Episode 49
FCG049 - Final Cut Studio 2014? (feat. Oliver Peters)
Adobe blackout? What is your plan if you can’t launch your CC license? Coincidentally, Oliver Peters penned this blog the same week that the Adobe Authentication servers locked many people out of their software. Its an interesting look at many apps that can be used to replace some of the Adobe Functionality. We also discuss the Magnetic timeline and we learn a trick about how to “wake up” the seeming render bug that has been plaguing 10.1.1. bogged down on large projects, 10.1.1 Navrat’s trick
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00:00.001: Those are the things where you've still got studio execs making last-minute changes and feeling like, sure, of course I can do that.
00:00.001: And you know, it's like, oh no, I think it's doing your cache and it's not.
00:00.001: Because it's a big one.
00:00.080: Keyboard shortcuts and stuff like that.
00:00.160: With Oliver Peters.
00:00.160: which kind of bums me out sometimes.
00:00.160: You know, take something like, say, Pond5.
00:00.160: I've talked about Premium Beat, and I'm going to.
00:00.160: And so that's what I did.
00:00.160: Oh, that's very I'll have to check that out.
00:00.160: you don't necessarily believe in corporate evilness.
00:00.160: I'll be glad to research and get more details from him, but I know that there's some people that are real power users listening.
00:00.160: A two-minute final cut piece might take, you know, three or four minutes to render, and it's going to kick out faster than real time.
00:00.160: So the client contacts me and says, Well, it's great, but I hear this like audio distortion in a certain spot.
00:00.160: Okay, so there's a lot of little gems that you've touched on here.
00:00.160: They had never heard of TST before.
00:00.160: Well, they're trying to invent the tools that we use every single day.
00:00.160: Oliver, thank you so much for your time.
00:00.160: and it gets out of that sort of render loopy weirdnesses.
00:00.160: A two-minute piece that took two hours to render.
00:00.240: Early much, much earlier today, like uh, yeah, almost yesterday.
00:00.240: Final Cut Studio 2014.
00:00.240: And he was sort of kind of saying, you know, what about the whole subscription thing?
00:00.240: It is a bit of an issue, and even some of the most stalwart is that a word?
00:00.240: But the but the when you don't have to sift through as much junk to get there Oh, you save time.
00:00.240: All right, cool.
00:00.240: And their intention is that they don't want to have anything that's that's you know just like ah throwaways.
00:00.240: Interesting.
00:00.240: a slot and uh so it kind of started from there and I've been writing for them ever since.
00:00.240: Yeah, exactly.
00:00.240: But I do corporate, I do TV commercials, I do some entertainment, I do the odd indie feature film that comes along, just you know, whatever keeps
00:00.240: This.
00:00.240: you know, New York and LA versus, you know, a Chicago or an Indianapolis or any, you know, any city around the country, there are certain things that seem to be dominant.
00:00.240: Settles on certain tools that are expected, right?
00:00.240: Right.
00:00.240: You know, they're kind of curious to see how I progress so they can decide what they want to do.
00:00.240: I tend to use 10 always in the list mode, so I always see the selected event as its own film strip.
00:00.240: which gives me a very quick way of saying, okay, that's a bus to take or that's a good possible without having to click and play through it.
00:00.240: I like the keywording, I like things like that.
00:00.240: It was a I called it the I I had a name for it.
00:00.240: Of clip two, right?
00:00.240: Change its connection point, and now you have this little one-second awning that sticks out in front of clip two.
00:00.240: And I think the difference is, is that in Funnel Cut 10, the default way you work is many times makes it easier, not always.
00:00.240: Final Cut Studio 2014.
00:00.240: And that's one of them.
00:00.240: just the convenience.
00:00.240: People looking for alternatives.
00:00.240: is that they had some sort of a database error.
00:00.240: this software is actually on my machine and I'm not allowed to use it because of some database error in another country.
00:00.240: That anyway, yeah, and I agree.
00:00.240: bring me that are Final Cut seven jobs, right?
00:00.240: My mail through iCloud.
00:00.240: For Black Magic Design.
00:00.240: But I find that with certain types of technology, sometimes the best way to deal with it is to just say, Okay, what do you what do you want me to do?
00:00.240: aren't complete imbeciles.
00:00.240: Right.
00:00.240: sort of begin to understand what its purpose is and how it can benefit you, and just kind of go with the flow.
00:00.240: it's actually really cool.
00:00.240: Avid started, and then pretty much everybody else copied that.
00:00.240: Right.
00:00.240: you know, the best decision.
00:00.240: Moment here.
00:00.240: Whatever.
00:00.240: How you organize the project to begin with.
00:00.240: it'll deal with it natively.
00:00.240: Still, my biggest beef, and I just saw this happen with a client a couple of weeks ago.
00:00.240: Oh my gosh.
00:00.240: And if you have any input on what he was doing wrong, I'd love to hear it.
00:00.240: the post industry will kiss them.
00:00.240: Client comes in with one change that doesn't affect time in the linear days and in the even non-linear days where you're laying off the tape.
00:00.240: you could go back and do an insert into the tape with the changed shot.
00:00.240: You know, workflows are different.
00:00.240: Or at least, what day is today?
00:00.240: the case with the tsunamis and the floods in terms of Japan and impacting the ability to produce videotape.
00:00.240: Everything gets cracked up together.
00:00.240: So apparently some of the tape manufacturing happened right in the area where the tsunami hit the hardest.
00:00.240: After the tsunami, you could not buy certain types of videotape.
00:00.240: And I think that really pushed a lot of people toward adopting, like really taking the last foot over the fence in adopting a full IT based workflow.
00:00.240: Get you around having to actually QC the file.
00:00.240: Okay.
00:00.240: So I had this corporate piece I was cutting and they got some Asian footage that was 25 frames and I conformed it in Cinema Tools to 2398.
00:00.240: A lot of times I'll get footage from all over the place and my process in the past had been to use cinema tools to conform the frame rate to 2398, particularly if it's B-roll where sync sound isn't important.
00:00.240: Here's this audio static that's like an ice pick through your ear.
00:00.240: Trying to troubleshoot it as well.
00:00.240: Mac computers.
00:00.240: Part of the reason I did it the first way was that it basically tells any app to play it at the speed that you did it to.
00:00.240: And the advantage I've always felt to that is it doesn't force you to render anything.
00:00.240: what I will do in the future, is I would have brought in the file as the twenty-five frame file.
00:00.240: SF Cutters, and I apologize, I can't remember your name.
00:00.240: Sorry, people, I might be a little spoiled.
00:00.240: You're not going to get the performance you want unless you throw a better array or something at it.
00:00.240: I don't get it.
00:00.240: I had that thing in the wrong slot.
00:00.240: You know, if it were a Final Cut 7 timeline, you might have 20, 30 tracks of audio.
00:00.240: You know, a channel insert is.
00:00.240: Depending on your point of view, sometimes that may not be a better way.
00:00.240: Right?
00:00.240: For Pinnacle, member Pinnacle Systems.
00:00.240: Like, you know, set your sights a little higher than that.
00:00.240: Basically, they wanted to know how sensitive the knob needed to be.
00:00.240: this stuff is a lot simpler to develop than it really is.
00:00.240: for people to follow you online?
00:00.240: where he was talking about the performance hits that he was seeing with larger timelines, like feature type things.
00:00.240: I just quit the app and relaunch the library.
00:00.240: He selects something, and then he does.
00:00.240: So, anyway, that's this episode of Final Cut Grill.
00:00.240: If you have an answer to the question that I posed in the bit, if you're a Premiere user and you know
00:00.240: You know, who knows?
00:00.240: I do not intend on doing that.
00:00.320: At NAB, and I was introduced by Scott Simmons, and he's like, Oh, yeah, you gotta have Oliver on the show, he's really great.
00:00.320: But in his recent history on his blog, he did this really interesting presentation called the blog post was
00:00.320: And if it had hit more of our machines, we would have been in really, really big trouble.
00:00.320: It is, what's the word?
00:00.320: Okay, and again, I'm not trying to say anything about negative about Pond5, but just in terms of Pond5 being something that you can just like, I'm just going to start an account and start putting my stuff up there.
00:00.320: Hello?
00:00.320: Anyway, but images and video and stuff like that.
00:00.320: That's a good place to hang out though during the show.
00:00.320: And the opportunity came along to start contacting a few of the magazines.
00:00.320: Well, I'm based out of Central Florida, so the post I do is across the board.
00:00.320: Food on the table, so to speak.
00:00.320: kind of shifting to premiere so I also do some premiere and it's also some media composer it's also very fickle yeah and and we like this oh we love it oh I hate
00:00.320: And a lot of people are still sort of hanging on with their fingernails.
00:00.320: Even applications.
00:00.320: You know, I think part of that depends on the nature of the business.
00:00.320: Yeah, I think I'm I think I'm spoiled because I have not re I haven't freelanced for four years now.
00:00.320: And fortunately, I have some projects even where I'm working at another facility that the client isn't in the room with you, right?
00:00.320: You know, the San Francisco Bay Area, as was, I believe, much of the country, was all beta SP.
00:00.320: In Final Katen, that drew you into it further?
00:00.320: You end up having to double-click to see something in the source viewer, and then you're scrubbing through to see the video.
00:00.320: Yeah, the magnetic is less of an issue.
00:00.320: because they tend to move around and sometimes I find myself having to manage the connection points of the connected clips.
00:00.320: As much as anything else, so that they move when I move the primary storyline clip in the way that I expect it to.
00:00.320: But the trade-off is something else.
00:00.320: Right.
00:00.320: And now you could pick up everything from that point to the tail end of the timeline and push it down to make room for what you had to insert.
00:00.320: Was it shift?
00:00.320: A suite of tools that gets you close to what Final Cut Studio used to be, as well as a viable alternative to creative cloud if that's your choice.
00:00.320: You know, we're all App Store apps.
00:00.320: And so I was trying to focus on those tools that kind of make a toolkit for an editor.
00:00.320: You could buy it through the App Store, but you don't have to, and that's Resolve.
00:00.320: Not everyone is the exact equal to something Adobe or somebody else offers, but that's kind of what I was trying to do and say, okay.
00:00.320: If you're looking for that sort of thing, here it is.
00:00.320: It was sort of on the level of contact us if you feel that, you know.
00:00.320: You know?
00:00.320: Now if that had been system-wide or if that had been I'll tell you something that happens in our office.
00:00.320: And actually, we discussed this on Digital Cinema Cafe a few weeks ago, that frankly, we are in a situation where we are completely hostage to Adobe.
00:00.320: But um it would be interesting to see where the breaking point is though.
00:00.320: tied to the web for things were more at risk.
00:00.320: After Effects projects.
00:00.320: But ironically, I guess Sony sort of supports FCP10 XML.
00:00.320: connections or relationships between what Final Cut X is and what Resolve is becoming.
00:00.320: What do you make of that?
00:00.320: Share at least some cosmetic synergy, probably because the designers for Resolve really like Final Cut 10 and they probably want to follow that aesthetic.
00:00.320: As closely as they can without getting into legal complications.
00:00.320: through some sort of side conversations that I had.
00:00.320: That I have found, and this is just my own personal belief, and I realize that there are a lot of people that will jump through amazing hoops to not do this
00:00.320: So, I don't know if you have any other places.
00:00.320: broken, or maybe they already are being broken and they see it as, oh, well, if I buy that patent, I can turn around and sue all these people who are stealing my IP.
00:00.320: only because that company has interesting patents, which they are assuming are going to be
00:00.320: But yeah, no, no, no, that's definitely true.
00:00.320: Yeah, you know, and I'd say probably 90% of what they're trying to protect is valid.
00:00.320: more of any one thing than anything else.
00:00.320: Yeah, but those, you know, any more, I mean, first of all, clients are nowhere near organized the way they were 10, 15 years ago.
00:00.320: But that's now coincided with cameras becoming cheaper.
00:00.320: Sizes and frame rates.
00:00.320: organizing stuff is good.
00:00.320: On the other hand, Premiere, I think, is great for those projects where if you just want to put the biggest mishmash of codecs and things on the timeline
00:00.320: A vignette over the whole thing.
00:00.320: Um if anybody has an any idea what that issue was, and I'll tell you what he had done is he had um uh I don't know all the codecs involved in it, but I I think the last thing he did was that he put a um
00:00.320: You know, under the hood roadblocks, I'm sure.
00:00.320: Yeah, QuickTime 7.
00:00.320: Into a QuickTime file, which is possible with Final Cut 7 Pro, right, or whatever.
00:00.320: that we remember.
00:00.320: When it comes to looking at the tools of today, we reach for the knobs of yesterday to try and do a process today, you know?
00:00.320: And that knob isn't there anymore because they came up with a different name for it or a different process for it, or
00:00.320: Nobody has one single workflow.
00:00.320: Right.
00:00.320: And all of a sudden, like literally, it's like, yep, no, we don't got any.
00:00.320: But the other thing that is a factor in all of this is quality control.
00:00.320: If everything's going in your favor, you can probably output a timeline faster than real time.
00:00.320: Well, the biggest thing that affected me recently back, I don't know, maybe before
00:00.320: And it's B-roll on my timeline.
00:00.320: Plays fine in real time on the timeline.
00:00.320: Yes.
00:00.320: kind of viable with the way current Apple software works, even though it's an Apple product, right?
00:00.320: Actually, go ahead.
00:00.320: Okay, so as I understand it, and this gets a little bit out of my complete depth of understanding this, but the basic
00:00.320: core architecture of how Apple has dealt with audio and visual images has been QuickTime based.
00:00.320: With the changes to Mavericks and everything else, they've shifted to a different engineering technology called AV Foundations.
00:00.320: and it's, I believe, a common architecture to what they use in the devices, so iPhone, iPad, and so on.
00:00.320: Deal with AV Foundation, and that's one of the reasons they've been able to play H.
00:00.320: under the hood engine part of how video files are handled in a Mac, it's no longer based on QuickTime, it's now based on AV Foundation.
00:00.320: Yeah, which is slow down, guys.
00:00.320: If you use the read time, it essentially does the same thing.
00:00.320: which then says, okay, play this file slowly so that it's a one-to-one frame rate based on the timeline frame rate of 2398.
00:00.320: Yeah, I think this is another problem for me.
00:00.320: Well, I'm working on a machine that is and I was like, ooh, yeah, that's kind of an old machine.
00:00.320: Episode here that I've been sort of spoiled, that I get to use the application that I want to use.
00:00.320: You know, a room of beta SP machines and a switcher and a linear controller, it was clear what you could and you couldn't do in that room.
00:00.320: Quadra Effects 4000 cards, the one with the CUDA support, the one that was supposed to make, you know, Premiere run a lot better.
00:00.320: and you could ask them to give you one feature that you're dying to see in Final Cut 10, regardless of what the marketing guys down the hall are telling them to do.
00:00.320: Not these clips, but this track.
00:00.320: Exists in Logic, right?
00:00.320: German and you can exactly, but you know, I'm sure there is some plan.
00:00.320: Well, in other words, when you mark in, mark out on a source on any other NLE, it retains that point.
00:00.320: Going in and going, okay, this is exactly how I want the feature implemented.
00:00.320: Well, I think that's always a little bit of the danger of software designers.
00:00.320: Gearing up while they, we yeah, like I had a lot to do with it.
00:00.320: is digital films.
00:00.320: And I will fold it into the show.
00:00.320: You know, let it wait for a second because I have my auto-render set to one second.
00:00.320: some things to help minimize the what I call a mystery export at the end of a project where all of a sudden, you know, like I mentioned, my friend who had a
00:00.320: So there we go.
00:00.400: I think he said he wrote for D V magazine and then eventually for um I'm sorry, Oliver, something else.
00:00.400: Just totally drawn a blank, and if I cared, I would have edited that out.
00:00.400: My main job is as an editor and post-production person in general.
00:00.400: the responsibility of choosing what is our next future path.
00:00.400: You said you you've been using Final Hat 10 since the beginning.
00:00.400: since I write for the magazine, initially I jumped into it to do reviews.
00:00.400: To kind of get your C-legs, as it were, and not have a client, you know, sitting over your shoulder going while you're cussing at the screen.
00:00.400: And that was pretty early on.
00:00.400: Is the organizational side.
00:00.400: things like the magnetic and how the well, I guess primarily the magnetic timeline and connected clips.
00:00.400: Right on top of clip two, but to dissolve it, you actually have to start it, let's just say default, one second before the beginning.
00:00.400: Yeah.
00:00.400: Well, my blog is sort of off-the-cuff things that I'm thinking about, as well as some repurposing of the published articles.
00:00.400: really badly by it, seems to indicate that there's something more problematic than just some sort of a I didn't hear anything about the compensation.
00:00.400: I wish performance were better in some ways, because once you start ganging up a timeline with something really big, like a feature film, right?
00:00.400: Now make something out of it, right?
00:00.400: Mainly because time was money and it cost them a lot of money to be in an edit suite.
00:00.400: No problems there.
00:00.400: And we have a lot of history in this business.
00:00.400: I think s I hear what you're saying about it'd be great to be able to insert in, but at least in my world, I always have that timeline.
00:00.400: 10.
00:00.400: Normally, I do a lot of stuff that's 24P based stuff.
00:00.400: And the workaround was one of several things.
00:00.400: Um so that's clearly a QuickTime tool.
00:00.400: Final Cut 10, under the Retime menu, which is the little thing that has the little arrow that's going in a circle in the main toolbar across the middle.
00:00.400: You said you could have solved the same problem inside of Final Cut 10.
00:00.400: Versus the time base of your timeline.
00:00.400: Yeah, I think it depends on the machine you're on.
00:00.400: two to four years old.
00:00.400: performance issues come down to drives, right?
00:00.400: Exactly.
00:00.400: Education, right?
00:00.400: this is a generic problem.
00:00.400: Unless you know that, okay, this slot supports this kind of speed, blah, blah, blah.
00:00.400: Aren't there smarter people than me that can deal with this?
00:00.400: And digital audio work station station.
00:00.400: That is definitely a missing ingredient at this point.
00:00.400: rolls maybe as an audio subgrouping.
00:00.400: With Apple, it's a little dangerous to like wish for things that are too specific because they end up doing it in a different way.
00:00.400: Yeah, yeah.
00:00.400: Three different areas of a clip with in and out points, it now retained all three of those areas rather than just the last one you used.
00:00.400: Common formats for audio plugins, they had no clue.
00:00.400: dot WordPress dot com.
00:00.400: He was on a few episodes ago.
00:00.480: Supporters of of um the studio, the cloud.
00:00.480: Premium Beats doesn't work that way.
00:00.480: But a lot of that isn't just theme park stuff.
00:00.480: And these were projects that I pretty much figured, okay, if it all falls apart, I step back and I go back to Legacy.
00:00.480: I'm beginning to realize that there's always the sort of default way you work, and then there's the more heroic way or more involved way that you work.
00:00.480: Excuse me, Final Cut 10.
00:00.480: but it only affected my login.
00:00.480: As opposed to Dropbox or even Vimeo or something like that, since most of the files I'm interested in sharing are review and approval video clips for clients.
00:00.480: And all of a sudden, I have an edit suite that's dead for two days.
00:00.480: And frankly, most people are going we are very beholden to them, and we're going to have to keep paying.
00:00.480: Delicate, I think.
00:00.480: You are needing something from the App Store and it's down.
00:00.480: trying to completely alienate the rest of the industry.
00:00.480: And there have been multiple times like that where you just say, you know what, I'm just going to I'm going to jump in feet first and I'm going to let it
00:00.480: I think a lot of that has to do with just corporate law and how it's evolved over the last twenty years.
00:00.480: and he had to make one one little change to it.
00:00.480: And so, you know, it seems like that's an area that still needs some development.
00:00.480: And yeah, some people are.
00:00.480: We literally just moved the last tape decks out of the mis out of the office.
00:00.480: And so it definitely there is some of that.
00:00.480: And trying to figure it out.
00:00.480: then I would have it would also have dealt with the sample rate adjustment accordingly, and I would not have had that problem.
00:00.480: And it exists as a wrapper in which you can put files.
00:00.480: Because a lot of times, you know, like for example, you solved your problem using Cinema Tools.
00:00.480: May or may not work well.
00:00.480: Yeah, and and any sort of rendering, it's like almost you know, I I will say that most of the rendering in Final Cut 10 happened so quickly, I am getting to the point where I really don't think about it.
00:00.480: MacBook Pro, certainly any of the new Mac Pros, there it's a different story.
00:00.480: It was a little bit different than what people had expected.
00:00.480: So I was going to chime in, and then he said something else, and I got distracted.
00:00.480: And I think I mentioned it earlier.
00:00.560: The question is, what is Adobe going to do so that these kind of outages don't happen again?
00:00.560: So I was just really spoiled that I actually get to work in an environment where we work on the application that I like because I got to choose it.
00:00.560: but that's acceptable within the time frame that we're working in.
00:00.560: And in the primary storyline, and you want to dissolve in some B-roll over clip two.
00:00.560: Based on what's commonly available, whether it's Apple or somebody else, not strictly just through the App Store, but basically non-subscription kinds of things.
00:00.560: You know, we have freelancers that come in, and we have creative cloud for teams on all of our machines.
00:00.560: You know, and so it's certainly possible for this to happen to Apple, right?
00:00.560: I think that's just sort of the way the world is.
00:00.560: And if you look at the I guess it's the C service, CI is Sony's cloud service.
00:00.560: Let it do its thing.
00:00.560: Issue with process and design sort of patenting.
00:00.560: Consistent format.
00:00.560: And that's something that anybody who edited on tape is real critical.
00:00.560: and lay it off again to tape or whatever, you know, then now you're adding hours to the simple fix.
00:00.560: No.
00:00.560: Stuck it on the timeline, applied the retime effect, and in the pull-down chosen automatic.
00:00.560: which is potentially a bit of a concern.
00:00.560: There has to be a way to organize that better than the way it is right now.
00:00.560: And the programmers would come into the cubicle I was in, and they'd say, Okay, so we're going to put a knob on this thing
00:00.640: Hello, hello.
00:00.640: But before we do that, I want to mention our good friends at Premium Beat.
00:00.640: You guys have all the food and drinks and big big cushy couches and dim lighting.
00:00.640: The connected clip awning or something like that.
00:00.640: So that B roll is associated with clip two, but it's connected to clip one by default.
00:00.640: around how this works.
00:00.640: So it didn't really hit me that bad.
00:00.640: You almost except for your blog post, which was very good, you almost can't get away from Adobe.
00:00.640: because I would shut out that portion of clients, right?
00:00.640: In the early days of iTunes, thinking, I don't need an application to organize my music.
00:00.640: all of this whiz bang stuff that it does is cool, but sometimes it's at the detriment of performance.
00:00.640: Right.
00:00.640: And it happens to be an audio sampling rate that, even though predictable and something that Cinema Tools and Final Cut Legacy dealt with just fine.
00:00.640: and you had a direct line to the programmers.
00:00.640: I will say, and I've said this before, and I apologize to anybody I may be offending, but ten point one point one I find it to be the most buggy of all the versions of Final Cut combined.
00:00.720: Kind of in the same way, I think there's certain pockets of regionality when it comes to various
00:00.720: And this happens to be at shops where I'm friends with the owners anyway, and they're sort of amenable to most things Apple.
00:00.720: But yeah, I think that sort of falls into what the bigger term I use, which is timeline kung fu, those little tricks that you learn
00:00.720: So you look at, obviously you've got motion and you've got compressor, but then you've also got other Apple tools, Logic Pro 10, which I'm playing with now.
00:00.720: prevent access to the files that are on the cloud.
00:00.720: And then you realize one day, it's like, iTunes actually does a really good job.
00:00.720: You know, and this affects the guys in the bigger cities, right?
00:00.720: And originally in 10, if you did that, went to a different event clip and came back to the earlier event clip, those in and out points were no longer retained.
00:00.720: Resolve, who are actual part of the programming team, and talk to them about audio.
00:00.720: So I tend to think it's some sort of a memory lake or something like that.
00:00.800: And I implore you, if you have not looked at PremiumBeat.
00:00.800: Hey, so I gotta say, we met, I'm gonna call it backstage at NAB in the press room.
00:00.800: Honestly, early 90s, I think, when I note, when I started doing more and more work in Atlanta,
00:00.800: Let me think.
00:00.800: A little bit thereafter.
00:00.800: Yes, it affected me.
00:00.800: I exclude lawyers from the Corporal Eve Corporate Evilness Clause there.
00:00.800: You got an hour or two from three angles.
00:00.800: And I thought a lot of that stuff had been taken care of.
00:00.800: Even though there are ways to edit into existing files, but it doesn't seem to have taken that last step.
00:00.800: And they've already laid off a master and they're ready to send it out the door to the network.
00:00.800: Four years ago, I had a whatever the Cool Mac Pro was, and I got one of those
00:00.800: Not anymore.
00:00.800: That's what everybody asked for.
00:00.800: So they added persistent in and out points, but then what they did is they kind of turned it into the same thing as favorites.
00:00.800: So, you know, I've been trying to be a little bit more polite and not cut people off as much.
00:00.800: And there is something that is going wrong.
00:00.880: Certainly, the purpose of this show is not to just say, I mean, it's just that would get old.
00:00.880: And so all of a sudden, people at the top levels who pay the money for this started going, oh, maybe being on videotape isn't necessarily
00:00.880: In Final Cut 10, this causes it to render.
00:00.960: Okay.
00:00.960: Lately, anything that I have direct control over, I've been using Final Cut 10 since it came out.
00:00.960: as well as some of the things like Pixelmater and
00:00.960: But I think there is a definite issue in terms of how beholden we are to any given company, right?
00:00.960: And you mention Resolve in your blog post.
00:00.960: Because every time you do something, there are changes that have to be written to the drive.
00:00.960: 0.
00:00.960: But recently, I had an issue that boiled down to sample rates in audio.
00:00.960: Made the dumb mistake of spot checking and just happened to miss the points where there were errors, right?
00:00.960: like no plug-ins, for example.
00:01.040: And in addition to being a freelance editor in Central Florida, he also is a bit of a journalist kind of guy, writing for
00:01.040: Well, I started about two thousand, I believe two thousand one, something something around that time frame, originally writing for videography.
00:01.040: Different sort of synopsis for friends and emails and even letters before that in terms of what the show was like.
00:01.040: Well, this conversation's over.
00:01.040: So, what's the typical project that you are editing?
00:01.040: And I've been burned by 10.
00:01.040: Let I'll let you know.
00:01.040: I think they changed the name of it now.
00:01.040: I was like, I felt like such an idiot.
00:01.040: What should the range be?
00:01.120: Thank you for taking the time to do this.
00:01.120: The term patent troll didn't exist 25 years ago.
00:01.120: Yeah, it's not so much an issue of having the timeline, it's an issue of what is your deadline.
00:01.120: Interesting.
00:01.120: Hopefully, any day now, we're going to see a 10.
00:01.200: Yes.
00:01.200: And I looked at, I mean, one of the things I like is the App Store model, you know, not just because the pricing is right, but.
00:01.200: There's less penalty for them to be organized.
00:01.200: And I and I you know, I had dealt with some of that issues back in Premiere 5.
00:01.200: That's not going to work.
00:01.200: Doesn't have to be tracks, but let's get to something that kind of works like tracks and put a mixing panel with that.
00:01.280: Hello, Oliver.
00:01.280: And I don't know uh oh, I don't know if I'm supposed to be talking about that.
00:01.280: But when you see enough of it, you go, Okay, I'm okay.
00:01.280: It's very difficult to manipulate things at a large level without the software getting bogged down even on the fastest machine.
00:01.280: And, you know, when Final Cut 10 first came out, it's like, well, I can't capture and I can't, what was the complaint?
00:01.280: This is not making it any better.
00:01.280: Apple likes to release things on Tuesdays.
00:01.360: Is my audio coming in okay?
00:01.360: So and what was your background prior to that?
00:01.360: So if you're looking at, oh, I guess sort of the ongoing discussions of surrounding the subscription model with Creative Cloud and Adobe and you know
00:01.360: I mean, I have multiple machines available to me.
00:01.360: And the the part of it gets down to the fact that using cinema tools really is no longer
00:01.440: Would you agree with that?
00:01.440: I mean, I've had like a motherboard die on my main machine and I've had to reinstall from scratch and the things that
00:01.440: there's a whole like tie-in with Final Cut 10 and for review and approval and markers and stuff like that.
00:01.440: My bigger concern is I'm not so sure that most of the people in the patent office that are there to evaluate this necessarily have the expertise always to make the best
00:01.440: Yeah, oh, absolutely.
00:01.440: If you could go to Cupertino and sneak in the back door, and you knew what office all the smart brain programmer guys were in
00:01.440: It's a big deal coming up this week.
00:01.520: But it's the same thing.
00:01.520: But that doesn't mean that next year they're not going to come out with something that's a really strong, you know, creative cutting tool as well.
00:01.520: what's it called when you batch capture.
00:01.520: things like Screenflow.
00:01.520: I tend to like to use virtual faders and use the mixer panels like you have in a DAW.
00:01.520: Yeah, and I think that those are things that like a lot of video people don't understand.
00:01.600: It's been in some of the tech things like CNET and some of the stuff.
00:01.600: And you look at certain paradigms from the past and you wonder why people didn't do that.
00:01.600: It was pretty amazing what that tsunami did to our industry, wasn't it?
00:01.600: 6, there was a render issue where it would not render outputs correctly on certain effects.
00:01.600: So with that shift, that's a different engineering architecture.
00:01.600: Scissors, I understand.
00:01.600: That's it.
00:01.680: You'd get the T key for track select.
00:01.680: I mean, you said yourself you attribute things to people just du making stupid choices more than corporate evilness.
00:01.680: And it used to be that it was a little more obvious what the technology was if you had
00:01.680: I really appreciate you taking the time to do this.
00:01.760: I've done some of that.
00:01.760: That's very interesting.
00:01.760: And there's at least one GoPro that's at 2.
00:01.760: It really boiled down to the fact that I had changed this 25-frame footage to 2398, also changed the audio sampling rate.
00:01.760: AV Foundations evidently doesn't.
00:01.840: You should go listen to it.
00:01.920: Now, I don't have in anything inherently wrong with Pond5 because their search engine is pretty good, but there's a whole lot of stuff on Pond5, both both audio.
00:01.920: We're the easiest ones to plug back in and go, okay, I'm back up and running.
00:01.920: Photoshop documents, yeah.
00:01.920: I can't figure it out either.
00:01.920: I mean, I really like it.
00:01.920: Hard to say if I actually have a typical project, but it ranges from the thirty second spot to the ninety minute feature film.
00:01.920: Well, I was just going to say if I had taken those files in 2.
00:02.000: And now, you know, they have more of a web presence, so there's a web attribute to all of this stuff.
00:02.000: I knew where I wanted to go with this.
00:02.000: Yeah, I mean first of all, I'm not 100% sure what the endgame is.
00:02.000: But these are now using a different engine.
00:02.000: That's it.
00:02.080: You know, I've been very complimentary about many things about Adobe on this show and our other show, and I don't.
00:02.080: I'll say surrender to.
00:02.080: But but that's you know, kind of off the topic.
00:02.080: There's certain things, uh workflows that we did, um and quite often
00:02.080: And it's all the same company.
00:02.160: And it's a big market for Final Cut 7 still, right?
00:02.160: Yeah, still the, you know, 0.
00:02.160: Do you think that was still early or late 2011?
00:02.160: Right, okay.
00:02.160: Whereas in the past, you used to have, you know, the client would get burn-in VHS dubs and they'd go through and they'd make notes and they'd come into a session with some sort of idea of where they were going.
00:02.160: And I did get Apple was involved in their feedback loop
00:02.160: I mean, I've done a lot of audio in my career, so I speak that language as well.
00:02.240: Curated is the word I want to use.
00:02.240: We are a Twiddle Free Zone.
00:02.240: And what corrected the problem was either to detach and delete the audio from those files or mute the file in the inspector rather than turning the volume to zero.
00:02.240: Well, it may only be a generic problem if you've got this level of machine.
00:02.240: Yeah, that's I can totally understand that.
00:02.240: Well, a couple of couple of places.
00:02.240: If there's any tricks that you know about how to avoid those things happening, please send it as a voice note on the digitalcinemacafe.
00:02.320: Premium Beats, sorry, no S, I've been through that.
00:02.320: No, I do not have any insider information.
00:02.320: Yeah, I mean, I don't want to sit here and heap on Adobe because I'm not one of the people who tends to believe that everything corporations do is evil.
00:02.320: And so I like that.
00:02.320: I think that's it.
00:02.400: So what is your go-to editor of choice these days?
00:02.400: And in this particular instance, unfortunately, for you, you got it, kind of got hosed by it.
00:02.400: Sometimes it slips out, and I apologize to my good friends at Adobe.
00:02.480: So if somebody had walked in on those two days and logged out and not known, now that machine is logged out.
00:02.480: No, no, I'm kidding.
00:02.560: But twenty five years ago, companies didn't there there wasn't such thing a what do they call it, a patent troll.
00:02.560: Um and I said, Well, why don't we just kick it out again?
00:02.640: Premier does a very good job of that, although you take a performance hit a lot of times as opposed to if that was all ProRes or all uncompressed or something else.
00:02.640: So if it's 25 frame file and you're on a 2398 timeline, it plays the file more slowly.
00:02.640: Oh, yeah.
00:02.640: WordPress.
00:02.640: Again, you know, we got a little bashy on Premiere today, and I don't I I
00:02.720: Yeah, no, it it worked out really well for me and it I stumbled across it because I wasn't expecting any of that.
00:02.720: I mean, you mentioned in your region.
00:02.720: But it goes to show, okay, there is a vulnerability here.
00:02.720: And there's a certain amount of faith in the fact that, you know, the people who are designing this.
00:02.720: You know, just when I thought I understood it, you're changing everything.
00:02.720: He's a funny guy.
00:02.800: Hey, welcome to another episode of Funnel Cut Grill.
00:02.800: Especially in lieu of this big outage that they had last week.
00:02.800: Yes.
00:02.800: Now, the reason I really wanted to talk to you was this latest blog post that you did.
00:02.800: When you get into all that sort of stuff, I mean, you get into patents, trademarks, copyright, and there are different ways you can apply some of that stuff.
00:02.800: It's probably corporate videos in the five to ten minute range.
00:02.800: Some people are.
00:02.800: What would you ask them to add to Final Cut Ten for you?
00:02.800: I go, what do you mean?
00:02.800: Okay.
00:02.880: I really appreciate it.
00:02.880: And certainly Apple has been very proactive in terms of protecting their intellectual property.
00:02.880: Yeah.
00:02.960: If I was more well-read, I would have known who Oliver Peters was when I met him, but I met him.
00:02.960: I'm sorry, I'm going to, because they have been awesome to step forward and support the show.
00:02.960: That's a good phrase.
00:02.960: I have a creative cloud.
00:02.960: Yeah.
00:02.960: Yeah, exactly.
00:02.960: And I think that's where both the strengths and weaknesses of 10 are largely strengths, right?
00:02.960: May 19th, 2014.
00:02.960: And I've got the audio volume down, not disabled, not detached, but all the way down to zero.
00:02.960: And then ultimately when they implemented it, it was like, well, it's not exactly what we had asked for.
00:02.960: I was like, oh, that's fascinating that you have to deal with that.
00:03.040: And so a lot of times when you're searching, you're sifting through a lot of crap.
00:03.040: It's standard corporate communications just for the employees.
00:03.040: Why do they call that like a mezzanine codec?
00:03.040: And that is the fact that you can't punch into a file and make an insert.
00:03.040: QuickTime 7, yeah.
00:03.040: Razor blade, I got down.
00:03.040: Oh, yeah.
00:03.120: I've also done some Universal and SeaWorld.
00:03.120: So by and then as soon as you put that dissolve on, well, even when you put that clip in, its connection point is going to be frame one, which is actually the last second of clip one.
00:03.120: But in all fairness, it's also very similar to some of the stuff that we had to do, or at least the way I would edit in Seven.
00:03.120: So it's interesting that that magnetic timeline is one of those things that apparently is copywritten.
00:03.120: And that caused a two-minute piece to take two hours to export.
00:03.120: Because I think it changed people's perceptions in terms of what they wanted to accept as deliverables.
00:03.120: Oh, yeah.
00:03.120: And it it goes away like 98% of the time.
00:03.200: Hi.
00:03.200: Okay, so what is the alternative, right?
00:03.200: Yeah, I think one of the things that Final Cut has done very well
00:03.200: No problem whatsoever.
00:03.200: I mean, I tend to be mainly still on Mac Pro towers that are anywhere from
00:03.200: And their running with background render is probably not a good idea.
00:03.200: And are you on like Twitter or anything like that?
00:03.280: I like that.
00:03.280: I'm going to ask you to back up a little bit and explain the difference between QuickTime and AV Foundation.
00:03.280: I've got this great machine, but then you find out, well, they're trying to do all this stuff off of a single Firewire 800 LACI that's plugged into the machine.
00:03.280: Well, you know, I think, you know, part of this industry is.
00:03.280: Go to the iTunes, leave your messages and comments and give me little stars.
00:03.280: Go check out Premium Beat.
00:03.360: Obviously, Hollywood is one thing, but in a market like New York, you've got a lot of reality TV still being produced.
00:03.360: It didn't actually stop me from using any of the programs.
00:03.360: And I think part of what advanced some of that was, you know, the
00:03.360: But she was she was making some comments about Final Cut ten and how so and so didn't work well.
00:03.360: I'm in agreeance with you here.
00:03.360: Oh, no, not at all.
00:03.360: This is Friday.
00:03.440: And I think it was like in quotes or a question mark or something like that.
00:03.440: I'm less enamored with how it works in the timeline.
00:03.440: Well, I don't know what that means.
00:03.440: And, you know, so it can happen to everybody.
00:03.440: But I think more to the point, probably the biggest missing ingredient, and if somebody solves this
00:03.440: I've been burned by Premier.
00:03.440: Yeah, it's definitely all over the ballpark, you know.
00:03.440: Because it only really worked well in, I think, the top slot or the bottom slot.
00:03.440: You know, like, I hate stuff like that where it is it's it's so dependent on you being smart.
00:03.440: And I started to talk about plug-ins to them and, you know, tossed out how about VST or audio units or any of the
00:03.440: I believe it's Ctrl R.
00:03.520: How's it going?
00:03.520: What was that like?
00:03.520: I even put it in the show notes.
00:03.520: I tend to still prefer to have media transcoded into some sort of a
00:03.600: Yeah.
00:03.600: Right.
00:03.600: And nowadays, you have companies that are explicitly buying small companies.
00:03.600: For those people, yep, you know what?
00:03.600: Um whereas Final Cut 10 um QuickTime ten
00:03.600: It is called do you remember what the command is called where you say play this at its actual frame rate?
00:03.600: He goes, well, when you turn it all the way down, where would it be?
00:03.680: And I couldn't even contemplate a shift to something like Windows if I wanted to.
00:03.680: I mean, you know, they look like they're moving to making it a finishing editor.
00:03.680: You kind of look and go, well, gee, why didn't they protect that in the beginning?
00:03.680: Yes.
00:03.680: And you're going to want to hear that if you're a follower of the DCC.
00:03.760: I like that.
00:03.760: Apparently, the concept of the magnetic timeline is copywritten.
00:03.760: And that's probably, when you get right down to it, the biggest issue in all of the broader post-production discussions are that
00:03.760: ScreenFlow was the first app that fully utilized AV Foundation as far as I
00:03.760: And they, um, and I actually was there while they were, while we were.
00:03.760: While they were gearing up to release the Aladdin.
00:03.760: I mean, I think the general consensus of most users is that
00:03.760: 1.
00:03.760: Maybe this Tuesday the 20th there'll be a new version 10.
00:03.840: Well, I mean, you know, I attest more things to stupidity and incompetence than I do to ill will.
00:03.840: And literally, just a few months ago, I ran into an article.
00:03.920: And well, at least nobody's bringing you Sony Vegas projects.
00:03.920: It says, okay, play this file at whatever its native rate is.
00:03.920: And you open it up and it's just it'll it'll go for 10, 15, 20 minutes, and that's just got to be wrong.
00:04.000: And I think that this is actually a concept about technology that
00:04.000: And it's different media formats and codecs and
00:04.000: So somehow the expert, of course, the Logic guys are in Germany and not in Cupertino.
00:04.080: 5K.
00:04.160: So, you know, a lot of stock libraries, both music and images and stuff.
00:04.160: Sure, no problem.
00:04.160: So getting back, rewinding a little bit down from there, talking about the magnetic timeline, I feel that when you
00:04.160: So it's 2398 timeline.
00:04.160: I would love to be able to insert a single compressor on a roll.
00:04.160: But I was doing some beta testing in the lead up to announcing that product.
00:04.160: com.
00:04.160: Please go to Digital Cinema Cafe, go to the little tab on the right-hand side of the thing, and actually.
00:04.240: And really, I mean, this is a sincere thing.
00:04.240: I like the skimming.
00:04.240: Track Tetris.
00:04.240: And it goes the other way, too.
00:04.240: Explain what you would have done if you had done it that way.
00:04.240: And he brought up something today.
00:04.320: Right.
00:04.320: But you still end up having to then re-save a self-contained file if you want it to really be baked in.
00:04.320: And so that's why I say with Apple.
00:04.320: Thank you.
00:04.320: 2.
00:04.320: Anyway, so and again, you know, it's May 8th, May 19th recording this.
00:04.400: Um, it's not that called that studio, uh uh the cloud, uh premi uh Adobe Creative Cloud, sorry.
00:04.400: It's going very well.
00:04.400: But you know, as it as it goes to Final Cut 10, I mean, my biggest
00:04.400: But yeah, I thought that was ridiculous, because I know adding a vignette to
00:04.400: You probably edited on tape as well.
00:04.400: We'll have another show on Monday.
00:04.480: The connected clips, I guess, is what bothers me the most.
00:04.480: I was trying to authenticate on one of my machines, and I couldn't even log in for two days.
00:04.480: So now you don't just have, okay, I've got an hour or two of footage that they shot with
00:04.560: I'll have to look at that up.
00:04.560: Did you follow any of the I'll call it the Adobe meltdown that happened this last week?
00:04.560: I've had serious problems with
00:04.560: More than most of us.
00:04.560: Oh, wow.
00:04.560: Now this was an audio problem that was happening in the file even though you had it turned all the way down.
00:04.560: My website is oliverpeters.
00:04.560: And I've actually gotten to the point where if I see anything that's peculiar with the render thing going on these days
00:04.640: com, go there.
00:04.640: And we started down the Premier thing a few years ago and just like, this isn't working.
00:04.640: So you mentioned that you on
00:04.640: In quotes.
00:04.640: Well, you know, not anymore.
00:04.640: And lots of cool ideas have been tossed out in terms of using
00:04.640: It's like, you know, it'll get stuck in this little render loop, and the little progress wheel goes reep, reop, reap, reop, reap, reap.
00:04.720: More of them are multitasking.
00:04.720: It's a nightmare.
00:04.800: Yeah, yeah, no, definitely that's true.
00:04.800: 00 or 01, whatever the incremental things were.
00:04.800: And that's just crazy.
00:04.800: But you know, that's fine.
00:04.800: Yeah.
00:04.800: You know, I can remember several years ago, early 90s, I think, mid-90s at least, I was doing some consulting for
00:04.880: Uh w what do you define as the beginning, like the launch day?
00:04.880: I can't batch capture.
00:04.880: I've been burned by Avid, you know, you name it.
00:04.880: I enjoyed it.
00:04.960: Are saying that there is some serious issues with this, and so
00:04.960: Gotcha.
00:04.960: And so it caused this distortion in the rendered output.
00:04.960: Digital films?
00:04.960: But the problem with that is sometimes I forget what I want to say.
00:05.040: So if you're a freelancer, you better know those tools if you want to get a job in that market.
00:05.040: Are you doing long things, short things?
00:05.040: And all of a sudden, we got to rethink what we're doing.
00:05.040: I go to output it and
00:05.040: So QuickTime as we know it pretty much no longer exists.
00:05.040: So the solutions that we used to use
00:05.040: I mean, you do have to sort of watch that.
00:05.040: Hey, Oliver, let me ask you one last question here, and it's kind of a fun one, sort of speculate.
00:05.040: I want this job exactly like this.
00:05.120: Right.
00:05.120: Um so a lot of times what happens is is a freelancer will come in and he'll go, Oh, I want to log in with my account because I have all my settings and
00:05.120: I'm just going to let go, you know?
00:05.120: Yeah, exactly.
00:05.120: And and I think I a lot of times I get spoiled.
00:05.120: And it starts to become more of an issue if you've got
00:05.120: And I was like, oh, let's talk about that for a while.
00:05.120: But anyway, he says, Yeah, just control-R something, and it kind of knocks it across the face.
00:05.120: There are good, good friends who are supporting this show.
00:05.200: This is Funnel Cut Grill 049.
00:05.200: How did you get into this?
00:05.200: So the writing has always been sort of the moonlighting side of things.
00:05.200: Yeah.
00:05.200: But somehow, I don't think Grant completely cares either.
00:05.200: I think is the term I've heard.
00:05.200: And actually, you know what?
00:05.200: You don't get to use, you don't get a magnetic timeline.
00:05.280: I know that in my particular work environment, I had one machine that was completely unusable for two days.
00:05.280: Yeah.
00:05.280: I think I called it the uh
00:05.280: So all of these things are very compatible in their workflows.
00:05.280: And that does mean watching it in real time.
00:05.280: Well, you know, and in the beginning days of editing, you could do this stuff with scissors, you know.
00:05.280: Now I didn't realize, but Control R is: I want to force something to render.
00:05.360: Well, I guess probably the thing that I like the most
00:05.360: And fortunately, I mean, I don't do that much with it.
00:05.360: Nah, I try to stay away from that.
00:05.440: And, um, so anyway, he'll tell you all about that.
00:05.440: Let me push some faders around here.
00:05.440: And the fact that they seemed to be willing to compensate people if they were affected
00:05.440: And these were types of videotape that were used heavily in the broadcast world.
00:05.440: And that's one of the reasons I didn't use it.
00:05.440: I mean, they wrote it down.
00:05.520: And so
00:05.520: We don't have any more tape decks.
00:05.520: And now they've got to make this change.
00:05.600: Yeah, so is my audio coming in okay and all that good stuff?
00:05.600: Now I don't think their implementation of files on the cloud is really very good.
00:05.600: He kind of looked at me, he furrowed his brow and he goes, Oh, it's gonna take a while.
00:05.600: It's that bad.
00:05.600: I ran into a woman at
00:05.600: You know, and I think if you remember how they implemented persistent in-and-out points.
00:05.600: But if you're still using 10.
00:05.680: You got to check it out.
00:05.680: I mean, basically, if you do a lot of stuff in Central Florida, you kind of get involved in a lot of the themed attraction stuff.
00:05.680: Before Final Cut 10 came out, I was doing posts about Final Cut eight and all the features that it was going to have.
00:05.680: Yes, absolutely.
00:05.680: 264 files very nicely in those devices before they could play them quite as nicely on the regular.
00:05.680: Exactly.
00:05.680: All right.
00:05.760: Just make it work.
00:05.760: It's very interesting.
00:05.760: 10 and used the retime tool to conform it
00:05.760: And I thank the people that work so hard on these tools that we use.
00:05.840: Maybe you want to avoid the Adobe subscription thing.
00:05.840: And I and I don't mean to gloat and I don't want to beat a dead horse, but
00:05.840: I think the thing that's scary, though, is to know that
00:05.840: Yeah, twenty-five years ago you didn't have companies.
00:05.840: You know what?
00:05.840: I go, it would be here.
00:05.920: And it's not that it's not it I'm not saying that every piece of music is perfect for everything you do.
00:05.920: I'm I'm drawing a blank now.
00:05.920: We have to.
00:05.920: I was in New Orleans, and the client had a two-minute piece that he had cut.
00:05.920: But, you know, I think that's a
00:06.000: Yeah, that was a lot of fun.
00:06.000: Yeah, I mentioned a little tip on a recent episode.
00:06.000: Yeah, and you look at, okay, that.
00:06.080: This was a strong Final Cut legacy market.
00:06.080: I mean, I do a lot of work that clients
00:06.080: So, right?
00:06.080: Take care.
00:06.160: So I was like, ah, that's a very interesting comment.
00:06.160: I want to kind of put this out sort of to the audience.
00:06.160: Not possible in the non-linear file-based world.
00:06.240: And can you essentially build up
00:06.240: And as we become more
00:06.240: 5, which is the last version that I used.
00:06.240: If that's a version of the future.
00:06.240: So it really just depends on the machine you're on.
00:06.320: It is curated.
00:06.320: Yeah, yeah, yeah.
00:06.320: I actually, one of the things that I came across at NEB
00:06.320: And he was doing it in Premiere on a Mac Retina laptop, you know, good machine.
00:06.320: But in terms of the
00:06.400: Okay.
00:06.400: And we also have pretty nice machines.
00:06.400: I've actually ran into people that buy really great little USB 3 drives and they're plugging them into older IMAX and don't have USB 3.
00:06.480: So anyway, we're going to talk about that.
00:06.480: Would you agree I I've said this for a long time that a lot of things in this industry and I first saw this in the
00:06.560: Interesting.
00:06.560: I got really, I just figured out a few months ago, and I can't remember what it was, but
00:06.560: I'm actually writing this out.
00:06.560: He was telling me, he goes, Oh, yeah, I think I found a trick to that.
00:06.640: Well, I freelance.
00:06.640: But it seemed like the people I was working with in Atlanta were using M2.
00:06.640: Yeah, I love that.
00:06.640: It's crazy that it is that
00:06.640: So, you've got all of this stuff that you've got to weed through, and that affects performance.
00:06.640: It kind of comes and goes.
00:06.720: So I looked into him a little bit.
00:06.720: I am a huge, as you know, I'm a huge fan.
00:06.720: But you really can't get a handle on something unless you really throw a real project at it.
00:06.720: So, you know, it's a win-win situation.
00:06.720: Well, I'm in the camp of I would like to see something that emulates tracks for audio.
00:06.800: And initially, nobody was interested, but then videography had
00:06.800: But basically, you know, think of clip one and clip two.
00:06.800: You know, if
00:06.800: I'm not a moron.
00:06.800: There's waveform caches that have to be updated, and so on and so forth.
00:06.800: Right.
00:06.800: Yeah.
00:06.800: In Final Cut 10
00:06.880: I I can't remember.
00:06.880: Too many people don't know what they're doing.
00:06.880: Central Florida sounds like mouse stuff.
00:06.880: Remember the Aladdin?
00:06.880: Squirrel.
00:06.960: So that's how I started.
00:06.960: I don't have a link to it or anything like that.
00:06.960: It it means that they see that it was very detrimental to some people.
00:06.960: And eventually, after going back and forth,
00:06.960: Sometimes
00:06.960: What like
00:06.960: But yeah, I would love to be able to go, oh, I wish I could just, you know, pull this track down.
00:06.960: And then you get it.
00:06.960: And I think that as an end user, a lot of times we forget that those are discussions that people are having in offices somewhere.
00:07.040: I mean, if you take a look at
00:07.040: Yeah, yeah.
00:07.040: Right.
00:07.040: So, whatever you slide underneath it, it will still dissolve to it.
00:07.040: Really?
00:07.040: Very interesting.
00:07.040: Now I want to address some of that because as he was listening
00:07.040: But I was talking to Steve Navrat.
00:07.120: Well, I've
00:07.120: Well, you know, it's funny.
00:07.120: And
00:07.120: I spoke to the guys at
00:07.200: Anyway
00:07.200: Okay, so this is interesting.
00:07.200: I can't.
00:07.200: Yeah.
00:07.200: I mean, they dutifully made a lot of notes in their notebook.
00:07.200: So, how, what resolution?
00:07.200: And oh, by the way, listen to this coming episode of Digital Cinema Cafe.
00:07.280: Yeah, yeah, that's the part that's for sure.
00:07.280: Yeah, yeah.
00:07.280: Yeah, yeah.
00:07.280: Typical, you look at a lot of the form complaints regardless of the application.
00:07.280: Okay, so that was Oliver Peters.
00:07.360: So um what kind of what kind of post production uh are you involved in?
00:07.360: So
00:07.360: But um, I thought that was a very interesting thing, you know, because it it when you understand and when you really sort of
00:07.360: That's the way the law is, and they should use it to their benefit as long as that's how the law is written.
00:07.360: Well, let me ask you, let me back up one
00:07.360: And so they'd rather you go through and do that work, which is great.
00:07.360: Well, if you've got to lay off a file.
00:07.360: com.
00:07.440: It'd be fun for a little while, but ultimately, it would get old.
00:07.440: You know, I talked about at the beginning of the
00:07.440: 1.
00:07.520: Because, frankly, to be on Pond 5, I could probably have a Pond5 account in like 20 minutes.
00:07.520: You hold down the shift key, I believe, and you get select all tracks.
00:07.520: Oh, that's cool.
00:07.520: Because of the changes made in AV Foundation.
00:07.520: It's like, no, you're turning it the wrong way.
00:07.520: 1.
00:07.600: So you do the little command option click on it.
00:07.600: Yeah.
00:07.680: And so, okay, I'm not juggling, you know, the track Tetris thing, if you will.
00:07.680: So what you tend to have is: here's a bushel basket full of footage.
00:07.680: Rest in peace, right?
00:07.680: But are you really still doing that?
00:07.680: Depending on format and codec and so on.
00:07.680: Clearly a QuickTime tool, considering it hasn't been developed in probably at least six years.
00:07.680: So now I want to talk about inside of
00:07.680: Well
00:07.680: That Resolve 11, you know, the audio was nice, but it was pretty weak at this standpoint.
00:07.760: I did this interview.
00:07.760: Part of it has to do with most traditional NLEs
00:07.760: So I love that model, right?
00:07.760: And they could raise the price to whatever they want.
00:07.760: So, so how did you end?
00:07.760: So if I had used it originally, and that's
00:07.760: 2 or something like that.
00:07.840: Their music is quality.
00:07.840: It did, however, also
00:07.840: I'm fascinated at the connect the seeming, I will say the seeming.
00:07.840: I know how to make a folder.
00:07.840: There's some things I have issue with.
00:07.840: Sorry.
00:07.840: And so if you don't remember.
00:07.840: Okay.
00:07.840: That's how Cinematool works.
00:07.840: 1
00:07.920: They carefully choose the artists that they invite to put on their site.
00:07.920: And so I implore you, go check out their website.
00:07.920: Okay.
00:07.920: We're living in the future.
00:07.920: If you build up that kind of a complex timeline in 10,
00:07.920: Clever.
00:08.000: All right.
00:08.000: And okay, so I'm exaggerating a little bit.
00:08.000: And we there are certain things
00:08.000: I said, That's weird.
00:08.080: And I don't know, the official statement that Adobe has said so far
00:08.080: Yeah, it's a plural.
00:08.160: But this market is
00:08.160: So there's always a little
00:08.160: For example, the typical source record timeline window layout, which
00:08.160: I can't remember now.
00:08.160: So I don't know how this polite thing is going to work out.
00:08.240: So everybody always said, hey, you ought to do this, you know, for real.
00:08.240: So it kind of depends on what's at the shop that I work at.
00:08.240: Let's talk about getting burned by 10.
00:08.240: But I've been very pleased with the render speeds.
00:08.240: You know, we upgrade our machines very regularly.
00:08.240: And I was like, this thing
00:08.320: Before Final Cut 11
00:08.320: The guys in the bigger cities.
00:08.320: Oh, yeah.
00:08.400: Well, you know, it's hard to say because every NLE has certain
00:08.400: Go find another tool.
00:08.400: The nice thing about a file is
00:08.400: Come on.
00:08.480: So, in other words, how do you build a Final Cut Studio?
00:08.480: Yeah, that's kind of my bread and butter, too.
00:08.480: And so.
00:08.480: Okay, I got you.
00:08.480: And the blog, which is where most people tend to follow what I write about,
00:08.480: But he was talking about the performance hits.
00:08.480: That really helps other people find the show because it means that it ranks higher and that's good for everybody involved.
00:08.560: Now, I've said many times, I don't think we can avoid the Adobe subscription.
00:08.560: Not yet.
00:08.560: I haven't tried it, but I'm told that they support it.
00:08.560: So you've got something under deadline, right?
00:08.560: So here's here's
00:08.560: Now he's the guy that works with me here at Slice.
00:08.640: I go, It's two minutes long He goes, Yeah, it's gonna take a while Turned out to take two it took two hours to kick out this file.
00:08.640: All this will be a moot point and whatever.
00:08.720: He's an editor, he's been doing it a long time.
00:08.720: And it's not even our choice.
00:08.720: And so I like the way 10 kind of gives you the ability to do that.
00:08.720: Okay.
00:08.720: I'll go, really?
00:08.800: And, uh
00:08.800: Anybody with that many employees obviously has a communication issue.
00:08.800: So what were the things
00:08.800: So you lay it
00:08.800: Come on.
00:08.880: And uh where I work, I was actually given
00:08.880: And sometimes that makes it very difficult to say, okay.
00:08.960: And that was a new experience for me.
00:08.960: I know how to make subfolders.
00:08.960: Okay, it's like a two rack unit box of cards that it was supposed to be like the video toaster killer.
00:09.040: And so, I went early on on some projects.
00:09.040: Gotcha.
00:09.040: So digital films.
00:09.040: I really enjoyed that.
00:09.120: All the cool kids are doing it.
00:09.200: It very well may be that
00:09.200: That's it.
00:09.280: And over the years, I'd always sort of written.
00:09.280: It's mind-boggling.
00:09.280: But anyway, I think Final Cut ten and Resolve
00:09.280: Yes, and I think that's a really important thing to keep in mind as you're troubleshooting.
00:09.360: But it was
00:09.360: Not yet.
00:09.360: So you and I are old guys.
00:09.360: So then I go back and I check the file, and sure enough,
00:09.360: Did not know that.
00:09.440: But yeah, pretty much from the beginning.
00:09.440: And yeah, maybe it cost me a day or two.
00:09.440: And I was like, Mm, really?
00:09.520: I was talking to somebody, I can't remember what it was, and it dawned on me.
00:09.680: I still love Final Cut 7, yeah.
00:09.680: You're supposed to be turning it up, not down.
00:09.760: So if I do an insert
00:09.840: But I tell you, I haven't batch captured in years.
00:09.840: It exists as a media player
00:09.840: It was very interesting.
00:09.840: We'll talk to you next time on the Final Cut Grill.
00:09.920: It had some issues.
00:09.920: But there's stuff I write in there that's just for the blog.
00:09.920: If only they spoke
00:10.000: And again, this goes a little bit against your
00:10.000: Well, yeah.
00:10.000: I personally have.
00:10.000: Yeah.
00:10.000: Now it's a little more ambiguous.
00:10.080: What what what happened in that particular instance?
00:10.080: Okay, that's a phrase I haven't heard.
00:10.160: You know, if you're laying off
00:10.160: Well, you know, if you're doing, you know, hour-long TV shows.
00:10.160: Well, it used to be conform, but now I think it's changed to automatic.
00:10.240: How do you want me to use this?
00:10.240: Right.
00:10.240: So here's his trick.
00:10.320: Sounds really good.
00:10.320: I think they have audio.
00:10.320: All right, so that's Premium Beat.
00:10.320: So you have a little bit of leeway.
00:10.320: Interesting.
00:10.400: How long have you been covering technology like this?
00:10.400: So I like that sort of tactile side of it.
00:10.400: Okay.
00:10.400: Because
00:10.400: But if you're on a newer machine, an iMac, a retina,
00:10.480: And then that kind of merged into videography and D V.
00:10.480: Yeah, exactly, exactly.
00:10.480: Yeah, exactly.
00:10.480: Anyway, Oliver, we should wrap this up.
00:10.480: You know, we got into a little thing there toward I guess about in the middle.
00:10.480: I would just like let go of my mouse and just.
00:10.560: I gotta tell you, I kind of like being considered press.
00:10.560: Now
00:10.640: There's always going to be something that's better.
00:10.640: I mean, if our clients come to us with
00:10.640: Or as Joey Tribiani says, a moo point.
00:10.720: I know how to do this.
00:10.720: You've laid off a master to videotape.
00:10.720: And so
00:10.800: Yeah, select all in whatever direction.
00:10.800: I've given up trying to keep keep track of the whole Samsung phone thing.
00:10.800: However, it doesn't.
00:10.800: I haven't had that problem.
00:10.880: He's actually older than me, so that gives him a certain amount of distinction right then and there.
00:10.880: But I think at this point they're not.
00:10.880: It was like.
00:10.960: And then I have a question about the retiming also.
00:11.040: And that's what I did.
00:11.120: And so
00:11.120: And I'd say probably if I do
00:11.280: So, you know, they took a different take on it.
00:11.360: So if you had marked
00:11.520: And that's really the key.
00:11.760: You know, you
00:11.840: Here we go.
00:11.840: Um, tell me about how this blog post came about.
00:11.840: She goes
00:11.920: And so that, you know.
00:12.000: I mean,
00:12.000: What do you mean by persistent in and out points?
00:12.080: I could remember the
00:12.160: You know?
00:12.240: How do peop what's the best place to
00:12.320: Interview with Oliver Peters.
00:12.320: And
00:12.320: That affects.
00:12.480: He had a good hard drive.
00:12.480: And you go, well, okay.
00:12.560: What uh where did that come out?
00:12.720: I mean, if you I can remember
00:12.720: And a lot of times
00:12.800: com website.
00:12.960: So
00:13.200: Yeah.
00:13.360: It's like, dude.
00:13.440: Yeah, and then you click.
00:13.600: Yeah.
00:13.680: Okay.
00:13.760: I think my
00:14.160: Later, later.