Episode 42
FCG042 - Ripple Delete (feat. Steve Navrat)
Learning new software in a process. I’ve been wanting to talk with my friend Steve Navrat because recently he has gotten over that learning wall in FCPX that we talk about so much. If you want to new users perspective on Final Cut Pro X, this is a good episode to listen to.
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00:00.001: So Abbott had been around for a few years.
00:00.001: Some killer stuff on there.
00:00.080: Flaws in them.
00:00.080: And you know, kind of came up through Avid.
00:00.080: That's a crossover point from seven to ten.
00:00.080: Forever.
00:00.160: And you're going to hear much more about that in the interview.
00:00.160: To be looking at Premium Beat if you're not already, and primarily, I gotta say, I just love the music.
00:00.160: And it's a real huge time saver.
00:00.160: I'm sitting here with my friend Steve Navrat.
00:00.160: Well, Newton, Kansas actually.
00:00.160: It's very similar actually to my second college career.
00:00.160: And the day is just about done and you're just kind of like the Maxell tape commercial with that guy slouched down getting blown by the pilot speakers.
00:00.160: a lot offline editor uh on decks and um it's it's you know you say that to kids today and they're like what
00:00.160: Anything so then this was all around the same time that my wife was looking for a company to do their commercial.
00:00.160: And this was three blocks from your house?
00:00.160: Fan.
00:00.160: Two o'clock in the morning.
00:00.160: That looks like loud food.
00:00.160: Around Jenny, you get hopeful.
00:00.160: The whole movie.
00:00.160: And actually do good work.
00:00.160: And this is with eight guys working.
00:00.160: Let's check out Navrat's timeline.
00:00.160: Myself, I'd get it from the guys, and I'd do it, but then I was the only one who would do it-the edit.
00:00.160: It was avid.
00:00.160: I remember Paul saying to me, Yeah, you got to talk to him.
00:00.160: House.
00:00.160: Walking into their machine room and looking at the racks of machines, I'm like, Really?
00:00.160: It was final cut only, and I was doing a lot of After Effects in my Final Cut.
00:00.160: Hmm, yeah, I'm not sure.
00:00.160: that are changeable, you have to design for the change.
00:00.160: I had keyword collections.
00:00.160: So all the students, all the all the kids could use Final Cut.
00:00.160: People don't like it.
00:00.160: Because I don't want you to tease me.
00:00.160: And we were done.
00:00.160: I don't know Tim.
00:00.160: The important thing is to give yourself some time and learn at least enough.
00:00.160: So we have editors that come in here that are more peripheral people, that they're not here as much as you are or as much as I am.
00:00.160: You know, because you can say, well, here's a sound bite, and for this sound bite, these are the relevant B-roll pieces.
00:00.160: What's called a gap clip, delete the thing, and then you can go and do your other ones, and then when you're done, you can go and start lifting all your gap clips out.
00:00.160: Back to my color corrector, go back where I was.
00:00.160: It's a plug-in.
00:00.160: You've got your three ways, right?
00:00.160: Okay, I got one.
00:00.160: You could in seven.
00:00.160: I think you're my only follower.
00:00.240: And it's been an absolute pleasure to work with him because of that.
00:00.240: They sell the loop packs that allow you to sort of rearrange songs and cuts to fit your pieces better.
00:00.240: Hello, welcome to Final Cut Grill.
00:00.240: And I walked by this one room, and there was this dude, and he had you and I, we joke about it, we call it the slouch.
00:00.240: at a Mac with a then a really big screen, like seventeen inch up.
00:00.240: Professionals, the the I want to call them the grown-ups, right?
00:00.240: I've never really done it this way, even though I was taught to do it this way, and that's make an EDL on paper with your selects.
00:00.240: Work, just kind of check it out, and I looked at the assignment.
00:00.240: And that's, you know, it's really a shame it wasn't closer.
00:00.240: So she did.
00:00.240: So they had to woo her.
00:00.240: And the movie's about to start, and then somebody walks in with their huge bucket of popcorn and their Twizzler bag, you know, that sh makes all that noise.
00:00.240: So, they get to watch this movie that is the biggest movie of the summer.
00:00.240: So, you got a demo reel?
00:00.240: After they hired me, they go, Why did we hire Navrad?
00:00.240: your movie thing and I knew about DXD.
00:00.240: Yeah, so I worked there and then of course after I quit he couldn't come screen movies anymore.
00:00.240: We had Avid.
00:00.240: I believe it was for the Atlanta Braves, was the first major league team to get a HD video screen in their stadium.
00:00.240: Yeah, so they sold they wound up getting that on a system, putting it down in the basement, and that was like the little hole suite.
00:00.240: Bitch suite.
00:00.240: It took it.
00:00.240: you know, these are established companies with heavily invested in hardware.
00:00.240: you know, G three or something.
00:00.240: Okay, so then we'll jump forward.
00:00.240: Done.
00:00.240: Yeah, so anyway, good point.
00:00.240: Even in what we do a lot, how often do we have a project that we finish and we archive it?
00:00.240: And a year later, we have to get out that archive drive because they want to bring that project back and make some changes to it.
00:00.240: I know.
00:00.240: I started showing you things and you were really reluctant.
00:00.240: all these these videos and one of the one of the ones i actually did a couple of them in seven right and one of them was uh a um
00:00.240: Putting them in my timeline, they were pretty much cut.
00:00.240: I did all the work beforehand.
00:00.240: You know, this is Bay Area, silly, crazy money.
00:00.240: They put these videos on.
00:00.240: Yeah, they're about between like three to eight minutes, depending on how many million dollars the house is.
00:00.240: the script that I was emailed.
00:00.240: I just start dropping those clips in because I've already pretty much marked how long they're going to be.
00:00.240: You know, O one front entrance, O two, you know, whatever.
00:00.240: Key shots from each section or each room or whatever he was talking about, and I would drag them into that corresponding keyword collection.
00:00.240: when I'm looking for the B roll.
00:00.240: The people that are pressing ahead and the people that are really making the biggest strides with this application are people that tend to be smaller companies.
00:00.240: And it doesn't really affect a lot of people.
00:00.240: era up to like a couple of weeks ago.
00:00.240: Like, if I have to use it, fine, I'll use it.
00:00.240: huge disservice to the application by, you know, coopting the name of the old app.
00:00.240: And if you can't get over the fact that you have to do something a little bit differently, then you're kind of.
00:00.240: When I find that, so you would say at this point, you're like, okay, I got it, I know how to do what I need to do, I'm good, but it's not if you were given the choice.
00:00.240: While I'm watching it, I switched it on the fly live as the producer's over my shoulder saying, There, there, there, and I'm you know, and I'm taken.
00:00.240: Yeah.
00:00.240: I chose to do it and I enjoyed it.
00:00.240: you're doing content and it's still hard to really get that like when I when I when I cut I like to
00:00.240: Your end point, yeah.
00:00.240: Okay.
00:00.240: I will find things in there that I like.
00:00.240: But then you start, you know, rearranging the whole story.
00:00.240: three minutes and thirty three seconds long, and it's a talking head.
00:00.240: Where?
00:00.240: I always start at the tail end of the timeline and work backwards.
00:00.240: But if you were going to ripple delete in seven, you're still going to ripple stuff out of out of the place.
00:00.240: Command option, up arrow, lifting it out of place, leaving a slug so that I can replace something in there.
00:00.240: The problem is, it's been so long since I've used seven, I don't remember what they are.
00:00.240: Sit down and talk to Steve Navarat because I knew you were kind of getting to that point where you are very comfortable in it.
00:00.240: Working in edit one downstairs, and I like came up with something.
00:00.240: Sweet.
00:00.240: you know, if you're in After Effects and you wanna and you and you grab something, you know, your font size, or let's say you grab your scale.
00:00.240: Point adjustment.
00:00.240: I like the color corrector.
00:00.240: The blacks.
00:00.240: within the first week or something.
00:00.240: And one of them was JKL.
00:00.240: But in version 1.
00:00.240: I was having conversations, like phone conversations and emails with these guys, and I know how things get developed.
00:00.240: There, you have an up and down, and left and right element per put.
00:00.240: It's not just going into a dumpster to find one infantry.
00:00.240: To one of your projects and go, Yep, I know where we are, no problem.
00:00.240: There's probably a whole lot of truth to that.
00:00.240: You know, they see.
00:00.240: Anyway, okay, so we're done.
00:00.240: and realize that this it's not just, oh, I got to use this, because I will say, in the beginning, it was definitely that.
00:00.320: And I got to say, working with Steve for the last several years has been an absolute pleasure.
00:00.320: We tend to name our files the same way.
00:00.320: So I'm looking forward to talking with Steve on the show because he is at a he's at a different level of acceptance.
00:00.320: I I always like to know how peop uh what kind of background people have in the business.
00:00.320: And for several years, you managed a large theater in Kansas City?
00:00.320: with with the computer and the monitors.
00:00.320: And I was like, I want to work there.
00:00.320: From the first time I started cutting something, it felt natural.
00:00.320: Select their shots beforehand.
00:00.320: And I asked him how come we were doing spots for these shows that we would do, and we'd put pieces together and we would do it offline on tape, tape, deck to deck, you know.
00:00.320: And so funny story.
00:00.320: And we lived in a suburb of Kansas City at the time and a place had opened up about three blocks from our house in the downtown area of Mission, Kansas.
00:00.320: Ran the baseball jumbotron for the local minor league baseball team there.
00:00.320: And I was the plus one.
00:00.320: So, um, and anybody who worked with me knew that I don't want to say it was a privilege to get to, but it kind of was.
00:00.320: And that right there was my boom.
00:00.320: If they hire me, that means they won't get invited to my screenings anymore.
00:00.320: And, you know, it'd be m tracked to a baseball, right?
00:00.320: What was that transition like to like, oh, Avid's way more cool, guys?
00:00.320: system used, right?
00:00.320: And buying like four systems?
00:00.320: You can, you can, really, you can, all right, I guess if we have to, we have to.
00:00.320: It's sad to say, but at that time anyway, I think that it was like if I was looking for a job and I went someplace and said the only thing I know how to cut on is final cut.
00:00.320: And the the H D suite that I was cutting in was a G five.
00:00.320: For the change.
00:00.320: broadcasters or agency people, when they get thrown into a corporate thing, they're they get thrown by a loop, like you know, thrown for a loop.
00:00.320: Something.
00:00.320: four to six months, I've seen in you a much greater uh level of acceptance.
00:00.320: I think we just said, Yeah, you got to cut this one in 10.
00:00.320: Project where we had something like thirty deliverables in like a week.
00:00.320: I had 20 keywords of each person or each section of the sound bite or something.
00:00.320: I don't I firmly believe that it's more of what you do with what you have rather than what you're working in.
00:00.320: Why isn't it letting me just put the clip where I want it?
00:00.320: And, you know, I mean, I understand that that is an issue.
00:00.320: The whole UI after Avid.
00:00.320: And you know, and again, though, this comes back to the fact that, okay, so it doesn't do things the way you're used to.
00:00.320: Right.
00:00.320: It was nice.
00:00.320: Fall to one if I had if I truly had to choose.
00:00.320: Where the playhead versus the skim head what are you looking at?
00:00.320: If you select the secondary storyline and actually shrink wrap it, that's why I call that shrink wrapping in.
00:00.320: E, it's just going to append it to the end of that secondary storyline.
00:00.320: Right.
00:00.320: But there's, yeah.
00:00.320: 100%.
00:00.320: I think a lot of people didn't think that that was the case with Final Fit 10.
00:00.320: They hit a few keyboard shortcuts that aren't what they used to be, and they throw their hands up and they turn around and walk away.
00:00.320: Yeah, you know what?
00:00.320: And you're working at a half a dozen houses, and five of the six are Final Cut seven or premiere.
00:00.320: And then should have been the writing on the wall, like, oh, gee, maybe, you know.
00:00.320: That may be, but you know what?
00:00.320: Like early on.
00:00.320: That sucks that does that, you know.
00:00.320: globule thing.
00:00.320: This is the way it is.
00:00.320: And if I need to leave something in sync down line, I just I'd command shift uh again.
00:00.320: It was like a couple of weeks ago, and I was upstairs here, third story tower, and you were
00:00.320: And you knew right what office to go to, where all the programmers were that were working on the next version of Final Cut 10.
00:00.320: all of the strategy that's happening some in some other building and say, Steve needs you to make this.
00:00.320: But there was this.
00:00.320: Oh, yeah, yeah, yeah.
00:00.320: a number, any number in the in the parameters box.
00:00.320: So, even if you don't make the scroll wheel an option in Final Cut 10, let me hold down a key, or maybe there's a shortcut key.
00:00.320: If you hit your tab key, there's no visual indicator for it but now your up and down arrows
00:00.320: If you go to, I think it's like, I don't know what it is.
00:00.320: oh, this is cool because now we're getting to the point where we could actually map those controls to like, you know, a tangent
00:00.320: And the outcome of that is what helps determine what next features are.
00:00.320: It's a dream collaboration because we do work the same.
00:00.320: It's extremely liberal.
00:00.320: workflows and what it means is you can start a job and I can pick it up.
00:00.320: so that we can work better together.
00:00.320: is and I don't think most people around the office know this, but especially deep inside our After Effects project, we name our null objects ridiculous things like
00:00.320: But it's like, oh, now Rat was here.
00:00.320: Where the client suddenly is over your shoulder, and it's not my project, but I open up someone else's project.
00:00.320: I don't want to get into that.
00:00.320: You know, would you choose this?
00:00.320: So thanks, Steve.
00:00.320: And I would also ask a favor of you because it helps more people find the show.
00:00.400: because probably without my influence, he would not be using the software.
00:00.400: I don't know, that's like April or so of six.
00:00.400: Production.
00:00.400: I'm going to screen Spider-Man.
00:00.400: If I would let allow somebody to watch it with me, they had to abide by my rules.
00:00.400: Work on that too.
00:00.400: All renders.
00:00.400: Element at all.
00:00.400: five five avid suites.
00:00.400: The transition, this is going to apply to what we're going to be talking about in a minute, but that transition from going to AVID to HD.
00:00.400: I mean, I'm a big believer in the fact that it doesn't matter what you're cutting on.
00:00.400: Yeah, so it didn't matter what I had as long as it worked.
00:00.400: Get out of here.
00:00.400: Not two.
00:00.400: And the house is a little bit different.
00:00.400: And I started cutting them the old way, where I'd go through and I'd find my footage as I needed it.
00:00.400: I can't do it.
00:00.400: Okay.
00:00.400: Yeah, and I think that's a huge stumbling block.
00:00.400: 10 wasn't.
00:00.400: hour-long piece.
00:00.400: Are learning more things that you like day by day, week by week?
00:00.400: That's not a given, right?
00:00.400: Nor will it be.
00:00.400: It it's gonna happen just because the more I use it, the more I'll get into the deeper parts of it.
00:00.400: You command sh uh yeah, command option up arrow, lift it out of the primary, it'll leave a a slug.
00:00.400: What?
00:00.400: That was a white bounce, which okay, so there's something I missed from seven.
00:00.400: And those things saved like a bunch of my shots.
00:00.400: Will do the master exposure.
00:00.400: that were that had written it in England and I needed a feature added to it so I could use it.
00:00.400: To add JKL and like J was stop.
00:00.400: Like, oh, yeah, I forgot to.
00:00.400: color wave thing, you know, with all the trackbally and knobs and whatnot.
00:00.400: What was your thing that you wanted?
00:00.400: Can we change that?
00:00.400: And I think that all users should know that that feature is there and that people are actually reading that.
00:00.400: What you just said, I think that a lot of people are like that.
00:00.400: No.
00:00.480: When I first walked in there to the MCR and saw the decks and the lights, thank you.
00:00.480: And I liked it.
00:00.480: what all was entailed in in producing a show.
00:00.480: Tape?
00:00.480: And in this building, I actually drove by one day when they were putting the sign up for it, and it was DXD.
00:00.480: Yeah.
00:00.480: Bring something.
00:00.480: It was done.
00:00.480: We used to joke about it when you first came to California.
00:00.480: At the time, then it was me and two other guys who did the editing.
00:00.480: And that was our version of Quick Turnaround, is that you didn't make changes last minute, you just had to get it out and get it out the door.
00:00.480: Yeah, I gotta go cut.
00:00.480: When I got you on board, in my mind, it was like, I gotta get Steve on board.
00:00.480: Things that just pissed you off.
00:00.480: You're thinking of After Effects.
00:00.480: As an overall app?
00:00.480: Right.
00:00.480: Be careful where I'm because if I need to, it won't hit it exactly where I want my in and my out to be.
00:00.480: Yeah.
00:00.480: Seven, you know, Final Cut, seven, Final Cut Classic.
00:00.480: Your secondary storyline is the length of the piece, basically, almost.
00:00.480: And we come back to it a day later because the client's seen it and they want to make some cuts to it.
00:00.480: Or what feature from seven would you like to see put back?
00:00.480: I mean, this colourboard's too touchy.
00:00.480: Okay, don't give me this big bar with these little things that if I barely touch it, I'll say this.
00:00.480: And we couldn't decide if it was going to be a yellow highlight or a blue highlight.
00:00.480: Yeah, they don't need that.
00:00.480: I know that you're not the big social media guy.
00:00.480: And it's been really fascinating watching Steve, you know, evolve and
00:00.560: So from there, you saw the edit suite and you're like, yeah, I got to get into this place.
00:00.560: And I just go more my instincts.
00:00.560: I liked the nonlinear aspect of it.
00:00.560: I went back full-time and was managing movie theaters.
00:00.560: So I told them, in the course of talking to them, I told them I used to run Jumbotron and kind of my background.
00:00.560: So I think I see where this is going.
00:00.560: If you got up to go to the bathroom, you're done.
00:00.560: It was great and they they loved it.
00:00.560: Play well with others.
00:00.560: Why?
00:00.560: It's the nature of the clients that you're dealing with that they want to change things at the last minute.
00:00.560: The thing too is that when you're dealing with different types of clients, because the environment I came from, we didn't have that last minute changes because if they needed something, our clients were across the country, and we had to get a we could this was we couldn't upload.
00:00.560: we weren't able to bring in an old project.
00:00.560: Three to six to nine months behind Steve Navrat.
00:00.560: Not in what we do.
00:00.560: It wasn't really a sizzle piece, but it was with, I don't remember exactly what it was, but the point of the project was there was a lot of people and a lot of sound bites.
00:00.560: You know, the the the people that are um
00:00.560: Yeah.
00:00.560: Mindset change other than getting over the fact that I was working with a toy, but I'm not gonna admit, yeah.
00:00.560: Do you have you gotten to the point where it's not just I accept that it's different, but now that I've done it a while, actually, I do like this better?
00:00.560: Now, Rhett, here's a job to cut.
00:00.560: Watch my footage and I have my hands on the keyboard and I mark my in, I mark my out, and I drop it in.
00:00.560: Okay, so I just want to be careful that we say this properly.
00:00.560: Right.
00:00.560: You wouldn't have said, I'm not going to stick with this because this could go away.
00:00.560: If you did try to use it and you knew what you were doing, you're going to find something there you like.
00:00.560: To um I don't want to say learning it because you saw the benefits from it early on
00:00.560: And you click on it and you drag to the right, you're increasing it, and you're increasing it big.
00:00.560: But he has there's definitely a a a switching point where he has decided, yep, yep, yep, I like it, I like it.
00:00.560: Now you've been in the room.
00:00.640: effort that he and I have attained, where we have developed a basically the identical workflow.
00:00.640: You you have a one of these days, we're going to have you as a guest on Digital Cinema Cafe because we have always said that we would talk about the whole range of the business.
00:00.640: A Death Star.
00:00.640: I didn't immediately go into working because obviously, you know, it's kind of hard to break into the business.
00:00.640: Okay.
00:00.640: You know, it was an avid.
00:00.640: beliefs or preconceptions are very regional.
00:00.640: But more and more people like Steve of a year ago are going to be like, really?
00:00.640: I don't totally agree, but I will also say that some of the things I didn't agree with, I start to get it.
00:00.640: Yeah.
00:00.640: Yes, you can.
00:00.640: And it's selected, not a clip in it, but the overall secondary storyline.
00:00.640: Isn't that what you want?
00:00.640: I put the entire VO, the entire 20-minute or 30-minute VO.
00:00.640: Do you really want to lock yourself out of that realm, right?
00:00.640: They may never have to worry about having D-10 because they're working on feature films in Hollywood.
00:00.640: They have not been exposed to it as much.
00:00.640: Right.
00:00.640: Keeping your secondary storylines bite-size, I'll call them.
00:00.640: that and I've said this many times, but I'll keep saying it, when you go to the Final Cut Pro menu, about four items down, there is submit feedback.
00:00.720: As an editor, I love the way their music fits within the edit.
00:00.720: Yeah.
00:00.720: for those baseball games, running camera and stuff.
00:00.720: So I just the whole time.
00:00.720: Yeah, that must be.
00:00.720: Done.
00:00.720: Yeah, I think I'm done with the project, but frankly, it's nine days until it plays for an audience, and that's a whole lot of leeway for them to decide to change something.
00:00.720: The reason why you're an interesting person to talk to is I think that there are a lot of people that are
00:00.720: We do a lot of their nice little one day ads.
00:00.720: So here's the thing, right?
00:00.720: Out of a ten hour day, that's three, four hours of just watching your finished thing, which means you basically have six hours to cut it.
00:00.720: And I wanted to do it next because of the multicam feature.
00:00.720: When the take is over, and then I scrub ahead.
00:00.720: They're like, you just lost three days of work.
00:00.720: If someone said that in July or August, I would have been on that bandwagon after that first initial viewing of 10.
00:00.720: plugins for it.
00:00.720: I can guarantee you that if you are an editor and you're not even on the fence, but just flat out, I don't, I'm not going to, no, I'm not going to use it.
00:00.720: Yeah.
00:00.720: I know this.
00:00.720: What are you saying?
00:00.800: I got to do everything.
00:00.800: And they had these really nice little edit suites, and they were really small, dark rooms.
00:00.800: Huge.
00:00.800: Right.
00:00.800: And yeah, and of course I for like two weeks I continued to do both 'cause I had to turn in my my notice and everything.
00:00.800: Right.
00:00.800: Yeah, whatever.
00:00.800: Decided to do and has decided to do, or continue to do, that you look at it and you go, you know,
00:00.800: that that should be a determining factor in whether or not you use it, you know, or
00:00.800: So there's things that I don't know that you could probably do.
00:00.800: Boom.
00:00.800: Went on their lunch break or something.
00:00.800: Yeah, but I think that the message that I want to get across is that you might have more control over getting it changed than you realize.
00:00.800: It doesn't know.
00:00.880: I started working at a studio on campus that did satellite shows and we did all the sports events.
00:00.880: Went from there, started managing Megaplexes in Kansas City.
00:00.880: I thought there was just like a magic switch.
00:00.880: Really?
00:00.880: And they were building a new theater, and they wanted to do a commercial for it.
00:00.880: You know, they would be allowed.
00:00.880: Yeah, and so we did a lot of the sports stuff.
00:00.880: We have very quick turnarounds.
00:00.880: You showed me the keyword collections and how they worked.
00:00.880: Okay.
00:00.880: Yeah, but you know, so you can't always do those.
00:00.880: Yeah, my ways.
00:00.880: You may do small adjustments.
00:00.880: I kid you not.
00:00.880: Again, there are features of it that I really like, there are features that I don't.
00:00.880: they have a that level of frustration when they're trying to work with their peers in their office, sit down and have some meetings about it, talk about it.
00:00.960: I want to thank the people at Premium Beat for stepping up and sponsoring the show.
00:00.960: This was a state-funded studio.
00:00.960: You knew a little final cut when you came to California.
00:00.960: Avid didn't do HD.
00:00.960: And I started showing you stuff.
00:00.960: just a couple of weeks ago, and he was saying, Oh yeah, you know, we're totally looking for Final Hit Ten editors now.
00:00.960: And again, we had to go in and we had to drop in our screen flow shots here and there, change a few things.
00:00.960: Okay, so I picked 10.
00:00.960: I drop my clip in, and that's for marking my in and out.
00:00.960: And it was it was like grade one.
00:00.960: Okay.
00:00.960: And give it the little stars there on iTunes.
00:01.040: What do you mean?
00:01.040: All the reels.
00:01.040: But it was okay, though, because I was working there and we were busy all day.
00:01.040: So we had this was again, this was a while back.
00:01.040: Right, exactly.
00:01.040: You know, because this is what we're going to do.
00:01.040: I don't normally call it Final Cut Pro.
00:01.040: But Final Cut 7 users were expecting a major improvement on Final Cut 7.
00:01.040: And they call you in for a job.
00:01.040: What I try to do is, like I said, I can be empathetic to what their complaints about it because I've been there and I'm still there on a lot of things.
00:01.040: Okay, so I have those sound bites.
00:01.120: We had a bunch of people in the field, in the major, but very few people even knew the studio existed on campus because it was kind of a separate entity from the school.
00:01.120: And I asked one time, I said, Well, why don't we just do this on the Avid?
00:01.120: And of course, they wanted the business because they wanted to do local stuff.
00:01.120: Right.
00:01.120: It just looked weird.
00:01.120: You're just that's stuff that you're not going to be able to open yourself up to.
00:01.120: If if that were the if if you told me that two and a half, three I guess almost three years ago now, right?
00:01.120: So when I go to it, I have to slick my little arrow up to go back to the main panel.
00:01.120: Interesting.
00:01.120: The kind of co-whatever relationship that we have had is it's like a dream.
00:01.120: It's like we're both kind of we're getting enough stuff in there to where we both kind of know what we're doing with each other's things.
00:01.120: So, I hope you enjoyed hearing from Steve.
00:01.200: It just turns out.
00:01.200: I won't sit next to him.
00:01.200: Maybe minor changes, but for the most part, no, it wasn't.
00:01.200: I'm going to use them.
00:01.200: And for me, it was the keyword collections.
00:01.200: So let's talk about it.
00:01.200: And I've actually gotten into this a lot.
00:01.200: Yet.
00:01.200: You know, I I gotta say, you know, like the pieces I've been doing for these QED pieces, I love the magnetic timeline.
00:01.200: I'm like, oh, with that, how it works?
00:01.280: I worked in a single screen movie theater back when they had those.
00:01.280: So, yeah.
00:01.280: 15 minutes.
00:01.280: Bring your loud food.
00:01.280: Well, because we already have it.
00:01.280: Boom, it's in there.
00:01.280: Nor will it be.
00:01.280: So on your highlights, you take your little eyedropper and you you on something on white and you take your little black one and you dig something on black if you have it in the shot.
00:01.360: I mean, just wow.
00:01.360: It was done in After Effects from Maya and it was rendered out, and then you took it into your editor.
00:01.360: We had to get it on a tape.
00:01.360: First time I'd ever opened Final Cut.
00:01.360: So, yeah, as far as back to your original question, if I had my drothers of any app, I wouldn't just naturally
00:01.360: And you embraced it.
00:01.360: Well, see, and that's interesting you say it, because one of my now that you mentioned that, it makes me think of this, one of my complaints that I still have is that so we have a piece that's, you know.
00:01.360: So if I went into Final Cut and I said do this for Steve, when I'm doing any parameter on there, let me use my scroll wheel and make incremental adjustments.
00:01.360: I've only um experimented with the exposure um uh pucks
00:01.360: They read that stuff.
00:01.360: But you can name them anything.
00:01.440: And I and I'm just going to interject here that I've gone to see one movie with you and you're a pain in the ass.
00:01.440: We had two editors, I was one of them, and then we had four or five graphics guys.
00:01.440: I mean, I do remember.
00:01.440: Yeah, and we have a really tight turnaround on them.
00:01.440: Avid could go out of business tomorrow.
00:01.440: Completely open falls here.
00:01.440: You know, hover over it and use that scroll wheel because hear that apple.
00:01.440: Yeah, it looks like it sometimes but um yeah, I thought that was really interesting and I and I don't know if it works with the color expo yeah color settings because
00:01.520: Yeah, exactly.
00:01.520: Yeah, you got to ingest the footage, you got to cut it, you got to then lay it back to tape, and we can just do it right here on the fly.
00:01.520: So I was kind of the guy who did everything at first.
00:01.520: Yep.
00:01.520: Can we just try that?
00:01.520: And it was three cameras and a screen flow.
00:01.520: I'm totally distracted.
00:01.600: I liked it a lot.
00:01.600: I liked it.
00:01.600: So, and again, this I've known that this would be an interesting conversation because you are not
00:01.600: Absolutely.
00:01.600: I mean, there's there's a community for it now.
00:01.600: You hit the tab key again, it does the gamma.
00:01.600: Yeah, they don't need that.
00:01.600: We'll talk.
00:01.680: No, no, yeah, actually, it was about two years ago.
00:01.680: So when you started when you started getting sort of thrust into this, because I believe that we are at a point with the development and the advancement of this application that
00:01.680: What are the conversations that you have with them when I'm not in the room?
00:01.680: I'm not saying it's not there, because I bet it is, but I haven't found it yet.
00:01.680: Yeah, I mean, that was that was nice.
00:01.760: This was literally three blocks from my house.
00:01.760: So here, you're ushering in your eight buddies from this new company you want to work with.
00:01.760: And I'm like, yeah, I got a demo reel.
00:01.760: Yeah, so okay, so I've never heard that story.
00:01.760: And so I was used to A, not doing everything myself.
00:01.760: So I think you kept it to yourself.
00:01.760: And just turn to walk.
00:01.760: And then I would lay in my music because then I'd have pretty much the timeline out.
00:01.760: You're closing yourself off, first of all, to a lot of work that you could potentially get.
00:01.760: Yeah.
00:01.760: No, because I don't know what the job is.
00:01.760: It's different than any way you've done it before, more or less.
00:01.760: Well, it's here.
00:01.760: It was really awesome.
00:01.760: And if you don't know this, if you don't know After Effects, and I would imagine most people do, you can, a null object is
00:01.840: Right.
00:01.840: And one of the ways they wooed her was they had a they had rented a dugout suite at the Kansas City Royals baseball.
00:01.840: Everything was in order.
00:01.840: You'd open up Final Cut, and it's like, it's just this one After Effects render, you really are like three different ones.
00:01.840: Yeah, the little room off in the corner where you just put that guy.
00:01.840: Right.
00:01.840: So I went from Avid 4.
00:01.840: 02 or something, or maybe 1.
00:01.920: 15 minutes.
00:01.920: I'm probably that'll never work.
00:02.000: Why don't you just do it on your laptop?
00:02.000: I mean, when when you and so they sold their Avid because it's funny.
00:02.000: And I totally get it, but I will also say that, and I firmly believe this, and I've said it many times: a lot of those decisions, or a lot of those, not decisions, but
00:02.000: You're going to change it a million times.
00:02.000: And that will happen less and less and less and less.
00:02.000: Is just all of a sudden back at the beginning of it or somewhere else, and that's not at all where you want.
00:02.000: Do you remember?
00:02.000: So there you go.
00:02.080: That's actually something I've never really discussed with you.
00:02.080: You had the the exactly.
00:02.080: And me, I kind of like to go in and scroll it, and I'll make marks, and I'll make notes if I see something I really like.
00:02.080: Right.
00:02.080: Yeah, so you're you're oh, look, it's an Avret timeline.
00:02.080: And that's always something that's very important to keep in mind.
00:02.080: And now it's just finessing.
00:02.080: But I'm going to find a way to make it work for me.
00:02.160: I mean, you gotta imagine, these are guys who never got to see a movie in an empty theater like that, unless it was something that nobody else showed up for, you know, showing.
00:02.160: Right, so he had to get some final cuts.
00:02.160: Okay, so you're revealing that part of the story.
00:02.160: So I made, you know, depending on how many sections of the house there were, I would make the keyword collection for that section, you know, entranceway, living room, kitchen.
00:02.160: Okay, well, first of all, let me clarify something and expand on something that I said earlier.
00:02.160: No.
00:02.160: It worked for me.
00:02.160: IOE I it's just E instead of F10, and frankly, you could remap it if you really wanted to.
00:02.160: That you need.
00:02.160: I don't think I knew that.
00:02.160: And so I think having been, you know, involved peripherally, but you know, I was.
00:02.160: That usually reflect how frustrated we are at the moment.
00:02.240: Yeah, exactly.
00:02.240: I mean, I'm open to it.
00:02.240: I can be very empathetic to him because I mean, I can too.
00:02.320: So I said, I'd called him up one day and just started chatting with him and said, hey, just going to throw this out there if you're interested.
00:02.320: You invited him to your special Navrat screening?
00:02.320: I can remember that again, this house, who will remain nameless, you know, they had I w I remember look
00:02.320: You can cut it in anything you want.
00:02.320: I totally love it.
00:02.320: And I mean, that's been a huge thing.
00:02.320: Thanks for joining us and being so many times.
00:02.400: Like Navrett's now an editor.
00:02.400: You know, that's a DXD.
00:02.400: Yeah.
00:02.400: I go a lot early.
00:02.400: And that's what it was.
00:02.400: I remember in the beginning, every once we hear a little grumbling coming out of Steve's suite.
00:02.400: Because we have it.
00:02.400: I want to see.
00:02.400: So it wasn't that big of a deal to go from Avid to Final Cut.
00:02.400: And so to say that this one isn't going to stick around.
00:02.400: But at the same time, like, but have you tried this?
00:02.400: It is.
00:02.480: This is Zero Four Two with my good friend Steve Navrat.
00:02.480: And then they were like had to get into doing a little H D and they're like, um okay.
00:02.480: And then I just do, do, do, do, do for my stuff.
00:02.480: Okay.
00:02.480: No, but there are times when I'm like, you know, this let's try it.
00:02.480: I think a lot of people just say no one, no one, two, no five.
00:02.560: So I got to go to this, and I got to meet these guys.
00:02.560: And for each group i for each section of the house, I numbered it.
00:02.560: Yeah, because I was right in the middle of something and I was like, What?
00:02.560: And it was right when I needed it that you came around there.
00:02.560: And in Final Cut 10, I think it's a pretty powerful, but it's clunky as hell.
00:02.560: Yeah.
00:02.560: Yeah, and the only time that comes to bite bite us in the ass is that like if we get into another project and this happened
00:02.640: We ran tapes, audio, TD, graphics, camera, eventually, even a little directing.
00:02.640: And I was like, ooh.
00:02.640: And I think Final Cut was in like its first iteration.
00:02.640: No, no, I threw the rules away for them.
00:02.640: Because you're not willing to.
00:02.640: But um yeah, I mean, I I see things like that and I'm like, God, I I'm really glad.
00:02.640: No, you can't do that.
00:02.640: Boom.
00:02.640: There and I've talked about that in the past.
00:02.640: And it's important for the parties involved to be open to each other's ideas of work.
00:02.720: My wife was the marketing manager for the theater company, for the corporate office of the theater company.
00:02.720: And I was like, yeah, definitely, definitely.
00:02.720: You go before the movie or after the movie, if you go up during the movie, you don't come back in.
00:02.720: It says the avid editor.
00:02.720: Not yet.
00:02.720: Now, the problem with magnetic timeline is I cut those sound bytes out, and if I'm not paying attention, it's going to zip up.
00:02.720: Really?
00:02.800: I think a lot of people do.
00:02.800: Do you think this is more a throwback to win those offline Definitex?
00:02.800: Like, they did a lot of stuff for major league sports teams: football, basketball, baseball, hockey.
00:02.800: So I'd found out at the little dugout party they had that the one that the co-owners were two owners.
00:02.800: I was sitting there.
00:02.800: So DXD did like sports promos and a lot of like heavily composited
00:02.800: What was it?
00:02.800: And Final Cut was this thousand dollar toy.
00:02.800: Right.
00:02.800: It was great.
00:02.800: So I haven't delved into it far enough to really find something that I couldn't do in another editing.
00:02.800: There you go.
00:02.800: Yeah, we know what they need.
00:02.880: Yep, you became very comfortable in the final cut.
00:02.880: I stay in the timeline.
00:02.880: They're in there.
00:02.880: I like being the anonymous guy in the background.
00:02.880: And it makes a whole lot more work.
00:02.960: So yeah, about nine years, eight years, I don't know.
00:02.960: And to me, it was a lot faster, even though, yeah, you had to lay it to tape afterwards.
00:02.960: Nothing worse than getting to a movie 15 minutes early, get in your sweet spot, and no one's sitting next to you.
00:02.960: What were the biggest stumbling blocks in the beginning?
00:02.960: We had Final Cut at school.
00:02.960: Premier could be decided to be completely revamped.
00:02.960: I'll tell you a quick little side story.
00:03.040: It's that makes me want to punch you right there.
00:03.040: We you know, I think we had something like you know, twenty or eighteen major league baseball games during the summer.
00:03.040: Yeah, exactly.
00:03.040: Right.
00:03.040: Right.
00:03.040: Why?
00:03.040: So there's little things.
00:03.040: The three-way plug-in.
00:03.040: Okay.
00:03.040: Let me use my scroll wheel.
00:03.120: This was in Kansas, and it's Kansas State.
00:03.120: Or even early.
00:03.120: Yeah.
00:03.120: I mean, I was just going through the keyboard and going dope, doop, doop, doop, doop, and they were in, and then I'd watch them maybe do trimming and stuff.
00:03.120: Okay, eight and nine were gone.
00:03.120: And even if not that, even if not that, then allow me the option of making incremental adjustments by holding down my control key and sliding or something.
00:03.120: There you go.
00:03.120: If I could hold down the control key, give me more control, and now I can move my hand 10 pixels and it only changes at one pixel.
00:03.120: You hit the tab key again.
00:03.120: Because for the next three versions of Screenflow, J was stop.
00:03.120: They really, really read that stuff.
00:03.200: That's why I liked Avid because I could say, I know how to edit on Avan.
00:03.200: And nine times out of ten, we'd have to take it to the airport and have it flown there because it was too late for FedEx or anything else for them to get it that night for their game or something.
00:03.200: It's not a matter of work, it's a matter of work.
00:03.200: Exactly.
00:03.280: And he's like, well, why don't you bring it by and we'll talk?
00:03.280: What did we call them?
00:03.280: Well, I remember when you first came to California, like the first couple of edits that you did, it's like, okay.
00:03.280: Like, I got things I gotta go cut.
00:03.280: But more and more, people are starting to see the benefits of Final Cut 10 for a myriad of reasons.
00:03.280: I'm completely converted.
00:03.280: And you're like, yeah, great.
00:03.280: Let's just say, let's not even say seven because there were six and there's five.
00:03.280: Your levels are done.
00:03.280: You know, it was interesting in that interview.
00:03.360: They'd been doing this for a long time.
00:03.360: And final cut.
00:03.360: So anyway, no, switching from ABBA to Final Cut, Final Cut always seemed to model their their
00:03.360: Not yet.
00:03.360: I'm like, Oh, this is quite gonna show Steve.
00:03.440: So, at any rate, let's go to the interview now with Steve Navrat from Slice Editorial.
00:03.440: Exactly.
00:03.440: Like it just, it just, the pieces just fell into place.
00:03.440: So the Avid wasn't something you bought for four grand and put on your laptop.
00:03.440: But I do remember there was that, and I remember thinking, oh, wow, well, you know, if he knows I have it, you know, he must know what he's doing.
00:03.440: And the tight budgets.
00:03.440: Uh, that was when we were working on that huge.
00:03.440: We get the footage in.
00:03.440: So you got to decide.
00:03.440: And it kicked out really fast.
00:03.440: Seven doesn't matter anymore.
00:03.520: We store them the same way.
00:03.520: Well, it's hilarious because like that was the way we worked.
00:03.520: I don't know if we've if you and I have discussed this.
00:03.520: Is that good or bad?
00:03.520: You hit the tab key.
00:03.520: I think there is a Steve Navrat Twitter account that I made for you about four years ago.
00:03.520: Once again, you know, go check out premiumbeats.
00:03.600: First time I saw the sliders for a video, I was like, oh, I want to do this.
00:03.600: So I lived on a side street, and I was like, hey, that sounds interesting.
00:03.600: But did did he continue to screen movies while you were they did came to a couple more movies.
00:03.600: And then it was building my own template project.
00:03.600: It's Final Cut 10.
00:03.680: Yeah, and I I've heard that story and it's it is it's really similar to it and that's kind of how I fell into it.
00:03.680: Well, see, I don't want to go too early because then I really get frustrated.
00:03.680: Because then I quit the theater, so yeah, anyway, so I gave him a demo role and like he hired me on the spot on Monday.
00:03.680: So I don't know why we had four editing systems, but we did.
00:03.680: So there's this company that they sell literally like 10, 20 I think we did a like a $27 million home.
00:03.680: Yeah.
00:03.680: No, but I thought so what were the biggest like
00:03.680: And you go, oh, well, what if I bring this up here?
00:03.680: Okay, I'm done.
00:03.680: They're very passive users.
00:03.760: I will say another thing that I like about Steve is he likes premium beats too.
00:03.760: You see that stuff, and all of a sudden, it's just like, this is it.
00:03.760: Yeah.
00:03.760: The worms?
00:03.760: Like, I would take the footage and I'd put it in, but yeah, unless it was live footage, it was
00:03.760: Yeah.
00:03.760: So we had to get some final cut.
00:03.760: Because we paid for it, and we're going to use it.
00:03.760: Oh, yeah, yeah.
00:03.760: You're gonna look at the environment, you're gonna look at the project, you're gonna look at the requirements.
00:03.760: No matter what you're using, you're going to find something that you like.
00:03.760: So Screenflow did not have JKL in version one.
00:03.760: But it's like kind of the whole way with Final Cut 10 anyway, is there are things I like, there are things I don't.
00:03.840: Yeah.
00:03.840: That was one thing.
00:03.840: And it was like, it was, it was like, I knew, I knew for at least the success of this place where we work that.
00:03.840: Well, exactly.
00:03.840: That's been a huge deal.
00:03.840: There's a keyboard shortcut.
00:03.840: You know what?
00:03.920: But inside this building were some edit suites, and they had two avid systems.
00:03.920: Yeah.
00:03.920: You know, there was no scratches, things like that.
00:03.920: That's really funny.
00:03.920: I also will completely agree that there are certain decisions that Apple
00:03.920: I'll call it 10.
00:03.920: They have forced themselves to get their feet wet because, like you're saying, I don't want to give away three days of work.
00:03.920: It's Saturday.
00:04.000: So, yeah, so after the movie, I'm walking out into the parking lot with them, you know, walking them out.
00:04.000: It was good for you, but they were bumming that they didn't get the screen, all the new movies.
00:04.000: So the baseball gets hit and yeah.
00:04.000: Yeah.
00:04.000: And that was a huge thing because we didn't do that.
00:04.000: Yeah, and that way they're in order of the script.
00:04.000: You're going to still pick seven?
00:04.000: When you're cutting content like that, start at the back.
00:04.000: Cool.
00:04.080: I started suite talking people into letting me sit in on their edits.
00:04.080: But I found that you could do those keyword collections.
00:04.080: It was Final Cut 1.
00:04.080: I know it's a three-day edit.
00:04.080: Yeah.
00:04.080: You don't have to like it, but learn it enough to be able to work with it.
00:04.080: And then you look at your little monitor, which is in the perfect place.
00:04.160: I think it was, you know, production, post-production, and something else.
00:04.160: It didn't take me more than like halfway through my first project to realize that that workflow was not going to cut it.
00:04.160: Right.
00:04.160: Right.
00:04.160: See, now how did you find that?
00:04.160: We were going to have a meeting.
00:04.160: It's huge.
00:04.160: And I loved what he said.
00:04.240: It's right there, it's in the computer.
00:04.240: The worms.
00:04.240: You got kind of thrust into, you know, when we were at the old company, that was all we used.
00:04.240: And it's not even so much, and this is, I think, the frustrating thing, you know, quite often we're working with people that are like
00:04.240: Huge mansions.
00:04.240: They shoot them for a day.
00:04.240: Right.
00:04.240: Well, and also if you're not careful and you move your mouse over the wrong thing, all of a sudden you just moved your
00:04.240: They can read them and laugh at it and then just do whatever they want anyway.
00:04.240: Yeah.
00:04.320: Uh went to a six plex in Wichita, went from there, and this is all while I was in college.
00:04.320: Well, you know, you are what you call yourself, right?
00:04.320: Yeah, I call that the hourglass because you start out at the beginning of the day sitting upright.
00:04.320: And they got to see it before anybody else did, and they got to see it in an empty auditorium.
00:04.320: And the fact that I was able to go through person A and find their byte and mark the in and out, and then I just drug it to that person's keyword.
00:04.320: But here's the thing.
00:04.320: Okay, so another major thing that I overcame was one job we got in.
00:04.320: So I mean, because I'm calling bullshit here.
00:04.320: But you could use the E.
00:04.320: Right.
00:04.320: It was almost eerie.
00:04.320: That's my confusion.
00:04.320: That's an interesting thing.
00:04.400: How are you doing, Steve?
00:04.400: Because the laptop had many advantages.
00:04.400: And then I think, well, what was the first experience when?
00:04.400: And we've done a you know, we're up to the second draft of it or something.
00:04.400: No, just oh yeah, the scroll wheel.
00:04.480: And he had his legs crossed and he slouched down underneath the console.
00:04.480: What was that?
00:04.480: No.
00:04.480: I totally get it.
00:04.480: Yeah, so to say, oh, I'm not going to bother learning 10 because it's not going to be around long.
00:04.480: And that can be dangerous if somebody says, Oh, I want to put the living room in front of the dining room.
00:04.480: There you go.
00:04.480: Well, we should wrap this up with plenty long enough.
00:04.480: I will also say the other thing that's very fun that you and I do for each other
00:04.560: Right.
00:04.560: Like in San Francisco, if if you said, I just I just know Final Fat, it was no big deal.
00:04.560: You know, it's like, so yeah, you have to build things that are modular, you have to build things.
00:04.560: And I think that just in the last, I'm going to say like
00:04.560: And that's something I'd like to talk to you about when we start talking about Final Cut 10, because that was one of our major issues at the beginning with 10, is that
00:04.560: So many people just say, it doesn't work the way I want to work.
00:04.560: Yeah, you can.
00:04.560: If anybody wants to know, I'll let you know.
00:04.560: And then we went to our intermural basketball team.
00:04.640: Yeah.
00:04.640: And I had to tell people that I'd graduated.
00:04.640: They were doing na national stuff, but they also wanted to get into doing local T V commercials because they figured there's a lot of business there.
00:04.640: Yeah, that was a big deal then.
00:04.640: You're using that?
00:04.640: And it is.
00:04.640: It's making me do that.
00:04.640: It was so fluid.
00:04.640: And I might show them something that I've picked up that actually works really well.
00:04.640: Let's just let's let's let's um there's you know, if I say stuff, it's going to be like, oh, well, this is how you do it.
00:04.640: com.
00:04.720: Uh I've known you for, what, ten years?
00:04.720: They could have done whatever they wanted.
00:04.720: The glow worms.
00:04.720: I guess I could use this.
00:04.720: And it was the actual, like,
00:04.720: Is it going to do what I want it to do?
00:04.720: We'll have gigantic structural changes in a store.
00:04.720: And I think that, frankly, is key to a good corporate workflow.
00:04.720: So when you started, when you were in the console pounding
00:04.720: Right.
00:04.720: Yeah, and it was almost like you were watching my edit because I was doing a house and it was one that was shot when it was raining outside.
00:04.800: It was final cut 4.
00:04.800: There's one clip in it.
00:04.800: Yeah, exactly.
00:04.800: You know, they saw the simplified user interface.
00:04.800: And there's support for it.
00:04.800: Three-way color corrector was a plug-in, too.
00:04.800: That's a good one.
00:04.800: There's no visual indicator to prove it, but the up and down arrows will do
00:04.800: So we'll do it Fenwick's way.
00:04.800: I don't know what that is, and there's a null in there.
00:04.800: I'll see you Monday.
00:04.880: Right.
00:04.880: Gotcha.
00:04.880: My special screening.
00:04.880: And literally, it was guys.
00:04.880: It matters how you do it.
00:04.880: And they're like, well, you know, no, we do have it.
00:04.880: How many of those do you think we've done in the last year?
00:04.880: So I went from avid to Final Cut 4.
00:04.880: It was Final Cut.
00:04.880: Yeah.
00:04.880: So I never use the E.
00:04.880: And that's been a huge deal for me because we work together so much.
00:04.880: I just discovered this the other day.
00:04.880: It's really huge.
00:04.960: It was that kind of crossover because I totally knew about your
00:04.960: Yeah.
00:04.960: You and I talk about it all the time.
00:04.960: If we wanted to if we had unarchived something that was done in seven.
00:04.960: I don't want to go out.
00:04.960: And then after that, I used it on another project that we worked on when we do those houses.
00:04.960: Just incredible places.
00:04.960: So I'm just dropping them in, and then, you know, then again, it's just maybe finessing, but for the most part, I find what I need.
00:04.960: There's still too many things that.
00:04.960: Whoa.
00:04.960: I like that.
00:04.960: You could.
00:04.960: There's little things that I miss from seven.
00:04.960: No, I think it's I think that's part of the reason why I finally decided it was time to
00:04.960: You might know.
00:04.960: 5, whatever, somewhere along the way, they started, literally started.
00:04.960: There's a guy whose job is to read that stuff and to take that information and to collate it and to organize it and to present it.
00:05.040: Well, I'll get to the sad part of that story in a minute.
00:05.040: And my rules were you couldn't sit anywhere around me, you couldn't sit behind me, you couldn't sit in my peripheral.
00:05.040: I mean, because the only ones who are supposed to watch movies are projectionists and managers.
00:05.040: Did you ever think of that?
00:05.040: Right.
00:05.040: You know, that's where the final cut was relegated to.
00:05.040: You know, that's a big that's a big deal.
00:05.040: Yeah.
00:05.040: I don't remember.
00:05.040: They bring the footage in.
00:05.040: And so they give us paper cuts.
00:05.040: Did you just accidentally hit it by mistake?
00:05.040: Right.
00:05.120: Now, again, you were
00:05.120: If the house is only two million, the video is only like three minutes.
00:05.120: So the big hurdle for me was when I first started using it, and the pounding thing was like.
00:05.120: I never used it because I worked at the studio.
00:05.120: But for the most part, we were it took us two hours to get through an hour of footage, and it was pretty much
00:05.120: It doesn't put it to the end of the piece, it puts it into the storyline at the end of the storyline.
00:05.120: Right.
00:05.120: But you know what?
00:05.200: But you know what?
00:05.200: All right.
00:05.280: So um uh
00:05.280: I'm doing good.
00:05.280: Like it was version one.
00:05.280: Yeah, we used trap code shine on and stroke.
00:05.280: Yeah.
00:05.280: They're like, oh, he must be good.
00:05.280: Yeah, it is.
00:05.280: That's how I do it too.
00:05.280: And then I'd go to my B-roll and I would start, I would select one or maybe two.
00:05.280: But the real question then becomes.
00:05.280: When they released ten and they literally took seven off the shelves, that or Studio Three off the shelves, it was like that should have
00:05.280: Who knows?
00:05.280: I know.
00:05.360: Now you may have heard me mention Steve before in the past, and Steve works with me here at Slice Editorial in Oakland, California.
00:05.360: I started doing a few test projects in 10.
00:05.360: So you hover your pointer over.
00:05.360: You're pretty good with this stuff.
00:05.360: Well, you do it very well.
00:05.360: If you go to iTunes and leave a comment.
00:05.440: You know, it's funny you say that 'cause I remember uh many years ago walking down a hallway at one of the facilities that I used to work at, a broadca uh corporate broadcast facility.
00:05.440: Really?
00:05.440: And so are you if you want to.
00:05.440: And then I drop it in.
00:05.440: And just boom, boom, boom, it goes with it.
00:05.440: That's a huge one for me.
00:05.440: But anyway, so you don't do great big adjustments.
00:05.440: If there is, tell me.
00:05.440: You know, I could imagine something like this.
00:05.440: And I want to say this because I have had people at Apple tell me.
00:05.520: And that was kind of my they asked if I'd be interested in maybe doing some freelance work for them.
00:05.520: Different color user interface, a few extra buttons.
00:05.520: I know that Apple calls it Final Cut Pro 10.
00:05.520: If that's how you do it.
00:05.520: No, but I mean, I mean, I have gotten to the point where I totally dig the magnetic timeline.
00:05.520: Like, this is what it does.
00:05.600: And if you know me at all, that rat finds his cave, I saw the little dark room.
00:05.600: Yeah, exactly.
00:05.600: So if you say, you're working, I can't cut and take
00:05.600: And I don't like that in 10 I have to.
00:05.600: I put that audio track down in my timeline.
00:05.600: But I think that the logic is, I think the logic is, and we know some of these people, they're like, eh, you know, that's not going to catch on.
00:05.600: And I think you can, but you've always been much more open to.
00:05.600: What's that thing called inspector?
00:05.600: We got to the point where I said,
00:05.600: That helps the show.
00:05.680: So I'd sit in on I got to sit on the edits and you know, a few times, and then I they let me start playing with the keyboard and doing my own cutting.
00:05.680: And for us, it was an avid.
00:05.680: Of GSX.
00:05.680: And so I realize that that's just the way that it is.
00:05.680: And all of a sudden, they've got this.
00:05.680: No.
00:05.680: But if you hold down your command key and do that, you're making
00:05.680: Usually.
00:05.680: Oh, no.
00:05.760: We can hot swap into each other's edits very easily.
00:05.760: How are you doing, Chris?
00:05.760: And the nice thing about studio is, we, as students, were employees there, and it was a very small crew.
00:05.760: So fast forward, I think it was maybe a week or two, and Spider-Man 2 was about to open.
00:05.760: Checking for audio.
00:05.760: Yeah, well, and that's a very interesting thing that you say that
00:05.760: Yeah, that's really cute.
00:05.760: True.
00:05.760: What are we using?
00:05.760: What was it?
00:05.760: But um anyway, so I'm sorry, what was your choice then?
00:05.760: We'll be.
00:05.840: And frankly, we both get more work out of it.
00:05.840: And I want to encourage you, if you have not been to their website, you really want to go check that out.
00:05.840: So, while you were working in the theater, you were learning the craft the business?
00:05.840: It makes sense, right?
00:05.840: I was like, ooh, DXD.
00:05.840: And so it was a very like, they did only gra they did 3D and 2D, After Effects, Maya.
00:05.840: Now, I was still early in the system.
00:05.840: Right.
00:05.840: In fact, I saw the other day Paul had a Final Cut 7 project open when I walked by his computer and it just looked weird.
00:05.840: We have a day to cut them.
00:05.840: Right.
00:05.840: You're still taking pictures and you're still putting them in order.
00:05.840: It was June three years ago that 10 came out.
00:05.840: You can.
00:05.840: But yeah, I saw that.
00:05.840: But I think that when I see things like that, I immediately get like
00:05.840: You know, what it really matters is: can you get the job done?
00:05.920: Did that for a number of years while on the side I was trying to hone my craft that I'd picked up in college.
00:05.920: So, two nights before the movie opened, we get our prince in.
00:05.920: But I get there and the movie starts or the previews start.
00:05.920: So I'm like, okay, great.
00:05.920: Like, if you're doing graphics, you do graphics, you give it to the editor.
00:05.920: Well, it's good because Paul's buying a bunch of iMovies next week.
00:05.920: When I exported it and it took that 45-minute piece and it kicked it out in like five minutes, that was awesome.
00:05.920: And so to me, that kind of editing is slower to do
00:05.920: You're at the point where you go, you know what?
00:05.920: Right.
00:05.920: Right.
00:05.920: And I went walking down and I said, Hey, Steve, check this out.
00:06.000: So I decided to call myself an editor before I had even any idea what that entailed.
00:06.000: I mean, I can remember the first HD edit I did at a post house in the city, and they had, you know.
00:06.000: Really?
00:06.000: So, about whatever it was, like a year and a half, or maybe almost.
00:06.000: And then you go up to your bin and you start shuttling around, I O, I O
00:06.000: Yeah, but that's a very narrow view of something.
00:06.000: It's gone away.
00:06.000: You never know.
00:06.000: And great, that's fine.
00:06.000: And I think if somebody is in a situation where
00:06.080: This is it.
00:06.080: 5 HD.
00:06.080: Well, what happened was actually I had been on a final cut at DXD.
00:06.080: Yeah.
00:06.080: Where it's like, oh, okay, yep, that's cool.
00:06.080: If you want to try this, let's try this.
00:06.160: It's also, you know, they
00:06.160: I wanted to work there.
00:06.160: And it would go over and then, you know, big flashes and a lot of explosions, a lot of
00:06.160: Right.
00:06.160: Yeah.
00:06.160: And it's just like switching a live show.
00:06.160: And then if I have to adjust the mask, hold on, hold on.
00:06.160: Right.
00:06.160: It's one extra step.
00:06.160: It's kind of cool.
00:06.240: Well, even even better, this and this was I want to say this was around ninety eight or so.
00:06.240: Not only did I think of that, that actually came up
00:06.240: So we had Avid and we were doing a
00:06.240: And it was like that.
00:06.240: You know, when we did it, it was like.
00:06.240: Yeah.
00:06.240: And to me, that was huge because then when I was ready to start.
00:06.240: So it's what you do with it.
00:06.240: Can you do what you need to do in it, though?
00:06.240: Something that you can make as long as you're open to it.
00:06.240: And I'm not saying that works for everybody because a lot of people will never have to worry about that.
00:06.240: You know, but I mean, that's not to say
00:06.320: Guys?
00:06.320: But again, this was a quick turnaround.
00:06.320: Interesting.
00:06.320: Damn it.
00:06.320: I mean, ye if I had to choose something out top of my head, that's one, you know, the color corrector in general, I guess.
00:06.320: Steve is like walking back and forth outside the suites when I'm recording.
00:06.320: com.
00:06.400: It's the tight budgets, the tight turnaround, build.
00:06.400: Yeah.
00:06.400: You heard it here first.
00:06.400: I'm open to finding better ways of doing it.
00:06.480: My eight people that I want to be my buddies.
00:06.480: He's a professional.
00:06.480: And then all I have to do, once I've gone through all the B-roll, then I just
00:06.480: Okay.
00:06.480: Sure.
00:06.480: We're using 10.
00:06.480: And they were really gracious and they added this feature like
00:06.480: We share ideas and
00:06.480: Yeah, yeah, they can get pretty bad sometimes.
00:06.480: Yeah, back to it.
00:06.560: I saw lights and decks, and it was just like an instant
00:06.560: And you recognize, oh, that's how you detonate a.
00:06.560: But so anyway, back to the after I graduated from college,
00:06.560: Toy, it was totally.
00:06.560: Yeah, and call it the New Year's project.
00:06.560: Final Cut something One is what it should have been called.
00:06.560: Yeah.
00:06.560: Right.
00:06.560: Because I would like that.
00:06.640: Right.
00:06.640: So so it's like the Navrat rules are like, you know, I gotta sit here, I won't sit here.
00:06.640: Right.
00:06.640: And it's archived.
00:06.640: I gotta go work now.
00:06.640: But going from Final Cut 7 to what they were calling Final Cut
00:06.640: So my option and I was given the option.
00:06.640: So it's around now.
00:06.640: Remember when Screenflow first came out, and I was like all excited about it, and I contacted the guys.
00:06.720: And it took some
00:06.720: And it's like it's like the old it's almost like the blue and whites.
00:06.720: So, um so yeah, so I'd then I would so I'd cut my VO for it.
00:06.720: And the same goes for, you know, I don't know Premiere, I don't know Avid, I don't know Final Cut 7, whatever it is.
00:06.720: So it was finding these little things that benefited me and my workflow.
00:06.720: Well, let's just do this interview in another couple of months.
00:06.720: When you were on six, and then you moved up to seven.
00:06.720: Yeah, they're the embodiment of freelancers.
00:06.720: Uh
00:06.720: You're over the major hurdles.
00:06.800: There has been a very collaborative
00:06.800: And they had their own way of doing things, which I've never
00:06.800: Right.
00:06.800: It was like eight guys, and they were all around the same age as me.
00:06.800: So they put, you know, an old G five in in this one little, you know
00:06.800: Yeah.
00:06.800: We had NAVID.
00:06.800: So you're doing your secondary storyline.
00:06.800: I'd be like, I just don't see it sticking around.
00:06.800: But you showed me this plug-in, and I'm like.
00:06.800: Well, I do screen share into your screen to see what I'm doing.
00:06.800: I have to get that and eye drop and blah blah blah and then go
00:06.800: Okay, this is what it does.
00:06.800: I can start a job.
00:06.800: It's actually premium beat.
00:06.880: You know, so he was like all slouched back, and he I think he had a mouse in a I don't think he had a stylus, and he was sitting there
00:06.880: And it was her job to find a company to do the commercial.
00:06.880: And that was one of the best parts working in theater, by the way, is getting to watch movies in an empty auditorium at
00:06.880: And then we switched over.
00:06.880: And I love that.
00:06.880: And that's there, right?
00:06.880: Okay.
00:06.880: Come on.
00:06.880: It doesn't.
00:06.880: To get to the colorboard, it's like Command Shift 4 or something like that, whatever it is.
00:06.880: Like they mapped it wrong, and whoever was writing that code
00:06.960: Okay, this was the turnkey system.
00:06.960: So there is but it gave us more flexibility.
00:06.960: And so they do these.
00:06.960: You know?
00:06.960: But it wasn't a huge.
00:06.960: And I'll tell you why.
00:06.960: And if you just have, like I noticed sometimes on the house shows,
00:06.960: But um I started giving them some other suggestions of things that I thought it really needed to have.
00:07.040: So, I don't know.
00:07.040: I started out in Wichita, Kansas.
00:07.040: Like, that takes too long.
00:07.040: Yeah.
00:07.040: And B, if it entailed any kind of a graphic
00:07.040: Yeah, now DXD.
00:07.040: There was a huge, giant mystique about anybody who learned and
00:07.040: And you're going to use a, you know, like a five-year-old
00:07.040: And then there was no changes past that.
00:07.040: And it needed to be done in a matter of hours, plus watched at least two or three times.
00:07.040: And it's not going away.
00:07.040: Well, how else would you do it?
00:07.040: What feature would you like to see added to Final Cut 10?
00:07.040: But I will tell you this: if you ever wanted to get into Twitter, now is the time.
00:07.120: And he has been it's been interesting to watch him as he accepts it.
00:07.120: I can find good stuff, it fits in my edits.
00:07.120: Let me just say one thing, though, because you brought it up.
00:07.120: A day to cut them and deliver them.
00:07.120: You want me to huh?
00:07.120: It wasn't seven.
00:07.120: And that's the that's the part I call the uh the timeline kung fu.
00:07.120: See, why do you have to?
00:07.120: So
00:07.120: I rename them all.
00:07.120: So, thanks for listening.
00:07.200: They said, Well, what are you doing now?
00:07.200: Yeah.
00:07.200: If you I'm sure there's lots of things I could use.
00:07.200: If you're.
00:07.200: We were going to have a meeting to decide how we wanted to highlight the puck that was currently selected.
00:07.280: So we do that for a show.
00:07.280: I don't know in the last year, but I know I've done a dozen in the past month.
00:07.280: And at one point twenty three, you want to cut out this sound bite.
00:07.280: I think that maybe something like that is happening.
00:07.360: Yeah, yeah.
00:07.360: There you go.
00:07.360: Yeah, and it's the clients you're dealing with that
00:07.360: And they're like, whoa, what, huh, what?
00:07.360: I was the last holdout.
00:07.360: Oh, yeah, yeah, yeah.
00:07.360: I'm busy here.
00:07.360: I would like to assign a shortcut key to make incremental adjustments.
00:07.360: No, I think that's a great idea, Steve.
00:07.440: It has an X in there.
00:07.440: Yeah, okay, yeah, yeah.
00:07.440: So no matter what application I'm in, I try and find a handful of things that I can embrace.
00:07.440: Which you can change the color of, right?
00:07.440: It really has, hasn't it?
00:07.440: First of all, there's multiple ways to do it.
00:07.440: I agree.
00:07.520: Uh pretty close to the year.
00:07.520: The editor itself.
00:07.520: Yes.
00:07.520: And
00:07.520: And there's missing bits.
00:07.520: I could sit there and I could switch it.
00:07.520: It's being used now.
00:07.520: Inspector.
00:07.520: Yeah.
00:07.600: So I uh
00:07.600: Yeah, I just had to make it up.
00:07.600: Yeah, but you know what, though?
00:07.600: And you could bypass all of marketing
00:07.600: Three-way color corrector was part of it was a
00:07.680: But anyway, so I asked, I told her, you should check out these guys and see what's going on with them.
00:07.680: And where do they sit?
00:07.680: Yeah, I mean, it's like, oh, you can eat really
00:07.680: Yeah, because the thing with 10 is the big hang-up for me is that if you're doing some fine editing, like
00:07.760: I don't want to give the wrong impression of this place.
00:07.760: But it was working out.
00:07.760: I mean, we've already decided this is the way we're going.
00:07.760: The only time, the only short the only keyboard shortcut I use in 10 right now is Q.
00:07.760: You know, and part of it has to do with.
00:07.760: That way, stuff doesn't get whacked out of sync.
00:07.760: It's hard to use because it's not set right.
00:07.840: And the people that worked there were
00:07.840: So I went home, I got online, I found their website and their demo reel, and I watched it, and they just had some
00:07.840: Okay.
00:07.840: But if the house is twenty million, it's generally about seven minutes because there's a lot of stuff in there.
00:07.840: And I should have called it something different.
00:07.840: Right.
00:07.840: Are you comfortable in 10?
00:07.840: To me, it's a dream.
00:07.840: Let's name it this.
00:07.840: And Steve is the person that I talk about all the time that you'd hear him pounding on the console when you'd leave the room.
00:07.920: So nobody was using that.
00:07.920: You know, to be honest, part of me would be thinking, wait a second.
00:07.920: And it was huge, but it was HD.
00:07.920: Maybe they were G fours, but even still, it's like, I like working on newer hardware.
00:07.920: So then I came up with a system where
00:07.920: Right.
00:07.920: Are there specific conversations that you've had where you say, Yeah, yeah, it's okay, but
00:07.920: Okay.
00:08.000: And so I went back to what I was doing before college and what I did during college part-time.
00:08.000: So they came.
00:08.000: I knew Avid
00:08.000: Okay.
00:08.000: Oh, I agree about the color.
00:08.080: Just doing that.
00:08.080: And the guy says to me, he says, um.
00:08.080: Yeah, you're like cutting your whole piece in After Effects, and
00:08.080: So I picked that.
00:08.080: Right, right.
00:08.080: I can hit the road.
00:08.080: You got to know what you're dealing with.
00:08.160: Really, really cool stuff.
00:08.160: Because in the beginning, when I started showing you stuff, I mean, you were like
00:08.160: Yeah, and there were so many times when I was like, oh, this is awesome.
00:08.160: I'm over the hump.
00:08.160: Of if you're a freelancer.
00:08.160: Yeah, that's extra steps.
00:08.160: You do minor adjustments.
00:08.160: I will say that
00:08.160: Because sometimes
00:08.160: I always add the s.
00:08.240: So there's many, many reasons.
00:08.240: When did you move to California?
00:08.240: Okay.
00:08.240: And they, for a side project,
00:08.240: Didn't realize that.
00:08.240: Well, first of all, when they're complaining about something about it.
00:08.240: And now take your little scrolly box, your scrolly wheel on your mouse, and let that change the number.
00:08.320: Well, I'm in the film business.
00:08.320: It must be nice to be king.
00:08.320: So, yeah.
00:08.320: And I scrub through it, and I command shift-B.
00:08.320: Right.
00:08.400: Well, this isn't a paper edit coming from a producer or client or anything.
00:08.400: No, that I think what you're talking about is there's some issues with
00:08.400: K did nothing, L did nothing.
00:08.400: We'll Rochambeau over which suite we're in.
00:08.480: You know, or whatever we had.
00:08.480: We will be back next time with another episode.
00:08.560: Right.
00:08.560: I still think that they did a
00:08.560: Because
00:08.560: Do you want to do it in seven?
00:08.560: But again, this goes back to my basic tenet is that
00:08.560: It may eventually go away.
00:08.560: And then maybe once you do that, you'll find that there are benefits to it and there are things that you will like.
00:08.560: At least four years ago.
00:08.560: Let's put this folder here instead.
00:08.640: That's a rhetorical question.
00:08.640: And what was nice about this place is that I went in not really knowing
00:08.640: So I learned how to do that, and I still always prefer to have it, so I think, you know.
00:08.640: It was a multicam edit.
00:08.640: Like let's say we're doing one of the house shows and we're you know laying in shots of the front hall or whatever.
00:08.640: I love the connected storylines.
00:08.640: Okay.
00:08.720: So the sand's all at the top of the glass.
00:08.720: And I was
00:08.720: Because if if they got it and they didn't like it, I was talking to somebody just earlier today and they said
00:08.720: If I can't get Steve on board, this little experiment is not gonna work.
00:08.720: But I was like, hey, that's that's an interesting way of doing it because
00:08.720: You're still putting music on it.
00:08.720: Okay.
00:08.720: Why should you have to do that?
00:08.800: Anyway, that's what we call the slouch.
00:08.800: And invited her to it.
00:08.800: It makes me think.
00:08.800: But again, that's a crossover point.
00:08.800: So I'm IO 10, you know, I have 10 on
00:08.800: Okay, it really has because it hasn't been updated in three years.
00:08.800: Okay.
00:08.800: So I have no problem saying, yeah, I know that's
00:08.880: Because they did a lot of that stuff there, too.
00:08.880: They brought, I think, you know, six of the guys were able to come.
00:08.880: I picked that of my own free will.
00:08.880: Again, this is me taking it and making it work the way I want to.
00:08.960: It was Abbott.
00:08.960: Every time?
00:08.960: So we wound up selling, we they wound up selling the Avid.
00:08.960: But in all honesty, I think that.
00:08.960: Yeah.
00:08.960: I think you could change the color of it then, or is that just you could never change it?
00:08.960: Well, I mean, I've joke about it, and I think I still by habit do it.
00:08.960: Exactly.
00:08.960: And I showed it to you.
00:08.960: Yeah.
00:09.040: Well, yeah, I asked, I said, you know, if you're interested, I'm going to screen it.
00:09.040: That was like a year ago.
00:09.040: Oh, no.
00:09.040: It's only ever gonna do this.
00:09.040: You got to know what you're talking about.
00:09.120: We have to build them up, and then we have to screen them to make sure there's no
00:09.120: But yeah, for the most part it was
00:09.120: This was an $80,000, $100,000, whatever.
00:09.120: Although, you were like, you wanted to.
00:09.120: And we've talked about that in the last forty episodes of this show.
00:09.120: And I did an interview with somebody and I always forget who, and I apologize.
00:09.120: Well, yeah, I mean, absolutely.
00:09.120: But one of them is Final Cut 10.
00:09.120: But here it is, three years later.
00:09.120: And at this point, as we both learn it, I mean, I've noticed just
00:09.200: That sounds cool.
00:09.200: Stuff that, of course, you know, I was interested in doing.
00:09.200: When I first came here and started working here, and it's regional.
00:09.200: Yeah.
00:09.200: It doesn't work how you expect it.
00:09.200: All right, so here's a question for you.
00:09.200: Do you remember what it was?
00:09.200: You can actually move your windows around where you want to.
00:09.280: Right.
00:09.280: Right.
00:09.280: You're saying when you hit the eye, it doesn't hit where you think it's going to hit?
00:09.280: The thing is, I haven't
00:09.280: And now that other cut at 138 is.
00:09.280: But do it this way.
00:09.360: I mean, there was some agency work that had to be avid because that's what they had.
00:09.360: We got to get back to it.
00:09.440: And again, this comes back to
00:09.440: Sorry, guys.
00:09.520: And I mean that literally because
00:09.520: Yeah.
00:09.520: Do you want to do it in X?
00:09.600: It was a rhetorical question.
00:09.600: And no, what happened was so I was in college and
00:09.600: It wasn't like a student run.
00:09.600: Right in front of me.
00:09.600: And if anyone else likes a special treat.
00:09.600: And that was.
00:09.600: I bet they want a color, a three-way color actor.
00:09.680: Uh we moved out here in end of O five.
00:09.680: It's a really small suburb.
00:09.680: It was.
00:09.680: And they're companies where they can make a decision.
00:09.680: Yeah.
00:09.680: There's a podcast for it.
00:09.680: One, I never do cuts from the front.
00:09.680: Yeah, gee.
00:09.680: You can do that.
00:09.760: I'll call it it's almost like a religion here.
00:09.760: So I mean, nothing is ever really done.
00:09.760: We might have to do a follow-up at some point when I
00:09.760: And again, we had a quick turnaround.
00:09.760: I can't remember what it was.
00:09.760: Why should you just say, oh, if I hold on this tab, it would be a good idea.
00:09.760: So there's nobody.
00:09.840: So, yeah.
00:09.840: Wait, isn't that final cut 10?
00:09.840: And my opinion of of that is that I think one of the reasons why a lot of people I mean, there's a lot of reasons why a lot of people
00:09.920: So I got to do it all.
00:09.920: So I'm doing the same thing I was doing before.
00:09.920: So it was
00:09.920: Yeah.
00:09.920: And I need to figure out how I'm going to make that work for me.
00:09.920: It was a plug-in.
00:10.000: You're doing the same thing, you're doing it differently.
00:10.080: Remember the blue and white G three's?
00:10.080: And then at one point thirty eight, cut out this sound bite.
00:10.080: Yeah, I've been seeing that about the colorboard.
00:10.160: Right behind me.
00:10.160: And so there were
00:10.160: And now it's just a matter of, look, do you guys want to step up or do you want to retire?
00:10.160: So
00:10.160: Give me color wheels.
00:10.160: Yeah, we went on a beer run.
00:10.160: I'm not a programmer.
00:10.240: So when I'd screened a movie, the best thing about it was that.
00:10.240: Yeah, what I did on the last one I did is I actually took
00:10.240: And I think, though, the thing to keep in mind with that is that that's not a.
00:10.240: And they.
00:10.240: It's premiumbeat.
00:10.320: So one of the co-owners was a huge Spider-Man.
00:10.320: I think that a lot of
00:10.400: Yeah.
00:10.400: I'd put my stand-ups for my open and my close, and then there's one in the middle.
00:10.400: They're making improvements.
00:10.400: But we're going to do it my way.
00:10.480: Yeah.
00:10.480: And would you say that you.
00:10.560: And so one night I drove by all the way home from
00:10.560: It doesn't work how you want it to.
00:10.560: And it's forty five minutes when it's done.
00:10.560: It doesn't mean I do or will.
00:10.560: There is a podcast for it.
00:10.560: I know, but within your three-way color corrector, and you take
00:10.560: That happens a lot.
00:10.560: And you're amenable to that.
00:10.640: Oh, that sounds funny saying that.
00:10.640: And as the day progresses by about four or five o'clock, you're just laying down in your chair.
00:10.640: And I was like, oh, this is great.
00:10.640: Because when you get to a point where you can hand off stuff like that,
00:10.720: And you can do that with any of them.
00:10.720: There's a thing called submit feedback.
00:10.800: Right behind you.
00:10.800: We were in Avid.
00:10.800: Right.
00:10.880: This was an hour-long
00:10.880: I wasn't coerced into it.
00:10.960: So, um
00:10.960: If you had the ability to sneak in the back door at Apple.
00:11.040: Right.
00:11.040: We had a large
00:11.040: One of the guys brought his wife.
00:11.120: No, no.
00:11.120: And so
00:11.120: So when I'm cutting, say, my VO for one of those things.
00:11.120: Yeah, and see, that's one of the things that.
00:11.120: I would rather spend my time learning how to use that than trying to change it.
00:11.200: It was absolutely the best.
00:11.200: You know, now you have this whole
00:11.200: Yeah, and everything was just out of balance.
00:11.280: So, what happened was
00:11.280: I mean, it's connected to everything else, but it's a really small town vibe.
00:11.280: Steve, check this out.
00:11.360: This is they would watch their footage and they would.
00:11.360: And I got to, I got to
00:11.360: And
00:11.440: Oh, if they sat in front of me, it wouldn't be as bad.
00:11.440: Yeah.
00:11.440: You know, it's like, oh, okay, I know how to deal with this, and you have to have like
00:11.440: I'm not the type of person who says, oh
00:11.520: And it pops up the colorboard.
00:11.520: All right.
00:11.600: I don't really care.
00:11.600: It happens an awful lot.
00:11.600: com if you haven't already.
00:11.680: No.
00:11.680: Okay, Apple.
00:11.680: They're working with it.
00:11.680: I think one of the things.
00:11.680: And it makes it easier because
00:11.760: Right.
00:11.760: Oh, that guy's gonna the that
00:11.840: But the thing is that it may go away, but you know what?
00:11.840: I think that, yeah, I think that.
00:11.920: You're more than welcome to come if you want, you know.
00:11.920: The other thing is, you just take it and you.
00:11.920: And that's it for this one.
00:12.000: Boom.
00:12.000: Thanks, Steve.
00:12.080: He's at a different level of acceptance with Final Cut.
00:12.080: You know, and
00:12.160: Aside from the fact that it was.
00:12.160: Okay.
00:12.240: Like in.
00:12.320: It was.
00:12.320: I wasn't told you have to do it in this, make it work.
00:12.400: I started working for Paul and you and uh
00:12.400: Wow.
00:12.560: No.
00:12.560: Yeah.
00:12.640: And that happened a lot.
00:12.640: Now, that being said.
00:12.640: I think that's what something like that.
00:12.720: There's tons of, you know.
00:12.720: Actually, wait, I have a list.
00:12.800: So,
00:12.800: Thanks, Chris.
00:12.880: They're sitting behind me, so I have to listen to it.
00:13.040: And at two forty five, cut out this sound bite.
00:13.120: But
00:13.120: And I can slip in
00:13.200: I mean, it was just like
00:13.200: Just like
00:13.360: It does.
00:13.440: Um and
00:13.440: No, but.
00:13.680: And so.
00:13.680: Later, later.
00:14.400: And
00:14.480: Take two.