Episode 48
FCG048 - It’s Cancer On Your Toast (feat. Anthony Baird)
“I’m Bobo Fett!” That’s what Anthony Baird feels like sometimes when he is trying to explain in HIS local production community why more people should be using FCPX. This is an interesting “ramble” where Anthony and I discuss Wag the Dog, Margarine, Public Opinion, Keyboard Shortcuts and I share my tip of what I like to call a “Dissolve Awning.
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Featuring
- Chris Fenwick
- Anthony Baird - @gorillaprod
Transcription
00:00.001: He's explaining it to him, and then he breaks it down and he starts reframing it and explaining every little intricacy of every little thing that's going to happen.
00:00.001: It's like, well, it's a little cheaper, and it's like, it tastes the same.
00:00.001: At any rate, at that point, it didn't really matter because they're choosing number three.
00:00.080: XML and Final Cut 10 is it's rock solid, especially if you're trying to get in and out of like Resolve.
00:00.080: D.
00:00.080: From seven.
00:00.160: Hello, hello, good morning.
00:00.160: But I was able to sort of, you know, lift the energy a little bit at one of these little crescendos, and then I was able to string that out.
00:00.160: I love the loop packs that are available at Premium Beats.
00:00.160: It has like a sort of a Cohen-esque thing where it's well, it's not Cohen-esque.
00:00.160: They swoop in, the CIA swoops in.
00:00.160: I could relate because I lived in Toronto with the mayor that is oh yeah, see there you go.
00:00.160: It's can't you're spreading cancer on your toast, right?
00:00.160: It's cancer on your toast, right?
00:00.160: Well, this the devil do you know is horrible.
00:00.160: Well, you know, they talk about that in marketing.
00:00.160: maybe a couple of shows ago with the the new the the the guy that just came out right out of school.
00:00.160: Titally, and you're like, no, no, no, go somewhere else with titles, right?
00:00.160: Six and all that stuff, you could do everything in it.
00:00.160: And I was like, oh, I just went to FX Factory Pro, just got my little the subtitle you're there and then I just went, boom, I had my subtitles and it was like an extra fifty bucks.
00:00.160: And this is the devil you know, right?
00:00.160: I was like, okay, let me just, everything's labeled, everything, okay, go.
00:00.160: try to explain to him the event and the project and the separation between both of them and how it's going to sort of work and how we're going to sort of workflow this through.
00:00.160: And you're working in seven.
00:00.160: money film sets, and I was a dimmer board operator.
00:00.160: And he's like, I'm paying for these avids upstairs, you know, back in the day, which was whatever.
00:00.160: So they had two, they had the offline on site and then the online was downtown.
00:00.160: So anyways, and he was a big guy and he was like, What's going on?
00:00.160: the devil they knew, you know.
00:00.160: you couldn't customize your keyboard.
00:00.160: It actually works just fine, and you get free money out of it.
00:00.160: It's like, no, no, this.
00:00.160: the line, the audio sort of jumps up and down and like to make room.
00:00.160: takes a fair amount of time but what I want to do is I want to pick one evening a week and what I want to do is I want to do a live final cut grill
00:00.160: Oh no, no, I hope it never goes away.
00:00.160: I want to put another sound bite here.
00:00.160: Yeah, I just used it.
00:00.160: Final Coat Pro X, you don't go back because as soon as I went back to seven, it's really like, wow, this is a lot of heavy lifting.
00:00.160: Can and stuff like that, but basically, the only reason why it's interesting, I'll say that when I when I started getting into Final Cut 10 and really like it sort of clicked.
00:00.160: Out of curiosity.
00:00.160: Because that'll just make it faster.
00:00.160: Like I do the roll up top of their E is, I think it's navigation, like going from one clip to the next, from one edit to the next.
00:00.160: The boat in a way that makes you want to like think that's crap, I'm never going to use that.
00:00.160: Toast cancer.
00:00.160: they came out with a door and it's like, why didn't I think of that?
00:00.240: and it was when Apple was just starting to get into video editing back in the late nineties.
00:00.240: I had this piece where a guy talked for about six minutes, and we wanted to sort of underscore it and put music there.
00:00.240: You know, most music is, you know, when you buy a song, it's like between two and a half and maybe, you know, 345, maybe four minutes long.
00:00.240: The guy's talk, and there were certain points where he had like little bits where I really wanted to emphasize it: like this is an important transition in his talk, and then this is.
00:00.240: And then I bring in the loop pack.
00:00.240: And I was able to do like the the you know one timbre of the song up until one of the beat points.
00:00.240: The podcast here.
00:00.240: The iPhone style.
00:00.240: Go check it out.
00:00.240: So, uh wh wh what mic are you talking on?
00:00.240: Normally the way it naturally hangs is probably the best.
00:00.240: Like then, Robert De Niro and him have this great interchange, and we're in a restaurant.
00:00.240: that they're just not looking at the bigger picture of everything here.
00:00.240: I mean, I th you know, I I'm going to go slightly political here for a bit, but it if you look at, you know, even if you just want to go back the last
00:00.240: 15 years in of politics in the United States and look at the way mainstream media is used as a puppet to
00:00.240: He's sort of like Robert De Niro in a way where he can redirect like the best of them.
00:00.240: That's his only skill.
00:00.240: wallet out of your pocket with this other hand.
00:00.240: You know, and that's why he still has too damn real.
00:00.240: Denying, denying, denying.
00:00.240: Yeah, it's a total it's a complete dirty little secret that people use because it's like you know what it sorry, this is a weird thing.
00:00.240: it's still hydrogenated oil and it's bad for you, right?
00:00.240: sort of came out, but you know, like they now that it's better, it's really hard to sort of like make people change.
00:00.240: Oh, it's the devil we know.
00:00.240: But I will say that in recent weeks, I had an interview with somebody and off the record, we were talking about a
00:00.240: And again, giant air quotes, group, a giant group.
00:00.240: And anybody that's a real editor will love just editing.
00:00.240: Right?
00:00.240: You know what?
00:00.240: You know, and they sort of taking stuff and just stealing the good stuff that you really, really need to take out of the box.
00:00.240: say Philip Hodgetts at Intelligent Assistant has been doing.
00:00.240: Yeah.
00:00.240: The XML between Ten and Resolve is is solid.
00:00.240: right like i know you want it to be all automated and just lean back and you're chopped the hot chair and and and then let the machine do all the work well final cut pro 7 is not
00:00.240: like that.
00:00.240: They're younger than me.
00:00.240: But my mind is way more limber than that.
00:00.240: Yeah, when you get to a roadblock, then you're you're stuck, right?
00:00.240: Project which is massive, and it was built for Financa Pro X, in my opinion, like a year ago.
00:00.240: Because a lot of my clients, like, you know, it's like, oh, it's cleared, everything's perfect.
00:00.240: as soon as they lock in again, the client not even like the client locks in, it takes it takes two seconds to do this stuff, right?
00:00.240: Yeah.
00:00.240: It was perfect for Final Cut 10, but they chose not to use Final Cut 10.
00:00.240: They didn't they didn't even get it.
00:00.240: Right.
00:00.240: and organizing of the footage and also the revisions of the footage, right?
00:00.240: cutting down and getting to the the rhythm of the whole cut.
00:00.240: For a couple of hours, do all this stuff, and I'd pay the kid the same thing right out of film school.
00:00.240: The eight-hour shifts, the overnight shifts, and running the machines and all that stuff, all that overhead.
00:00.240: driving on the way here.
00:00.240: kept on coming in and sort of looking and sort of and then I started doing same day turnaround for video playback because
00:00.240: you know, I don't know, twenty, twenty five grand a month for each system.
00:00.240: and I could dump it here, do your little edit, throw a graphics or like a whatever ESPN logo on it, and you could have your playback in the same day.
00:00.240: And I just gave him a quote and he was blown away by the number.
00:00.240: For the playback, they didn't have a mini DV set up.
00:00.240: You feel like the guy sometimes I feel like a guy who's standing in front of Bank of America at the ATM machine.
00:00.240: At your ATM machine, and you're requesting $100, and it's giving you $80.
00:00.240: like I didn't have any support.
00:00.240: Like in those environments, where that's why I call them the job of the huts guys, right?
00:00.240: This is like back in uh Oh, sorry, yeah, no, that was jumping back to my old bad experience with Fanica Pro X.
00:00.240: Of they figured out how to get no you fight you mean Final Cut 7.
00:00.240: and the director was in the middle of trying to juggle a gazillion different things basically said, no, no, no, let's just do what we're doing.
00:00.240: The connected clips, yeah, when you when the time light the when whatever, the B-roll can get connected to whatever you're and even just everything moving together.
00:00.240: That's the biggest thing because I've been working in Final Cut Pro 7 for this last project that I was just talking about.
00:00.240: What you're talking about is that when you have let's say you have soundbite number one, and soundbite number one has two
00:00.240: A sub-storyline by selecting those bits and hitting Command G, primarily, I think, because you might want to dissolve between B-roll, the two B-roll shots, and they actually have to be in a sub-storyline to dissolve between them.
00:00.240: But it also might be that you do want to slip the clip, but you want the B-rule to stay where it is.
00:00.240: And you're like, uh, what's that guy?
00:00.240: Select and move.
00:00.240: I have to rewind because my brain is like, wow, okay, now I got to sit down with a pen.
00:00.240: what I can do is I can inv invite a couple of people to be sort of panel members, right?
00:00.240: Was it you who called it a mosh pit this last Wednesday?
00:00.240: And it's like everybody's asking questions at the same time and it's just rolling.
00:00.240: I like peanut butter.
00:00.240: My favorite color is blue.
00:00.240: Toast Cancer.
00:00.240: Yeah, that's the new thing these days, calling it toast cancer.
00:00.240: And Jesse and Taj, I love post-chat.
00:00.240: a dissolve to it, and that dissolve is going to happen in, let's just use all default settings, the last second.
00:00.240: to do a live hangout on air, it's called, to do Final Cut 10 tips and stuff and QA and maybe just hang out.
00:00.240: With B-roll, but clip one is not, and you want to dissolve into the B-roll.
00:00.240: and take that piece of B-roll and click one second in, roughly, it doesn't matter, in to clip two.
00:00.240: You know, awning, if you will.
00:00.240: I think the moving is a big deal for people because they're not used to it.
00:00.240: are under my left hand.
00:00.240: Maybe it I think of it as wedging.
00:00.240: Yeah, I'm telling you.
00:00.240: Offset.
00:00.240: I'm just going to change it to shift QW.
00:00.240: But in Fonka Pro 7, when I edit in Funka Pro 7, when I move that I move so fast that people don't even think to ask
00:00.240: I have no clue what you just did.
00:00.240: to to sort of go into that, you know, like that's a good way of doing it.
00:00.240: to be able to customize my Windows layout.
00:00.240: I think almost everybody has said they want to customize the layout.
00:00.240: Chose ago.
00:00.240: even for me as a personal thing would be great.
00:00.240: is just to do some sort of it's talking about keyboard shortcuts and interaction with that.
00:00.240: And then stop it right there and say, Okay, here, this is what I want.
00:00.240: Yeah, I broke my machine.
00:00.240: He was talking about teaching old-timey editors to edit with and he said that they were picking up the mouse and putting it on the screen.
00:00.240: Assigned Ideas Love Library was on CDs.
00:00.240: At home, and basically, everybody thought it was crazy.
00:00.240: Yeah, exactly.
00:00.240: uh on the grill, let me know.
00:00.240: I could easily do a politics and conspiracy podcast, and maybe that'll be another show some other time.
00:00.240: So anyway, Anthony, thank you so much for your time.
00:00.240: the Blue and White that just came out with a door on the side, which I thought that I want to be part of that group.
00:00.240: which is the website where all of the DCC shows will be post uh are are hosted.
00:00.240: And if you go to that tab and click on it, you can actually send me a voice note, either for this show, Final Cut Grill, or if you want to send something to Alex and I for Digital Cinema Cafe, you can do that.
00:00.320: And so I didn't quite have enough.
00:00.320: So, so he has this issue with a woman, and they need the public to forget about it.
00:00.320: So, at any rate, check out Premium Beats.
00:00.320: I came across your website the other day because you tweeted something and you had the that um that quote from Wag the Dog, the scene from Wag the Dog.
00:00.320: If anybody first of all, if anybody hasn't seen Wag the Dog, it's it's seriously, it's one of my like top ten movies of the of whatever decade that came out.
00:00.320: So they start a war it's like, well, what what better way than to have them forget about his little issue with a woman than to start a war?
00:00.320: According to this guy, it's like, yeah, but you know what?
00:00.320: Nobody's really using it.
00:00.320: It was the best thing since whatever.
00:00.320: lock somebody's brain when they've locked into this first idea.
00:00.320: Absolutely.
00:00.320: You know?
00:00.320: Right?
00:00.320: Yeah, it's why don't you just pick it right off the bat?
00:00.320: 'Cause you know why you know what the big thing is?
00:00.320: Right, where they gave you everything.
00:00.320: Because basically, it's like they've cleared the table, right?
00:00.320: Jumping and power plugins, right?
00:00.320: Seven, the new iterations of them have been way better.
00:00.320: the old Final Cut Pro had subtitling in it.
00:00.320: Buy a subtitler.
00:00.320: I think it's I you think?
00:00.320: In no time.
00:00.320: I go in and I met a whole bunch of these kids that just they just learned Final Cut Pro 7 in school, and then they just like the automation.
00:00.320: You're going to be able to manage all your cameras and all that stuff, and it's going to save you a ton of time.
00:00.320: there was like time restraints.
00:00.320: X.
00:00.320: Right.
00:00.320: That maybe their skill sets weren't there to be able to do this.
00:00.320: Right?
00:00.320: And it's like, wow.
00:00.320: Your resources and in Final Cut 10 does because you can organize and sort, and you know
00:00.320: Hidden argument because they don't tell that to their boss, who's who, you know what, if they told when the boss realizes how much they're paying.
00:00.320: Yeah, that's my I do that like 50% of the time.
00:00.320: Just give me, quote unquote, the devil I know or the tool that I'm familiar with because you know, I don't want to try and learn something new.
00:00.320: You know, your bank isn't very good.
00:00.320: Yeah, but I'm Canadian, so I won't use the Bank of America.
00:00.320: And I have figured out that when I request $100 from my bank account, it gives me $120.
00:00.320: I know.
00:00.320: Okay, we know this is gonna work, we're gonna deliver at this time and all that stuff.
00:00.320: At the beginning, at the source, they should have made this decision.
00:00.320: It's okay.
00:00.320: That's where it shines.
00:00.320: Those two pieces of B roll are going to be connected to the A roll or the sound byte.
00:00.320: And that means that if somebody comes in and says, oh, we have to put another soundbite in front of that, when you slip another soundbite in front of soundbite number one.
00:00.320: Left or right a little bit by hitting you know the T key and using the trim tool.
00:00.320: Yeah, and then the audi you just want to slip the audio on on the main track.
00:00.320: and the B-roll shots will stay where they are in time as opposed to stay where they were related to the the primary clip.
00:00.320: frustrating if you're trying to do something and it's like, wow, I got to do this a whole bunch of different moves now because you're trying to do it.
00:00.320: Going back one more step, I want to get back.
00:00.320: Oh yeah, that's totally powerful.
00:00.320: To clip one.
00:00.320: You have um you're connected to clip two, and now you have this extra second just sticking out in front of
00:00.320: Yeah.
00:00.320: Yeah, and I I think in the last podcast we were talking about the learning curve of it.
00:00.320: To get from Final Cut Pro 7 to X.
00:00.320: For and and again, you've you've remapped your keyboards.
00:00.320: How to lift oh, lifting something off of the main track is the biggest thing without moving anything.
00:00.320: Right?
00:00.320: Um break apart?
00:00.320: you know, dragging l the regular dragging stuff out of the uh uh the the window and all that stuff.
00:00.320: good design.
00:00.320: 7, F 9, 10, 11, 12.
00:00.320: Gotcha.
00:00.320: Is overlay, and you think of it because the Q has a little tail on it, like the connected clip.
00:00.320: just to whatever, to cover all the Final Cut For O versions.
00:00.320: Right, right, right.
00:00.320: uh or a or a a tool, regardless of what marketing says to do, what what would you ask them to make you?
00:00.320: It was like going, it's like doing a time warp on your moves.
00:00.320: This arrived, this came up from you have a bin or a keyword collection full of clips, and you're in icon mode.
00:00.320: Of that sort of random skimming.
00:00.320: It's something to do like a time warp.
00:00.320: I'm shuttling my skimmer history.
00:00.320: Hours of footage potentially because I'm rewinding my skimmer history.
00:00.320: If there's some sort of new way that Apple could figure out how it can edit, like almost like just think of something completely Have you seen The Leap?
00:00.320: Yeah, I could see that.
00:00.320: piece of advice ever, basically.
00:00.320: Yes.
00:00.320: Yeah.
00:00.320: We'll probably figure it out when you start talking.
00:00.320: Friday with another episode of Final Cut Grill.
00:00.400: Final Cut Pro, like, swag.
00:00.400: And they have to I mean, basically, it's it there it rings so true in so many ways.
00:00.400: You know, manage the sort of behind-the-scenes dirty part of it.
00:00.400: Yeah.
00:00.400: So but the point being is that when we look at Final Cut 10, there is what the public is thinking
00:00.400: To make a choice.
00:00.400: Yeah.
00:00.400: Because they couldn't bring themselves to choosing Final Cut 10.
00:00.400: things that it should do, you know?
00:00.400: But it seems like through superior XML, which I think everybody is saying right now, that the
00:00.400: of it, and they just go through the steps like they were taught.
00:00.400: issues with things that we don't want to talk about openly and freely.
00:00.400: Because when I'm in X, it's like, no problem.
00:00.400: couple of minutes before I send it back, 'cause then they'll sort of realize how fast it was, right?
00:00.400: to to to into Final Cut 10 and the ways that Final Cut 10 would have helped it had it actually gone that way.
00:00.400: That there is that there is a continuum or there is a percentage of time.
00:00.400: brought in all the media, sorted it, maybe even done some some string outs.
00:00.400: my uh my uh G4 laptop on the side with my portable hard drives and I I learned to edit on set.
00:00.400: You know, and they were like, No, no, I like my Avid because I could customize the keyboard.
00:00.400: Like to move the connection point.
00:00.400: Yeah, the selection the selection tool, which is A, or the position tool, which is P.
00:00.400: Yeah, I I move all my keyboard shortcuts to the left 'cause I'm a righty and I just don't like it all bunched up.
00:00.400: Video show using G Google Plus.
00:00.400: Throwing out the most random questions.
00:00.400: Clever ways to change of when you want to change the connection point.
00:00.400: Yeah, well definitely the position and I always forget the other name of the tool.
00:00.400: You know, they were way, you know, you were talking about, you know, you're a lefty or a righty.
00:00.400: Like revive that old feature from Final Capro 7.
00:00.400: Yeah.
00:00.400: Uh I got I have the computer box in front of me.
00:00.400: What what are they editing in?
00:00.400: And those were computers.
00:00.400: Playing around with PCs at the time and, you know, unscrewing all these screws and all this stuff, and going in and out, in and out, video cards and all this stuff.
00:00.400: Or you just want to say thanks for doing the show, whatever, leave those comments there.
00:00.480: to shape and cause and create stories.
00:00.480: It's not because he has a choice.
00:00.480: Okay, so this let's try and bring this.
00:00.480: They always start saying stuff like, oh, well, you can't do this and this and this and this and this.
00:00.480: will see that as a negative.
00:00.480: is that yep, they kind of wiped the slate clean and as they brought back new as they brought back features that were once in Funnel Cut
00:00.480: Like, like they're taking, oh, yeah, I like that feature.
00:00.480: And I think they stumbled onto something, Apple.
00:00.480: When I come in as a freelancer, some guys are like, well, why isn't it work, the workflow?
00:00.480: You don't know the background stuff.
00:00.480: And I think that, you know, maybe, maybe in, okay, I've never even thought about this.
00:00.480: The assistants to spend to do the overnight stuff, the overnight shift.
00:00.480: that it's two hundred, three hundred dollars for a Final Cut Pro X system, and the kid could do it in an hour instead of spending eight
00:00.480: Right?
00:00.480: So anyway, so he was they're like, why is he ruffling up, you know, the I almost said the producer's name, Jesus Louise.
00:00.480: Give me a drink.
00:00.480: these all these guys that were s the naysayers, they'll all be sitting back going having a beer at five o'clock or six o'clock or whatever whenever they check out.
00:00.480: And while the thing doesn't get delivered, like they don't care.
00:00.480: Because in Fonica Pro X, when it moves around like that, sometimes that freaks people out.
00:00.480: Two perfect bits of b-roll that go with it.
00:00.480: Yeah.
00:00.480: 2% of the time.
00:00.480: Again, boy, it'd be great if this is a video podcast.
00:00.480: Is actually connected to the last second of clip one.
00:00.480: Um insert and overwrite.
00:00.480: the audio from the video is a big deal also.
00:00.480: Is not appended but append.
00:00.480: You're looking for a shot, so you're not, you know, you're just sort of hovering the mouse over the bin, or again, the keyword collection, and you're whipping around, you're whipping around, and the producer goes, Oh, back up.
00:00.480: No, what is that?
00:00.480: And it allows you to sort of minority report stuff.
00:00.480: He I was about to buy a PC, souped up PC with Premiere four or something like that on it.
00:00.560: Let me think.
00:00.560: Very well-known group.
00:00.560: And in their testing, the top three choices, when it all when it all when the dust settled, their top three choices were
00:00.560: With Avid was the hardware.
00:00.560: with Joe Gill.
00:00.560: Everything, and even if it moves in that weird way, that's the biggest thing that they think they have to fix is how things move around and the speed of it.
00:00.560: I was I had walked in and sat down in the back of an an edit and um the other editors were kind of struggling with those connected clips because they were doing some things that they didn't want them to do and I had to teach them about the tilde key.
00:00.560: Exactly to the same frame.
00:00.560: The one that makes people learn faster.
00:00.560: Connecting a clip.
00:00.560: Of the previous clip, clip one.
00:00.560: Clip clip two that that holds the dissolve in it, and now you can slip any shot you want underneath it.
00:00.560: I actually started using more keyboard shortcuts, especially for basic editing into the timeline.
00:00.560: The letter D.
00:00.560: Like, ah, you have no idea.
00:00.560: Uh uh guerrilla productions.
00:00.640: Does it do it?
00:00.640: And then I was able to kind of create a transition in the song where I sort of I didn't go into like a giant guitar solo or anything
00:00.640: of like the social zeitgeist like what is the what is the public thinking what you know where are they putting their attention
00:00.640: You know, and there's way more pros than cons in Final Cut Pro X.
00:00.640: Yeah, it makes sense.
00:00.640: It's certainly not our responsibility to justify why Apple does or does not have certain features.
00:00.640: strategy of allowing third party developers to fill in gaps is
00:00.640: Platform and a framework for other people to come in and go, oh, yeah, I got a great solution for that.
00:00.640: You know, Alex McLean, my co-host on Digital Cinema Cafe, he was I mean, he keeps telling me, he goes, oh, good grief.
00:00.640: You got to get in there, right?
00:00.640: This whole thing.
00:00.640: Like they're taking their sweet hole time in Final Cut Pro 7 and then dumping it on me.
00:00.640: bring things in e I think easier.
00:00.640: Mini DV had just started.
00:00.640: Tell me, you know, if you're sitting down with a Final Pet 7 editor and you can actually get them to listen to you.
00:00.640: And you just don't realize how much clicking you do in Final Cut Pro 7.
00:00.640: Or something because there's something about that that everybody's like, whoa, whoa, whoa, whoa, whoa, slow down.
00:00.640: I think that's kind of a bummer.
00:00.640: Wow.
00:00.640: If we talked this way in real life.
00:00.640: You know?
00:00.640: It just smacks it right down into your primary storyline, overwriting, not overlaying, but overwriting what was there.
00:00.640: my shortcut world and on my keyboard.
00:00.640: And then use JKNL to scrub through the history
00:00.640: It is a gizmo, leapmotion.
00:00.640: Logic, if I the create the create icon.
00:00.640: Or 3.
00:00.720: Probably didn't need to go into all that.
00:00.720: I think you're going to enjoy this conversation.
00:00.720: Avid.
00:00.720: But even though all of the editors are like, yeah, yeah, we'd like to use this.
00:00.720: It's like, oh, God, something's gone terribly wrong.
00:00.720: Well, the biggest problem of that, the of the whole thing was basically that
00:00.720: Of media between people, right?
00:00.720: You know, there was a another you talked about re how do what do we even call this?
00:00.720: It's good information.
00:00.720: So those connection points are knowing how to manage those and use those in your favor are really powerful.
00:00.720: What are the Anthony Baird three tips that you would sit down with a Final Pets VII editor and say, dude, let me give you a few pointers that'll help you not pull your hair out?
00:00.720: On my keyboard.
00:00.720: is another one where you delete something out of your time line that you know you don't want anymore and it and nothing moves.
00:00.720: So those are the like the three or four I don't even know how many I told you that those are definitely the ones that you need to know
00:00.720: And I think I mentioned this once with Scott Simmons.
00:00.720: He told me once, I think on one of the shows, that part of the reason why he can do it is he has remapped his keyboard.
00:00.800: Like, I 'cause what I did is I tried the Final Cut Pro right when it came out.
00:00.800: I don't even know that Apple stumbled upon it.
00:00.800: Because so far it's really feeling like people are having a lot of success in dealing with some of these problems.
00:00.800: That didn't really happen.
00:00.800: It took the post house a half a day to do the turnaround because they were working with Avids.
00:00.800: Its B roll is attached to it and goes with it.
00:00.800: It'll take you a couple of hours to be able to just be drag and dropping stuff.
00:00.800: And yeah, that's where you go to sort of look at my stuff and you can contact me there.
00:00.800: Blog.
00:00.880: Jogs them into the right direction where he realizes they make they he realizes they realize.
00:00.880: A very well known quote unquote group was trying they were testing edit systems to because they wanted to get off of Final Cut ten or excuse me, off Final Cut 7.
00:00.880: So basically, that was one of the big hurdles is that you're going to have two, three cameras running all the time and then we have assistants coming in and trying to sync this stuff and deliver this to the multiple editors.
00:00.880: Just a few hours ago, the Joe Gill episode went live.
00:00.880: You have assistant editors.
00:00.880: But everybody hated me in the post side over there.
00:00.880: It's okay.
00:00.880: That's exactly like what you just asked me about what I would tell people, the Final Cut Pro 7 editors.
00:00.880: I'm trying to pick an evening of the week.
00:00.880: It's like where it rests naturally on the keyboard, which is the F.
00:00.880: Right, right.
00:00.880: Very cool.
00:00.960: I came across Anthony.
00:00.960: So William H.
00:00.960: And you know, one of my favorite podcasts, boy, we're going really weird here for a second.
00:00.960: And what a few very vocal people have said, and everybody says, Well,
00:00.960: And then I just take everything out, and then only the things I need I take out from that box.
00:00.960: And then I did, and then I took it back, I picked it back up at around 10.
00:00.960: It's horrible to bring it into Resolve.
00:00.960: Without revealing too much, can you explain some it so let's now let's talk about Anthony's ideal dream project
00:00.960: It's like it's like it's very, very it's ridiculously fast in s in X, right?
00:00.960: And you're across the street at the Bank of Toronto at your ATM machine.
00:00.960: That's like a mosh pit, though.
00:00.960: The regular tool, right?
00:00.960: I'm just going to use like shift QWEN whatever, 'cause I'm used to it my left.
00:00.960: I'm rewinding it in fast motion.
00:01.040: So, anyway, so I started making money that way, like a little side jobs there, right?
00:01.040: And it's hard.
00:01.040: What are some of the key features that you are using that are changing your own personal workflow for the better?
00:01.040: I love the okay, you know what I love?
00:01.040: But because I don't know if it works with Final Cut or what.
00:01.040: And I was like, I live in an apartment right now So so and then it and the best advice I got, I was just thinking about that like years ago in Toronto, some guy at uh Creative they're out of business, doesn't matter.
00:01.120: That's the argument that you always get.
00:01.120: What's the best way I can do this?
00:01.120: Anybody can log on and watch and actually use the chat feature in Google Plus to ask questions and interact.
00:01.120: Like one day or something like that.
00:01.120: Yes.
00:01.200: And basically, because it was there was a lot of multicam involved, doing syncing up the multicam in Final Cut Pro 7 is a very long process compared to Final Cut Pro.
00:01.200: So that they could start building the episodes.
00:01.200: Are you familiar with that?
00:01.200: So that's something that I'm toying with.
00:01.200: Right.
00:01.200: Um I'm dragging these days just from from Final Cup Pro X.
00:01.200: Oh, the um hold on.
00:01.280: So it's actually premiumbeat.
00:01.280: Listen to some of their music.
00:01.280: And I mean, look at look at Steve Jobs wore those stupid new balance running shoes until the day he died, you know?
00:01.280: It's really interesting that you're saying some of this stuff because this is, you know, it is Friday morning at 7:30 right now, California time.
00:01.280: And then I kept on, oh no, here we go.
00:01.280: There's another name for it, the Grave Accent key or something, I can't remember.
00:01.280: Just temporarily, you're ignoring the connections.
00:01.360: make things happen.
00:01.360: It's sort of a cis human thing.
00:01.360: So now I'm trying to explain to these guys.
00:01.360: I don't want to be dealing with logging and sort of organizational of a scene and all this stuff, right?
00:01.360: You know, like in the Fonco Pro X model, you get 10% of prepping, 90% of creative editing.
00:01.360: I was sort of reviewing my whole career in my head to sort of if you were going to ask me anything about that.
00:01.360: What are the three tips that you're going to sit down?
00:01.360: You haven't broken that one yet?
00:01.360: I'd have to be in it to sort of tell you because it's all touch.
00:01.360: You do that because it's like you're watching somebody.
00:01.360: So that's that would be brilliant.
00:01.440: Welcome to another episode of Final Cut Grill.
00:01.440: Yeah, that's okay.
00:01.440: Like, how are you surviving?
00:01.440: What do I call it?
00:01.440: Oh.
00:01.440: Yeah, D is in dog.
00:01.440: No, no, no, I'm hitting the wrong buttons here.
00:01.520: Number three.
00:01.520: They didn't get to the first step.
00:01.520: you know, like they're going to be in trouble, those people that didn't give the good advice to their boss.
00:01.520: So he started thinking about that stuff.
00:01.520: The devil they knew was that we could customize a keyboard.
00:01.520: And then being able to move the connection point, that's one that is like you have to know this to sort of start to get on the bus properly.
00:01.520: Right.
00:01.520: 1 or whatever it was.
00:01.600: I go, really?
00:01.600: So you're not saying that it actually functions poorly.
00:01.680: Does it do it?
00:01.680: Show me the tape that I'm smoking crack.
00:01.680: Like, for example, you know, if you're 15 years old and you wear Nikes, that you are going to be a Nike wearer for life.
00:01.680: Yeah.
00:01.680: That was the thing that blew my mind.
00:01.680: And yeah, and that's actually a really powerful tool.
00:01.680: So, yeah, so that one, boom, you do it, and then that's perfect.
00:01.680: Go check out LEAP.
00:01.760: Believe it or not, well, no, I mean, I believe it.
00:01.760: And we got into talking about third-party developers quite extensively.
00:01.760: So I'm like the only guy.
00:01.760: It's a dissolve awning is sticking out prior to and in front of clip two.
00:01.760: And that's what I say to everybody, like when I used to teach people Final Cut Pro 7 or Final Cut Pro Classic.
00:01.760: And because that's just, I'm used to it.
00:01.760: I could see that.
00:01.840: So, basically, that's what it is.
00:01.840: So it was sort of like the big roadblock that they had discovered that they could tell, I'm going to be slower, I can't customize my keyboard.
00:01.840: It's just this wacky, right?
00:01.840: I just really go back one more step.
00:01.840: Yeah.
00:01.920: So, what I did with this is I bought the loop pack for the song, and I was able to use that.
00:01.920: Okay, so welcome to the little show.
00:01.920: Like that.
00:01.920: So you're like, uh, bummer.
00:01.920: Break apart is a good one too.
00:01.920: I just jumped.
00:02.000: It's like, what?
00:02.000: Yeah, there we go.
00:02.000: Okay, Anthony, last question.
00:02.080: Exactly.
00:02.080: It's a brand new thing.
00:02.080: Like that was the hard thing with the whole crew.
00:02.080: I don't know why that has to be.
00:02.080: And I was like, what?
00:02.080: And the minute you pick that up and move it, all of that B-roll for clip two is going to go with it because it's connected.
00:02.080: See what I'm saying?
00:02.080: I don't know.
00:02.080: Um always looking for interesting people and this uh has been a great chat.
00:02.080: Got a little weird there in the beginning.
00:02.160: Because I have like 50 interviews on my podcast of people that are using it at all levels of production.
00:02.160: You hit the tilde key and it temporarily.
00:02.160: Very cool.
00:02.240: He's horrible.
00:02.240: It's the devil we know.
00:02.240: And I like it.
00:02.240: So, basically, yeah, so what we're talking about, what we're talking about, and this is a really interesting thing because I just dealt with this just yesterday in an edit.
00:02.240: So do you find that you do most of your editing where you're dragging clips out of the bin into the timeline?
00:02.240: Yeah, so now I'm going to do that now because uh I'm I'm going to try to move that.
00:02.240: The only computer we had at our school was a computer database that you could search the C Ds, the newfangled C D's for audio clips, like FX, sound ideas.
00:02.240: Oh, that's funny.
00:02.320: It's because they have proof.
00:02.320: No, no, no, this is fine.
00:02.320: It makes complete sense.
00:02.320: But that's another era of, like, I think now we're in a new era of
00:02.320: And there's an I know you already are dealing with a gazillion different problems, but this is another problem you got to deal with.
00:02.320: I'm just sorry, I just have somebody specific in mind these days because I had a bad experience with trying to switch some people over to Final Cut Pro X, and they just were.
00:02.320: I call it with a tail, without a tail, the cursor.
00:02.320: So you have clip one, which is soundbite number one, and you have clip two, which is soundbite number two.
00:02.320: I'll tell you what it is.
00:02.400: No, it does.
00:02.400: I I can't remember what the phrase is, but there's something about they say that when you can get a kid
00:02.400: I was like, wow, are you serious?
00:02.400: You like you can't do the fixes behind the scenes.
00:02.400: The whole wag the dog thing about just not being able to what was the exact term?
00:02.480: He's another great Twitter find.
00:02.480: Yeah, I know.
00:02.480: Macy and they're and they're basically Robert De Niro is sort of like a a spin doctor, I guess.
00:02.480: If anybody that's like an editor will love Pro X
00:02.480: Yeah, yeah.
00:02.480: Right.
00:02.480: Yes, yes, yes, yes.
00:02.480: I'm kind of unfolding the the rat hole here.
00:02.480: Yeah, thanks for having me.
00:02.560: That's okay.
00:02.560: Everybody everybody now is he is on this bandwagon.
00:02.560: Is there's like something that is way better that can make your life very, very easy.
00:02.560: Okay.
00:02.560: So when you slip it left, those two bits of B-roll will slide left because they're connected to a frame in that primary clip, that interview clip.
00:02.560: So you're picking a new connection point.
00:02.560: And that's, I think, from my Avid course days.
00:02.640: Premium Beats.
00:02.640: Uh, I got like a headphone thing.
00:02.640: And they told it so it was good in the 80s, but it's like really hard to un
00:02.640: And I think part of that has to do with the fact that, and again, I'm not a developer.
00:02.640: And the guy said, You know what just came out two weeks ago?
00:02.720: He hasn't really looked at it.
00:02.720: And I don't know that it's necessarily it's certainly not excuse me
00:02.720: Like honestly, I think they just sort of stumbled onto this whole third party developer thing where the plugins are just sort of like happening and then let other people deal with like the little small
00:02.720: What was the nature of the project, and how did you see it falling in?
00:02.720: And it's like, oh my god, look at this Anthony guy that's swooping in.
00:02.720: And I think that's one of those where it it it really becomes
00:02.720: Oh, 'cause I could use my JKL is there.
00:02.720: It's like, whoa, I just saw some whoa, where is it?
00:02.720: I was self-taught because I when I went to school, I went to school in the wrong era.
00:02.800: Right.
00:02.800: I can't give you any details of who I was speaking with.
00:02.800: So basically, a lot of people are touching all the episodes, right?
00:02.800: So you hit the tilde key, and basically, what that means is ignore the connections.
00:02.880: Oh, it does.
00:02.880: Like, why are you going through this whole test if you really knew that you were just going to go for what you think is the new kid in town?
00:02.880: Yeah, that's a possibility.
00:02.880: Hashtag Toast Cancer.
00:02.880: Yeah, I love it.
00:02.880: And that connection point of that piece of B-roll, which goes with clip two.
00:02.880: It looks like that's dark.
00:02.880: It's like such a simple thing that makes life so much easier.
00:02.960: And I was able to use, and again, I've mentioned this before in the past, when you buy the loop pack, you get these little musical Lego blocks.
00:02.960: Right.
00:02.960: But but basically, you know, like the old title Foot Cut Pro, I would have had to pay a thousand or whatever the upgrades were.
00:02.960: Like, I could do this.
00:02.960: Basically, you had delivery times because they were dealing with more a stricter time line.
00:02.960: It's like, okay, I can move all this stuff like the old-fashioned way if I want to, and like Final Cut Pro if I use the position key, and I could just
00:02.960: That has nothing to do with what we're talking about.
00:02.960: Yeah, yeah.
00:02.960: So you're inserting it, wedging with the W into your primary storyline and rippling everything else down.
00:02.960: Gotcha.
00:02.960: I don't know what you were talking about.
00:02.960: I don't know.
00:03.040: And they had that like the crow arm thing going.
00:03.040: I do.
00:03.040: And so, in a lot of post houses, when you walk in and sit down, somebody has
00:03.040: I call it a mosh pit.
00:03.040: I don't think it takes a day.
00:03.040: Right.
00:03.040: And leave messages.
00:03.120: I know some people like you know, you you see people like walking down the street and they're holding that they're like trying to swallow it like
00:03.120: But it's hard.
00:03.120: Yeah, they just didn't think it through.
00:03.120: And they were shipping.
00:03.120: Yeah, the post chat is awesome, but it really is kind of.
00:03.200: com.
00:03.200: Right.
00:03.200: You don't have to be a member, nothing like that.
00:03.200: And that's the thing that I always hear, like the the the same people that give you the old devil you who know
00:03.200: And you're like, but I've been doing this for years.
00:03.200: Do you think so?
00:03.200: Pardon me?
00:03.200: I don't even, that's why I don't even know what Q, W, E are.
00:03.200: It was the scru uh time where I called it something else.
00:03.280: Like it's not good.
00:03.280: And the one thing that drives me crazy as a free because I'm a freelancer, right?
00:03.280: Number three.
00:03.280: And I even blogged about this years, like, maybe a year and a half ago, about how.
00:03.280: Or do it the hard way.
00:03.280: We just buy this plug-in and then we can go and all this stuff.
00:03.280: I have a five-year-old.
00:03.280: The knowing that difference between that reconnecting a clip, that's the number two that you definitely need to know.
00:03.280: Because I could literally scrub back with my JK L, I could if with J, I could go back through
00:03.280: I want to remind you, if you go to digitalcinemacafe.
00:03.360: It autofills.
00:03.360: It's not scraping or anything?
00:03.360: Let's now go to our interview with Anthony Baird from Canada, Guerrilla Productions.
00:03.360: And that's the end of the scene.
00:03.360: Like, they basically, that's what I when if I ever want to like reset my office, I just throw everything into a box.
00:03.360: Like my last project, I just I need to do subtitles, right?
00:03.360: Because really what for me, what the the sort of the moment where I was like, wow, this is like, this is what it's all about, was when I came up to doing like revisions.
00:03.360: Let's just go with this.
00:03.360: So so this is what I was talking about earlier.
00:03.360: Yeah.
00:03.360: So hey, Anthony, thank you so much for your time.
00:03.360: ca with an S.
00:03.440: And all and basically they're trying to put their own spin on it, but they're not as
00:03.440: It's like a sleight of hand artist, you know, like nothing up my sleeve.
00:03.440: There's something in the human mind about locking in on a concept, and then it's really hard to debunk.
00:03.440: Anthony, I want to go back to something you just said, and I realize that, you know, we all have.
00:03.440: And I had it all set up and everything was great.
00:03.440: It's such a wacky system, the bigger, the big shows, you know, like they just didn't have everything there.
00:03.440: Yeah, I think we have to come up with a good name for what mine is.
00:03.440: Uh leap input device.
00:03.440: This could be so much better if I planned ahead.
00:03.520: Okay, so let's be clear: the era that you're talking about, this story, this, you know, nope, we're just going to go with the avid.
00:03.520: I love the connected timeline.
00:03.520: Okay.
00:03.520: I've remapped my thing so I have no clue.
00:03.520: And then I think on one of your shows you were talking about how people are like, Hey, how'd you do that?
00:03.520: It's call it if you Google, like, yeah, here, let me do it for you.
00:03.520: Later, later.
00:03.600: Sorry, guys.
00:03.600: It's like we have video, we have everything, they have everything we have to sort of hang this guy, and that's why there he's like um he's being honest.
00:03.600: I honestly, Anthony, I could talk about this for another hour.
00:03.600: And now it's really hard to debunk people about margarine and how it's like
00:03.600: It's like, stop saying the devil we know.
00:03.600: That's just the main, main thing is editing.
00:03.600: It's like a crapshoot.
00:03.600: Yeah.
00:03.600: And then it's like, ah, just one more thing.
00:03.600: That's the other thing that's really important.
00:03.600: And it's like, it's like people are in a meeting, and somebody just walks in and says,
00:03.600: Because the connection point is actually on connect on clip two, even though it's dissolve, that sort of
00:03.600: I got that.
00:03.600: If you could sneak into Cupertino and talk to the programmers and ask them to build you a feature.
00:03.600: I apologize for that.
00:03.600: So I I I I had this wild idea in the late 90s to edit.
00:03.680: So so so what happens is there's very much a Clinton era kind of gaffe with the president.
00:03.680: So I was like, I was like, well, you could build Fonica Pro systems like this.
00:03.680: You know, it's funny.
00:03.680: So I'm going to scrub past skimming is what we're doing.
00:03.680: Yeah.
00:03.760: Thank you for Premium Beat.
00:03.760: It's like because when they k when Fina Cup Pro came out, everybody said, This is horrible.
00:03.760: I really believe, and I was having this discussion just on the last episode, Friday's episode.
00:03.760: You know?
00:03.760: Anthony's telling me that it costs this much of to to replace all these systems.
00:03.760: And actually, I'll sort of announce that here.
00:03.760: Sorry.
00:03.760: It basically lays it at the end of your timeline, regardless of what's going on.
00:03.760: And have different versions of it.
00:03.760: Yeah, stay in touch.
00:03.840: So please, they support the show.
00:03.840: I'll just say group.
00:03.840: Yeah.
00:03.840: Yeah, just this last week there was some kid.
00:03.840: Oh, God.
00:03.920: But I want to tell you a quick story.
00:03.920: They're not thinking it through.
00:03.920: Show me the tape.
00:03.920: Okay, but so maybe for those people, they just don't care.
00:03.920: Because it's like, who's this dumber board operator on the floor who's telling people upstairs because they had their edit suites upstairs?
00:03.920: I call it a Twitter mosh pit.
00:03.920: It's like, wow, it's hard.
00:03.920: Like even sometimes that's why I like doing multi-clip stuff because you could look at double image sometimes at the same time.
00:03.920: So at any rate, you're just talking about different input devices.
00:03.920: So you could sort of look at the database.
00:04.000: You did a test.
00:04.000: I think that's an interesting I think that's an interesting way of looking at it.
00:04.000: And there was a lot of overlap and interchanging between
00:04.000: And I don't know what that is because I don't know if you've heard, but I'm doing three podcasts a week and it's driving.
00:04.000: Well, that feels like I'm changing the speed.
00:04.000: Oh, baby, that's good.
00:04.000: But something like that.
00:04.080: Like, there's this t-shirt, it says lights, lights, Mac action, or something like that.
00:04.080: And now, everybody's like, no, no, no, sorry.
00:04.080: I think that it is really part of what Apple has intended to do is to create
00:04.080: We were shooting up in a little bit northern Toronto, and they were shipping it downtown.
00:04.080: I was like, and at one point they I just sort of they were they kept on finding roadblocks
00:04.080: I wish it wasn't, but that's the way it is.
00:04.080: And the reason I mentioned post chat is we were talking about using Google Plus.
00:04.080: Now let's assume we know Q, W, E, and D.
00:04.080: I said you haven't broken that one yet.
00:04.080: F D S.
00:04.160: So they went with number three because
00:04.160: Yeah, and that's that's how it should be.
00:04.160: Like, you guys are not getting this?
00:04.160: You know, I do it, five minutes later, it's done.
00:04.160: Right?
00:04.160: Well, you're going to slip the audio and the video.
00:04.160: But the problem for me is that those keyboard shortcuts were up in the like F9, 10 and 11
00:04.240: Is that I'm 41.
00:04.240: So that's how the connected clip works.
00:04.240: And it's and you know, you sort of try and imagine what would life be like?
00:04.240: So you put it up on the upper track, you hit Command-T to add a
00:04.240: And when it doesn't move, if you once you go
00:04.240: I have no idea where I was.
00:04.240: Skimmer history.
00:04.320: Okay, so now I don't feel so bad about saying premium beats so many times on the on the uh
00:04.320: And actually, it the mainstream media is the reins, if you will.
00:04.320: So but nobody but like my dad is like, you know, my dad and mother-in-law, whatever, I'm not going to bring them into it.
00:04.320: You know, and and I think their I I think their issue with um
00:04.320: Ten minutes, everything was sunk up, everything was like, really?
00:04.320: And I spent some time too, a couple of days going in there and sort of sitting down with all the editing crew, trying to
00:04.320: Because there's a lot of revisions.
00:04.320: Right.
00:04.320: That's going to be our new I'm writing that one down.
00:04.320: I think it's great just being I don't read very well and I type slower, and so it's kind of hard for me, but I love post-chat.
00:04.320: To just do basic stuff, stuff from like, you know, like with the, especially with a handful of tricks.
00:04.320: Sometimes just knowing that, and then you're up and running.
00:04.320: So those are all the why I shifted everything over was just so I could transition.
00:04.320: com.
00:04.320: We want to be able to fold those into the show.
00:04.400: Yeah, you're locked in.
00:04.400: This I get it now.
00:04.400: And they don't understand the back the background stuff.
00:04.400: And I'm like, but it's okay.
00:04.400: Yeah, it's again, it's exactly like you're but it's
00:04.480: But they're very clever and they have bought Premium Beats.
00:04.480: Well, just one month's rental was the price to sort of
00:04.480: And you drop those above it.
00:04.480: That's exactly what it's like.
00:04.560: Well, yeah, it is in in a way that every scene is sort of a a little gem that goes from one gem to the next gem to the next gem.
00:04.560: But you said you mentioned that this project, it was
00:04.560: And then so basically they're stealing time away from me.
00:04.560: Okay.
00:04.560: Explain break apart.
00:04.560: It's like, wow, it's like, there's like, you just watch somebody do a kung fu move, and it's like, I'm not even going to ask.
00:04.560: I don't know if you realize this, but I could
00:04.640: Thanks for doing this.
00:04.640: And I'm like, no, well, this is just the way it is.
00:04.640: Sort of basic workflow stuff.
00:04.640: Yeah.
00:04.640: Yeah.
00:04.720: And I was talking to somebody the other day, and they said, well, you know.
00:04.720: I have this stupid podcast.
00:04.720: You don't know why it's not working sometimes.
00:04.720: That was the big thing back then.
00:04.720: Right?
00:04.720: When I came up with this question, I thought, oh, this is going to be really good.
00:04.720: So backing up so you could see like when you were scrubbing, scrubbing, time warp.
00:04.720: Let me know if you ever if you ever come across people that you think should be
00:04.800: No, it's it's not scraping.
00:04.800: Yeah, I think everybody should see that movie, especially in light of
00:04.800: Now there is a tape.
00:04.800: I have to be super vague here because I can't reveal this
00:04.800: It's like, there you go, you got a week.
00:04.800: They had to transfer it to beta, beta ingested, all this stuff, right?
00:04.800: He was renting them at, like, I think monthly was
00:04.800: Like they're very comfortable.
00:04.800: That's not what I want.
00:04.800: They the Avid teacher moved all that stuff.
00:04.880: Okay.
00:04.880: Yeah.
00:04.880: Yeah, okay.
00:04.880: Well, let me tease something that I'm planning on doing in the near future.
00:04.880: So anyway, all right, so so so all that by way of saying.
00:04.880: It is a gizmo that you put in front of your screen.
00:04.960: Yeah, I don't know.
00:04.960: They didn't think it through.
00:04.960: Okay, I was like, This is this is for you, this is what we should do for this one, because it's like this is what it's all about.
00:04.960: Okay, that was pretty early in it.
00:04.960: No, definitely.
00:04.960: And back in Final Cut Pro three before four
00:04.960: And they'll still be hired the next day because nobody knows that that's what happened because it's sort of
00:04.960: Uh the one that you said w was brilliant was maybe about five
00:04.960: Then, 10 years from now, it's like, remember when we had a mouse and tablet?
00:05.040: You're just saying that it freaks people out.
00:05.040: So you hit the tilde key, and now you slip the lower shot.
00:05.040: And then shift, delete.
00:05.040: Guerrilla Productions with an S.
00:05.120: This is episode 048 with Anthony Baird from Guerrilla Productions.
00:05.120: The people at the top, when they realize
00:05.120: And just use those ones.
00:05.200: It's like 40 bucks for a song, 60 or 70, whatever, if you get the loot packs.
00:05.200: They're not thinking it through, and that's the best line ever.
00:05.200: He's basically he's he's he's horrible at everything except
00:05.200: Oh, it's it's rock solid.
00:05.200: You have 100% of all your time.
00:05.200: It was back in the day when Avid ruled the planet.
00:05.200: It's like a mosh pit of questions and it's like everybody's asking.
00:05.200: And here's my best example that I again, I just showed this to another editor yesterday, and they're like
00:05.200: And then I could just go backwards slowly.
00:05.280: And when you go and you look at his blog, he has these photos of like the original
00:05.280: But here's the part that doesn't make sense.
00:05.280: You did allegedly some sort of a scientific-y sort of test.
00:05.280: 4.
00:05.280: Just one more thing.
00:05.280: And you're like pulling your hair out because you can't figure out why I can't get somebody to understand this.
00:05.280: Sometimes on your podcast, I have to when you're given one of these golden tips, I have to rewind.
00:05.280: So let's pick.
00:05.280: Something that that just, again, just rocks.
00:05.360: Well, I uh I will um
00:05.360: And I was like, oh my I can't, that's crazy right now.
00:05.360: You know, and then they realize that, wow, this kid could come in
00:05.360: Um, uh, we were talking about
00:05.360: Now you want to take clip one and you want to move it.
00:05.360: So I'll tell you, and I think I've mentioned this on the show before, Q is
00:05.360: So I don't have to look at it.
00:05.360: I used to say just learn a couple of shortcuts every other day, you know?
00:05.440: That's his intern, whatever, like, internship thing that he's doing, right?
00:05.440: I can't remember how you described it.
00:05.440: I was like, Yeah, you can't edit it at home, you need like a Avid, and Avid costs one hundred and fifty thousand dollars.
00:05.520: Okay.
00:05.520: You know, it's the classic big ship, little ship.
00:05.520: You're locked yourself into something that at any rate.
00:05.520: Oh, Julian Ferris, yeah.
00:05.520: And you go, yeah, but look at mine.
00:05.520: And it takes it takes a little bit of like, okay
00:05.520: Like any editor that edits, it doesn't take a day.
00:05.520: What do you mean by that?
00:05.520: It's just figure out some new way of inputting stuff.
00:05.600: Like even if it's wrong, right?
00:05.600: When something, you know, they just don't understand.
00:05.600: And it's like that just makes I don't know if they need to make it slower.
00:05.600: S S D F is what I use.
00:05.600: Back up.
00:05.600: Yeah.
00:05.680: com.
00:05.680: And he hires H Macy is like
00:05.680: I can't give you any details of who he was speaking with, mainly because I don't know all the details.
00:05.680: You know, they're taking stuff back out of the box.
00:05.680: You probably haven't heard it yet.
00:05.680: But it's the key that's next to the number one above the tab key.
00:05.680: Yeah.
00:05.680: Um l let's assume you have those things
00:05.680: This Final Cut Pro thing from you might want to check that out.
00:05.680: They just don't think it through.
00:05.760: And they're like, yep, no, we're going to go with number three.
00:05.760: Because I was listening to your podcast and we're talking um
00:05.760: It's cancer on your toast.
00:05.760: Overlap, append.
00:05.840: Yeah, it's like a closed-down restaurant.
00:05.840: You know what?
00:05.840: Y it makes that pre that that edit prep time go much faster.
00:05.840: But then the producer started getting curious.
00:05.840: That's one of the biggest thing that I that I love, which is basically makes things way fist faster.
00:05.840: Now it may be that you want the B roll to stay connected
00:05.840: When you want to make the cursor back to like a Final Card Pro 7, the position tool and the other the first original tool.
00:05.840: But that's a whole different shortcut story.
00:05.840: And then you have to go back and read stuff because it's
00:05.840: Skimmer history, or even like, I for some reason it feels like you're rewinding in slow motion.
00:05.840: And you had to book a time.
00:05.840: Thank thank you so much.
00:05.920: So they had to ship everything.
00:05.920: They they never went to that.
00:05.920: We should wrap this up.
00:06.000: Oh, yeah, never mind.
00:06.000: Title or title-y, yeah.
00:06.000: You know, like that's wrong.
00:06.000: It's like, all of this, I have my five.
00:06.000: Those are now or were until you broke your keyboard Q, W, E, and D.
00:06.000: Oh no, it's audio.
00:06.000: I want to be part of that group.
00:06.080: So the other day I had this
00:06.080: Oh, I was going to check that last week.
00:06.080: Is it o sounding okay?
00:06.080: I mean, like right off the bat.
00:06.080: So basically, Final Co Pro X would have saved them a ton of time, which in the prepping of the footage.
00:06.080: Look, go for it.
00:06.080: And also the
00:06.080: P, which I changed.
00:06.080: And yeah, so if you do like a hangout on air
00:06.080: Yeah, so that's a perfect example of where you just want to hit command option
00:06.080: And I think he your last guest said it would take
00:06.080: So if I could hold down a keyboard modifier.
00:06.080: I think it's
00:06.160: Hold on a second.
00:06.160: Like, you guys should be embracing it.
00:06.160: And how much when you move a block of
00:06.160: Yeah.
00:06.160: So now we have Digital Cinema Cafe and the Funnel Cit Grill.
00:06.160: That would be a blast to have those.
00:06.240: And so I contacted him.
00:06.240: It's good.
00:06.240: Right?
00:06.240: That was the difference between that and that was the big roadblock that they would always
00:06.240: I think we all know that.
00:06.320: Margarine's horrible for you.
00:06.320: Because you don't even know what you're talking about.
00:06.320: And that's basically what they did.
00:06.320: So if anybody wants to saw you on the post chat, guys, on the Twitter thing.
00:06.400: We all learn from doing this show.
00:06.400: Like, why are you holding it?
00:06.400: Number one was Final Cut 10, number two was Avid, and number three was Premiere.
00:06.400: Exactly.
00:06.400: And you know, as you know, like that's where like if if me as a creative editor, I want to have as much time as possible.
00:06.400: But but we were totally talking about some of the stuff that you're talking here about how about how yeah, I think you're going to get to it.
00:06.400: I had the room, the door was closed and all that stuff and I was editing little short films and all this video stuff on the side.
00:06.400: No, because it's on the left side.
00:06.480: Well, no, thanks for having me.
00:06.480: So now you have those two bits of B-roll that are connected, and you might want to take the shot that's underneath it and slip it.
00:06.480: So what are you using QWEND for now?
00:06.480: The 9 and the F nine and F ten.
00:06.480: Right?
00:06.560: So, did they choose to use 7 or something else?
00:06.560: I'm trying to not be too mean about it, but it was like, wow, you guys don't know how to do this?
00:06.560: It's not going to bite you.
00:06.560: So so l let's let's jump forward a little.
00:06.560: Maybe
00:06.560: Command option up arrow.
00:06.640: And then I was like, wow, look at that.
00:06.640: Oh, can you flip it on his head now?
00:06.640: It's not good to be too fast sometimes because sometimes you need the time.
00:06.640: Because in seven I use the stupid F
00:06.640: I could feel it.
00:06.720: And anyway, it was so cool.
00:06.720: Oh, he's so honest and he's so honest.
00:06.720: You know what they went with?
00:06.720: It really doesn't sort of work like that.
00:06.720: And then they didn't get it.
00:06.720: Right, right.
00:06.720: And like, oh, no, look, buy this plug-in, and then we can go.
00:06.720: Maybe it hits on some music beats or something.
00:06.720: Like the first few things that you want to teach them is how to reconnect
00:06.720: Um when you want to break the the sync between the main uh yeah yeah yeah.
00:06.720: Because if I'm doing color correction, I want it laid out
00:06.720: You know what the other thing I'd love them to do?
00:06.800: And I really believe that the
00:06.800: And I had my dimmer board there and I had my
00:06.800: That's all just sort of you know, you'll discover that from just
00:06.880: And and it just
00:06.880: And while I'm looking trying to look up your sleeve, he's, you know, pulling your
00:06.880: Like uh even for R I do a lot of multicam stuff.
00:06.880: And now you're coming in to be, you know, Joe creative guy.
00:06.880: Okay, so all right, this is actually a really good discussion.
00:06.880: So I think the best example of using that, let's say you have
00:06.880: I am saying that this is an input device.
00:06.880: The Blue and White the Blue and White Tower, yeah.
00:06.960: And you're like, um
00:06.960: And whether you make a sub-storyline by hitting Command-G with those two pieces of B-roll or not.
00:06.960: You're working around that when you don't know, like that one is a golden one.
00:06.960: And then everybody and then we can share that link with everybody.
00:06.960: This is the Anthony Baird Three Tips You Gotta Know blog post.
00:06.960: Okay, W takes the current selection that you have in the bin.
00:07.040: And six months ago, he was denying.
00:07.040: As much as I always hesitate because I always feel like I'm way less than that.
00:07.040: Are you serious?
00:07.040: If you're working in a big system, you know, you have.
00:07.040: I can't remember who it was.
00:07.040: Yeah, from the browser down to the timeline.
00:07.040: But yeah, I think my most powerful keyboard shortcuts
00:07.040: This is going to be a really fun question.
00:07.040: They just don't think it through from Wag the Dog.
00:07.120: And where are you focusing?
00:07.120: I know it's horrible.
00:07.200: Why am I speaking?
00:07.200: He just is that's the best thing he could do.
00:07.200: I forgot I said anything.
00:07.200: Right?
00:07.200: But at any rate, if you reach up and just momentarily hit the tilde key
00:07.200: And you're on Twitter as well as Gorilla Prod, correct?
00:07.280: No, that's fine.
00:07.280: I'm not developing plugins, not even little motion plugins, like say Alex Goldner does in England.
00:07.280: And then you have to manually do certain shots because of how wacky it is.
00:07.280: You know, like, give us a cut.
00:07.280: They got their job, they got the nine-to-five, they don't have to necessarily deliver.
00:07.280: So basically it's all these things where it's like, can you make it so nothing moves around?
00:07.280: So all of his edit systems work the same way.
00:07.280: Yep.
00:07.280: It was like they taught us flatbeds and that was it.
00:07.280: Thanks, Chris.
00:07.360: Yeah, it's all right.
00:07.360: Yeah, and he w he was talking about making uh making the titler more
00:07.360: It's like, oh, you want to be able to import from seven?
00:07.360: And sometimes it doesn't.
00:07.360: I changed it down on my I customized my keyboard.
00:07.360: I will say of the QWE and D, I never use D.
00:07.360: I think R is role.
00:07.360: It's audio.
00:07.439: What?
00:07.440: com and auto redirected to their URL.
00:07.440: It's like, you just didn't think it through, did you?
00:07.440: They just didn't think it through.
00:07.440: And it's like, mmm, I'm gonna wait.
00:07.440: I was I was blown away.
00:07.440: Right?
00:07.440: But we can't do that if you don't participate.
00:07.520: They just threw everything out.
00:07.520: He's like, hi, you're editing this stuff, and it's like broadcast quality.
00:07.520: And I'm just like I'm Boba Fett, right?
00:07.520: How'd you do that?
00:07.520: com.
00:07.600: It's like hydrogenated.
00:07.600: What if we did this?
00:07.600: Mine gives me 120 bucks out when I ask for a hundred.
00:07.600: But you're Bank of Canada.
00:07.600: We're having this very serious discussion around the table, and then all of a sudden it's like
00:07.600: Hashtag Toast Cancer.
00:07.680: I said, hey, let's chat.
00:07.680: Like, you don't really need all this stuff.
00:07.680: But that those moves, when you get used to moving stuff like that,
00:07.760: I think that historically, when we look at what has happened with Final Kat 10 in the last nearly three years now,
00:07.760: I'm done.
00:07.760: Right.
00:07.760: They didn't not until the last season of
00:07.760: It's perfect.
00:07.840: Hold on.
00:07.840: Like, they probably thought of that, you know?
00:07.840: I'm going to assume.
00:07.840: Because I was remembering back in the day because I was sort of thinking
00:07.840: I know that Scott Simmons, who seamlessly moves between all the A editors.
00:07.840: I'm scrubbing.
00:07.840: You know, the guys that put a door on the thing.
00:07.920: The movie is frightening.
00:07.920: They're having this clandestine meeting.
00:07.920: And that's just the byproduct of Final Cut Pro Studio.
00:07.920: It's like being at what a press
00:07.920: Like, oh, I
00:07.920: Yeah, okay, you ex you describe it.
00:08.000: I don't have enough coffee in me yet.
00:08.000: It's like, I don't care if the assistant editor can work faster.
00:08.000: That looks like
00:08.000: Let me look this up a second here.
00:08.080: Like it's even if it's wrong, or maybe it was sort of right when they
00:08.080: Yeah, command option up arrow.
00:08.080: Because right now I'm looking at I got my Shuttle Express, I got two mice and a tablet.
00:08.080: It's just a little box.
00:08.160: Yeah, you know,
00:08.160: Is it like a like a um USB headset or like a iPhone headset?
00:08.160: I'm not going to name it, but it was like he was.
00:08.160: It will always lay it at the end.
00:08.240: And so, here's my trick: I laid out
00:08.240: I'm going to do a little test here.
00:08.240: It's like margarine.
00:08.240: This is horrible.
00:08.240: I roam everywhere.
00:08.240: So basically it was like, wow, you've got a short time frame to do this, right?
00:08.240: So that was another thing that was like a big hurdle.
00:08.240: You're ready to go.
00:08.240: And now what you have, you have like an overhang.
00:08.240: Like you've got about everything you need to know.
00:08.320: Like to be able to just do basic editing, it would take you a couple hours.
00:08.320: Just 'cause the uh the mouse, I'm mousing with my right and then my left hand is not all the way
00:08.400: I could do a whole podcast on this stuff.
00:08.400: You don't even know what the alter
00:08.400: You got to manually go and fix it.
00:08.400: Interesting.
00:08.400: The position tool and the
00:08.400: Oh, I'm ready for this.
00:08.480: So they fake a war and they bring in De Niro to kind of
00:08.480: Because you got you always talk about that in your podcast, how the young people and all that stuff.
00:08.480: And I remember I started off as a film electrician on film sets, right?
00:08.480: How do people follow you and find your work online?
00:08.560: At any rate.
00:08.560: There's like Google screens, there's like all this stuff that I was like, this is missing.
00:08.560: I was like, I'm done.
00:08.560: And I'm like, wow, did you just give me that mini DV tape?
00:08.560: Don't get me wrong, I am not recommending that anybody spend this $80
00:08.640: So he was very agreeable.
00:08.640: I think that a lot of people
00:08.640: And it's like, oh, really?
00:08.640: I'm listening to it on my way, and I'm sort of I was at the
00:08.720: This would have taken me at least two hours in Final Cut Pro 7.
00:08.720: Dot CA, because I always have to say it because I got my domain years ago.
00:08.800: This is horrible.
00:08.800: It doesn't matter if they make it out of olive oil or whatever.
00:08.800: Okay, and now going back one more step.
00:08.800: Exactly where I want it to be.
00:08.800: And then
00:08.880: He's a big producer.
00:08.880: There are times when you want to create
00:08.880: And I remember people used to do that.
00:08.880: No, did you?
00:08.960: And basically, he's sort of
00:08.960: Like at least he's like a real person.
00:08.960: Yeah.
00:08.960: Right, right, right.
00:08.960: And that was my other argument in this one.
00:08.960: I just want to cut the scenes, throw them in and start like
00:08.960: But but those tho those two things are like
00:08.960: So we went off on a little bit of a post-chat rant.
00:08.960: Right.
00:08.960: Now, all of those things existed in 7.
00:09.040: I know that you know, in Final Cut Pro 7 and
00:09.040: That's just nuts.
00:09.040: So that's a little bit of a dangerous thing to be operating a system that
00:09.040: Yeah, okay.
00:09.040: But on the right hand side there is a little tab.
00:09.120: This is just editing.
00:09.200: There's like, he's on tape.
00:09.280: So I'm asking you, pure and simple, quite honestly, go support Premium Beats.
00:09.280: Because things get moved around.
00:09.280: And I don't even know what it is I want
00:09.280: Okay, so that was Anthony Baird.
00:09.360: Or like he he just like ref he's brought into sort of
00:09.360: Well, I'm an honest guy now, you know.
00:09.360: So everybody got locked in.
00:09.360: Yeah.
00:09.360: And then he finally, whoever got to the director of this whole thing.
00:09.360: You'll get this little orange icon that'll pop up.
00:09.360: Conference rate
00:09.360: I am not saying, hey, Felic told me to spend 80 bucks on this thing.
00:09.360: Exactly.
00:09.440: But I don't want to get into that too much.
00:09.520: And then
00:09.520: Yes, because they were able to do it in 7.
00:09.520: So
00:09.520: I can't remember now.
00:09.600: Give me a break.
00:09.600: And so you and so you're
00:09.600: Yeah, with the door on the side.
00:09.600: Definitely check out that movie too.
00:09.680: Premium Beats.
00:09.680: It's amazing.
00:09.680: Here you go.
00:09.680: And then I sort of started realizing
00:09.680: Like all these
00:09.680: Yeah.
00:09.680: Like I'm just like coming in like a rogue guy, right?
00:09.680: I made it Z, so A Z.
00:09.680: Now clip two is going to be totally covered.
00:09.680: And you're
00:09.760: Okay.
00:09.760: I haven't moved.
00:09.760: All of a sudden.
00:09.760: Did you?
00:09.760: So that's it.
00:09.840: He's so good at just deflecting.
00:09.840: Right.
00:09.920: But they're still locked in and it's
00:09.920: And I was busy and I just can't do this transition right now.
00:09.920: Uh-huh.
00:09.920: You're dragging your clips.
00:09.920: It's a gateway.
00:09.920: And then there was this newfangled Avid and Lightworks.
00:10.000: So sometim
00:10.000: I did this project like but right before this project and I was like
00:10.000: It's too busy.
00:10.000: Like and then and then just build.
00:10.000: And I said, You know what?
00:10.080: Yeah, and it's not because he's just like, well, these work.
00:10.080: Editing is what the thing does first.
00:10.080: Okay, here we go.
00:10.080: Uh I want the windows.
00:10.080: Right.
00:10.080: I don't know how far you got into the Joe Gill interview, but
00:10.160: I'm skimming.
00:10.240: Yeah.
00:10.240: Right?
00:10.240: This is way out of my wheelhouse.
00:10.320: Right?
00:10.320: Okay?
00:10.400: Okay, it's exactly like margarine.
00:10.400: And unfortunately, it sort of happened before 10.
00:10.400: And that's their sort of like.
00:10.400: And then
00:10.400: And then D is just um
00:10.400: Said it was like it was like
00:10.400: So if you have a question, a comment, a gripe.
00:10.480: And I've kind of tried to do it in a very casual way, but.
00:10.480: So the.
00:10.480: Right.
00:10.560: How's it going?
00:10.560: I mean, if you look at some of the things that
00:10.560: Done.
00:10.640: But I'm a little busy doing other things.
00:10.640: How do you know that it's all a world's the devil you know?
00:10.640: Sometimes it gets moved, it gets it jumps above
00:10.720: And then they're
00:10.720: It's cancer on your toast.
00:10.720: So uh Finco Pearl six and seven
00:10.720: Hashtag cancer on your toast.
00:10.800: So, I marked those on the sound bite.
00:10.800: And it's like, what are you doing?
00:10.800: We will be back.
00:10.960: And so the issue becomes that this is a giant.
00:10.960: I didn't pay a thousand bucks to have a sub like everything, not that
00:10.960: And then
00:10.960: I was like, Oh, I can't believe nobody thought about this 'cause I was
00:11.040: That
00:11.040: And you're saying
00:11.040: QWE, I use all the time.
00:11.040: Just tell us what show it is.
00:11.120: Like they
00:11.200: Explain that scene.
00:11.200: And now I just welcome them.
00:11.200: So so then I I got into that and it was the best.
00:11.280: Costs as much as your home, yeah.
00:11.280: Sure.
00:11.360: What drives me crazy is when I hear people say
00:11.360: Or are you using the keyboard shortcuts?
00:11.440: And also, don't forget the shorts.
00:11.440: And the the Robert De Niro scene is the best.
00:11.440: Yeah.
00:11.440: No, I'm not skimming.
00:11.520: It's going well.
00:11.520: I don't care.
00:11.520: So it's always like
00:11.520: So I'm still building my
00:11.600: I do a lot of that just because I can I know I
00:11.600: E
00:11.680: This is, let me think, this is the Monday show, and we'll be back.
00:11.760: This is years ago, correct?
00:11.840: You know, and and they had that plug in
00:11.840: So um separate
00:11.920: Exactly.
00:11.920: Because they had the
00:11.920: I love the uh post h the h hashtag
00:12.080: Like big
00:12.320: It's none of my business.
00:12.320: I want to be able to move all the windows.
00:12.400: They told you to use it in the eighties.
00:12.400: Because they knew it.
00:12.480: Again, back to the whole
00:12.560: It doesn't work.
00:12.640: And I'm like, wow, I
00:12.720: The connected clips.
00:12.800: And the producer is
00:12.960: 1.
00:12.960: Yeah.
00:12.960: I fuck on 10.
00:13.040: The shorts are really important, those are good to have.
00:13.040: Exactly right.
00:13.280: Yeah.
00:13.360: So
00:13.440: Into this
00:13.600: That
00:13.840: Okay.