Episode 52

FCG052 - Workflow Brain Storming (feat. David Fabelo)

Workflow logic is crucial and in FCPX there are so many ways to solve a problem. Returning guest David Fabelo and Chris walk thru a potential job he is applying for and we discuss some workflow ideas to make an episodic web series works smoothly in a shared work environment. We also learn about the Fabelo Rogue Marker Bug and hear how David came across that discovery. David discusses his logic of how he uses the Primary Storyline for his B-Roll and we talk about Markers in the browser or Markers in the timeline.

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Featuring

• Chris Fenwick
• David Fabelo - @David_Fabelo

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Transcription

00:00.080: Far as there's more of you here, but I do know how to do it.

00:00.080: Credit.

00:00.160: And David was recently mentioned in an interview with Gregory Bradley.

00:00.160: Crossing the 180 podcast?

00:00.160: And I've mentioned on the show, you are the first interview I ever did.

00:00.160: Tation at the Evst FCP Works thing that was in January, which we had talked about and promoted a little bit on the show.

00:00.160: the cryptic things he said to to go down the internet wormhole and like g you know, make an educated guess as to what what movie it was, you know.

00:00.160: Final Cut 2 or 3 or something, but yeah, yeah, not Final Cut 7, right, right.

00:00.160: That's okay.

00:00.160: kind of like choose uh for your company, I I think that's that's great.

00:00.160: And as you've pointed out, NLEs are regional.

00:00.160: McLean, who I do Digital Cinema Cafe with, they just a month ago or so went to the I always want to say Long Beach.

00:00.160: Well, I know, but well this way this way ma this way maybe there'll be an opportunity for another follow-up conversation in the future 'cause I love this show so much.

00:00.160: where like each event in a in in an editor's library could be an epis an episode.

00:00.160: that I've been working on, I I created events for each set of dailies, for each day of shooting was one event.

00:00.160: I know the supervising editor really well.

00:00.160: And although you don't want to work that way all the time every day, we did many, many short little fixes like, oh, gee, that thing we delivered yesterday, there's a typo and the name key.

00:00.160: Oh yeah, I'm copying that into your current library, but it actually doesn't.

00:00.160: Hover your mouse over the win the video window, and then click on the gear.

00:00.160: God dang it.

00:00.160: I was like, oh, yeah, yeah.

00:00.160: When you're dealing with a computer, is actually a really good little tip.

00:00.160: I was like, okay, I want to have it.

00:00.160: But clearly for the organizational aspect of it, he's been getting a hell of a lot of use out of ten.

00:00.160: It feels like that seeing the Matrix.

00:00.160: And that's all we talked about was Premiere.

00:00.160: of a sound bite, you know.

00:00.160: Virus named after him when the entire crew de-evolved in Star Trek the Next Generation.

00:00.160: And it was just it just became a running joke on those two days on set.

00:00.160: A long form project, and probably on any project was, I think it weighed down the the timeline.

00:00.160: Or there's or there's concert stuff, right?

00:00.160: from other editors how they use that the primary, secondary storyline, how they like.

00:00.160: Storylines where so everything isn't connected to the primary, you could actually connect something to a secondary.

00:00.160: A season, if you will, depending on how we describe that, so you won't be getting anything in your feed from Digital Cinema Cafe.

00:00.240: And we invited back David Fabello.

00:00.240: And I implore you to reach out, take a look at their music, listen to their stuff.

00:00.240: To the grill.

00:00.240: I thought I was talking through the through the uh earpod.

00:00.240: I know I was uh you commented on it.

00:00.240: Not to like to my own heart.

00:00.240: But yeah, you were the very first episode.

00:00.240: Smith movie was cut in Final Cut 10.

00:00.240: Program, I think, would remind people of when Walter Murch edited Cold Mountain on Final Cut 7.

00:00.240: and just running into people around here and gauging their reaction to me working on a feature in ten, because I've kind of

00:00.240: Like, and I mean, it's been three years since this program came out.

00:00.240: And I'm trying to tell my friends about it, and they're like, Yeah, no, I don't believe it.

00:00.240: It may have been Anthony Baird.

00:00.240: And if you watch the Apple, all the Apple sites, let me think let me just go to the Mac Roomer, see what else is coming up.

00:00.240: when the QuickTime framework, which is which is what you know, if you look at the technology behind Final Cut 7, Final Cut 7 is just a really fancy QuickTime player.

00:00.240: Yeah, they're sh they're still showing like the it looks like it's going to be OS 10 Yosemite is my guess is what they're going to call it.

00:00.240: You know, I don't know if most people realize this, and I think I've mentioned it before on the show, but do you ever use Quick Look in the OS?

00:00.240: Oh, yeah, yeah, yeah, absolutely.

00:00.240: media file in QuickTime, it has to convert it to something else.

00:00.240: Basically, what we're seeing there, and this is now Mavericks we're talking about, is the we have been seeing, I should say, is we are seeing the beginning

00:00.240: working on a on a on a web series that has some backing, you know.

00:00.240: I think they'd be very happy.

00:00.240: From something it's that's not only end of life, but like the framework for it is about to go.

00:00.240: this new group that you're working with, and make a make a plea, make a pitch for it, tell them.

00:00.240: And so sometime and people will ask all the time, hey, you still working on that dock?

00:00.240: the first documentary I ever came on as an assistant actually I came on as an intern that and then worked my way into being an assistant.

00:00.240: I did I did retain an assistant.

00:00.240: That doesn't that actually sound doesn't sound bad to me.

00:00.240: you're going to draw you have a library of footage that could be common to any project.

00:00.240: Would you create a single library and then an event for each episode?

00:00.240: So the theory then would be that you will have would you here's the question.

00:00.240: I believe there's going to be more it's not I'm correcting myself, it's not just one series, it's like um several series exploring different themes of the same subject.

00:00.240: using two metaphors at once.

00:00.240: And it's a bit complicated.

00:00.240: In that each episode, if you will, each house, most of the footage is unique to that house, of course.

00:00.240: To map this out and chart this out.

00:00.240: And you could easily pull off that, you know, if that room was busy and that media was stored on a local machine in a room that you don't have access to at the moment.

00:00.240: So what you're going to do to get access to that footage is you're going to say, oh, I need access to that footage, and you're going to create a second library on the machine when you're let's say you're cutting episode five.

00:00.240: So you're going to create a second library on that machine, and this is a temporary library.

00:00.240: And so if you don't copy it into the library, Final Cut can't do that.

00:00.240: And then you search it, you find the shot, and the reason you do that is you get all your metadata.

00:00.240: Is now duplicated into your current library and always accessible from that library, even if your network you break all the network connections to the media that's down the hall.

00:00.240: Right.

00:00.240: Doing it uh this way with a remote library, with a transfer library, and keeping a few things stored in your libraries is really uh it's

00:00.240: You can't Well, well, yes.

00:00.240: I know that there are people that'll be critical of that.

00:00.240: But I'm wondering, scratch the microphone you're talking into.

00:00.240: Oh, son of a bitch.

00:00.240: I know I had at least two or three beers.

00:00.240: we would be at Final Cut Server again, plus all this tagging, plus all this metadata, yada, yada, yada.

00:00.240: A little chit chat on the Facebooker with Jay Aaron.

00:00.240: Well, the people guests have mentioned like, yeah, if you're a we need funnel cut editors in this part of the country or that part of the country, and I've had the thought of like

00:00.240: Data work and then shoot out an XML if someone wanted to go.

00:00.240: I've been in the room with clients using Premiere.

00:00.240: Oh, I just need to spend more time at the keyboard.

00:00.240: Well, you know, in all fairness, and I, you know, I don't want to bash Premiere.

00:00.240: And a table saw, it doesn't mean I can build you a house.

00:00.240: Had the time to learn everything.

00:00.240: some consulting editors come give the documentary another look and sit in with me and just just like gener it was all for generating ideas and trying things.

00:00.240: I know I'm sitting next to a skeptic.

00:00.240: Well, closing all the windows, the other thing was um there's a weird marker bug in 10.

00:00.240: maybe slowed down to like twelve seconds or fifteen, you would you wouldn't see those other ninety seven markers.

00:00.240: And you get your UI performance back.

00:00.240: and things.

00:00.240: cut your one intro the one time and then just like throw it in on top of you know all these different you know time lines and stuff like that

00:00.240: You know, if you had been given a chance to really do what you wanted to do,

00:00.240: With a big switcher and a D VE and you know, character generator, all the old school stuff.

00:00.240: Skepticism.

00:00.240: Do take that next step.

00:00.240: And your work easier, but not only that, at the end of the day, they will kind of do

00:00.240: to your footage.

00:00.240: in the last six months since we last talked, that you're doing something differently?

00:00.240: is it's w if you lay down a compound clip with like two hours of raw footage and you're only referencing in your edit thirty seconds

00:00.240: In your cut.

00:00.240: From that compound clip, you'll mark ins and outs in your event library and lay that into your timeline.

00:00.240: Philosophy, although I will say the thing that I would say that I have done different in the last six months, is I've started to move away from the string out.

00:00.240: You know, B-roll selection feature, which I've which I have very publicly supported and said that, yeah, it's kind of old school, but I do it.

00:00.240: So I can see the stuff that's already being used.

00:00.240: You're just almost as if you were there when these things were happening.

00:00.240: that you can do do things once.

00:00.240: So that you don't have to do it again.

00:00.240: And they're like, well, just do this.

00:00.240: Yeah, sure.

00:00.240: Especially in the early days of this project where I was using interviews to kind of like structure the story, I edited that way.

00:00.240: will observe and will see something play out and we'll see people exchange dialogue, you know, in a verite kind of fashion.

00:00.240: connected clips in that traditional way.

00:00.240: So I'll have this difference.

00:00.240: I I don't know.

00:00.240: And he's like, oh, it didn't even occur to me before because that's not the way we used to work.

00:00.240: So important.

00:00.240: I'm surprised I couldn't add camera angle in the import window because you can change when you connect a device

00:00.240: Arctic Whitenesses Final Cut Library Manager?

00:00.240: Yeah, he had sent me a copy of the 2.

00:00.240: Does away with my d use of the application disk tracker to scan all my disks.

00:00.240: Thanks, Chris.

00:00.240: And also, by the time you hear this, it will be interesting.

00:00.240: Think I have a great interview lined up for the end of the week on Friday.

00:00.320: I never listened to that episode because I I was self-conscious about how bad it sounded.

00:00.320: And as I've mentioned in the past, you can also type premiumbeats.

00:00.320: They are a very curated collection of music, so it's all really good stuff.

00:00.320: I do.

00:00.320: Hello, hello, welcome to another episode of Final Cut Grill.

00:00.320: So, this is another kind of long interview.

00:00.320: And I would get reports back like from from like fr uh you know a buddy or two that that listened to it.

00:00.320: No, it was amazing.

00:00.320: who are on the fence or maybe not even acknowledging that there's a fence there?

00:00.320: To people on on the fence, because it because the idea of a of a studio feature being edited in this

00:00.320: Yeah, about more positive or open reactions I've gotten.

00:00.320: I still think those skeptics will find another reason to be skeptical.

00:00.320: I'm not certain, but I said that, you know, I almost feel like I found an ATM machine that gives me $120 every time I ask for $100.

00:00.320: And I get, you know, I'm not going to name names, but people who know me know the story.

00:00.320: And it's like, and I really think, you know, and we're on the verge here.

00:00.320: There will be a time when Apple goes, Yeah, we're done.

00:00.320: And one person said, Well, Final Cat 7 is already dead.

00:00.320: any possibility whatsoever for you to um explain to this

00:00.320: It really is.

00:00.320: four months of that project.

00:00.320: Right, right.

00:00.320: Yeah, yeah, yeah.

00:00.320: Test benched basically.

00:00.320: you know, stepping into the future, so to speak, and saying, hey, why don't we consider doing it in 10?

00:00.320: as like Final Cut seven is avid.

00:00.320: Ah, yeah, yeah.

00:00.320: Sure.

00:00.320: And then the events would be each episode that they get footage for.

00:00.320: Produced um I will say very many approximately you know five to seven minute long

00:00.320: But but th there are common shots where we if they mention the city or the neighborhood, we might have a shot of downtown, a shot of the local schools, a shot of the parks, and those get used over and over.

00:00.320: So what we did is we made a single library on one of the edit systems and we call it stock footage or whatever.

00:00.320: And then what you have to do, I prefer the leave in place functionality, but

00:00.320: You're going to find the shot that you want.

00:00.320: Okay.

00:00.320: Because if you don't, the whole I'm going to copy it from library to library, even though a dialog box pops up and it says, Hey, gonna have to copy this over into the library.

00:00.320: And then you import the XML into your local machine into a second library, a transfer library.

00:00.320: And you bring those into your current library, it will actually store it in the library.

00:00.320: Everything from the stock library just to the key when what we're talking about here is trying to work the most efficient way.

00:00.320: Try and figure out how to do something once.

00:00.320: Because I've been very vocal locally about my use of Final Cut 10.

00:00.320: the program.

00:00.320: I think it's better.

00:00.320: whatever chat program we're using, we're always double checking our mic settings, our mic input.

00:00.320: Hey, how does that sound?

00:00.320: And they had purchased the new Mac Pro.

00:00.320: about the whole thing.

00:00.320: It'll probably be Friday's episode, so that'll be totally worth it.

00:00.320: turning to my wife and saying, Honey, you want to move to like Wisconsin or Massachusetts?

00:00.320: Go.

00:00.320: 'Cause they I they weren't totally going to do the full um turn.

00:00.320: Just get comfortable.

00:00.320: here.

00:00.320: Yeah, that that that I don't know what that is.

00:00.320: Yeah, it's so funny.

00:00.320: But what I had done was through many, many Google searches, I had found these forms, I had mentioned these things and then I experimented.

00:00.320: contacted me and he started to test it out and I think he put it on his list of known issues.

00:00.320: Let's say I take ten seconds of of a shot from that archival footage and put it into my edit, into my timeline.

00:00.320: And maybe only three markers are visible in those ten seconds.

00:00.320: you know, s copied and pasted.

00:00.320: And and when I was on set, I was just like, if we if we were working in ten, like, I could be we could start editing while while we're on set doing this.

00:00.320: Yeah.

00:00.320: I have no doubt, you know, you would have been very successful in terms of showing them how quickly some of this stuff could have been turned around.

00:00.320: reality in this business.

00:00.320: These guys, the the guys I'm the the folks I'm talking about are all great folks.

00:00.320: and help you take the next step you want.

00:00.320: Yeah, yeah, I mean, yeah, you know, i th you don't have like anything like connected clips.

00:00.320: instead of tracks, you're just with with Final Cut Ten rolls, you're just tagging, you know, inst um you're just putting labels.

00:00.320: Have you read about that?

00:00.320: And I'm glad they did.

00:00.320: the events are unfolding in front of you.

00:00.320: Okay.

00:00.320: when you have s scenes that are referencing a ton of like clips from different you know days, shooting days or whatever.

00:00.320: I think compound clips, the more I've used them, I don't know like I one of the things I was excited about going to ten was it seemed like maybe they had solved nested sequences that you could put like a um

00:00.320: Yeah, and I and and I and I and the reason why I wanted to I begrudgingly was stick sticking to this um

00:00.320: Just like doing the in-and-outs in the compound was to keep my markers that I had made.

00:00.320: That clip is relevant to that clip's instance in that timeline.

00:00.320: How can we do this once and do it right?

00:00.320: So I actually there was there was a while, and I would love to hear from other long form editors how they use the primary, but there was a time where I was like, huh

00:00.320: And then the interview will it'll be like a long L cut or something, or the interview pieces will like highlight what we're seeing on screen.

00:00.320: And so I noticed that, like, sometimes my spine I I I had to like get myself away from that idea that this was the

00:00.320: E for append at the end of the storyline worked really well for that.

00:00.320: Right, right.

00:00.320: My timeline might have a scene where the VO is the spine, you know, and maybe um and then and maybe I'll I'll use

00:00.320: To use it the way you want, I think the point that you're bringing out is really a strong one to think about in realizing that

00:00.320: you can make anything you want be part of your primary storyline.

00:00.320: And so it might start with an on-camera, hi, welcome to 123 Main Street.

00:00.320: the outside the box, break the paradigm sort of tool allows you to approach problems from a completely different way.

00:00.320: open door lessons and trying to find okay, how can I make it work in this plot?

00:00.320: touch premiere throughout this project a little bit just to keep up.

00:00.320: Yeah, I know we did do that, but I think we could do it better.

00:00.320: It's weird, and I the I we should be able to fix that.

00:00.320: It's great.

00:00.320: Yeah, add it to the tool belt.

00:00.320: different systems um that are available and it's just it's it just it literally amazes me.

00:00.400: And I just thought it'd be fun to see how his project's going, what he's working on, what he's learned, what he's excited about.

00:00.400: soundtrack or whatever and cleaned it up 'cause I didn't obviously.

00:00.400: Yeah, I mean, I and it just you like I I listen to every episode um and I think that's the second time my name has been

00:00.400: That a whole lot has changed, you know.

00:00.400: other other interviews close to there that I really predicted that in, you know, I think I said like six to eighteen months that the tables would turn.

00:00.400: There's even I don't know if you caught wind of this there's even some evidence that there might be a Will Smith

00:00.400: Oh, well good for them.

00:00.400: The the uh Will Smith movie gets that kind of attent puts that kind of spotlight on ten.

00:00.400: Right.

00:00.400: Of the death of QuickTime.

00:00.400: Um hey, do you think ten ten will mean the death of QuickTime uh of Final Cut 7?

00:00.400: Well, not if I don't upgrade.

00:00.400: I bet someone told me recently, you got to make sure that don't let the platform define you as an editor.

00:00.400: Like, why?

00:00.400: What I what I just I I feel like I've I've eaten I feel like I've I've eaten from the apple the the app oh God.

00:00.400: some some beach down in LA film festival.

00:00.400: Wow.

00:00.400: But it's I mean it's stunning and beautiful.

00:00.400: You know, like that one guy you talked to in South Texas that was turning that was turning um their entire suite in uh into ten, you know, and he and they they were still waiting on the Mac Pros.

00:00.400: Yeah, yeah.

00:00.400: Maybe, but but like I for an episodic series where you might go back and use footage, you've talked about this on the show.

00:00.400: um uh concept.

00:00.400: This particular job would be, will be, I'm going to speak positively because I'm hoping you're getting it, but this is going to be.

00:00.400: th this documentary is the one I'm currently on is about a musician, all the shots of her guitar from any day, you know?

00:00.400: Right.

00:00.400: Use of the XML power.

00:00.400: Downtown shots of four cities.

00:00.400: And what you're going to have to do, and this is where it's a little bit of a bummer, on that machine, on the second machine, you have to turn on the

00:00.400: Even though Final Cut 10 says, and this is at this point, we are talking about 10.

00:00.400: Goodgrief, how long have I been talking about this?

00:00.400: Somebody at the organizational level just said, Oh, here, we used to have a folder.

00:00.400: For one of our producers.

00:00.400: I think, I wonder, hmm.

00:00.400: heard that you're using ten.

00:00.400: Oh my gosh.

00:00.400: Yeah, no, totally.

00:00.400: Nothing changed in the timeline.

00:00.400: And I've been able and it wasn't just with like slowing down a clip.

00:00.400: Awesome.

00:00.400: consider the change yet, and it's just easy to stick with what with what you know for just a little while longer.

00:00.400: To be honest, I don't know if the guy's even still in business.

00:00.400: It's I don't know.

00:00.400: Skimming your compound clip and marking an in and out and then dropping it into your thing.

00:00.400: When using the primary storyline, you put your interviews in the primary.

00:00.400: As I st but the B-roll, so to speak, that we were using on a long form documentary, you're not always using B-roll in the sense of cutaways.

00:00.400: You you the spine of your story is sometimes observational like footage, almost like a narrative, where it's like something's happening in a scene.

00:00.400: Recommended or only way to use the primary.

00:00.400: It can be your verte, your observational footage.

00:00.400: It just it didn't make sense.

00:00.400: Well, actually, I'll even I will speak I'm glad you brought that up.

00:00.400: I'm I'll mention a couple very quickly.

00:00.400: that if you change the name of the original file with Final Cut Pro closed and you reopen Final Cut Pro,

00:00.400: Well, I need to check that out because I wonder if it might help address that issue whenever facing another thing that I want to recommend, and this is not a sponsorship or anything, but have you used

00:00.400: Yeah, yeah.

00:00.400: I am shocked when I find people that choose seven over any of the feet uh

00:00.480: With any given song, you can buy a 15, 30, and a 60-second version of it, which makes it easier for those spots that you're working on.

00:00.480: And he was doing the classic, I can't tell you there's a Will Smith movie being cut in Final Cut 10, but if you were to ask me if a Will

00:00.480: Foundation that is in all of our iOS devices, our phones and iPads and all that crap.

00:00.480: Uh and um I kn they're they're s they're editing in seven.

00:00.480: Yeah.

00:00.480: No.

00:00.480: That's independent film for you.

00:00.480: So before last time we talked, 10.

00:00.480: Um footage when you're tagging.

00:00.480: you can grab and bring into the into the let's say each editor has their own library.

00:00.480: Right.

00:00.480: Because we don't have a SAN, we don't have centralized storage, we have local storage on each machine, and as we know, or as you should know, you cannot reach across a network and open up a library that's on another machine.

00:00.480: So you get your metadata, it's searchable, you find the shot of the appropriate school, the appropriate downtown, the appropriate exterior of Jerry's apartment and the appropriate baseline sound effect.

00:00.480: Right, right, right.

00:00.480: I can certainly reach across the network, look into that folder.

00:00.480: And I can see all the media there.

00:00.480: We we've been working on a podcast ourselves, like a movie review podcast, because the world needs one more of those, but whatever, it's fun.

00:00.480: But so so we've been recording successfully with this mic, but we haven't been doing it through G.

00:00.480: They and it starts to click, it's like, oh.

00:00.480: Refresher of prone overview, a primer.

00:00.480: uh whatever, just how that all worked.

00:00.480: Sure, yeah, no, totally.

00:00.480: But um I'll just kind of play p uh podcast Pot Pare here.

00:00.480: I've noticed that I've talked about how I've become that Final Cut 10 guy.

00:00.480: And it was like it was gonna it's like a series of webs web spots, I think, for a company.

00:00.480: And they would have each spot would have maybe the same intro slightly with slight variations of voiceover or whatever.

00:00.480: But but the bottom line is, I I had a more powerful, useful tool, and he just wanted to pay for his.

00:00.480: is so similar are these these tools getting to each other.

00:00.480: a string out because we thought, oh, you can just kind of watch it all instead of watching something clip by clip, you can watch it all in a line almost like

00:00.480: that is geared towards that, that that's part of the mentality of the paradigm.

00:00.480: maybe I need to kick out this VO, this interview, and kick it down to below the primary storyline, because I know I'm not going to see the talking head here.

00:00.480: The wrapper, if you will, of my secondary storyline, that all of my keyboard tricks still worked, but now in the secondary storyline.

00:00.480: the primary storyline is that flexible.

00:00.480: And I will say in my situation, and I'm pretty sure you would say the same thing, that looking at it from a different way

00:00.480: actually opened up doors for you, it didn't close doors for you.

00:00.480: I'm surprised that you can't like I was trying I was working on this other quick side project for the school that I've taught at part time the last few years.

00:00.480: it will still tra it the media the link does not break, even if you change the name.

00:00.480: Had this had the name of the pre of what it was previous to you changing it.

00:00.480: Using Final Cut 10 and just the experiences that we're having.

00:00.560: Now I can't say with 100% that the reaction I still feel like maybe people would be like

00:00.560: I've kind of become that guy amongst the filmmakers I know in town of like, oh, right, I heard you were doing that.

00:00.560: And he likes hemmed and hawed.

00:00.560: Actually, Sam Mestman has been on a couple of times.

00:00.560: When someone was shooting for like two and a half, three years, I got to remind myself that's the nature of it.

00:00.560: And here's why, because I wasn't sure on 10.

00:00.560: is you would have footage specific to an episode that the majority of that footage may not end up

00:00.560: Anywhere else, right?

00:00.560: Right, right.

00:00.560: guitar keyword collection.

00:00.560: it's a lightweight solution as opposed to just saying, here's 20 gigs of stuff, put it into every project, which is ridiculous.

00:00.560: Ah, but whatever.

00:00.560: And they were just like, just show us the lay of the land.

00:00.560: trying to say like, oh, so an event is like a bin?

00:00.560: And it we talked about it on the show, and then Art Gugliamo from Jersey, he was he like chimed in on Twitter.

00:00.560: I'm not cutting the documentary when we get to the point where we're picking our editor.

00:00.560: Clients were starting to notice when they were in the room.

00:00.560: Until you have somebody over your shoulder.

00:00.560: When you get somebody who really is a power user and you put them in a situation where they're allowed to run free, so to speak

00:00.560: adapt with the you know, with the times or you know, just stay just stay very flexible.

00:00.560: And I started doing nonlinear editing, and he was like, oh, you know, he everything he could do to make my workflow, my process look bad, he would say it.

00:00.560: major tools, the major the three A's, right?

00:00.560: raw f the raw footage of our dailies into one long compound clip, one long reel.

00:00.560: an entire scene into a compound and just move it around in your time line.

00:00.560: I used to look at the primary storyline as like kind of that holy grail, be primarily because things like W for Ripple Insert or

00:00.560: and get them to create one feature for you.

00:00.560: to the computer and then have it in the import window, you can actually change the name of the device in the import window.

00:00.560: device.

00:00.560: Still supports the QuickTime framework.

00:00.640: Feature film being edited in Final Cut 10?

00:00.640: But in even in ten nine Mavericks, there's a lot of media files, video files, that will not quick look that used to.

00:00.640: That's okay.

00:00.640: you're talking about your episodic piece with each one being about seven minutes long.

00:00.640: web pieces for a realtor, these house tours that we do.

00:00.640: At several edit desks.

00:00.640: So but if but once you do that, if you do it the proper way where the stock footage library is stored in the library as opposed to in an outside media folder

00:00.640: Right, right.

00:00.640: And you would only yeah, and you would only need to be for a given episode adding just the clips that you need.

00:00.640: you could you might be able to br still leave things in place, but bring them from other libraries, no?

00:00.640: And I've gotten I've c I've caught hell for it.

00:00.640: this is so close to Final Cut Server.

00:00.640: That when I added when I had let's say in my browser I had marked up a clip, right?

00:00.640: So they appeared inside the timeline index, even though they were trimmed out of the clip?

00:00.640: What I ended up doing, like when we made the jump to just before we made the jump to ten one, I went and I broke apart these major compound clips that were in the edit.

00:00.640: When you regardless of what timeline you bring it into or how many times, that marker will now live as part of the clip.

00:00.640: Yes, which is why it is so good to do as much work as you can in the browser, I think, in terms of making notes and

00:00.640: reverberates throughout the time lines.

00:00.640: And it was a real eye-opener for me when I realized I could put an audio-only file in the primary storyline.

00:00.640: I will be okay with that.

00:00.640: Ability to fix alias files, symlinks.

00:00.640: Right.

00:00.640: With that Final Cut 10 itself won't say, Yeah, that's different.

00:00.720: And that's when I started my little Twitter search.

00:00.720: Would probably only live in that episode.

00:00.720: Into the local library called the what did I just I just called it something the stock library stock footage library

00:00.720: Okay.

00:00.720: A library, the stock footage library, which is down the hall, you have to start with that footage in that library.

00:00.720: At this point, given this particular bug, you have to have it in the library.

00:00.720: But but for him, he was noticing that th the number of clicks it was taking to do perform functions um that had been routine in seven for him or or whatever

00:00.720: It totally could be.

00:00.720: Right, right, right.

00:00.720: about the updates they've done with with Premiere.

00:00.800: I have an audio effect for you.

00:00.800: There was no one I could talk to about Final Katen.

00:00.800: How's this doing?

00:00.800: But clearly it's a good it's a good organizational tool.

00:00.800: 'Cause I I really do love using the program so much.

00:00.800: And it's like, oh, this is called Barkley's Virus.

00:00.800: That's what I did early on.

00:00.800: Versus putting a marker on the clip when it's still in the browser.

00:00.800: That note will travel with it.

00:00.800: He actually went to the Digital Cinema Cafe website where there's the little audio tab, which I encourage people to use.

00:00.880: I hope it just gets talked about.

00:00.880: Right, right.

00:00.880: QuickTime Final Cut 10, however, is built squarely on the foundation of A V Framework, which is the same

00:00.880: Yeah.

00:00.880: Coming back from commercial breaks, you have a half a dozen shots of the outside of his apartment with the little baseline.

00:00.880: If you're trying to sell a house, hey, where's the fireplace?

00:00.880: Right.

00:00.880: I got a I got a call from some buddies at a local post production facility, and they were like, Hey, we've

00:00.880: We were talking about the transfer libraries, et cetera.

00:00.880: Now that I actually have a good mic on, gosh, what what a I have a list and I don't expect to hit it all.

00:00.880: I'm I am poking the hornet's nest, but there's a variety.

00:00.880: I made new smaller compounds for like video and audio to be synced together.

00:00.880: copy out the little portion that you want and then toggle over to your actual timeline and paste in from there.

00:00.880: Put your connected clips, put your B-roll over the spine of your story over those interviews.

00:00.880: just organizationally or even like visually, now the timeline just kind of looks a little all over the place rather than consistent.

00:00.880: So the last question, and you've I know you listen to the show, so I'm sure you've heard this.

00:00.960: Excuse me, and this is June 1st.

00:00.960: When the idea of still working in seven actually does bother me, knowing

00:00.960: Nice, nice, nice, nice little apple religious re reference on a Sunday morning.

00:00.960: I tweeted something out, and then Richard Taylor did me better.

00:00.960: They all have this they do the same things, you know?

00:00.960: Yeah, this gives me an opportunity to talk about maybe some Final Cut 10 don'ts.

00:00.960: embrace the fact that the browser will show me with green highlights the things that I have favorited and with orange highlights the things that are currently in my timeline.

00:00.960: and making marking things up in the browser.

00:00.960: Because usually the recipient of your just is me.

00:00.960: and then bring the volume down on the music on that clip and then bring in some VO as the subject talks about whatever.

00:01.040: Yeah, I've noticed that.

00:01.040: I'm glad you brought that up.

00:01.040: That is true.

00:01.040: A series, you said, a web series, correct?

00:01.040: the timeline has to reference all of the footage that you are visually not seeing.

00:01.040: the files that you leave outside of the Final Cut Pro library and with Sim links, right?

00:01.040: And it's in it is a utility that offers a little bit more forgiveness, if you will, in terms of reconnecting media that might be a little bit

00:01.040: The fact that you can see things at the event level, and I think now.

00:01.120: I understand.

00:01.120: That he and I went out to dinner and he was actually in town, which was pretty fun.

00:01.120: Yeah, you're on that microphone.

00:01.120: And he's been doing all of the logging and capturing and organizing and stuff in 10.

00:01.120: Material, I mean, with metadata.

00:01.120: And let's say I marked it up, let's just say with a hundred markers, let's just say.

00:01.120: And I'll do that too.

00:01.120: I it's not something I've nev necessarily come up with a hard and fast like rule for.

00:01.120: And he wanted to point, it's Quentin Stafford Frazier, and he made a utility called FCPX Exchange, I think he calls it.

00:01.120: We'll do it.

00:01.200: But when it comes to this idea of like, this could be like a year-long gig or more, possibly.

00:01.200: Oh, geez, okay.

00:01.200: I mean, I haven't used it, I have not, well, I did use 7.

00:01.200: You can't do that for a stock footage library.

00:01.200: Because those guys are really, they know their stuff, they're really thorough, and I think it would have to be more than just like

00:01.200: We loved it.

00:01.200: Digital Cinema Cafe.

00:01.280: I'm glad you brought that up because it I'm going to be I'm going to pe speak a little vague here, but it's it's it's related to the market.

00:01.280: But just the idea of still working for a year on this technology that might like you're indicating, like the foundation of that technology might be gone.

00:01.280: Yeah.

00:01.280: So what we had to do is we had to figure out a way that we could gain access to that footage

00:01.280: And that library is now your episodic library, and you have an event, you know, number five, which is episode five.

00:01.280: I have the mic.

00:01.280: And it's called Back in Time.

00:01.280: Only cropped up in 10-1-1.

00:01.280: I've also Apple will when they demo Final Cat 10, they'll talk about how you put your

00:01.360: Thank you, Auburn.

00:01.360: So so then the question then back to the current dock, is there any potential whatsoever for you to pitch

00:01.360: No, I because before we got on, I was making notes about some of the things we might touch on.

00:01.360: And that seems to be a well, not seems, that's really a bummer because I used to do that all the time in Final Fit 7.

00:01.360: That shot's not in this library.

00:01.360: And so that folder would get duplicated into every job folder, and it was so inefficient.

00:01.360: And there were a few moments where they were still that I I was talking to their team of like two or three editors and there were still moments of

00:01.360: And you're saying that so you're going to take that B roll from that day and you'll string it out.

00:01.360: But maybe it needs to be attached to the observational footage instead.

00:01.440: Yeah, so you tap your space bar and it opens up a JPEG, or you tap your spacebar and it opens up a PDF.

00:01.440: That stock footage library that everybody would have access to.

00:01.440: Just open this open this window up, launch it with Chris, and everything's go I checked my lo my settings on my machine.

00:01.440: I'm just telling Final Cut Pro, when you import this, I want this to be I think this could very well be a case of one of those things where they said

00:01.520: You sound awesome.

00:01.520: Yeah, yeah.

00:01.520: And maybe each editor is responsible for their own series.

00:01.520: How's this going?

00:01.520: You know what?

00:01.520: And I don't know what generated it in that cli in that case.

00:01.520: What you begin to see is you begin to see the real power of the tool, you know?

00:01.520: And I've seen it many times in the past, where you have people who are invested in technology that have not

00:01.600: And so and it rests it is built squarely upon the foundation of the QuickTime framework that is in the OS.

00:01.600: No, it was a lot of effects, and I'm not, I couldn't even begin to come close to what he and Robin did on that.

00:01.600: When given the floor, I'm going to chirp.

00:01.600: And it was you know, it was ten gigs of like, oh, these are a bunch of stocks things that this guy likes to use a lot.

00:01.600: Yeah, I think it's better.

00:01.600: How did that end up?

00:01.600: Let me how do I say this?

00:01.600: No, I haven't.

00:01.600: I think it's a response to the compet to what's working in Final Pip 10.

00:01.680: This was years ago.

00:01.680: But there are limitations to that workflow on a feature, and that's the I think it's probably too difficult to cross reference

00:01.680: I really love the paradigm.

00:01.680: Not again!

00:01.680: Here we go.

00:01.680: But I didn't, it I didn't really have to pitch.

00:01.680: And I've stuck to my guns, but it was there were days where it's like, why is the beach ball upright now?

00:01.680: Not only just with 10, but go to Premiere.

00:01.680: But it's inside that compound.

00:01.760: I I my issue is not so much like I think everybody needs to get on ten, although if they if they if everyone was on ten, I think

00:01.760: That's really clear, David.

00:01.760: what's it called?

00:01.760: And you store that locally next to that library so that you can find it.

00:01.760: In in Austin, Texas it is for sure.

00:01.760: I want to learn because I've heard multiple people say that.

00:01.760: I can't tell you what the Matrix is.

00:01.760: When you're the underdog, you always feel like you're also the de facto corporate evangelist in the room as well.

00:01.840: Because and I'm basing this on my small sample size of running into people on set, you know, around Austin.

00:01.840: And I think what they're saying is, well, you can't you can't just you got to be prepared to edit.

00:01.840: I'd be interested to see how that's worked out.

00:01.840: And so and so maybe clips like that, you actually start to create a, let's say, common library that you can

00:01.840: And I frankly think that what you are working on could easily be done in 10.

00:01.840: You have to say, import it into the library.

00:01.840: In that situation, you could really take advantage of this because you would just keep on one machine, you would keep building up that stock library

00:01.840: And you were like, Well, it's ten times better than the first time.

00:01.840: Totally could be.

00:01.840: It made more sense in a situation like that to make the show, the multicam clip of the show, put that in the primary.

00:01.840: And I also recommend everyone go out to cheap app.

00:01.840: We'll do it with the mic the whole time.

00:01.920: But um I j go to premier go to a go to a premiere.

00:01.920: I noticed when I added a speed adjustment to this particular clip

00:02.000: There is a difference.

00:02.080: I'm like, wow, is that an option?

00:02.080: Right.

00:02.080: Classic cla hashtag classic David Fabella, I guess.

00:02.080: The hundred markers that weren't there suddenly appeared and bogged down the timeline index.

00:02.080: I can remember in the mid nineties, there was a guy I used to do some work for, and he had a full-blown tape A B roll edit suite.

00:02.160: I'm just saying, I'm really touched and amazed, and I think it's awesome to have that.

00:02.160: I couldn't deny it, or something.

00:02.160: But here's the real question: Did you get to retain the other credits as well?

00:02.160: That's who's we went to college together and that's who's like setting up this interview for me.

00:02.160: Yeah, see, that's better.

00:02.160: We'd love for you to come and talk to us about it.

00:02.160: The other thing that I'll say is that, and this is true of any edit system and any tool, you never really know how well you know it.

00:02.160: And I'm like, mm, hold on.

00:02.160: Add it to the tool belt.

00:02.240: How you doing?

00:02.240: The podcast that doesn't even exist yet.

00:02.240: Yes.

00:02.240: And I literally like I had the idea of doing this show that night.

00:02.240: You know, and here's the thing.

00:02.240: You know what?

00:02.240: It feels like that episode of Star Trek where I think there was a character that had some

00:02.320: And you know why I jumped on right like as soon as the offer was laid out there was because

00:02.320: But it looks like, you know, ten ten is going to be a thing, and we've been saying all along that there will be a time

00:02.320: I I'm going to interview for um a you know, just a an opportunity that might be opening up in August for me.

00:02.320: Uh you know, um it just seems tailor-made for Final Cut ten.

00:02.320: This is really I you know, I was just like, I need to work these bugs like so that they don't get the wrong idea, you know.

00:02.320: Okay, you had said earlier there's a few other things that you wanted to discuss.

00:02.400: He's like, oh, gee, I'm never going to be able to cut this unless I can cut it in seven.

00:02.400: You got to be prepared to jump on what is regional, what is like popular in that region to make a living.

00:02.400: Right.

00:02.400: There's like shows that maybe I'll show some part of the show

00:02.400: And sometimes it kind of I get so I do sometimes it kind of bothers me because like, well, the timeline now in terms of like

00:02.480: Okay.

00:02.480: You're going to lay that into your timeline.

00:02.480: Okay, good point.

00:02.480: Like they would put in that time if that was the only issue.

00:02.480: There are clearly good tools, and there are people that are very good with the tools.

00:02.480: It's not like, but until you hit the marker that actually quote unquote exists in the timeline.

00:02.480: But maybe in the next scene, it's just the observational verte footage is what's driving that scene.

00:02.480: 0 a few months ago, actually, to play with, or several weeks ago, whatever.

00:02.560: It was somebody from I think Anthony's from Canada.

00:02.560: Like are you talking about the thing where like even like if you then open up that

00:02.560: So my feeling is that maybe if they wanted to blow up their workflow and go elsewhere, I'd probably go Avid.

00:02.560: Please do.

00:02.560: So this blowing up of the paradigm has been great for everybody, I think, for each one of these

00:02.560: It's just a shift in thinking.

00:02.560: I think it's going to require me to do more like investigating on what's the best way to perfect the compound clip as seen workflow.

00:02.640: Listen, David Fabello.

00:02.640: I think it was Gregory Bradley who said that he had listened to that episode.

00:02.640: May, you know, correct.

00:02.640: Okay.

00:02.640: They had it hooked up to their SAN.

00:02.640: I I think there was some other under the hood like workflow things that we didn't get into that maybe were was also an issue because

00:02.720: I think tomorrow, if not Tuesday, is Worldwide Developer Conference.

00:02.720: Good thing I didn't say that back in 1999 when I was in OS8.

00:02.720: Oh, it's just a s piece of software.

00:02.720: It was like, you know, two or three hours.

00:02.720: And I think that a lot of times, you know, I see this a lot when you're in an edit and you have a shoulder surfer.

00:02.800: No, I what computer are you on?

00:02.800: No, no, definitely.

00:02.800: This is the first of our one month off periods.

00:02.880: I was just I was hoping we could have a little closure like yep finished it it's all good

00:02.880: The full install wasn't done.

00:02.880: Just leave all this in.

00:02.880: And I've never used Final Cut Server personally, but they had.

00:02.880: I don't know technically what it is.

00:02.880: So once again, I want to thank David for taking the time to talk with us.

00:02.960: It's truly amazing.

00:02.960: Yeah, yeah.

00:02.960: But the problem with doing that is I don't get the metadata.

00:03.040: So we've been in post.

00:03.040: Does that make sense?

00:03.040: Don't yell.

00:03.040: He was just getting that feeling, you know.

00:03.040: They have not achieved the return of an on their investment that they wanted to, and the last thing they want to do is move on to something new.

00:03.120: And with, I mean, in less than an hour of saying, hmm, I wonder if I could do a show about that.

00:03.120: If you if you go to Adobe's website or go into the um and look up Adobe Prelude and just start reading about it, it's like a uh I think it came out in October twenty thirteen.

00:03.120: Not to say that you shouldn't mark something up once it's in a timeline.

00:03.120: And it's kind of like a case by case basis, you know, because so my timeline doesn't

00:03.200: Yeah.

00:03.200: I think I just didn't connect it directly into the iMac.

00:03.200: And I think, I think I remember, I think I even said it that night, if not in the, in

00:03.200: 1 was not a thing yet.

00:03.200: I I me too.

00:03.280: And we called it the footage of a thousand videos.

00:03.280: Because when you were leaning out of frame to put your mouth closer to the mic, if I see it wasn't getting any better.

00:03.280: Oh, that'll be really interesting.

00:03.280: I didn't.

00:03.280: David, we got to wrap this up.

00:03.360: So the fact that, like, I'm still getting those sideways glances from some folks, I have other little stories we can get into if you're interested in.

00:03.360: But that they had been in post for like two, two and a half years when I came on for like the final when I came on, I was on for like the final like

00:03.360: For instance, like if you're trying to collect all the

00:03.360: But in this particular instance, you do want to store you

00:03.360: I've I've and and I I've you know, the the guy who runs the facility who's like, you know, I've I've played around with it some, but I just need like a

00:03.360: There's like some of these guys are so hard at work, you know, with the jobs they're doing, they're just they haven't taken the time to really um

00:03.360: Yeah, I could imagine that would be a problem.

00:03.440: This is Final Cut Grill 052, basically a deck of playing cards.

00:03.440: Yeah.

00:03.440: No, and and here's but I and I and I'm a little I I knew you were gonna ask.

00:03.440: Ben Consoli.

00:03.440: Okay, so go into the preferences.

00:03.440: But by the end of it, they were like there you were seeing these light bulbs go off and and they had mentioned something uh that I've heard mentioned on on the show before.

00:03.440: You have to see it for yourself.

00:03.440: Yeah, no, absolutely.

00:03.440: We will know whether or not Final Cut or excuse me, Mac OS 10.

00:03.520: And, you know, I posted something on Twitter, I think, last night or something, and I said

00:03.520: I import that into the stock footage library, and then what you do is you create an XML.

00:03.520: Barkley.

00:03.520: You know, like, oh, you're gonna you're gonna talk about 10 again?

00:03.520: Let's keep up with these technologies as they change because the whole point is that they're good is that they'll make your life

00:03.520: And I'm going to now throw in the disclaimer or the caveat that no, it can't be customizable user interface because everybody wants that.

00:03.600: Yeah, I don't know where we got that footage from.

00:03.600: Right.

00:03.600: Yeah, me too.

00:03.600: Because in the long run, it's going to save us a lot of time.

00:03.680: I sound way better than the first time.

00:03.680: So I'm going to have this up in a couple weeks, I think.

00:03.680: So I'm Dawson.

00:03.680: And you know, they worked that was a twenty minute short that they worked on for like two and a half years.

00:03.680: I've encountered some bugs too in Ten One.

00:03.680: So if you leave in place, in other words, I have a library, and then outside that library I have a folder called media, and I store all my media in there, and I divide it up by card or camera or however you want to divide it up.

00:03.680: They had started to make that move to Premiere, and I don't want to bash Premier.

00:03.680: Like the magnetic timeline, I tell people, it's like, well, if you put your editor in Ripple Edit mode on whatever platform you're on, basically the magnetic timeline, isn't it?

00:03.760: And he was there episode 005.

00:03.760: I haven't opened it in three years.

00:03.760: So here's what we've done.

00:03.760: But but I don't care.

00:03.760: Yeah, I'm not sure how that would work.

00:03.760: I noticed when I brought in there was like a multicam interview with like a ton of markers that I then I then like

00:03.760: And that I I noticed those rogue markers came up there a couple of times.

00:03.760: Does that make sense?

00:03.760: So anyway, but yeah, it's very cool.

00:03.840: com and it auto redirects to the right URL.

00:03.840: Yeah, no, it makes perfect sense.

00:03.840: So, maybe, maybe if you don't mind, I could give him your contact information.

00:03.840: See that?

00:03.920: I'm having a hard time keeping them down to an hour, but people seem to be okay with that.

00:03.920: That's but then maybe there's a common library that everyone on a network draws from, where going back to your Seinfeld example

00:03.920: If you're leaving files in place, it's really easy.

00:03.920: Hold on.

00:03.920: And it's really good for observational footage.

00:04.000: Right, right, right.

00:04.000: 0 if it was gonna how well it was gonna handle massive amounts of footage in one event.

00:04.000: 1.

00:04.000: Yeah, yeah, no, no, exactly.

00:04.000: Yeah, so because I'm I've been with two buddies of mine.

00:04.000: Okay.

00:04.000: Oh, yeah.

00:04.000: They still accomplish the same things.

00:04.000: That sometimes the spine of the story is not just it doesn't have to be VO.

00:04.000: And I maybe that's what they're waiting on.

00:04.000: That's going to be a very interesting story to see unfold.

00:04.080: He's doing the typical, like, I don't want to talk about it, but hey, let's talk about it.

00:04.080: Yeah, I totally want to catch up with Tony.

00:04.080: And you know what?

00:04.080: And we spent, I think, like, I mean,

00:04.080: I actually I think they're swamped because I emailed them like a week ago and I haven't heard back.

00:04.080: Right.

00:04.080: Which also helps when you're adding, you know, cutaways.

00:04.160: I know I made you number five because I was like, who the hell knows David Favelo?

00:04.160: That can't be real.

00:04.160: Yeah, I've had a few tweets with him and the last I spo we spoke, it was like

00:04.160: 1, and I think it's a bug and I hope it gets fixed, it will say

00:04.160: And you and you can and you can I'm now I'm taking another tangent.

00:04.160: You know, I've noticed two things.

00:04.160: No, absolutely.

00:04.160: You know, even still, you know, David is being asked to possibly cut this web series on Final Cut 7.

00:04.240: But Legacy, yeah, classic, yeah, classic.

00:04.240: It's just a program.

00:04.240: Oh, no Can you hear that?

00:04.240: Be a guest on Final Cut Grill and get job referrals.

00:04.240: Because then no matter where you put a clip in any number of time lines

00:04.240: I'm first of all, I'm really not comfortable with the word just.

00:04.240: I don't know what that is, but that's not the one.

00:04.320: Yeah, I, um, there, the, some guy, and I can't remember who it is, and I think I should know who it is, so I feel bad, but he was giving a present.

00:04.320: Okay?

00:04.320: How does this sound?

00:04.320: I think it's some sort of a memory leak or a RAM leak or something, but that has been one that is

00:04.320: I do hope that like I do hope that people

00:04.320: Yeah, there is a major difference between putting a marker on a clip when it's in the timeline

00:04.320: And here's what I mean by that.

00:04.320: And if it's disconnected.

00:04.400: But but yeah, no, I I I a year cutting a dock

00:04.400: Right, right.

00:04.400: Yeah, that sounds about twenty-five percent better.

00:04.400: And it's like, no, no, no, it's like a bucket.

00:04.400: Right.

00:04.400: You just delete those rogue markers.

00:04.400: Ah you know, Avid's got good tools.

00:04.480: Is that like, I am going to say that as of 2014, I will never upgrade my computer system to anything else.

00:04.480: It builds a sim link and it connects it to the clip that's down the hall.

00:04.480: You've come out of the Final Cut 10 closet, so to speak.

00:04.480: Um and by the you know, and by the end of it and what I really appreciated was they were really open-minded.

00:04.480: Yeah, that'll be cool.

00:04.480: Barkley was a pain.

00:04.480: I think even I I read up about Adobe Prelude

00:04.480: So David, is there any feature or workflow thing that you have changed?

00:04.480: Me too.

00:04.480: I know that when we do our house tours, the primary storyline is the radio edit.

00:04.560: Hey, I haven't even I got a name, I got an icon that's about a

00:04.560: So, what you're saying is the bulk of the bulk of the footage for each episode.

00:04.560: And he has been, I think I can freely say this because I read it on Twitter, but he's been shooting for a period of time.

00:04.640: Uh but um he said he had like listened to it like eight or ten times or something like that.

00:04.640: So, like, so I've been chirping in his ear.

00:04.640: And then final cut is going to come up with a little command, and it's going to go, hey!

00:04.640: Do you know who Jay Aaron is?

00:04.640: In the timeline.

00:04.640: Attach things, secondary clips, that's been mentioned.

00:04.640: This only scans your libraries, but it scans the libraries and all of the events inside the library.

00:04.720: So I mean, I think there will still be even even if

00:04.720: I'm going to copy it over into your current library.

00:04.720: Oh, absolutely.

00:04.720: Yeah, so let me get this straight.

00:04.720: And I there's there's a lot of things that I'm liking more and more about

00:04.720: Yeah, I just downloaded it recently.

00:04.800: I think by the time that this is out, well, actually, no, this will, I'll put this show on the line, online at midnight tonight.

00:04.800: We're done with the QuickTime framework.

00:04.800: Yeah, right.

00:04.800: Absolutely.

00:04.800: I never saw it before 10-1-1.

00:04.800: And what the issue what the issue was that I that I think I helped bring attention to, I was noticing

00:04.800: How can I make some of these lessons I learned in ten?

00:04.800: As you may know, if you are also a listener to

00:04.880: Go to your Skype preferences or your not Skype.

00:04.880: This speaks to how bad the sound was in episode 005, because when we started this conversation, I asked you

00:04.880: Yeah, it takes three tries to do anything right, I think.

00:04.960: And it's do but it's doing something.

00:04.960: And it's not just one series actually, it's like twel like ten or twelve series all going through this one website.

00:04.960: It's going to be a big mistake.

00:04.960: Right.

00:04.960: Right.

00:04.960: And I think I've all when I go to other platforms, I've actually I'm using some of these like

00:05.040: I'm like, Yeah, I get that, but I'm talking about the technological death.

00:05.040: We can talk about that.

00:05.040: And I get a little sheepish.

00:05.040: We're a few weeks away from picture locking.

00:05.040: And now we have like this whole new frame structure that we work within in terms of dealing with the library.

00:05.040: Yeah, however, let's think of like, let's use Seinfeld as an example.

00:05.040: They had some 4K footage, some 5K footage.

00:05.040: I mean, that's why I had Steve Miller, my friend Steve Miller on the show.

00:05.120: But I mean, just this last week, a freelance editor came into our shop.

00:05.120: Ben did my congratulations, we finally got a sponsor episode.

00:05.120: And how long is each episode?

00:05.120: Okay.

00:05.120: Have you um I was on set media managing for a FCP seven project.

00:05.120: That I'm doing something differently specific to ten or that ten is influenced.

00:05.120: If they don't give us customizable user interface.

00:05.200: And I told them, Hey, take your time with it.

00:05.200: Yeah, the thing about closing all the windows you don't need.

00:05.200: But I'm just saying, like, at the end of the day, that's what that is.

00:05.200: But what what te what tends to happen on

00:05.200: If you could sneak into the Apple Corporate headquarters, sneak into the programmers, get past all of the marketing people

00:05.200: Thanks so much for coming back.

00:05.280: Um, I I still think

00:05.280: Now that being said, I still prefer storing my footage outside the library for most instances.

00:05.280: Just so that I can just like get home at five o'clock?

00:05.280: But what would the feature that you that you would want to see be?

00:05.360: Fabello, you got it.

00:05.360: Yeah, that's been a very common theme.

00:05.360: Do you think that matters to you or do you think it matters to the people

00:05.360: But anyway, and then, like, you look at people.

00:05.360: You need to do that because what you're going to do once you get all that footage into the stock footage library is you're going to search it.

00:05.360: But I'm not it's not that I'm evangelical.

00:05.360: Oh, yeah, the first one.

00:05.360: So you have a long clip with multiple markers, but you're only using a portion of it with a few markers.

00:05.360: So I'm I'm going to forever re uh refer to this as the Fabello rogue marker bug.

00:05.360: I want to do this right and I want to do it once.

00:05.440: Now and actually, let me ask you this.

00:05.440: I think it's pretty cool to do like follow-ups every now and again with certain folks to see like

00:05.440: That's a good point.

00:05.440: I'm I'm enlightened.

00:05.440: Oh, and I guess, yeah, I guess he can do a bunch of meta

00:05.520: And definitely look at the things like the loot packs that they sell and the shorts.

00:05.520: Let's speak big picture.

00:05.520: Because I have this in this movie, I have this interplay between

00:05.520: Eventually, I learned that if I highlight

00:05.600: Well, as a matter of fact, my friend David Fabello.

00:05.600: I can't remember who I was talking to recently.

00:05.600: This is a great learning experience for anybody.

00:05.600: Um yeah, I have to oh, yeah.

00:05.600: It's like a log and transfer window.

00:05.600: Yeah, early on, the idea was just like, oh, we can watch this kind of unfold almost like you're

00:05.680: And it made me realize I should look up David and see how he's doing.

00:05.680: So now thinking about an episodic, the reason why at first I think you would do it by do an event by episode

00:05.680: And that is another issue that you will come up with if you get the opportunity

00:05.680: And let me explain why.

00:05.680: You don't get the metadata, which is key to everything here.

00:05.680: But because I just because it's been working so well

00:05.680: Very interesting.

00:05.680: Interesting.

00:05.680: He was a bad character.

00:05.680: Because if you put a marker on a clip in the timeline, and this was the case with Funnel Cut 7 as well.

00:05.680: So I'm I'm always so curious about hearing about

00:05.760: I used 7 on a media managing gig for a couple of days on set one weekend.

00:05.760: But maybe you have one that because you can edit, you can bring things from other uh from one library into another.

00:05.760: And then periodically, you just update the XML on that local machine.

00:05.760: They de-evolved into like monkeys and spiders and

00:05.760: What I would do is I would open up the compound clip, then skim through it in the timeline.

00:05.760: But if you put a marker on a clip when it's still in the browser

00:05.760: Right.

00:05.840: Um y well, you know, I maybe a year ago I would have said it it would matter to a

00:05.840: They were like, if we just if they implemented such and such

00:05.840: You're another one now.

00:05.840: You can still send your sound to different channels when you get to the end of a project.

00:05.840: So let's say you go to location A on day B and shoot a bunch of C roll uh B roll.

00:05.840: And so you might think you're taking a shortcut, but it's going to cause me a bunch of headaches.

00:05.840: Absolutely.

00:05.840: Right.

00:05.920: They also have sound effects.

00:05.920: It's reruns.

00:05.920: But if you're if you're freelancing

00:05.920: Thanks for showing up to look at the house.

00:05.920: And so my my recent example was

00:05.920: I didn't know beer was a measurement of time, but okay.

00:05.920: Which is why, because we had.

00:05.920: Yes, absolutely.

00:05.920: If you you can, but it can bog down the system when you have

00:05.920: Yeah, if it's connected, yeah.

00:06.000: So iPods.

00:06.000: And in a similar fashion at our place here where I work, we have over the last year

00:06.000: Um, so I, uh, I, uh

00:06.000: I would think, given I think he said he's been shooting for like 18 months or something.

00:06.000: Yeah, exactly.

00:06.080: That's the right one.

00:06.160: And actually, who was it?

00:06.160: And it's not like a narrative, it's like a documentary, you know, web series.

00:06.160: We've created a single library on one of our systems.

00:06.160: I'll call it a transfer library.

00:06.160: Oh, I see, yeah.

00:06.160: An hour's worth of archival footage.

00:06.160: You know?

00:06.160: What I would do is open up.

00:06.240: Fabello.

00:06.240: As a matter of fact, I think he's on my list.

00:06.240: So all your metadata is done once.

00:06.240: But maybe I can also talk myself into like a local like setup job.

00:06.240: But now I know better.

00:06.240: Just know the difference.

00:06.240: It's like, how can we help editors do something once that then

00:06.240: There have been times where Final Cut Pro is really good at tracking

00:06.240: Yeah.

00:06.320: And I was like, Hey, how bad does it sound?

00:06.320: It's very similar.

00:06.320: Red pill, blue pill.

00:06.320: 1 that I'm not the first to discover it.

00:06.400: I'm on my MacBook Pro.

00:06.400: That's the spine, right?

00:06.400: And then it's going to go into VO.

00:06.480: So here's the trick.

00:06.480: Yeah, where are the do I have to go back to the microphone?

00:06.480: He had told me

00:06.480: You know,

00:06.480: Yeah.

00:06.480: So can I I know we're running on.

00:06.480: It's just something I've observed that like

00:06.480: It was great.

00:06.480: So it's the beginning of our it's actually the end of a

00:06.560: And now you walk down the hall to another suite.

00:06.560: And here's the bug.

00:06.560: Even though you know it's the same thing, same duration, whatever.

00:06.640: Right, right.

00:06.640: And the thing was, any time we open

00:06.640: No.

00:06.640: And he was just feeling.

00:06.640: I think those are the ones that are more likely to survive.

00:06.640: Just like let's

00:06.640: That open door open door mentality is so important

00:06.640: Does that make sense?

00:06.720: He's also the very first interview I ever did.

00:06.720: Yeah, we're close, but we're not done yet.

00:06.720: And this also speaks to a feature workflow because in the like in the feature in the feature I work

00:06.720: So the library would represent the series that they're working on

00:06.720: It's the clo it's the closest I've ever gotten to be being evangelical about anything.

00:06.720: You know.

00:06.800: You tap your spacebar and it opens up an MOV and starts to play

00:06.800: Go to Avid.

00:06.800: Yeah, I mean, we literally could be on the verge of the death of that.

00:06.800: But then, once you do that, that footage, that stock shot,

00:06.800: And when I show when I when you actually sit down to show people what it can do, it

00:06.800: So it's very possible that they just had not.

00:06.800: Yeah, I think the thing that is really interesting is when you

00:06.880: And although there may be emulation as there is now, like

00:06.960: Yeah, and that was a big deal.

00:06.960: Like, really?

00:06.960: And then and then from there, you'll take

00:06.960: And I even noticed, and I think someone brought this up on your show before.

00:07.040: But they have been very gracious to support our show.

00:07.040: Okay.

00:07.040: Reruns of the Grill.

00:07.040: I know the

00:07.040: But doing it

00:07.040: I think you were in a concrete bunker the first time.

00:07.040: Woohoo!

00:07.040: But if you were to buy me a hammer.

00:07.040: You would see the other ninety seven markers in the Timeline Index so that when you clicked on one of those nin one of those other rogue markers

00:07.040: Something we did me and the producer did early on that we thought was going to work out fine was we would put

00:07.040: Gotcha.

00:07.040: I think that would be very useful.

00:07.120: It was so Yeah, it was fine.

00:07.120: He my feeling is the other editor, the other platform he's edited in as much

00:07.120: You don't want to drop in generic shots of living rooms.

00:07.120: Now bring it over closer to you so it's in frame.

00:07.120: And if you looked inside the timeline, if you looked at the actual clip in the timeline, there was still 10 seconds, but maybe.

00:07.120: Just be aware.

00:07.200: Right, right.

00:07.200: Is that what you would do, do you think?

00:07.200: So, what you do is you take your stock footage.

00:07.200: He is currently working on a documentary about the movie Back to the Future.

00:07.200: I told them about the learning wall.

00:07.200: And like they were shooting, like five of these spots all in one day.

00:07.200: And it wasn't paid for.

00:07.200: Because the database nature of Final Clip 10

00:07.200: And when we do David Fabello 3.

00:07.280: They bring on new artists every month, new not artists necessarily, because actually

00:07.280: No, I feel bad even cutting you out.

00:07.280: And then I'd go on from there explaining

00:07.280: Now that you have your great mic, you can actually use that.

00:07.280: Yeah, that thing is wicked cool.

00:07.360: Right, right.

00:07.360: But if they're they're if they're separated by event, you can't just put it into one keyword collection.

00:07.360: You know, I was talking with this morning, I was having a little

00:07.360: Hey, I mean, you know, and and those who

00:07.360: I have no problem with the string out.

00:07.360: Well, I think we may have you may remember the conversation I had with, or I played a sound foul from Quentin Stafford.

00:07.440: First shot.

00:07.440: And so

00:07.440: And I

00:07.440: If you're a freelancer, if you're if you're if you're in your situation, Chris, where you can't

00:07.440: We're polishing and whatnot.

00:07.440: So yeah, there is that potential.

00:07.440: I've had a few people approach me with a similar request.

00:07.440: So my answer was you just highlight all the markers in the timeline index and delete.

00:07.440: That's how that would be that's my string out method, if you will.

00:07.440: How can I make it work in seven or in Premiere?

00:07.440: Adding metadata in the import window,

00:07.440: No, it's

00:07.520: You know, you hear about it.

00:07.520: Let's say David gets to decide for this thing.

00:07.520: Yeah, I want to walk you through something that I actually discovered.

00:07.520: But what I

00:07.520: Well, clearly, clearly, there is the the openness and flexibility to

00:07.520: But the alias I noticed, and someone please tell me if I'm wrong, the alias, the sim link

00:07.520: And it's an amazing tool.

00:07.520: So that's it for this episode.

00:07.600: But before we get to the interview, I want to remind you to please go check out premiumbeat.

00:07.600: Yeah, I know that I've mentioned you several times because and I told you that night.

00:07.600: No, I think I had to drop intern.

00:07.600: Yeah, it's all about proximity.

00:07.600: So to speak.

00:07.600: Yeah, it does.

00:07.680: So, check out Premium Beats.

00:07.680: Right, right, right.

00:07.680: So that could be a common clip that you might want to use each episode.

00:07.680: I should have noticed.

00:07.680: So, how did the pitch with this guy who wanted the multiple beers' worth of time?

00:07.680: And I think Final Kit 10 is geared

00:07.680: So once again.

00:07.760: Right.

00:07.760: Yeah, right, right.

00:07.760: Yeah, no, seriously.

00:07.760: Me too.

00:07.840: Right, right, right.

00:07.840: Just get just get away from

00:07.840: When we last spoke six months ago, you were pretty deep into your dock.

00:07.840: I'm considering of do doing a whole bunch of these kind of follow-ups.

00:07.840: No, I can't.

00:07.840: We're in Google Plus.

00:07.840: Alex McLean thinks, oh, yeah, it's very close to being what server was.

00:07.840: Starting out

00:07.920: Which was a bummer.

00:07.920: And it b and yeah, and here's the thing.

00:07.920: You know, every event could be an episode.

00:07.920: About seven minutes or so.

00:07.920: But you're going to have to take a liberal

00:07.920: Yeah, the whole trick about scratching the microphone you think you're talking into.

00:07.920: He says, I'm going to let the editor decide what he wants to cut it in.

00:08.000: It was.

00:08.000: Transfer library.

00:08.000: He could contact you because clearly you have some good insight on it.

00:08.000: I want to rewind the table and give you the rewind and give me the mic.

00:08.000: And I think that

00:08.000: This goes back to something that we said early on in this conversation: it's really important to figure out a way

00:08.000: And you're better off spending 50% or maybe even 100% of the time longer to do it right.

00:08.000: Add it.

00:08.000: Definitely a power user.

00:08.080: Like he even took it into like

00:08.080: Okay, whatever.

00:08.080: I'll get back to my original point that was starting.

00:08.080: Now, he told me on Facebook, he goes, you know, in all fairness.

00:08.080: From what I gather, it's like a log and transfer window, kind of like in seven, but you can add metadata tags.

00:08.080: Does that kind of make sense?

00:08.080: One last thing would be

00:08.080: It's weird, isn't it?

00:08.160: David, thanks for doing this.

00:08.160: I want people to listen to this podcast.

00:08.160: And I did this I did this prior to ten one.

00:08.160: And so I'm actually talking with him later today.

00:08.160: Like a string out.

00:08.160: So, we'll be back on Friday.

00:08.240: I have been able to identify.

00:08.320: Hey, on today's episode, I decided to kind of do a little bit of a flashback.

00:08.320: I think it was.

00:08.320: And it was a simple copy paste of

00:08.320: But then you also look at it, and this is an unfortunate

00:08.320: Yeah.

00:08.400: And I actually have a little advantage because I've heard you speak before.

00:08.400: I'm based in Austin, Texas.

00:08.400: So scratch the left speaker.

00:08.400: We've been

00:08.400: He's like, Dude, it's nothing like server, you don't know what the hell you're talking about.

00:08.400: So I was checking in.

00:08.480: I had found you and we were recording.

00:08.560: And it didn't take, like, it didn't take much time just based on

00:08.560: And am I the first person that you're talk I'm not the first person you've talk this that you've talked that you've followed up with.

00:08.560: This is actually really interesting because it touches a little bit on some of the stuff that I've been talking about recently.

00:08.560: I've been starting to really

00:08.560: I just I basically got the timeline normalized, you know, because I think

00:08.640: Oh, it's pretty bad, dude.

00:08.640: It wasn't Long Beach, it was uh

00:08.640: Yeah, so here I am on my mic, and here I am.

00:08.640: One is that when you really show someone the paradigm.

00:08.720: But I'll say that in the last six months, because it was about six months ago that we did that.

00:08.720: I was hoping for to go for surf spots.

00:08.720: By the end of it, I had a post supervisor

00:08.720: On the original.

00:08.720: Okay.

00:08.800: And they are turning.

00:08.800: And I imagine though, if you were on a sand

00:08.800: You know, just so I can like just for my comfort

00:08.800: Do you think that could just be that particular editor's inexperience with Premiere?

00:08.880: It may have been Oliver Peters.

00:08.880: I can't believe I allowed to use that metaphor.

00:08.880: When I was facing some ten one bugs, I was just like

00:08.880: 10

00:08.960: He was working on a long form documentary when we last chatted.

00:08.960: Because the way, for instance, going back to the web series example

00:08.960: And then you import that event XML from across the network.

00:08.960: I actually thought about it about 20 minutes ago.

00:08.960: And when I tweeted this out as if it was like, okay, I've confirmed it, Richard Taylor

00:08.960: See, oh, now here's another thing, though.

00:09.040: Right.

00:09.040: You know what?

00:09.040: Um I

00:09.040: And then you could have I was trying to pitch them on compound clips for the intros.

00:09.040: And it's like.

00:09.040: Yeah.

00:09.120: I the funny thing is, I never.

00:09.200: But let's go to this interview with David Fabello down in Austin, Texas.

00:09.200: No, and this is long form, you know.

00:09.200: Go to and change the mic.

00:09.200: I was like

00:09.200: And and look, these

00:09.200: But they're

00:09.200: Can I say one more thing?

00:09.280: Okay.

00:09.280: Oh, we've added another fifty clips.

00:09.360: If it didn't begin in the library down the hall,

00:09.360: No, no, so hover, so we're using, so people know, we're using Google Plus.

00:09.360: You know, hey, have you

00:09.360: But then like the middle, the bulk of the spot would be different and then same outro.

00:09.440: I use it, you should be using it.

00:09.440: And then somebody else said,

00:09.440: But then I got to remind myself

00:09.440: I was fine with that.

00:09.440: And I already started

00:09.440: And I will

00:09.440: You kick out an XML of that event.

00:09.440: And really, the key to any workflow issue is

00:09.440: That's really a discussion I want to have.

00:09.440: Absolutely.

00:09.520: But

00:09.520: Seven, eight minutes.

00:09.520: Which I have for the record.

00:09.600: But like being a year in post on a long form dock,

00:09.600: Okay.

00:09.680: Do I need to up the gain here a little bit?

00:09.680: Okay, so I cut you off.

00:09.680: User interface

00:09.680: We will be back at the end of the week, and I think I

00:09.760: Welcome.

00:09.760: I was I was blown away when I when I heard him say that.

00:09.760: Let's say I have, you know

00:09.760: It almost, not entirely, but almost.

00:09.840: You know, it was amazing.

00:09.840: Yeah, how's that working out for you, bud?

00:09.840: I actually got.

00:09.840: Yeah, very, very cool.

00:09.920: They're turning slowly.

00:09.920: And I think that I have worked in many a situation where

00:09.920: Thanks for listening.

00:10.000: Right.

00:10.000: At one point, I was like.

00:10.080: It's pretty bad.

00:10.080: I've thought about this a lot.

00:10.080: Just

00:10.160: It's always interesting to hear how different people are

00:10.240: Hey, hold on, hold on, David.

00:10.320: So, I I I hope if it if that is the case

00:10.320: It'll probably be

00:10.320: Yeah, the damn beach ball.

00:10.320: And then bring and then the VO g stops and we bring the show back up.

00:10.400: And what a bummer.

00:10.480: No, absolutely.

00:10.480: So let me ask you, David, is there

00:10.480: I think the better solution to what you were doing is instead of

00:10.480: Yeah, absolutely.

00:10.480: I think there's a couple of things in play here.

00:10.560: I was just I was treading so carefully.

00:10.640: So.

00:10.640: So

00:10.640: There you go.

00:10.720: It was like, you know

00:10.800: And I would love to talk about that experience.

00:10.800: Right.

00:10.880: Maybe it's just going to be California landmarks for the next ten.

00:10.880: And the latest, the two points.

00:10.960: Yeah.

00:11.040: Like, what were you talking

00:11.040: I think we were both kind of amazed when we were listening

00:11.040: It's a lot.

00:11.040: That's very interesting.

00:11.040: And so I'm always like trying to slow down a little bit, going, okay.

00:11.040: This is Final Cut Grill.

00:11.120: I've been sitting here listening to you going.

00:11.120: Yeah.

00:11.120: 0.

00:11.200: But a lot more people are like, yeah, I'm totally into it.

00:11.200: Oh, totally, yeah.

00:11.200: It's a social issue.

00:11.200: It's not that I'm evangelical about

00:11.200: Mark an in and out.

00:11.200: This is really good.

00:11.200: And then I'll ask you my last question.

00:11.280: How does

00:11.280: Right, exactly.

00:11.360: I broke them apart

00:11.440: Absolutely.

00:11.440: I I hate to do this 35 minutes into this interview.

00:11.440: All right, David.

00:11.440: And

00:11.520: And I and I know

00:11.520: It can be

00:11.600: Alex.

00:11.600: Yeah, maybe.

00:11.680: And if nothing else, go check it out.

00:11.680: But in this particular instance,

00:11.680: Now I don't remember what we were saying.

00:11.840: And

00:11.920: Well, so yeah.

00:12.000: Right.

00:12.000: I got into it with somebody, I can't remember who it was.

00:12.000: Yeah.

00:12.000: I'll set this up for you and

00:12.080: He says he's about halfway through it.

00:12.080: Thanks for your time.

00:12.320: I listened to the.

00:12.320: But.

00:12.320: So

00:12.320: Each event has to have its own

00:12.320: And espe and especially if you're using

00:12.480: I think it's a bug.

00:12.560: com.

00:12.800: You're an inspiration.

00:12.880: We'll talk later.

00:12.960: Later, later.

00:13.040: You know, you could just like

00:13.040: The latest update.

00:13.280: Tony Gilardo.

00:13.360: Is that done?

00:13.360: Um

00:13.840: Yeah.

00:14.080: Yeah.