off.
00:10.880: Now
00:10.880: How how d uh or are they featured on the um
00:10.960: So have you ever considered or
00:10.960: I was doing a a part where I was ducking some audio for a VO.
00:11.040: Yeah.
00:11.120: Because it's.
00:11.120: It would be awesome if there was more
00:11.200: Because if you were a Final Cat 7 user,
00:11.280: And
00:11.360: Wow.
00:11.360: Like, I work.
00:11.360: But if you look.
00:11.360: That's a great idea.
00:11.440: So I would like to be able to look for the words.
00:11.520: So do you think that is a
00:11.520: It's like the same exact frame.
00:11.520: Yeah, somebody uh Alex Gullner refers to
00:11.600: Now
00:11.600: The room.
00:11.600: I know you're rolling your eyes at me right now.
00:11.680: And then one of my pet peeves.
00:11.680: But they liked me so much that they just like wanna keep you here.
00:11.760: And we were in Oakland.
00:11.840: Where'd you get that?
00:11.840: You can go in.
00:11.920: Okay, okay.
00:12.080: So when we came back,
00:12.160: He's going to explain all of that.
00:12.160: 1 was not a paid upgrade.
00:12.240: So they switch cards.
00:12.240: Yeah.
00:12.320: Yeah.
00:12.400: Yes, yes, we create the multicams.
00:12.480: You have the host and the different
00:12.480: Yeah.
00:12.560: Yeah, it's like we come back
00:12.560: And he said.
00:12.560: You have to go back.
00:12.640: I was kinda l like the beta tester.
00:12.640: So you can watch them.
00:12.800: Wow.
00:13.200: Or is does that
00:13.200: Yeah.
00:13.680: Right.
00:13.680: Right, right.
00:13.840: But th th
00:14.080: It's like
00:14.240: Yep.