Episode 45
FCG045 - The Lazy Camelion (feat. Gordon Fleming)
How do the clients see FCPX? Today I sit down with a long time client of mine and we discuss the path from FCP7 to Adobe Premiere to FCPX and how Gordon saw the advantages for his company as my client. We also revisit the whole, iMovie Pro discussion a bit. Gordon is the Vice President and Chief Marketing Officer (or something like that) of the company he works for and we have enjoyed a unique and long business relationship and friendship. I think you’re going to enjoy this conversation.
Download
Featuring
- Chris Fenwick
- Gordon Fleming - @gordonfleming
Transcription
00:00.001: But more seriously, from a work perspective, a challenge I often have is that I'm communicating with people who are not building video assets, who are not building pieces every day.
00:00.001: And the chameleon, his eyes are looking everywhere, it's behind him, his left eye is backward, his right eye is forward, he's all over the place.
00:00.080: Well, prevalence is a word, you may or may not be about to use it correctly.
00:00.080: Oh, that's fantastic.
00:00.160: So, I think you're going to enjoy this.
00:00.160: I uh I felt that something magic might happen, I I believe if I could and read body language of yourself and everybody else involved.
00:00.160: the star of that video was Miami.
00:00.160: Don't come crying in my ear with problems, just deliver it on time.
00:00.160: over time, or I observe actually on my movie has chased it.
00:00.160: What's the design concept?
00:00.160: I I tend to find I just fumble my way around and and get through without those things.
00:00.160: uh on that and it's easy to move between those vehicles.
00:00.160: Okay.
00:00.160: Surprise me that you would.
00:00.160: can't remember the exact syntax, but I'll give that a go.
00:00.160: and produce a rough.
00:00.160: Yeah, and I think what you're talking about is just the prevalence.
00:00.160: Ahead of, well, hang on, hang on, we haven't worked out our message and what we're going to show and what looks good.
00:00.160: I christened him the lazy chameleon because rather than actually do what we wanted to do to do the heavy lifting, he did the minimum to achieve the same result.
00:00.160: And the other thing that's nice about it is it comes in in loops.
00:00.160: And that's what I like about it.
00:00.160: And I, you know, I do buy things.
00:00.160: is my real strength.
00:00.160: and we'd walk over and he'd interject himself into a conversation or we'd chase down limos on the road and it was really an it was an amazing night to be a part of.
00:00.240: You know, a lot of times in corporate production, there is a lot of
00:00.240: So let's go to Gordon Fleming from QAD.
00:00.240: Well, I think it's not only that weird.
00:00.240: Orienting everyone, South Beach, Miami, Florida.
00:00.240: They felt not much would happen.
00:00.240: Yeah, I remember Hillary calling me saying, Okay, so this is what we're going to do.
00:00.240: Well, I think it's something that in working with you over the years, Chris, I have seen that you are never short in venturing an opinion on things.
00:00.240: Generally, giving solid ideas as to when things will not work.
00:00.240: You're with me in New Orleans.
00:00.240: you know, I I don't do it for a living, um, so you're not at threat.
00:00.240: a cinematographer and a frustrated editor.
00:00.240: technical challenges at the beginning of this week.
00:00.240: I I do remember that.
00:00.240: And that was a great experiment because although there was definitely a deadline, it wasn't an insane deadline.
00:00.240: And I think you showed me a piece you'd done outside for that.
00:00.240: It's iMovie on steroids.
00:00.240: to be able to deliver in that familiar, comfortable, iMovie-like experience.
00:00.240: a talk with um Alex Golner from from uh England, and he explained how in the lead up to the 10.
00:00.240: iMovie has evolved as well.
00:00.240: you know, the previous very sort of file-centric bins in Final Cut that I would move things to.
00:00.240: bigger, more voluminous works with more media and more assets that you needed to manage, that that could be a challenge.
00:00.240: I think when you look at a tool like Final Cut, there are an immense amount of at the fingers capabilities.
00:00.240: The thing with Final Cut 7 I can remember I still have on my uh desk in my uh office at home, a rubber keyboard overlay with uh all the markers for Final Cut 7 and whatever.
00:00.240: I think what I've seen that impresses me from my perspective, it may not be going at a rate for a professional that's desirable, is the rate of innovation and new capabilities that are coming into Final Card impresses me.
00:00.240: He now has a link on his blog that is a countdown or a count up rather from the last upgrade.
00:00.240: little pieces that I may want to share with friends that way, or more expensive travel pieces.
00:00.240: Then Final Cut doesn't do it.
00:00.240: And I do it that way.
00:00.240: Move from computer to computer.
00:00.240: I would imagine, and I haven't even thought about this because again, I wouldn't look at that feature to use it.
00:00.240: five, ten years ago, you sometimes I know we ask you to go back to the archives to find things for narcissistic purposes that we've shot with ten years ago.
00:00.240: or near Monterey, and you know, shop video, you know, through the day with DSLR.
00:00.240: And I mean excellent video using that tool and genuinely a very, very watchable, very sensible thing.
00:00.240: you know, I've captured bits of video or got someone to capture video and then pretty quickly just edited those into you know a baseline with some of the template piece and produce a much
00:00.240: a much more polished piece which gives people an artificially false view of my capabilities and brilliance.
00:00.240: Yeah.
00:00.240: And I do find that's an interesting area, particularly internally with our teams, that sometimes the dialogue can inadvertently get to technical and frame rates and aspect ratios and color balancing.
00:00.240: Not yourself, Chris, but other folk that many years ago I used to work in West Africa when I had a real job as an engineer.
00:00.240: and one of my colleagues was very interested in wildlife and he would produce all manner of animals that he would find in the bush and he came back one day with a chameleon
00:00.240: And if you've ever seen a chameleon, they are remarkable looking animals.
00:00.240: Do you think that you are I mean, let's face it, you are very technically astute.
00:00.240: and to use these tools, which are not technically your tools, they are not part of your job description.
00:00.240: And actually, some of it just was very low in quality production.
00:00.240: You know, ways of going about it.
00:00.240: It's have I heard anything that will do that?
00:00.240: And you can, like, oh, I want this quiet bit to last longer.
00:00.240: And I to and I had turned down other people and I wanted them to sponsor someone.
00:00.240: But anyway, so that's it.
00:00.240: Are you actually looking for people that have rudimentary skills?
00:00.240: Guess what?
00:00.240: But it's interesting to see how that group of people in my organization who are in their twenties
00:00.240: No, I don't do video.
00:00.240: You know, the other thing that you know having tools like Final Cut and iMovie Candle in your desk is that it brings all these, it makes all these things a lot more accessible.
00:00.240: and I cut it overnight and it was like one of these things that just it cut like butter because his performances were so good and um
00:00.240: then the issue is the experience and just then the creative ingenuity of people to do it.
00:00.240: Thanks, Chris.
00:00.240: So, thanks for listening to the show.
00:00.240: One last thing.
00:00.240: and that blue tab offers you the ability to send comments and questions or complaints.
00:00.240: So I would welcome you to do that.
00:00.320: This is episode number 45 with Gordon Fleming.
00:00.320: Gordon has become a great friend.
00:00.320: Gordon, on more than one occasion, has set me in my place when I'll say, Oh, well, that you know, I can't do that.
00:00.320: That's what's weird.
00:00.320: Okay, and we've done many different types of projects, usually involving me directing and or editing.
00:00.320: And you very much enjoy being in front of the camera, don't you?
00:00.320: Although we might want it to be rigged up.
00:00.320: And also sales enablement, how we bring our organization up to speed to be able to take those products to market in our marketplaces
00:00.320: Global manufacturers.
00:00.320: is not only are you one of those evil suits that quite often we refer to, but you are one of the most technologically astute
00:00.320: So um yeah, no, that's one take definitely.
00:00.320: Video is very much a part of what we do.
00:00.320: very familiar with the mechanics of video and broadcast television from, you know, probably around about the eighties.
00:00.320: my sort of sphere of influence as I now am in an area where I want to use video to communicate.
00:00.320: you could be at state of the art getting some PowerPoint slides projected on a big screen, four by three aspect ratio, and having somebody come and talk to them.
00:00.320: Okay, now periodically screening a video on a topic gave an enormous impact.
00:00.320: As regards quality, it's very high because people are used to watching movies, watching broadcast television that's had a lot of effort into it.
00:00.320: I think in that period of time, I'm not sure of the dates when all of these things sort of have impacted, we've really seen that there was a point where
00:00.320: but we also deliver training and multimedia and other communications vehicles using video.
00:00.320: really, we were always trying to lift the bar to look more special.
00:00.320: What is the surprise that we will do?
00:00.320: the cabling and technology and wiring.
00:00.320: Di did it not work?
00:00.320: Punted and gone back to Final Cut 7.
00:00.320: a consumer of these services, you don't care what it's done on, right?
00:00.320: Yeah, I think that was uh 10.
00:00.320: rebellion and moving to the other side that you went through.
00:00.320: Technology available in Funnelcat 7 in regards to being able to address RAM and address cores and stuff like that.
00:00.320: But for me, watching you use Final Cut, I I use you know for a lot of little things that I do myself, I even use iMovie.
00:00.320: That was a precursor to what was coming in 10.
00:00.320: Well, I think if you look at Final Cut 10 and I can't remember what release we're at now, are we at 10 10?
00:00.320: Fondle or fondle, I didn't mean to say that.
00:00.320: but the simplicity or the elegance of the initial design concept has to be modified.
00:00.320: You know, there's a tremendous amount of stuff happening under the covers in rendering video and doing a lot of processing to do that.
00:00.320: I think it's good.
00:00.320: one hundred and ten, one hundred and twelve days, which is actually the longest it's ever been since an upgrade.
00:00.320: And how did it work?
00:00.320: For example, went in shot with a couple of cameras in Santa Barbara in California, my hometown, an event that didn't necessarily interest me per se, but it was intriguing, and it was a
00:00.320: Do you take advantage a lot of the connect to iTunes, connect to iPhoto?
00:00.320: I really like in Final Cut is it really is one homogeneous experience with all of the other media and all of the other apps and everything else that I um do.
00:00.320: figured out a work round for it, but it uh it is frustrating to me that I can't select uh music out of the collection.
00:00.320: And what I've finally done is put a playlist together with all of those pieces, and now I can go and pick it out of the playlist.
00:00.320: and you're saying leave media in place, that could be really bad.
00:00.320: Notwithstanding that, for both of us, the convenience of having that all, you know, if you're working on multiple machines all in the cloud, would be fantastic.
00:00.320: for me, I guess I then look at those products that I can be very efficient and do quick and dirty things in the consumer product.
00:00.320: Apple, you know, between iMovie and Final Cut are, you know, there's a lot of commonality, a lot of synergy between
00:00.320: There actually is a path that you can get to that timeline in Final Pet 10.
00:00.320: you know, t uh titles, music.
00:00.320: Yeah.
00:00.320: To this kind of craziness.
00:00.320: When you were doing your President's Club?
00:00.320: And yet by doing it, you streamline your communication process.
00:00.320: Taking your message to market.
00:00.320: do you see yourself pushing your people do you see yourself pushing your people to adopt some of these communication tools?
00:00.320: No, you don't have to, but you do need to make sure that you have a team in place that can do that.
00:00.320: that.
00:00.320: They have put a lot of effort into it and produced just a terrible experience that was off message and very incoherent.
00:00.320: Premiumbeat.
00:00.320: And I know everybody else does because you hear me talk about this all the time.
00:00.320: That it doesn't fight.
00:00.320: kids to have iPads in the school that they go to so that they're using the latest technology.
00:00.320: Okay, what you really want is people that can embrace new technology and maybe have it.
00:00.320: And it was interesting to see their approach to doing that.
00:00.320: the bar is already quite high for us.
00:00.320: It's turning business away.
00:00.320: How could people who are going to experiment and take some risks with this new technology, this new approach, this new method of communicating
00:00.320: These people should look at it and go, Well, why can't we do this?
00:00.320: But my observation on taking great photographs is a lot of that is being in front of something that's interesting and photo worthy.
00:00.320: and thinking about composing that photograph.
00:00.400: was uh a little stand up comedy silliness in North Beach.
00:00.400: Actually, we have shot in North Beach too.
00:00.400: Well I think I can probably help you there and you know I think that you know as a client service issue being a sycophant never goes any wrong and I suspect I'm here because it's one day before you go to air.
00:00.400: You do get paid and and it's an interesting it's an interesting facet of it because in in modern marketing
00:00.400: There is no one of your favorite words, there's no mystery to the technology.
00:00.400: As an electronics engineer.
00:00.400: on telecommunication systems and satellite links, sending data back to the UK.
00:00.400: you know, let's say five to ten years, that video has gained in importance in your job.
00:00.400: Even if it's behind the computer, the first thing you do when you walk into a room is you start poking around and looking at stuff.
00:00.400: Well, you know, maybe I think it would be remiss for listeners not to point out that clearly I watch a lot of your material on the web, and I did watch the brief period of
00:00.400: I'd like to be more efficient.
00:00.400: many people, many professionals see as a detriment.
00:00.400: difficulties that software developers have when you're building a very deep software piece of software is as you start adding features, where do you put them?
00:00.400: in another menu or another option or another preference, because the request is there to add that feature.
00:00.400: If I'll look at 10, I I don't bother with that.
00:00.400: But I think that you you're so I understand your point that for your jobs you want to keep all everything related to the job together in in one place.
00:00.400: blocks that I've then put together with more contemporaneous material that we've had on site.
00:00.400: To you.
00:00.400: As opposed to the lazy chameleon.
00:00.400: It's actually a good descriptor.
00:00.400: another customers' conference, not a customer, I beg your partner, a conference of an organization that's remained nameless a while ago.
00:00.400: We show and I think you are a master of the craft of this and have a great formula behind it.
00:00.400: They turn down composers all the time that want to sell through them because it's very curated and it's just like
00:00.400: And that's not a very effective way to do it.
00:00.400: a college, I think you have to have people that realize the the possibilities.
00:00.400: We also have great in-house skills around video that we're leveraged as well.
00:00.480: Gordon is a great guy.
00:00.480: And I am working with Gordon Fleming.
00:00.480: Vice president of sales and marketing or something at a software company.
00:00.480: that you would expect from somebody who is a veteran in the communication arts business.
00:00.480: He also shoots and edits video for fun.
00:00.480: Yes, I I do understand that.
00:00.480: Working with video and video production.
00:00.480: So, I've not always been in marketing in the software industry.
00:00.480: And you had Final Cut VII, right?
00:00.480: and not only infrequent but a casual user.
00:00.480: you know, well produced T V in the Discovery Channel.
00:00.480: But I went down and filmed that and actually I used the multicam.
00:00.480: then Final Cut does not see the pieces where the media does not sit on the machine.
00:00.480: No pun intended, avid hobbyist and a pro.
00:00.480: Do you understand what I'm saying?
00:00.480: You're right, I agree.
00:00.480: I would like that all to be in the cloud.
00:00.480: Or I can pretend to be more capable than I am with a professional product, and that's where I like to operate.
00:00.480: Not a you know video professional.
00:00.480: or to collaborate on coming up with a design, it's much easier to go through some prototypes and say, well, yeah, no, that doesn't work, this does work, why don't we try this?
00:00.480: They don't have a team that's built that can embrace that.
00:00.480: is your message from a marketing perspective, the thoughts that you want to convey, they're very uniquely yours.
00:00.480: visually at best interesting, but probably off message and ineffective.
00:00.480: Yeah, it's yeah, I mean there are multiple philosophies and theories behind doing a good faces show, and I think that even though there are multiple
00:00.480: you need to have that.
00:00.480: Ashley came to me and said, Gordon's off the rail.
00:00.480: then not quite, but almost a monkey like me can and have a fair chance of producing something.
00:00.480: the amateur product and professional product, the gap is closing.
00:00.480: In terms of what is capable and what is possible, it is a whole new era.
00:00.560: He's also one of the most talented people I've ever met in terms of doing animations in PowerPoint.
00:00.560: Trust me when I say I think you're going to enjoy this interview.
00:00.560: look at the what markets we should serve, what products we should deliver to those markets, how we package and price those products, how we communicate to market, how we go to market with those.
00:00.560: So I started off my life as an electronics engineer.
00:00.560: So I have some familiarity with video waveforms and vector scopes and how cameras work, how Vidicons used to work and things like that
00:00.560: Well, you know, I think, and we've just come off a great show that you've been doing some fantastic video for us where we have a widescreen projector that's 55 foot by 12, and we've been showing fantastic HD video across all of that all morning.
00:00.560: media and mediums of communication.
00:00.560: reinforcing your message with something that's higher impact and surprises people.
00:00.560: I've been doing even the short turnaround edits in Final Cut.
00:00.560: So I think that I saw that, okay, that's interesting.
00:00.560: It's an issue with some people.
00:00.560: Um I agree and you know, I I I work in the software field, we have all of that at those issues from a usability and user experience issue.
00:00.560: feature length travelogues for lack of a better term.
00:00.560: your iTunes, and then from iTunes, you can pull it out of i actually in the user interface, you can pull it out of the iTunes into
00:00.560: And I'm not articulating or describing those to people every day.
00:00.560: it's not a lack of desi lack or it's not a desire just to overcompensate on that, it is just far more efficient.
00:00.560: sort of ochre laterite, sort of very iron-rich soil, so sort of a rich red soil.
00:00.560: Maybe as a charlatan to that though, I do see I if I look at some of my peers in other companies, I do see an effect where sometimes they know they have to do this, they don't really understand the both the technology or approach.
00:00.560: And um none of which you can legally use uh I I didn't say that no no all of it I think
00:00.560: And people are thinking, well, why would I not be able to direct and go and produce something?
00:00.560: I think that I think good luck.
00:00.560: on his shoulder and we were running around South Beach with a sun gun and a wireless mic and Gordon would just see something and go, Oh, I want to do that
00:00.640: frustration, I'll say, you know, somewhat sometimes the discussion can become somewhat derogatory in reference to the suits, like, oh, they don't know anything.
00:00.640: poignant opinions and stuff about technology, about communication, about the language of communication in the going forward in the future.
00:00.640: corporate finance and then into sales and marketing in the software industry.
00:00.640: My ideal model would be that I would be in movies, shoot the movies, record the sound, do the whole lot.
00:00.640: appears to be the approach.
00:00.640: And it was good probably to keep those people off the street doing that this that particular day, having a look at them.
00:00.640: It was an event called Thrill the World.
00:00.640: If you put all your music into the iCloud and the device that you're running Final Card on is iTunes is going out and using iTunes Match to go and get that over the iCloud
00:00.640: I would never in a million years consider using those features.
00:00.640: And I'd gone up with some friends, and on the way back, I sat in the back of the car with my iPad, you know, plugged the little adapter and got sort of the media into that.
00:00.640: Hopefully just me, possibly other outside vendors.
00:00.640: So of course we're looking at this chameleon and Des has the chameleon, he's holding it.
00:00.640: I think if you're a modern marketeer, if you're a chief marketing officer for a company today, you're responsible for making sure that you're using the correct medium and the correct approaches for
00:00.640: If ever I'm talking to any of my teams when we're producing output and I sense that they're pursuing the lowest effort route, I call that being the lazy chameleon.
00:00.640: I had my team, a very diverse group, go off as some subprojects to go and build some little video caselets that we used here.
00:00.640: And as you know, Chris, I one I'm interested in many things around this space.
00:00.640: And QAD, our passion is your advantage and slice putting the opinion back in video.
00:00.640: Into me, and that works for either Funnelchette Grill or Digital Cinema Cafe.
00:00.640: So that's it for this episode.
00:00.720: And this is it's sort of a byproduct of my crazy schedule.
00:00.720: That made everyone look strange because the content wasn't in that aspect ratio.
00:00.720: Paid job that I cut in Final Cut 10 was for you.
00:00.720: and before we made our first coffee stop had put together an excellent
00:00.720: And those prototypes, you know, for actually for a piece that we actually opened this show with, I just did a rough in twenty minutes on my Mac just to show somebody this is what I was thinking, and we built from that.
00:00.720: moving picture assets, whether they're on the web or on a screen or on devices that or strange panels in strange places.
00:00.720: Hopefully.
00:00.720: I love what you said.
00:00.720: I'm not going to give too much contact information about you because I don't want anybody listening to this to start hounding at your door and stealing you as a client.
00:00.720: Although we are receiving bids in our reverse auction.
00:00.800: Yeah, is it is that South Beach?
00:00.800: we decided that what would be a good idea would be to take a camera down to South Beach and interview people because they'd not North Beach?
00:00.800: Then a large pause in my sort of if you like technical awareness occurred and then video, to your point, has come back into
00:00.800: six, seven years, the ability to deliver media basically in a ubiquitous environment over the web.
00:00.800: But I think coming back to your question, I think that what made me embrace that when I saw you using Final Cut, and I was surprised because you had been quite vehement on following that.
00:00.800: There are some exceptions.
00:00.800: that I need to access on a reasonable, reasonably frequent basis.
00:00.800: But also things I've played around.
00:00.800: And for you to be able to segment that by job or whatever I think would address it.
00:00.800: Obviously, it is growing in importance and popularity.
00:00.800: they're evolving all the time.
00:00.800: And I you know, I put it almost as the make something creative and brilliant issue.
00:00.800: When you grow up, that's old technology.
00:00.880: I will say this, you are certainly the most technologically astute client that I've ever dealt with.
00:00.880: through different channels like Vimeo and YouTube, delivering it to them on other media has become real as well.
00:00.880: it's getting harder and harder, or not harder and harder, but it's it's still the people who are responsible for staging it, putting projectors and stuff, lag a little bit from the front end and being able to deliver it.
00:00.880: I find that, oh, I want to do this.
00:00.880: Although I guess with the Creative Cloud that I subscribe to, probably I could.
00:00.880: And also just a little bit of that, I think it's 400 hertz, so that you're listening through the headset of the aircraft to that.
00:00.880: So if you have your music in the iCloud, and maybe if you can solve this problem for me, that would be fantastic and would be fair pay for this excellent session.
00:00.880: And just trickery.
00:00.880: that I made for you at this conference were all Premium Beat.
00:00.880: You can usually find something quickly, very, very quickly.
00:00.880: I'm not sure much would have come out of that process.
00:00.880: The seven videos that you did for Pam Spriza were great.
00:00.880: I don't recommend taking a camera crew with a nonprofessional talent out into a city without a script, but in this particular instance, it actually worked quite well.
00:00.960: I've been working for Gordon for the last week, and tomorrow is Friday, and I'm a little bit behind in terms of getting episodes recorded.
00:00.960: I think you could probably do a lot more than 5%.
00:00.960: COVID.
00:00.960: a great designer stuff that has that affordance that I know what to do.
00:00.960: If you were to shoot a bunch of video on an iPhone and you had iMovie for the iPhone, if you start cutting that video in the iMovie,
00:00.960: It was an amazing time.
00:01.040: Hey, good morning, good afternoon, good evening, whatever time it is for you.
00:01.040: So I think as a keen amateur, let's use that term to do it, a broad range of things.
00:01.040: I'm going to break into a very forced but genuine heartfelt commercial here.
00:01.040: But irrespective of the legality and the intellectual property behind that, which I'm fiercely respect, I have a challenge in finding music for pieces because
00:01.040: Yeah, no membership.
00:01.040: Full colour offset LIFO is the uh as its zenith and I think I that's the zenith of my technology.
00:01.120: And you're right, so I'm interested from a personal perspective, I always had an interested in photography, and I think that has morphed itself also into an interest in cinematography.
00:01.120: So you really have to sort of be delivering at that standard.
00:01.120: What's your favorite helicopter soundtrack?
00:01.120: Really don't see why they could not produce a high quality piece.
00:01.200: it fits up there.
00:01.200: So Final Cut 10, I thought, gee, I may be more efficient here.
00:01.200: Really, frankly, annoys a lot of people.
00:01.200: Let me give you a few examples.
00:01.200: But that does seem like a frustration to me.
00:01.200: The frustration I have is probably more related to the fact that I look at stuff that I may want to look at video that I shan't of my family may be
00:01.200: So, um, so you're saying you shot on the DSLR, USB out of that into the iPad, pulling media into iPhoto.
00:01.200: Well, I knew there was going to be something great I would take away from spending time with you today, and Premium Beauty, it sounds like it's a solution to a problem that I have because I have a very large library of music.
00:01.280: And I think that South Beach thing was, I want to say, like 2004, something like that.
00:01.280: It's super impactful.
00:01.280: Indicators of great software is can, like you said, you're calling it affordance.
00:01.280: No, I mean that's definitely important that the software keeps getting pushed and developed.
00:01.280: And I know that that's become sort of a de facto method of operation that I've worked on internally.
00:01.280: You know, moving images and and video, if you will.
00:01.280: Again, you're a senior level person and you should not have to touch a mouse or open up a timeline or anything.
00:01.280: Where do you see the importance of in terms of hiring people at a in corporate America?
00:01.280: If you go to the Digital Cinema Cafe website, where both of these podcasts are are hosted, on the right-hand side is a little blue tab.
00:01.360: So the design concept of affordance, that if I pick up a hammer, I would never need a manual because I would kind of know what to do with it.
00:01.360: Hopefully.
00:01.360: But and they had spent big on production, which I know you always encourage, Chris.
00:01.360: com?
00:01.360: I do words or you know, I you know.
00:01.440: I've known Gordon for a long time.
00:01.440: It uh of course calling the bluff always works there.
00:01.520: And you and you and Anton flew out of the the corporate headquarters like like super secret sub-basement.
00:01.520: For me, I can remember when you pointed out a current Rumble Ritual Release and Final Cut when they introduced multi-cam editing.
00:01.600: No, it worked.
00:01.600: No, I do.
00:01.600: And equally, for me, I have a frame of reference where I may want to access anything that I've ever done, so I have a slightly different paradigm there.
00:01.600: There are many people that don't even think about it at all.
00:01.680: Yeah.
00:01.680: So, in your own experimentation and playing and working, what type of videos are you editing in Final Fed 10?
00:01.680: Initially, what I did was just put an image of all of my music back onto the local machine, which I'd rather not do.
00:01.680: you know, the finder.
00:01.680: I should understand.
00:01.680: So I don't think necessarily that I'm I think that you have to be getting people who've have graphics and multimedia degrees that have used the tools at
00:01.760: I think we're in a dark and dingy hotel room with the blinds shut and we're sharing a microphone.
00:01.760: I want to talk about that because what you're bringing up is what you see as a feature.
00:01.760: Yeah, of sorts.
00:01.760: You know, I mean, all I need, I need a nice solid background underneath something, but I don't need it to like break out into a giant flourish and take away from the message of what I'm actually cutting.
00:01.760: I also want to thank you so much for your comments and iTunes.
00:01.840: Right.
00:01.840: And you mentioned sort of uh ridiculous deadlines.
00:01.840: I have used the voiceover function, for example, which appears to be the most illogical place that you could ever put something.
00:01.840: Um no, I haven't.
00:01.840: And frankly, I want to just go on record, Jim Bob and Justin, if you guys are listening and anybody else, maybe Mark was involved.
00:01.920: And iMovie now looks like baby final cut.
00:02.000: I think because of that, that was a lag in the delivery capability versus the content capability.
00:02.000: So I was very familiar with, at that time, the metaphor that they had, it's changed somewhat over
00:02.000: So if I'm accessing a piece of media that's outside of my job folder, that's a bit of a problem.
00:02.000: You need to make sure that you can guide and direct a group to do that.
00:02.000: And I never said that, but if you completely outsource it, if you abrogate your responsibility to that, the chances are that you produce something that's
00:02.080: And I think that delivery of that is interesting.
00:02.080: And what you're referring there is in the summer of twenty ten, I had reached my boiling point with the lack of
00:02.080: So I think that the separate issue is that, first of all, if it's in the iCloud, you just can't see it.
00:02.080: iPhoto and Aperture, and Aperture can look at iPhoto libraries, so you can keep in one place.
00:02.080: So it sounds like Premium Beat is the perfect solution.
00:02.080: What doesn't work today is for someone to come and say, well, look, I'm a marketing communications specialist
00:02.160: I count my friendship with him as something that I very much cherish over the years.
00:02.160: And so I think that's a very long winded sort of chronology, but it's been sort of an insidious sort of gain in what happens.
00:02.160: Nothing escapes you.
00:02.160: I have got so desperate sometimes, I have typed into Google good music as background for video on.
00:02.160: What else?
00:02.240: Do you remember when we shot on the Segway?
00:02.240: Now on this show, you seem an unlikely guest, but what I happen to know about you
00:02.240: So, by discipline.
00:02.240: 03 I believe when the multi-cam so um so then I started using Final Cut 10 and you
00:02.240: It worked very well.
00:02.240: But certainly, is it a big issue?
00:02.240: So that's Gordon.
00:02.320: So Gordon, I've known you, I think the first time you and I worked together, like actually on the same thing.
00:02.320: What's the new thing?
00:02.320: No, essentially, what you do is you can, I believe in iMovie, you like sync the project to
00:02.400: And again, I apologize if it seems like I'm cutting corners, but he has some very.
00:02.400: I paid $1.
00:02.400: Anyway, so uh commercial commercial over.
00:02.400: I don't think we've necessarily reached that bar.
00:02.480: So I've been editing for your company for I think this is my fifteenth year doing without being found out.
00:02.480: Okay.
00:02.480: Yeah.
00:02.560: But then at Sales Workshop that year and also at Explorer, and frankly, every event since then.
00:02.560: I can fumble my way, I think it's because our knees are touching, I could fumble my way around a final cut, thinking probably this is where I would go.
00:02.560: One of the things that's nice about you actually using it, or first of all, having access to and also using the same tool that I use is we actually can collaborate.
00:02.560: If you completely outsource it, you're.
00:02.640: So when I travel, I try and capture snippets of video of things that I see and do.
00:02.720: I just I'm there.
00:02.720: So all around the world, lots of people were going to go and do the Michael Jackson thriller dance.
00:02.720: Thank you, Premium B.
00:02.800: I worked in the UK and various defence companies.
00:02.800: What part of Final Cut X feels like iMovie to you?
00:02.800: And at that point, Final Cut 10 can see that and you can say open that timeline or
00:02.880: So you do have to have a certain vocabulary and understanding of the process.
00:02.880: And I think I saw capabilities that I knew I had the ability with a lot of challenge and difficulty deliver when I was using Final Cut 7.
00:02.880: What kind of helicopter?
00:02.960: But actually, we had a great time.
00:02.960: But that's certainly from a personal perspective, you know, wet in my imagination.
00:02.960: So they they have some you know, you would believe that they were in some way related, um um you know, maybe not on the uh mother's side.
00:02.960: I got a drone and put my GoPro on that.
00:02.960: Yeah, and I just want to remind people that we're talking with Gordon Fleming, who is the chief marketing officer at QAD, where he works.
00:02.960: This is the this is why I wanted to talk to you, 'cause you your mind is very much uh in tune.
00:02.960: Okay, so all basic um oh, I think all the music for for the five customer testimonials that uh we used
00:02.960: We used our own cast as it's cheaper than stock video.
00:02.960: Just the people of South Beach and the city of South Beach is just insane.
00:02.960: We will see you next time on the Final Cut Grill.
00:03.040: Episode 45.
00:03.040: No, you don't get a rebate.
00:03.040: So all manner of things.
00:03.120: On this occasion, rarely, you were wrong.
00:03.120: 29 for that Cool in the Gang song.
00:03.200: But so when you and I started working together, I was heavily into Final Cut 7.
00:03.200: And then I, you know, come up to the, you know, the build-up a little bit.
00:03.280: And he is the okay, what is his title?
00:03.280: It's probably here.
00:03.280: So I personally am very sad if my own material is not at least 10% towards that level of production.
00:03.280: Actually m I got some video off uh Yeah, I watched that.
00:03.280: Yeah, yeah.
00:03.280: So how do you see?
00:03.360: Does that imply that this is now not a real job?
00:03.360: So at the moment, it would appear that the sort of the tendency to do bigger and more strange video than I would see at home on my very big television I got from Costco.
00:03.360: And you're always playing around and doing stuff.
00:03.360: One frustration for me is that I um uh keep my uh music in uh in the iCloud and Final Cup doesn't see that.
00:03.360: I hope you enjoyed that.
00:03.440: I mean, I would say that, you know, I'm digressing again, that I um uh or some time ago I uh went up and spent some time at Laguna Seca, the racetrack up at uh Monterey.
00:03.440: What do you do?
00:03.440: And maybe we'll do, maybe if we gather up a bunch of questions, we'll do like a whole Q
00:03.520: Now, Gordon is one of my clients.
00:03.520: I mean, if I show up with a new mouse pad or cable or hard drive,
00:03.520: He wants to add seven more pieces for the show.
00:03.600: And the idiots on the street.
00:03.600: The many manifestations and evolutions of video and
00:03.680: No, that's not your job.
00:03.680: How did you get started with this fascination of yours?
00:03.680: I can remember when we moved to the very powerful and exotic 16 by 9.
00:03.680: And I think that if I did it for a living, I'd spend more time and be better at it.
00:03.680: So you need people that can embrace change and can do that.
00:03.760: Of course, the challenge we have with television or with video per se is that the frame of reference people have
00:03.760: But it enables people, I think, to engage and take information more rapidly.
00:03.760: And a lot less of it is about the gear.
00:03.840: There we go.
00:03.840: I felt I could aspire to produce there.
00:03.840: But I genuinely, like, really love their music because, one, it's written in such a way that you
00:03.920: Now, this is a little bit unusual because the show has been very much about editors and either editors that use Funnel Cut and a couple that have not, Steve Miller being one.
00:03.920: And I think that, frankly, if you go back to some of the first episodes of this show, I did a
00:03.920: Explain the concept of the lazy chameleon.
00:03.920: So we produced a brilliant quality output.
00:04.000: Yeah.
00:04.000: So like you you can buy the song, but you can also get what what they call a loop set.
00:04.000: We had a camera.
00:04.080: No, so we took a camera down there with lights, and
00:04.080: Uh well in actuality, technically, you do.
00:04.080: But you know, from a consumption perspective, what we want is the thing delivered to time.
00:04.160: Well, let me uh you you raised a number of things when we moved through.
00:04.160: And I in an ideal world, I I don't know if you have ever seen one man bands, you know, the guy that has the cymbals between his legs, the sort of drum on his back, the mouth organ, whatever.
00:04.160: I I don't think there's such a thing.
00:04.160: Their eyes are all over the place and they're just incredible and quite evil looking animals.
00:04.160: And so, therefore, their solution is to wholly outsource
00:04.240: The company is called QAD.
00:04.240: And for me, Final Cut 7 was always a challenge because I'm an infrequent user of the tool.
00:04.240: And again, even as an amateur making things, the frame of reference people have is
00:04.240: I think that's an area where I would expect Apple need to put a bit of effort on evolution of that.
00:04.240: What do you do?
00:04.240: I do not want to slight those at all.
00:04.320: It appears that if you turn the lights on on a camera on South Beach, stuff happens.
00:04.320: I do enjoy being in front of a camera.
00:04.320: I didn't embrace that because I had put a lot of learning curve into Final Cut at that point in time.
00:04.320: 1 that was not part of 10.
00:04.320: It's there.
00:04.320: I've also had my iPad as a surface to have more things on.
00:04.320: But so for me, and I don't have a frame of reference as I didn't sort of have a dabble in the Adobe product.
00:04.320: Next shot, next shot, go.
00:04.400: Um so what is your background in
00:04.400: No, I've got to work around to it.
00:04.400: Use your name.
00:04.480: Also, premium beats, thank you.
00:04.480: And I think the reason I don't is because our projects, which live on hard drives, will
00:04.480: So very often it's easier to say, hang on, let me just go grab some bits off YouTube, let me get some music, let me put some text here.
00:04.480: They were okay.
00:04.560: No, it was the one where we tipped the the the the building ha
00:04.560: I agree.
00:04.560: Well, I think it so this is interesting.
00:04.640: Yes, I do.
00:04.640: Well, I mean, you know well, Chris, we also have in house a team working on video as well.
00:04.640: But even more so, what is happening is it is becoming accessible
00:04.640: You know, I mean, that's potentially bad for people like me that only do this for a living, but
00:04.640: Those definitely help the show.
00:04.720: So how is it in the last
00:04.720: Now, as a as a
00:04.720: So the sort of muscle memory of remembering shortcuts and everything to do wasn't there.
00:04.720: And I embraced Final Cut 10 very quickly because it was a familiar metaphor from iMovie.
00:04.720: I think what we're talking about is the fact that this language
00:04.720: Or do you think that plays a part in future hires for you?
00:04.720: I specialize in brochures.
00:04.800: And I'm like, No, no, that won't work.
00:04.800: It really helps communicate the message.
00:04.800: Yeah, it actually feels very weird to just do 16 by 9 now, doesn't it?
00:04.800: And I they sponsor this show.
00:04.800: And then if you dig a little more, you'll find that perfect thing too.
00:04.800: And if you have not looked at them, please go look at them.
00:04.800: You know, a great example, I you know, I can remember talking to somebody a number of years ago and they were saying, I really want my
00:04.880: I'm the only one available.
00:04.880: I don't know.
00:04.880: I also see people sometimes completely abrogating it.
00:04.880: And I'd observe that my team that produced those videos had just great creative ingenuity and
00:04.960: But I've always had an interest in broadcast and telecommunications.
00:04.960: And I think that very often what we're working on with you is okay,
00:04.960: I do feel if I look at Final Cup, I can
00:04.960: So I you know, it's mainly, for lack of a better term, home videos, travelogues, and then things that I'm just creatively interested in seeing.
00:04.960: I personally happen to be connected to that and enjoy it, as you say, myself, so I'm happy to do it.
00:04.960: Why can't I use it?
00:04.960: And to flatter you, if I may, Chris, because we work with you a lot and we see the quality of work that you do, I think that
00:04.960: You're talking about the seven pieces for Pam's present.
00:04.960: It's totally different and much more difficult, sure.
00:05.040: Hey, I want to welcome you to another episode of Funnel Cut Grill, or the FCPX Grill, if you need to look it up alphabetically on iTunes.
00:05.040: So, Gordon, first of all, thank you for agreeing to do this.
00:05.040: So, I started my career with a real job.
00:05.040: And I think that when I and Final Cut seven had thousands of things also.
00:05.040: I mean, you're you're expecting.
00:05.040: Use new technology.
00:05.120: So it's interesting to add that.
00:05.120: QAD, it's the real thing.
00:05.120: Um you can now turn your volume back up.
00:05.120: But the bottom line is that, coming back to your question, do you need people that can use the tools of familiar?
00:05.200: The chameleon was this light green color and the dirt that we were standing on was this red
00:05.200: Definitely take a look at it.
00:05.200: But it's a bit like photography, and photography is a great interest of mine as well.
00:05.280: I do remember that.
00:05.280: I was definitely wrong.
00:05.280: Okay?
00:05.280: Like a Huey?
00:05.280: So from a collaboration standpoint, how do you use tools in terms of being able to communicate ideas with
00:05.280: I've seen some terrible, terrible faces shows that are just badly put together and they've been badly put together by people who do it for a living.
00:05.280: No, I I didn't.
00:05.360: And I think a lot of people wouldn't normally be very upfront and vocal about who their clients are for fear of being poached, but I'm not really worried about that.
00:05.360: North Beach, San Francisco.
00:05.360: 10 1 1.
00:05.360: It was a for me, that made me more comfortable.
00:05.360: I think one of the best
00:05.360: Um it's not
00:05.440: Luckily for me, he still hires me professionally, but that's you know another story.
00:05.440: What is your role at QAD, the company?
00:05.520: I think there's just deadlines.
00:05.520: Maybe it automatically copies it into the library.
00:05.520: Um and you know, that's I think a very key thing.
00:05.520: Do you see that in the future that this type of communication does become part of the job description?
00:05.520: Or did you go by some of the companies?
00:05.520: Yeah.
00:05.600: I'm digressing, but delivery of that content is
00:05.600: Uh go into more detail about that.
00:05.680: I want to put things stage things for events that you work with us very often, put things up on the World Wide Web, which I hear is gaining in popularity.
00:05.680: Did you know that?
00:05.680: So if all of your media is up in the cloud
00:05.680: I think one of the things that's really cool that I have yet to really exploit, but I don't think most people realize it.
00:05.680: Yeah.
00:05.680: I tell you, looking back, we mentioned that video from South Beach.
00:05.760: They're based in Santa Barbara, California.
00:05.760: So I have one huge playlist with 20,000 tracks in it.
00:05.760: But I can see that it must be a challenge looking at the integrated thinking around that.
00:05.760: So if you use that tab, you click on it, it'll open up a little flash recorder, and you can use the microphone on your computer to leave comments.
00:05.840: Many people involved, and they are just exquisite pieces of video that.
00:05.840: John Butera was shooting a standard deaf DV camera.
00:05.840: So I think that what things like Final Cut do is they remove the constraints of just not being able to do it.
00:05.920: It's a lot less real.
00:05.920: And is that a word, prevalence?
00:05.920: You also enjoy this.
00:05.920: Can't you use it?
00:06.000: Do you remember that night?
00:06.000: I ended up working in West Africa.
00:06.000: 0.
00:06.000: I've certainly my family is distributed a bit round the world, so I have made more
00:06.000: I would always go for the Huey, the big blades, you know, the to breaking the sound barrier, then that's what we need to get.
00:06.000: So I like that.
00:06.080: I believe he said he was the
00:06.080: You actually, I mean, there have been multiple times when I've said, Gordon, I can't do that, and you'll say, Move over, let me show you.
00:06.080: Did you know that?
00:06.160: No, no, you've said that.
00:06.160: 10 1 1.
00:06.160: They should do it all the time to avoid anything any other damage they're doing.
00:06.160: Well, I often use this when working with
00:06.160: Yeah, because if you're using new technology at school
00:06.160: I was like, I don't have the time.
00:06.240: I think that we had a show on, and due to basically lack of planning, lack of entertainment, and lack of content.
00:06.240: And so we're currently at the ten one one, looking for ten one two, not sure what we're gonna find in that, but um yes, it does get upgraded often.
00:06.240: Do you have to have a deep knowledge of the technologies yourself to do that?
00:06.320: We're going to mention that a little later on in the show.
00:06.320: And it's a more engaging medium and for an event like this, I mean
00:06.320: So for me, the concepts of projects, events, the time line, dragging things through compared to the
00:06.320: Can you figure it out without having to go to some sort of a manual?
00:06.320: Yeah, at um and you know, not a finished piece, but just testing it, playing with it, seeing what that worked out like.
00:06.320: Do you use those features in the FX browser?
00:06.320: And we're going, God put him down, get him to change colour, get the chameleon to change colour.
00:06.320: So Des puts him down, the chameleon moves his eyes round, finds a bush that's the same colour as him, runs to the bush.
00:06.320: And we did a couple of tongue in cheek things and the team had a lot of fun going off and building that and flying drones around and doing stuff.
00:06.320: Yes, I'm a brochure specialist.
00:06.400: But that's not your job.
00:06.400: Well, there's a little bit of that, and you blew me off yesterday, so now the crunch is on.
00:06.400: And that's when I started working with Adobe Premiere for about four to six months.
00:06.400: For me, it was more convenient because I already had that.
00:06.400: Oh, that's not gonna work.
00:06.480: So I want to apologize if this feels like I'm kind of cutting corners.
00:06.480: Yeah, there was definitely a magic that happened.
00:06.480: Let me go back to your initial thing of how how do I did I get interested in that.
00:06.480: No, I didn't know that, but thanks for using this as a guinea pig.
00:06.480: I don't directly care what it's done on.
00:06.480: Being tied to what you're saying is the metaphor of iMovie, being tied to iMovie
00:06.480: I do find talking to you that you grasp more easily what's happening, I think, because you're looking at assets.
00:06.480: So one of the many things that you do for us, Chris, is the faces or happy faces reel that
00:06.480: They sponsored the show.
00:06.560: And then in the last, and I don't know if you know this, but the first
00:06.560: It's something I'm comfortable with.
00:06.560: So when we've had meetings overseas or off site.
00:06.560: Absolutely.
00:06.560: The challenge I see with that time and time and time again
00:06.560: No.
00:06.560: We used our own premises because they look beautiful and it sort of adds the background.
00:06.560: When you when when uh
00:06.560: Cool.
00:06.720: And somehow my career shifted initially into
00:06.720: So, what did you think?
00:06.720: Later, later.
00:06.800: That's more weird.
00:06.800: This is a crossover between the
00:06.800: It wasn't a competitor.
00:06.800: And Premium Beat, I will personally be looking at Premium Boot now.
00:06.800: Um you you can't do that.
00:06.880: So in my own line of work, we not only deliver marketing message and, for lack of a better term, commercials.
00:06.880: No, I didn't know that.
00:06.880: Don't let that illusion lapse.
00:06.880: Exactly.
00:06.880: And it's just, it's really great music.
00:06.880: Thanks, Craig.
00:06.960: Well, I get paid, I suppose.
00:06.960: But there are thousands of things that I can access through the user interface.
00:06.960: If you are using 10.
00:06.960: There's a lot of synergy.
00:06.960: But anyway, I have thoroughly enjoyed working with you over the years, and hopefully this one is not the last of those.
00:07.040: But it's not actually his job.
00:07.040: That's not going to work.
00:07.040: So, like, for example, the look at your iTunes, look at your iPhoto.
00:07.040: And it's always great to hear what people have to say.
00:07.120: And that's why I wanted to talk to you about Funnel Cut Pro.
00:07.120: Yes, I don't think we need to go into that.
00:07.120: Oh, well, that's a shame then.
00:07.120: One facet of that is gear.
00:07.120: But anyway,
00:07.200: He does amazing stuff, and he does it with a fluidity and an ease.
00:07.200: Actually, let's put it this way: do you see yourself as a leader?
00:07.200: So for you to be able to adopt it and
00:07.200: Okay.
00:07.280: And it gives a lot more latitude.
00:07.280: What part of, and I just want to break this down because I do think that this is
00:07.280: What are you uh what are you referring to?
00:07.280: And it's not through
00:07.280: But with nonlinear editing tools like Final Cut today.
00:07.280: Well, thanks for doing this.
00:07.360: When I talk to people, I point out myself as the star of that video.
00:07.360: But maybe to come to your point, then maybe, again, that's just a paradigm.
00:07.360: I don't know if you know that.
00:07.360: The event that we've just been at, Chris, and you've done a whole lot of video assets for us, and we've done a lot of stuff in-house.
00:07.440: Although, I will say, our friend Richard Taylor, who was on a past episode.
00:07.440: And I found, for example, that adding helicopter soundtrack always makes any drone video more impressive and more powerful.
00:07.440: QAD, the ultimate software machine.
00:07.440: And I said and I said, when I went to school, fax machines didn't exist.
00:07.520: And for me to convert something that's in my mind's eye
00:07.520: I thought they were fine.
00:07.600: And our knees are touching.
00:07.600: And the metaphor for Final Cut is you know
00:07.600: So all of the complexity comes out to the surface.
00:07.600: I mean, we were.
00:07.680: And I believe we're somewhere at around the
00:07.680: Have you ever used the music from Premium Beat?
00:07.760: Is that North Beach, Miami?
00:07.760: And I have I have iMovie on my iPhone and have
00:07.840: A great guy and wicked, wicked smart.
00:07.840: But to answer your question in the context of ten years, I think ten years ago
00:07.840: So don't
00:07.840: And also if you look at IMA, I mean Final Cut has sort of evolved over time.
00:07.840: So
00:07.920: You are.
00:07.920: It engages people more.
00:07.920: Right, right, right.
00:07.920: I like the idea of keeping it in the cloud.
00:07.920: I went to a
00:08.000: Now,
00:08.000: What's your line you used?
00:08.000: I actually sought them out.
00:08.000: Well, no, there I mean there were people that said, Hey, we like okay, yeah.
00:08.080: But there's not a lot of crap on it.
00:08.160: Now, that being said.
00:08.160: I think they call it loop set, maybe loop pack, loop set.
00:08.160: Uh so uh future where do you see um
00:08.240: He'll say, Well, give me the mouse, I'll show you how to do it.
00:08.240: I feel a little weird because we're sharing this microphone.
00:08.240: And she goes, Well, yeah, you'll have to get to know Gordon.
00:08.240: I think that
00:08.240: What was your experience when you realized, hmm, why is he using that?
00:08.240: 1 release of Final Cut 10 that you could see that there was code inside of the newest iMovie
00:08.320: And I think you excel because you.
00:08.320: Because it has it has escalated.
00:08.320: Clearly the
00:08.320: In reality for me
00:08.320: They were great.
00:08.320: So definitely you need to get people that can think, yes, I can address it.
00:08.400: .
00:08.400: It seems to be a random afterthought.
00:08.480: And then, of course, probably in the last
00:08.480: So the video we'd see at a show was similar to the video that we'd see on those new widescreen TVs.
00:08.480: And it's without having to learn it, it has
00:08.480: And I think that as
00:08.480: Okay.
00:08.480: So I think if you'd sat me years back in front of a sort of proprietary edit suite and said go
00:08.560: I think it's two things I'd say.
00:08.640: I think I would say as a caveat, as you know, Chris, it's a
00:08.640: I think they're sort of fusing, and I think it's a
00:08.640: No, I'm kidding.
00:08.720: Well.
00:08.720: So I'm Chief Marketing Officer at QAD, so my responsibilities are to
00:08.720: And I think it's been great to see Apple continue to add new capabilities like that into the baseline.
00:08.720: I could see if you were built working on
00:08.720: It's just a very credible noise.
00:08.720: It's remarkable what you can do just with tools like that now.
00:08.800: That was a more of just a
00:08.800: 1 or 10.
00:08.800: Well, you know, for personal news.
00:08.880: Oh South Beach
00:08.880: So sometimes it's just putting together
00:08.880: I do.
00:09.040: I think it would be 2004, 2005.
00:09.040: And I think part of that is because people have become jaded with some of the older
00:09.040: Sure, no problem.
00:09.040: Uh I I think I don't I can't remember if you used it earlier, you say it all the time that uh perfect's the enemy of good.
00:09.120: So um so I did that
00:09.120: And I you know, also I have an interest in sound recording, so I record sound.
00:09.200: It's a lot less dirty hands.
00:09.200: I had a couple of weeks.
00:09.200: And I think that one of the things, again, for me that
00:09.200: But of course, we all know that chameleons can change colour.
00:09.200: They, I think they add like 100 songs a month.
00:09.280: And I said, Gordon, come be on my podcast.
00:09.360: That was my tool.
00:09.440: He he gravitates toward tech towards technology and
00:09.440: So I was
00:09.440: So a number of different ways that I use it.
00:09.440: So I always feel that if I have more gear, that might address it.
00:09.520: So maybe by a bit of background
00:09.520: At the moment I have the competence to do about five percent of those things.
00:09.520: And I love what you say.
00:09.600: 1.
00:09.600: That's right.
00:09.680: Oh, absolutely.
00:09.760: It's my real
00:09.840: 1
00:09.920: But generally speaking,
00:10.000: And I think that one of the biggest
00:10.000: Any preferential memberships I can get?
00:10.320: No, it was.
00:10.320: Or
00:10.400: So
00:10.400: And if something were to have gone horribly wrong, I could have.
00:10.400: Yeah.
00:10.400: It's like they.
00:10.480: I've never really had a conversation this close to you.
00:10.480: But in all seriousness, I've said this many times.
00:10.480: And I'll settle at 10% because perfect is the enemy of good.
00:10.480: Just do it.
00:10.640: I think that the difference between
00:10.720: Without being found out.
00:10.720: But now when I use
00:10.720: You should not have to be able to do this.
00:10.880: But the key uses that I see for video are
00:10.880: And so with the loop set, it's like it's like uh audio Lego blocks.
00:10.880: No, but you need people that understand, right, okay.
00:10.960: Probably 2004, that's for sure.
00:10.960: And then, you know, can't.
00:11.040: And he's like, Oh, okay, I'd love to.
00:11.040: Did you get a rebate?
00:11.040: And then I think
00:11.120: And then I went I took the footage back to my room
00:11.200: And people think, wow, did you get that out of a helicopter?
00:11.200: Well, yeah, the iCloud is only part of it, though.
00:11.200: But I know I've shown you prototypes that we made as well.
00:11.280: Um
00:11.280: So you're right that you've done work where we've asked you to build
00:11.360: Let's put it that way.
00:11.360: We've had some interesting
00:11.520: I think it'll be okay.
00:11.600: So
00:11.600: Quite honestly, I sort of am.
00:11.600: And for you, it's okay, find the hard disk that we put that on.
00:11.760: I don't know what that means.
00:11.840: Eventually, stuff gets obfuscated.
00:11.840: I made you some template files.
00:11.920: No, not North Beach, South Beach.
00:12.000: So I guess I'm af frustrated
00:12.080: Like Arcata?
00:12.720: I've got I've
00:12.880: Yeah.
00:12.880: No.
00:13.040: I I work in logic.
00:13.200: I've been on the road for a week.
00:13.360: Yeah, they wanted that.
00:13.440: No, I agree.
00:13.440: No, there's no membership.
00:14.080: Yeah.
00:14.160: Yeah.