Episode 53
FCG053 - Back in Time (feat. Jason Aron)
If you’re trying to fund your movie you have to have an idea that connects with people. On an unrelated shoot Jason Aron discovered a bizarre subculture around the Back to Future Delorean Time Machine and decided to make a movie about a childhood memory. Jason tells us about the “kickstarter smiley face”. Hear all about how Jason made a film about the cultural impact of Back the Future told from the viewpoint of the Delorean Time Machine. Learn how to manually make multicam clips to save time on long interviews. legends of the night - batman 60,000 on kickstarter
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Featuring
- Chris Fenwick
- Jason Aron - @twitter
Transcription
00:00.001: and they raised money for the Michael J.
00:00.001: And I'll be able to edit this thing in three hours and it's going to be done.
00:00.160: It's an interview with a guy named Kevin Pike, and Kevin worked on the original Back to the Future movie, and he gives a synopsis explaining
00:00.160: Dolly's to the right, and it reveals all these little hints of things that are going to happen in the movie.
00:00.160: Of Back to the Future told from the viewpoint of the DeLorean time machine.
00:00.160: Pause this now, go to the show notes, which are on digitalcinemacafe.
00:00.160: Ferraris and Lamborghinis and um, you know, if you don't drive a Mercedes or BMW, you can't even live there.
00:00.160: It was used in a drug cartel, and the craziest part is they have stacks of paperwork confirming all of this.
00:00.160: from Back to the Future Part Three, which now it's it's well on its way.
00:00.160: It's like, all right, this looks cool.
00:00.160: That guy had wears special visors and he's from the future.
00:00.160: We've already interviewed multiple cast members.
00:00.160: What was wrong with the footage?
00:00.160: ninjas, a combination of ninjas and samurais from Matomo.
00:00.160: reinterview Claudia Wells again on a whim.
00:00.160: It's almost as if if this was the topic of our documentary, this is a very real three minutes of what you get.
00:00.160: Not only that, nobody's seen, you know, we've shown in the behind the scenes video, I've selectively shown like three seconds and four seconds of actual footage, but this is the first opportunity that
00:00.160: what the hierarchy is.
00:00.160: And you take 1234 and drag it into the multicam and just kind of overlay it over that clip and replace it out that way, which is
00:00.160: I will only take an editor on a certain caliber to edit this film, and there's no way that I could possibly afford an editor on that caliber.
00:00.160: Well, maybe there's another.
00:00.160: It's going to be so chock full of metadata.
00:00.160: I sort of know what the tricks are to make sure that I don't shoot myself in the foot.
00:00.160: QuickTime file where each roll, each audio track is only one roll.
00:00.160: I went and I double-checked because this is really a big deal that Jason and I were talking about.
00:00.160: Let's add some more role information to things.
00:00.160: So, anyway, that was Jason Aaron.
00:00.240: that you gotta go see.
00:00.240: The producer was like really like iffy about one cut and how it progressed and stuff.
00:00.240: Anyway, it was a very complicated shot and this guy for like three minutes goes through and explains how complicated it was.
00:00.240: And she was able to edit together a custom version of the song that fit our piece really well.
00:00.240: So, anyway, Premium Beats, you absolutely must check it out.
00:00.240: And started looking for who are the players in this Back to the Future DeLorean community.
00:00.240: and I stumbled upon the Shays up in Hubbardston, Massachusetts.
00:00.240: Wow.
00:00.240: They had actually just gotten they purchased Marty's pickup truck from Back to the Future Part 3, the black Toyota pick it up.
00:00.240: All documented.
00:00.240: Exactly.
00:00.240: time machines.
00:00.240: So there's sort of this subculture has already been created, and there are people out there who do this.
00:00.240: you go to one of a handful of people out there on the Internet who do that.
00:00.240: And they did it.
00:00.240: like dinner with LeVar Burton or something?
00:00.240: On his bucket list was that he always wanted a DeLorean time machine.
00:00.240: To sort of shape and mold how we're seeing the cultural relevance, we're going to people who have some type of involvement with the DeLorean, you know, Back to the Future car subculture.
00:00.240: Making this movie, and this isn't like a behind the scenes of making the movie 30 years later, it's more, you know, did you ever think that this movie would still be around 30 years later?
00:00.240: How has your life changed?
00:00.240: to travel the world.
00:00.240: I know there are plenty of shows on television.
00:00.240: Plus, I haven't redone it yet.
00:00.240: Actually, the music in that piece is off the YouTube Audio Library.
00:00.240: You'd be surprised what comes out of people's mouths when you say, Do you have anything else to tell us?
00:00.240: I had way too many open projects to possibly dream of using Final Cut X when it came out.
00:00.240: the software the way that it did, I said, all right, let me see what this ten point one update is all about because
00:00.240: So I've only been using it since the ten point one update came out, and I'm sure some of your listeners have that date enshrined on the wall or something.
00:00.240: I just kind of didn't get the editing paradigm that I think that you need to get.
00:00.240: going through their tutorial, which they re-released for Ten Juan, and that's the version that I watched, and I was like, oh my god, I totally get it now
00:00.240: For all of them, essentially, we traveled.
00:00.240: That is a project, and I have that sort of in a various miscellaneous timelines thing.
00:00.240: So then each travel shoot is broken down into its own event.
00:00.240: Realistically, all we're talking about is one roll on two cameras and then an audio roll.
00:00.240: And then other places we shot interviews mixed with B roll, obviously.
00:00.240: A lot of times, let's say you have like thirty clips that you were doing, Pluralize will sync it perfectly.
00:00.240: So what I'll do is I'll go up to, let's say, the tight shot.
00:00.240: And when we have quick turnarounds and stuff like that, it's like, why go through the trouble of syncing in post?
00:00.240: And that sound is going to be fine now.
00:00.240: Well, how does it sound?
00:00.240: Oh, but the levels were good.
00:00.240: But don't worry, it's not actually clipping in the VU meter.
00:00.240: The metadata, no, but what I am doing is notes.
00:00.240: A guy named David Fabello, and he's been on the show a couple of times now.
00:00.240: become searchable.
00:00.240: Finish this project in Final Cut 10, even though you have done a lot of organization in that.
00:00.240: severely underpaid.
00:00.240: I know that I can do it myself if I want to, because the world was interested enough to throw their money at us, and I certainly think
00:00.240: which is the goal.
00:00.240: Now we're cooking.
00:00.240: our project on the side, depending on what it may be.
00:00.240: They're still using Final Cut 7.
00:00.240: Oh, I use Final Cut VII or Premiere or Avid.
00:00.240: And I don't want that.
00:00.240: Right.
00:00.240: Right, and you could just rebuild the project very easily.
00:00.240: But if you pull down and say, I want to export the roles as a multi-track QuickTime movie, what you will get is a little menu thing that allows you to d decide
00:00.240: send out a multi-track audio file.
00:00.240: So like, you know, I buy some pretty high-end compressors that I use on this show.
00:00.240: which is a twelve hundred dollar audio plug in, but I can use it in Final Cut.
00:00.240: Right.
00:00.240: It's not exactly what you want.
00:00.240: Can I please just have apply audio effects to a track?
00:00.240: to be able to make that easier.
00:00.240: So you can get exactly what you need.
00:00.240: Exactly.
00:00.240: There's a utility out there, you know?
00:00.240: Readable format by audition, it imports just fine, but then when it opens, there's duplicate files.
00:00.240: different files are on different tracks for absolutely no reason.
00:00.240: Now, if you recall, I've mentioned a couple of times that if you go to Digital Cinema Cafe and on the right-hand side, there's a little sound tab.
00:00.240: Podcast called Pipers Picks TV with my daughter.
00:00.240: Probably done over 600 interviews now.
00:00.240: directory into Final Cut 10 with while leaving files in place.
00:00.240: I want to talk about the keyframe thing.
00:00.240: a folder, so you're basically allowed to leave it in place, kind of.
00:00.240: to keep track of all of that, especially as an editor when you're just like, here's the footage, it's like, oh, I can't tell you how many times I've had to start and edit by learning how to use a whole new codec.
00:00.240: Anyway, that's it for this episode of Final Cut Grill.
00:00.240: With Carl Olson and he and I have been chatting on the Twitter thing, the DMs, and I think that'll be a fun conversation to be a part of.
00:00.320: So I'm gonna give you a little bit of a warning here.
00:00.320: The DeLorean time machine and back to the future.
00:00.320: I'm not even close.
00:00.320: It's more that this is just this iconic car that people are drawn to.
00:00.320: And they had just gotten it within the month and they had it just sitting on the lawn with a car cover on it.
00:00.320: That was really cool.
00:00.320: Essentially, is what you're saying.
00:00.320: I knew, I said, All right, if I'm going to take this trailer and I'm going to go on Kickstarter and I'm going to put it out there and it's going to get funded, then I'll know that people want to see this and learn more and that they're into it.
00:00.320: Exactly.
00:00.320: That is correct.
00:00.320: all the filming, when he hit Kickstarter, he had basically finished all principal photography.
00:00.320: We raised.
00:00.320: So I've been banging my head on the table trying to figure out where we should go.
00:00.320: The movie in general?
00:00.320: We were going to look at the cultural impact of the film as a whole.
00:00.320: It was a $1,500 reward, and one person got in on there.
00:00.320: And this is a focal point of their lives, going to car shows and cruise nights and stuff like that with these cars.
00:00.320: We're looking to interview some others whose names I won't drop until they happen so that I don't look like a fool.
00:00.320: That is by far and away the largest role that she ever had in her life.
00:00.320: And one of the things that you mentioned on Facebook was that you were using Final Cut 10 to sort and manage all of your footage that you've been gathering.
00:00.320: And we've been concentrating a lot on lighting, especially recently.
00:00.320: Where we are and rethink what I want to ask.
00:00.320: Working over a long period of time, there are those occasions where you get to go back and revisit people and kind of regroup, and you can help shape your story that way.
00:00.320: Right, and you know $45,000 is a lot of money to find, you know, in a changed purse on the side of the street, but
00:00.320: When you're talking about a two-year documentary project that involves a lot of travel, I don't have the opportunity to go back and let's say
00:00.320: I was going through footage, I was logging and pulling, you know, just and we can certainly get into what we've been doing and I'll talk about that.
00:00.320: I just wanted to get people to sort of see, all right, look, this isn't our content, but this is certainly how it's going to be presented.
00:00.320: ran back to Final Cut 7.
00:00.320: And I just sort of let it go because I had so many products.
00:00.320: To kind of jump on board.
00:00.320: 10.
00:00.320: I would say that when I was training people on how to use it, I spent easily sixty percent of the time teaching them about various operating system tricks.
00:00.320: And then as far as projects, there are none because I don't need them yet.
00:00.320: Can't they just write both?
00:00.320: Right.
00:00.320: in a mixture of using pluralize or right inside of Final Cut Pro.
00:00.320: does it leave you with a does it leave you with a single multicam clip?
00:00.320: And then you import XML, that's the command within Final Cut, and then it imports it, and you're good to go.
00:00.320: If anything, one habit that I've gotten into a lot because we do a lot of event coverage.
00:00.320: And he says, Here's a video guy checking audio.
00:00.320: ask them how how their audio is.
00:00.320: It is literally so true.
00:00.320: What kind of metadata are you putting into the clips?
00:00.320: You're going to have transcripts made.
00:00.320: Hey, listen.
00:00.320: twenty hours or thirty hours of footage or just in interviews, if I could throw out twenty five percent of that, I'm going to save myself a lot of money.
00:00.320: is I take my multicam clip and I jog through it using the JKL shuttle controls.
00:00.320: and essentially just mark in and out points when the interviewee starts speaking and stops speaking.
00:00.320: Yes, I favorite the or the green star for those who like to click too much.
00:00.320: Ah, okay.
00:00.320: Is that the notes that you're talking about?
00:00.320: So, I use the notes feature in the info in the inspector, and that's where I'm putting my one or two sentences.
00:00.320: when you look inside of the timeline index, you now have that in the notes.
00:00.320: It's very powerful.
00:00.320: Given the legwork you've done?
00:00.320: uh debt of gratitude from us because there's no possible way that I could afford to pay an editor on the caliber that I will
00:00.320: You know, it was done in a software that I don't know.
00:00.320: I think what you're saying is that when all is said and done, really, when I'm done doing what I'm doing, it might even turn into a situation where I'm like, wait a minute.
00:00.320: you know, can you fix this audio crossfade?
00:00.320: From here to here to here to here to here.
00:00.320: 50 hours of footage and dump it on somebody, on an editor, and say, All right, you figure out what's good.
00:00.320: Dreams when I go to sleep at night, that I'm just gonna kind of hit E a bunch of times, and then I'm just gonna move a couple clips around, and the B roll is gonna be attached to the A roll because of how magnetic timeline works, and connected to the ball.
00:00.320: Well, I mean, there's the big bug about the EQ.
00:00.320: I think one of the workflow issues is, you know, getting audio out of Final Cut Pro into audition.
00:00.320: Can I copy and paste it on every clip that somebody says?
00:00.320: And I could tell you safely that any project that I've ever done that sort of has that four to five minute high light output, that's your final deliverable
00:00.320: I can master that in under a half hour inside of Audition.
00:00.320: I organize my footage in such a way where it would be very redundant.
00:00.320: Export a single file one time, and that single file will have six or eight whatever audio tracks in it.
00:00.320: Now, what you do is you go to File, Share, Export and Master File.
00:00.320: And over on the at the bottom of the right hand column, it says roles as colon.
00:00.320: what video tracks and what audio tracks get sent where.
00:00.320: Hit Command J.
00:00.320: Soundtrack number one will have the dialogue, and soundtrack number two will be the music.
00:00.320: Those things can be extracted using QuickTime 7.
00:00.320: That Fanogra 10 has access to all of the same bitch and audio plugins that you use in your digital audio workstation.
00:00.320: is the default.
00:00.320: This is the last question that I usually ask people, and I'm going to declare this as asked and answered.
00:00.320: this role while it is in the timeline.
00:00.320: I asked people, if you could get the engineers, the programmers to add one feature, what would it be?
00:00.320: I think a bigger a bigger answer, sort of more a global answer, is make this easier to get into an XML file.
00:00.320: hardware and something magnificent that I can drop my jaw at.
00:00.320: OMF, AFF, Pro Tools, Final Cut 10 Debate.
00:00.320: Yeah, I think one of the things that we have discovered on this show, talking with various people, that is it is
00:00.320: Intelligent assistant or intelligent design, or I can't remember.
00:00.320: The reason Apple won't do it is it's really hard and they won't be able to do it perfectly, absolutely every single time.
00:00.320: Philip looks at it and says, eh, you know, I can do it, I can do it perfectly most of the time.
00:00.320: And so I think that what we are seeing is that a lot of people are stepping up and saying, oh, I can make an exporter to go from Final Cut 10 into After Effects.
00:00.320: that's what we're seeing, is that there are a lot of people stepping up making little utilities.
00:00.320: Called Probably Gonna Be in the Movie, you know?
00:00.320: that from this conversation, we should wrap this up.
00:00.320: And I think that by the time you're done with your principal photography, you're going to be really close to having that poll that the person said to you.
00:00.320: by virtue of the fact that you have superior metadata and and you can be tagging and making you know you can make a single keyword that's just
00:00.320: I mean, the trick with this project is I'm at I believe I'm at 1.
00:00.320: What's it called?
00:00.320: Yeah, it's very possible.
00:00.320: has been the problem when importing into Audition.
00:00.320: And this week I got a message from a guy named Adam.
00:00.320: Directory, then you can actually leave the files in place when importing into Final Cut 10.
00:00.320: That was let me look back at my list here.
00:00.320: And there was a little bit of a trick where I thought you had to import into the library.
00:00.400: The link to that is in the show notes.
00:00.400: How important it is that I want you to go check out premium beats.
00:00.400: Sort of for higher video, it was a somebody rented a DeLorean, and I got involved in shooting this video, and the day we were shooting.
00:00.400: cars were literally stopping in the middle of the road and getting out and taking pictures of this car.
00:00.400: And you know, we raised fifteen thousand dollars in the first two days.
00:00.400: Again, this is my first successful Kickstarter campaign and you know, there's a lot of trial and error.
00:00.400: Drum roll, $45,117.
00:00.400: Other things.
00:00.400: And same thing with Christopher Lloyd.
00:00.400: it's amazing how we connect to these images that we see on these big screens.
00:00.400: Check it out.
00:00.400: But basically, right.
00:00.400: Story that he told in the documentary.
00:00.400: It caught my interest this morning, and that's how we came across each other.
00:00.400: bought Final Cut 10, I might be one of the first people in the world that ever had it.
00:00.400: you know, Premiere is a bit behind here.
00:00.400: And I thought it was the biggest piece of garbage that was ever made.
00:00.400: who have just in twenty fourteen started using it, who never used 10.
00:00.400: 10.
00:00.400: That you know, at the OS level, okay, here's some things you should know, and this will make it better, and blah, blah, blah, blah, blah.
00:00.400: Is not a bad thing at all.
00:00.400: And then every time we travel somewhere, I break that out, you know, into a new event.
00:00.400: you can't then edit any further while it's syncing.
00:00.400: 90 plus percent of situations, not even just within this documentary, just in general.
00:00.400: Extremely clunky and not a great workflow, but for a documentary for something like this, it's not a big deal.
00:00.400: Can you hold on a second?
00:00.400: which which is a big which really does help.
00:00.400: That is a very good idea.
00:00.400: Yeah, but you know, good luck finding people on set who are into posts, you know.
00:00.400: With the documentary, it's like, okay, we're shooting lots and lots of interviews and B-roll.
00:00.400: the audio engineer, because ninety percent of the time when we're delivering for web or whatever, that audio is going to be good enough.
00:00.400: And knowing just how interviews in general go, you're probably talking about twenty five percent to thirty percent safely that you could always throw out as junk.
00:00.400: Exactly.
00:00.400: And they they could not afford the wonderful transcription services that you have.
00:00.400: That favorite will pop up.
00:00.400: An editor to be very generous with his time just because the magnitude of this shoot.
00:00.400: Hey, you must edit in Final Cut X, that's going to limit my talent pool.
00:00.400: I might as well just edit this already because I have done so much of the work already.
00:00.400: track.
00:00.400: Especially if it's a dialogue track, just to make sure that nothing peaks at any point.
00:00.400: Right.
00:00.400: That would be a huge feature that people have talked about.
00:00.400: Audio crossfades, because as you may know, that I don't like using the little balls, I use the crossfades.
00:00.400: And there is a very good utility that actually does that from Final Cut 10.
00:00.400: It is becoming more and more apparent is that Final Cut 10 is a platform.
00:00.400: I hope so.
00:00.400: But um it easily moves audio projects to Avid Pro Tools via AAF with embedded or referenced audio media
00:00.400: Yeah, and I hope for the plug they'll send me a free copy.
00:00.400: And I've avoided it, Final Cut 10, because of issues with moving graphics that I've picked up on through what I've found online.
00:00.400: When one of your podcasts, I got the impression that there was still an issue with it, but I decided to jump in, and I'm running into some major problems that I haven't heard explicitly discussed on your show, especially with keyframing.
00:00.400: Well, Adam, I'm sorry about that.
00:00.480: Can you hear me?
00:00.480: I guess April or March of last year, 2013.
00:00.480: So when we saw the car, it was Denver Broncos orange with blue Sparkle racing seats.
00:00.480: You know, I guess personal taste comes into play, but it was not the beautiful glossy black pickup truck.
00:00.480: I think they're going to do the finishing touches sometime this month.
00:00.480: It basically the campaign sort of hit a lull.
00:00.480: Right, but but it was like then the week after that, like it sort of slowed down.
00:00.480: We raised over $10,000 in the last like two days.
00:00.480: And we had hit our funding goal that week, earlier that week.
00:00.480: campaign you know, they saw it was already funded, so it was sort of an easy thing to get behind.
00:00.480: So you had said you had yeah, you had said that the let me get this straight, that the Legends of the Night Batman project raised sixty grand on Kickstarter?
00:00.480: It says that we're a film about the cultural impact of Back to the Future told from the viewpoint of the DeLorean Time Machine.
00:00.480: For example, one of the big interviews that we're doing is with a couple by the name of Terry and Oliver Holler.
00:00.480: It's those types of stories and the Shays who we first met in Massachusetts.
00:00.480: Is it about the car?
00:00.480: How has it changed your life?
00:00.480: And we've been shooting the film, the actual film.
00:00.480: it's much more realistic to redo an interview like that than a sort of a one-up interview, let's say in Los Angeles, where
00:00.480: But I was going through the footage and I found that answer and I said, all right, this is far beyond the scope of the documentary and
00:00.480: With almost, you know, we'll call it greater than 95% certainty.
00:00.480: And it was about 3 a.
00:00.480: The magnetic timeline is not the stupidest thing that ever came out.
00:00.480: Now, to jump into the question that you asked me about ten minutes ago, how we're using Final Cut X for the film, we started shooting in October.
00:00.480: about five major shoots.
00:00.480: And for it to sync an hour times three, it takes a very, very, very, very long time.
00:00.480: Both pluralized and final cut take to go through three hours of clips, meaning two hours on a camera and one hour of audio.
00:00.480: So, at a minimum, you know, it's gonna have to take it on there.
00:00.480: Yes, the great ninja and samurai made by Tomos, which I mean, it's the necessary tool to a C-100.
00:00.480: And and that's ProRes HQ.
00:00.480: And when I'm dealing with this much footage, as great pricing as I get for my transcriber, i w when you're talking about
00:00.480: So then it comes down to all right, well, how do I know what's what?
00:00.480: Is that the process of sorting and adding additional metadata to help you find things
00:00.480: And then it shows up in your random favorites.
00:00.480: And I was like, oh man.
00:00.480: You know, it's basically mastering stuff.
00:00.480: Okay, so that way you would actually get separate audio files for each one of those roles.
00:00.480: But the guy said, although most Pro Tools people will ask for OMF
00:00.480: Pro Tools will take an A is it AAF or AFF just fine.
00:00.480: that appears to be very open to people writing third-party solutions.
00:00.480: process a ton rather than them going back and cutting this thing in Premiere.
00:00.560: How complicated the opening shot was in the original Back to the Future movie.
00:00.560: Just went on their site, found a perfect track to edit within seconds.
00:00.560: Thank you.
00:00.560: One of them was a completely stock DeLorean.
00:00.560: You get dinner with LeVar and then you get to put on the visor.
00:00.560: and then you know learned about the Indiegogo, which had been a year earlier, where he had raised $20,000 on Indiegogo, either twenty or twenty five, I'm not sure.
00:00.560: Just for some technical reasons based on how we shot it.
00:00.560: And am I nitpicking now?
00:00.560: And I never thought twice about Final Cut X until two things happened.
00:00.560: And then I'll just add an angle, add two angles, one for the second camera and one for the audio.
00:00.560: And believe me, I have enough experience where it's so much quicker for me to just find the sync point.
00:00.560: So just jot that down on it, and then it's much easier to go find it.
00:00.560: It's been very easy.
00:00.560: Kevin, I can't remember Kevin's last name, but he was an audio engineer and he and he just looked at me, goes, I hate video people.
00:00.560: and save her a lot of time, and the end result will be a lot cleaner.
00:00.560: The Timeline Index essentially.
00:00.560: Very.
00:00.560: You know, I'm the one who has to build the story.
00:00.560: Then, because it's like you said, I'll be able to string out a story just by virtue of how much work is already done.
00:00.560: I think the concept is there.
00:00.560: Not that Apple would sponsor this, but I mean, this show, we say everything.
00:00.560: a post-production audio mixer to do that.
00:00.560: And then just, you know, at that point, your poll is done.
00:00.560: two Thunderbolt RAID and I have more than enough space on there.
00:00.560: I'm probably going to have to get a three or a four terabyte internal hard drive just to give to somebody else to work on this through a dock.
00:00.560: my project structure on OneDrive, things like that are going to be an issue.
00:00.640: Actually, let me tell you who said that.
00:00.640: No, I have a hardware interface and then audio box.
00:00.640: And I was like, wow, what is this phenomenon?
00:00.640: Yeah, and there's sort of all these subcultures.
00:00.640: it seems that a lot of people in the Kickstarter community will fund in the very beginning, and then they hit that remind button and in the very end, so there'll be this little smiley face in your graph.
00:00.640: be able to watch movies at home on Netflix or DVD or Blu-ray or you know insert type of you know v visual distribution model here
00:00.640: We recorded the audio directly into the C one hundred, which is okay, but for the final film we've been using a sound device, the seven hundred two, which is far superior in terms of its preamps.
00:00.640: Expenses are much higher just based on equipment and rentals and stuff like that.
00:00.640: And two, the fact that since I have to have everything as soon as it comes out, I purchased the Mac Pro the day it came out.
00:00.640: So I still so even within Final Cut X, I call it timelines, even though they're Fridays.
00:00.640: then it doesn't look to sync it with anything else, so it does it instantly.
00:00.640: We actually write the name of the sound file on the slate.
00:00.640: What the answer was about.
00:00.640: preferably in the browser, you he was actually just dropping markers and putting little notes.
00:00.640: Again, the 630 people that did that.
00:00.640: Excuse me, never really is over.
00:00.640: I think one of the things that most people don't realize is that Final Fat X has access, and I've talked about this on the show before, but in case you missed that episode, craziness.
00:00.640: So I'm with you.
00:00.640: And it may have been somebody from Apple, but I doubt it because they don't talk about anything.
00:00.640: you know, this project or timeline that has this sort of version one rough cut
00:00.640: just because it does utilize the FCPX XML, which again has been my from my just sort of using it
00:00.720: A friend of mine by the name of Brett Kulp raised around $60,000 on Kickstarter to do a documentary about Batman.
00:00.720: And Brett and I have sort of So the seed was planted.
00:00.720: Being stolen, taken down to Mexico.
00:00.720: And everyone we've spoken to, and that includes all the way up to Bob Gale, has said, you have to interview Terry and Oliver Holler.
00:00.720: Because that way your first frame actually has it, which is kind of handy if you're into post or anything like that crazy.
00:00.720: Terabyte and a half.
00:00.720: sound effects or whatever you know, role I created for that, and then I could very easily recreate it in audition.
00:00.720: Xapro converts an FCPX XML into AAF file, which Pro Tools can open as a session, delivering seamless integration between the two applications
00:00.720: One other problem that I just found a solution to that I've seen a lot of people mention online, but it hasn't been clarified, is importing files from an AVCHG
00:00.800: The Rube Goldberg sort of machine type stuff where there's a machine that automatically feeds Einstein his dog food and it automatically makes toast and
00:00.800: A thing, a bit of pop culture that had a huge following with nothing to follow yet.
00:00.800: We started principal shooting in October, and that excludes that excludes the shooting that we did for the Kickstarter trailer, which I vowed to throw out
00:00.800: 1 was clearly a major update for Final Cut, and it has ushered the way for a lot of people to
00:00.800: I can't tell you how often I still have to go and like click File New and then see Project Event Library to like remember
00:00.800: Yeah, except that the signal coming in is completely clipped because the wireless hop is set at a million and the audio is totally unusable.
00:00.800: And the other is the notes within Final Cut X.
00:00.800: Prior to this recording, that in all fairness, you have not chosen an editor yet.
00:00.800: I can make something a roll, yes.
00:00.800: something that people in that profession have been using for years, and I need final cut
00:00.800: And I wonder if that utility would work well for audition.
00:00.800: And then within just a couple of months, Philip Hodgetts from Intelligent I'm sorry, Philip, I can't remember the name of your company.
00:00.800: And I've used it.
00:00.800: Clearly, I am just reading the description that was given by Marquee Broadcast Limited, which is the company that makes this.
00:00.800: Thanks for listening.
00:00.880: It's out there.
00:00.880: We've brought in professional lighting packages in other areas.
00:00.880: 1 is great, but now that I am fully immersed in the software, it's kind of like, oh, well, I guess I could have used 10.
00:00.880: And we've had, and I do have my library open in front of me.
00:00.880: So you have options when leaving Pluralize what you want to get into Final Cut.
00:00.880: And I think that you're going to be at a point in Final Cut 10 where it's really just: here's a string out of the story.
00:00.880: You know, I can't get audio out into audition, so I'm forced to do my audio post work in general inside Final Cut X a lot more often than I'd like.
00:00.880: I didn't go to school for audio engineering, but I have a pretty good hold on it.
00:00.880: Everybody remembers everybody was complaining that why can't I bring in my Final Cut 7 projects?
00:00.880: of the story and then utilize their skills as a documentary editor to build this out.
00:00.960: And the car gets returned back to the United States.
00:00.960: 10 days after we launched our campaign.
00:00.960: So so you so you you've been using Final Cut 10 to log and capture and sort things.
00:00.960: No, you gotta do you gotta gotta give me more than just Avid because I'm gonna want the project file.
00:00.960: In ten years from now, when this project is dead, I'm not going to want to have a situation where the final picture lock is totally out of my control just because
00:00.960: is that myself and my executive producer Louis Krubich, we sat down with our co-producer Adam Goldberg, who is the executive producer and creator of The Goldbergs.
00:00.960: Hey Chris, this is Adam Feinsilver.
00:01.040: Testing one, two, check A.
00:01.040: It was drivable.
00:01.040: But I mean, if we would have known, there would have been a lot less panic and a lot less sleepless nights along the way.
00:01.040: Is Back to the Future probably his claim to fame and the biggest project he's ever done?
00:01.040: But to me, that wasn't the look that I wanted.
00:01.040: The Kevin Pike piece, is that your piece?
00:01.040: interviews like that is you always come up with little gems and extra things, and it's fun to be able to share those.
00:01.040: However, one secret that I have here.
00:01.040: Garbage.
00:01.040: How do I want to say this?
00:01.040: keywords or or little hunks of metadata, even though you're twenty, thirty percent, fifty percent, eighty percent through a project, you still might want to say, ooh, I really like that clip.
00:01.040: And one of the conversations that looms very large in my head that we had very early, I think it was on the trip where we shot our first real footage, but we hadn't shot it yet.
00:01.040: I don't need to assign it that role.
00:01.040: Right, and another thing you would be able to do is then you would have all your dialogue on one track, all your music on two tracks, you know, things like that.
00:01.040: Quite often you can swipe across a bunch of things.
00:01.040: So you have to deselect any crossfades.
00:01.120: I was like, okay, I mean, this this seems like a great place to go and see what's going on.
00:01.120: I mean, if you look the biggest story on Kickstarter right now is Reading Rainbow.
00:01.120: Movies definitely speak to us.
00:01.120: And that was the answer.
00:01.120: Let's get into that.
00:01.120: They're in the right place, but they have no audio and no video, and they're just black.
00:01.120: Yeah, I know.
00:01.120: So it's actually two levels of filtering.
00:01.120: Well, in all seriousness, I mean, you really have done so much legwork.
00:01.120: That's the show on ABC, and he's been around.
00:01.200: Making of the opening shot and then come back and listen to the show.
00:01.200: Fast forward, his film is doing amazing.
00:01.200: Well, actually, it is a folk story to tell around the campfire, but it's a well-documented folk story to tell around the campfire.
00:01.200: When you create your tracks, you can then put effects on the entire track, modify them at that level.
00:01.280: Yeah, they have the distinction of being the only private owners of a screen used DeLorean.
00:01.280: And 'cause that 'cause you know, that's not hard.
00:01.280: And that was a year after they had a second project on Indiegogo, which I didn't even know about.
00:01.280: CS6 when that came out because it took advantage of a lot of the the hardware benefits and just the way it handled footage, and we sh we shot a lot in DSLR and its native ability to edit that.
00:01.280: And under Settings, it says the bottom selection that nobody bothers to read all the way down to rolls as QuickTime Movie
00:01.280: Well, our Facebook page with documentary is facebook.
00:01.360: Tell me a little bit about Back in Time.
00:01.360: That sort of gave me the okay, I can definitely do this now, and I'm going to do this.
00:01.360: Yeah, yeah.
00:01.360: Okay, so Kevin Soundbites.
00:01.360: It actually does do that.
00:01.360: I hope so.
00:01.440: I'll actually look it up so I don't misquote.
00:01.440: Fox Foundation.
00:01.440: Who knows?
00:01.440: And my poor children wouldn't want that.
00:01.440: And given all of the metadata that's there, I think, who knows, maybe you should be talking to David Fabello.
00:01.520: It's really really cool.
00:01.520: I totally understand.
00:01.520: You'll have to use QuickTime 7.
00:01.520: Again, I think that just goes back to you're forced into using roles.
00:01.520: That file itself, and then I could just give it to somebody, and they could open it, and I could have this
00:01.520: It is what you thought.
00:01.600: The other thing is, I don't need the questions either.
00:01.600: These are things that are not easily accomplished within Final Cut X.
00:01.680: Sorry for this.
00:01.680: You know, somebody like Claudia, you know, Michael J.
00:01.680: But the song that I found was like literally two seconds too long.
00:01.680: How does it sound?
00:01.680: And that's sort of what it is when you're making a film on Kickstarter because realistically, half of our initial budget would go to an editor otherwise.
00:01.680: But again, that's one of those things where you can always be going in and adding to your metadata.
00:01.760: The answer that he gave us, which you see, I made one tiny little cut just to sort of fit the music.
00:01.760: Just she knows I love her.
00:01.760: And I can see them.
00:01.760: And if you go pull down that pull down, it says multi-track quick time movie.
00:01.840: And sort of, you know, fast forward about a year, and they're just finishing up right now, having the car restored back to its original glory.
00:01.840: Maybe they don't have the same maybe they haven't been affected in the same way that somebody like Claudia Wells, who played Jennifer Parker in the first film.
00:01.840: She did a show in France, an autograph signing, and said I would never have that opportunity almost thirty years later to do things like that without the film.
00:01.840: I mean, I'm a I'm a super, super perfectionist.
00:01.840: So that portion of your story is not unique.
00:01.840: 1.
00:01.840: Maybe there's another Kickstarter program out there for you.
00:01.840: Just out of curiosity, what kind of stuff would you want to do in Audition?
00:01.840: When things are assigned to a role properly, you can export a multi-channel
00:01.920: Oh, that's not adjusted right.
00:01.920: And the fandom, I knew the fandom existed.
00:01.920: So if Kevin Pikes mentions radioactive box underneath the bed, and you search for the phrase the word radioactive, boom, that clip and that
00:01.920: Because I I think what you're saying, you know, why start again?
00:01.920: And then just do it in 10.
00:01.920: Thanks for being here.
00:02.000: I mean, Christopher Lloyd has a storied career.
00:02.000: So I've had we're we're basically six months into production, a little longer, about eight, and I've now had the opportunity to hear what a lot of other people have said.
00:02.000: And I can certainly re-ask the same questions again.
00:02.000: I mean, I do many projects where media management is a disaster.
00:02.080: So it's like, okay, this is what we shot when we traveled here, and this is what we shot when we traveled there.
00:02.080: And we're recording in HQ because I have these dreams of grandeur that we're going to be in an IMAX theater somewhere.
00:02.080: I really enjoyed that, and I'm looking forward to seeing that documentary when it is done.
00:02.160: The problem was it was it's a really cool story.
00:02.160: Very, very powerful.
00:02.160: It'll be a multi-track audio file.
00:02.240: Oh, that's cool.
00:02.240: We've interviewed Claudia Wells and Don Folilove.
00:02.240: But you know, we all have it now.
00:02.240: Oh, yeah, plenty of people are.
00:02.240: One of the things that I have found in the last, even in the last couple of months with Final Cut 10.
00:02.240: Oh, and by the way, all these clips are multicam, so there's always a second angle.
00:02.240: It works great.
00:02.320: Well, yeah.
00:02.320: And I can't tell you how many times, you know, the audio engineer will say, I'm sending you tone, and you sit there on your little VU meter and it's like, okay, minus 20 dB.
00:02.320: 5 terabytes.
00:02.320: I will say no more about future Kickstarters, but you know, suffice it to say, we're going to need
00:02.320: Also, very interesting about the importing of the AVC HD.
00:02.400: This is not good radio.
00:02.400: Like there were people out there, but nothing for them to coalesce around.
00:02.400: Or it almost sounds like you're more interested in the whole DeLorean subculture?
00:02.400: Yeah, it's about the car, but it's really about what the impact has been.
00:02.400: I'm going to get a lot of hate mail now.
00:02.400: So it's going to have to be something that I know.
00:02.480: It was Benjamin Brutton Cox said, genuine thanks for premium beat referrals.
00:02.480: Right.
00:02.480: It's not going to take advantage of the GPUs the way that you know the way that Final Cut X will.
00:02.480: And when I say major, I mean that we conducted numerous interviews on those shoots.
00:02.480: There's a crazy concept.
00:02.480: It's a 25 megabyte per second ABC HD file.
00:02.480: And actually, the idea of having how do you say that?
00:02.560: So Jason, I don't normally run into people on Facebook because I almost never look at it, but I saw something on Facebook this morning and I was like, oh my goodness, this is the coolest project ever.
00:02.560: You know?
00:02.560: Can you manually sync inside how do you go about doing that?
00:02.560: Another thing that that I prefer is that you put the slate in the frame first and then you roll.
00:02.560: Yeah, but again, I do want to stress that what you're saying is turn off a bunch of stuff, export, turn off a bunch of stuff, export, turn off a bunch of stuff, export.
00:02.560: It is called Extapro.
00:02.560: Let's assign some roles.
00:02.640: You know, I think I'll commit to it.
00:02.640: Absolutely.
00:02.640: You know, it's like, I hadn't even thought about that at that point because, yeah, I can't just take
00:02.640: I just read somewhere I think it was on Twitter just the other day that there were people getting into the
00:02.720: And they he holds his two index fingers in front of his head, in front of his face, okay, on two hands, and then he starts bouncing them back and forth like their VU meters.
00:02.720: Essentially, yes.
00:02.720: Yep.
00:02.720: X to Pro or something like that.
00:02.800: I offered them dinner with me and surprisingly in the in the last weekend, somebody actually took us up on that.
00:02.800: I can tell you, on bigger commercial projects, we always slate because we could be shooting the same thing four times and then good luck in post figuring out what take was what.
00:02.800: Looks good.
00:02.800: So one of my favorite visu this is totally visual.
00:02.800: So I'm confident in my own ability to edit the film, but I know that my family will be very, very hungry next year if I have to.
00:02.800: And there are things that I hate about Final Cut X.
00:02.800: You directed me here from Twitter.
00:02.880: All right.
00:02.880: So I could s safely say by the end of june twenty fourteen, it'll be driving on the road.
00:02.880: So I was like, but you know what?
00:02.880: I mean, there is that one.
00:02.880: So then and I'm sure somebody who's listening to this is probably saying, yeah, that's how you get your XML dummy.
00:02.880: I mean, if all my music was assigned that role, I could just ex I could turn off all the other roles and just export that, and then export my dialogue and then export
00:02.880: Or this 10-2 Pro, whatever it is.
00:02.880: I think, one, I'm really excited to see your project when it's done.
00:02.880: I avoided Final Cut 10 for a long time.
00:02.880: Coming up Monday, we got a cool episode.
00:02.960: Don't use Facebook to try and contact me.
00:02.960: Yes, but Massachusetts is probably the easiest place to reaccess, and the Shays have been amazing.
00:02.960: Okay.
00:02.960: My daddy always taught me that beggars can't be choosers, and there's no question that whoever edits this film is going to be owed a great
00:02.960: I get that.
00:03.040: m.
00:03.040: It's like, oh, right, right, right.
00:03.040: Timeline Index is very powerful for this.
00:03.120: And my hope is that he is an a rapid fan of Back to the Future.
00:03.120: I'm the one who has to pull the footage anyway.
00:03.120: We created it in Florida knowing nobody in the industry and ended up out here.
00:03.200: It is a it's a video by the name by a guy.
00:03.200: So basically, there was there was no problem at all, except the interface just needed to be restarted.
00:03.200: I don't know what it's called.
00:03.200: Stephen Luxick, episode thirty one.
00:03.200: Thanks for supporting the show.
00:03.280: Give us a break.
00:03.280: I'm 95% certain.
00:03.280: One thing that I've noticed is if you try and swipe acro across a music track, if you will, that has
00:03.280: And then the last thing, I believe you can also select roles as separate files.
00:03.360: One of them was a replica time machine Back to the Future DeLorean.
00:03.360: But at any rate, set everything up as dialogue and music.
00:03.360: Sure, there's some things like, yeah, if you get too deep into the title or tool, whatever, but who really uses that stuff?
00:03.360: But I would think that having your roles not properly done might screw this up as well.
00:03.360: Yeah, we should find a way to talk.
00:03.440: Ah, gotcha, gotcha.
00:03.440: And that culture, which I discovered, has been around for years.
00:03.440: So when people came back, and they got their automated messages from Kickstarter that, hey, here's this
00:03.440: Yeah.
00:03.440: But I knew before I ever hit record that.
00:03.440: So this little show is called The Final Cut Grill.
00:03.440: Okay.
00:03.440: And then it's just like when you see what audition has created, you run as fast as possible.
00:03.520: So I think he calls it.
00:03.520: I know approximately what it is, but I'll give you the exact number.
00:03.520: Right.
00:03.520: Right.
00:03.520: If I want to put master compression on the entire project, or if I want to put a limiter on certain tracks as an entire
00:03.600: I see a trend.
00:03.600: If people don't know about that, you should definitely get acquainted with it.
00:03.600: Eastern time.
00:03.600: So within Kevin within Kevin Soundbites, I have let's see, three, six, eight, eighteen.
00:03.600: without starting to listen to each answer later.
00:03.600: Finding things is not going to be crazy hard.
00:03.600: So it does become easier to find that shot later.
00:03.680: I you know, it was Oh my goodness.
00:03.680: I thought it would be this extension of Final Cut 7.
00:03.680: It's not just a throwback to old school.
00:03.680: Right, right, right.
00:03.680: It's astonishing to me.
00:03.680: Now, I never worked in a television studio.
00:03.680: Um and then I realized that that's uh quite unrealistic, but
00:03.680: I can assign a clip to a roll, yes.
00:03.680: Now it's very important that you have to set all your dialogue as the dialogue role and all your music as the music role.
00:03.680: Use Command J, and you will see that there is a separate
00:03.680: And I agree.
00:03.680: And I know that guy is going to be working, or I hope that guy is going to be working not in audition.
00:03.760: Like we were raising tons and tons of money, and then July 4th hits, and it's like nothing's coming in.
00:03.760: Help me out here.
00:03.760: We're very conscious on set to make sure every camera guy actually gets the slate.
00:03.760: And I you know, I'm sorry, I've never used the C100.
00:03.760: So that's essentially what I'm doing.
00:03.760: This is why it's so important to have QuickTime 7 around still.
00:03.840: So, if you are listening to this episode and you want to get a little bit more out of it and you have the ability.
00:03.840: Like, how are people so obsessed with this?
00:03.840: It was used in a drug cartel.
00:03.840: I mean, it's it's an amazing story.
00:03.840: Fox is huge.
00:03.840: I know it.
00:03.840: He's going to give me the same answers.
00:03.840: It wasn't like, so tell us about the lesson for somebody doing interviews.
00:03.840: And I have a great transcriber, and I'm not going to give her name in this podcast because I don't want her getting too busy.
00:03.840: Okay, so I have now interviewed twice just this on Monday.
00:03.840: And then you go down to your master track, you put a hard limiter on there to make sure nothing peaks in the project based on a compressor setting.
00:03.920: Before we get going, though, I want to once again explain
00:03.920: I got a couple of tweets just in the last couple of days of people going, Yep, checked it out, found great music in just a few seconds.
00:03.920: And then a Denver Broncos fan purchased the car and decided I'm going to paint it orange.
00:03.920: The visor.
00:03.920: When we shot the trailer, it was on a budget.
00:03.920: So let's go.
00:03.920: It's the best thing that ever came out.
00:03.920: Yes.
00:03.920: I'm so sorry.
00:03.920: Let's assign some roles.
00:03.920: I found that if you move the files uh if you create a symlinks manually and put them a couple folders above the A V C H G
00:04.000: And that's just sort of a function of Kickstarter where a lot of people will click the remind me button.
00:04.000: So now, and you also said when we started this conversation
00:04.000: It is the most expensive plugin I've ever seen for Final Cut.
00:04.080: Here we go.
00:04.080: Maybe let's see how it does.
00:04.080: I'll right click just the tight shot and then I'll say new multicam clip.
00:04.080: Wow.
00:04.080: And I know that in-house at major, major networks, which I won't mention by name because I don't feel like getting sued.
00:04.080: It's not that I can't import it, I use X to 7 to get that XML converted into, you know
00:04.160: So I did not use Final Cut 10, first of all, just to get into that a little bit deeper.
00:04.160: Okay, yeah, a project.
00:04.160: You know, the syncing dialogue stays up.
00:04.160: You have the option.
00:04.240: That's awesome.
00:04.240: I want everything to match perfectly.
00:04.240: The question that he answered was: Do you have anything else to tell us?
00:04.240: How does it sound?
00:04.240: And you know how it is.
00:04.320: Awesome.
00:04.320: Yeah, that kind of sucks.
00:04.320: Right.
00:04.320: And don't get me wrong, Jason.
00:04.400: It's I think as of this taping, it's already been started.
00:04.400: And I think what we could have never anticipated was that the last weekend
00:04.400: So to ask her, you know, how has your life changed?
00:04.400: We've been shooting on C-100s with the
00:04.400: So we're capturing in ProRes HQ, and it's a very high quality file, super high bitrate.
00:04.400: But I know that there are a ton of shows on television that use a Mark III as a secondary camera, a primary camera, depending on how deep you want to get into cable.
00:04.400: Because if the questions aren't the questions are not going to appear in the documentary, so the answers better damn well be self-explanatory.
00:04.400: Now, of course, the problem with favoriting the same clip 18 times is that all the clips have one name, and that name is Kevin Pike.
00:04.400: What's a better trick to get from this shot to that shot?
00:04.400: And I'm not sure your last name, Adam, but let's take a listen to this.
00:04.400: I've been working in LA for about six and a half years on a kid's
00:04.480: He called it a film about the cultural impact
00:04.480: So it was probably born December of twenty twelve.
00:04.480: This isn't the only project he worked on.
00:04.480: The public, you know, certainly the, you know, the 630 people that have backed this film and everybody else that's learned about it.
00:04.480: Essentially, the way I'm handling the interviews, first of all, they're going to be text logged.
00:04.560: And I don't know if one thing had anything to do with the other, but
00:04.560: We ended up with like six hundred I think it was six hundred and sixty or something like that backers.
00:04.560: So back in time, are you focusing on.
00:04.560: We do a lot of events also.
00:04.560: And I I don't even think I used it for twenty four hours before I abandoned it and
00:04.560: Yeah, so I call them timelines so that I could confuse myself.
00:04.560: Oh, good grief.
00:04.560: And he has just wrapped doing a long-form documentary in Final Cut 10.
00:04.560: Right.
00:04.560: 6 terabytes now.
00:04.560: At any rate, it looks like Adam has figured that out.
00:04.560: And thanks for using PremiumBeat.
00:04.640: I mean, would people still know Michael J.
00:04.640: We're in New York, just to go to LA because I want to ask her one more question.
00:04.640: I remembered vividly.
00:04.640: So in a place where we only have interviews, I'll multicam the interviews and that I've sort of done
00:04.640: Check my audio feed.
00:04.640: It's some way make that possible for me to do as a track.
00:04.720: If you're in your car, just listen now and listen to it when you get to work or whatever.
00:04.720: Hmm.
00:04.720: I mean, here's a father and son who bond over Back to the Future.
00:04.720: And we're interviewing people who are on the crew of the film, like Bob Gill.
00:04.720: I knew I was not going to use that.
00:04.720: And he and he bounces his little VU meter fingers and he goes, Looks good
00:04.800: com, and watch the Vimeo feed, the Vimeo link for the Kevin Pike
00:04.800: And that really, really fascinated me, and it sort of planted the seed in my head.
00:04.800: You know, people have a desire to go out and buy stock DeLoreans and convert them into
00:04.800: We were very lucky to have an opportunity to shoot on the set of the Goldbergs, which I can get into, where we use the lighting that they use for the actual television show.
00:04.800: And I know that because I sat in the app store and hit refresh every second the day it came out.
00:04.800: Yeah, you have the option of L T H Q or what I like to call regular.
00:04.800: And that's sort of going to be my use of.
00:04.800: And one thing that I've seen, and it's very sad, we do a lot of projects where we bring in network editors who kind of are doing
00:04.800: He has a network television show, so we certainly value all of his advice.
00:04.800: But within audition, I have a tiny adjustment, and I have to change it on every clip.
00:04.800: And in working in audition,
00:04.800: So, what I did is I've opened up a project that has a bunch of dialogue and a bunch of music.
00:04.800: And it was interesting, the person said, and I can't validate any of this.
00:04.800: I probably should.
00:04.880: Yeah, I will say that in using 10.
00:04.880: Because I've never used Pluralize.
00:04.880: So it's going to be track number seven or whatever.
00:04.880: The B-roll stands alone.
00:04.880: I would love to just be able to say, can I just put my Isotrope RX3 sound noise reducer on
00:04.880: com/slash back in time film.
00:04.960: Hey, welcome to another episode of the Final Cut Grill.
00:04.960: So, anyway, that's our interview today, and I think you're really gonna enjoy it.
00:04.960: Okay.
00:04.960: Yeah.
00:04.960: Now that's what I want.
00:04.960: Right.
00:04.960: But commercially, two terabytes is a very easy hard drive to get.
00:05.040: And I literally, you know, we're filming this on Sunday night.
00:05.040: Yeah, and listen, I tip my cap to Ripple training.
00:05.040: But she does great transcription for me.
00:05.040: If you open the
00:05.040: I really think that that's going to be the case.
00:05.040: You can always be adding more
00:05.040: That would be completely impossible inside of Final Cut X.
00:05.040: And, you know, there are certain things I don't use roles a lot because.
00:05.040: It's going to be sort of a recap.
00:05.120: And I was always a huge fan of Back to the Future.
00:05.120: It is a father and son, Bill and Patrick Shea, two amazing guys who at the time were the owners of three DeLoreans.
00:05.120: We should definitely start there.
00:05.120: Right, right.
00:05.120: So, question.
00:05.120: Again, I know Final Cut 7, but I would laugh at somebody if they tried to take on this project in that.
00:05.120: Why doesn't Apple create the utility?
00:05.120: So it would be interesting to know a misuse of roles would fix this.
00:05.120: Jason, thank you so much for your time.
00:05.200: And I said, all right, well, if I'm going to go on Kickstarter and try to raise some money, we need a trailer of some kind.
00:05.200: The car was a lease originally.
00:05.200: This isn't like, you know, some folk story that you tell around the campfire.
00:05.200: It's like, you know, if you need to get an oil change, you go to the mechanic.
00:05.200: Yes, so that is that is from our principal shooting.
00:05.200: I will not let a C100 on set roll without getting either a wired or wireless hop from
00:05.200: One is look for favorites.
00:05.200: So I'm actually going to make notes, and this I have not done yet, call it a sentence and a half just going over
00:05.200: I can't remember what it's called.
00:05.200: It looks like I'm about out of time, but I'd be happy to discuss it with you further.
00:05.280: And we had 629 backers.
00:05.280: And after he beat the cancer, you know, the two of them, this couple, now drive around the country.
00:05.280: Okay, whoa, whoa, whoa.
00:05.280: And then once I have that multicam clip, I'll go into the multicam viewer.
00:05.280: Don't you think it would be advantageous if you could find an editor who wanted to cut in 10?
00:05.360: And just today, I had about a two-minute piece and
00:05.440: Oh, I wrote it down someplace.
00:05.440: I mean, hey, like I said, I saw that with my own eyes.
00:05.440: LeVar, you know, they raised a million dollars in a day.
00:05.440: We actually haven't done that interview yet.
00:05.440: I've been intensely listening and going through your podcast after discovering it a couple weeks ago.
00:05.440: And there is one last place where you can bail out and actually import things into
00:05.520: Right, exactly I mean, everybody's doing it.
00:05.520: That's sort of the 30,000-foot view.
00:05.520: I mean, that's sort of what that's sort of what my role is, obviously, as the director of this documentary.
00:05.520: I just I'm about to pull the trigger on Isotrope RX3 Advanced.
00:05.520: Um, we did that thing in Hawaii
00:05.600: It doesn't work but it did this time.
00:05.600: So, what that meant and what the goal was was that
00:05.600: And you know, just to see, you know, what was it like
00:05.600: And the beauty with the documentary is that.
00:05.600: I quickly hit an F.
00:05.600: But he's not I'm going to show him Final Cut and he's going to laugh at me and say, What's that?
00:05.680: She walked away, I did the music, I adjusted a few things in the B-roll, and she came back in and she was like, slam, dunk, perfect.
00:05.680: I was standing on a toilet.
00:05.680: Just get the wireless hop.
00:05.680: Oh, that's right.
00:05.680: Maybe.
00:05.680: I think most editors would tell you that half of the work is organization.
00:05.680: I'm not trying to say you're wrong about this because I agree, I would I still
00:05.680: It may very well.
00:05.680: Maybe we can talk via Skype someday.
00:05.760: And I said, Hey, not a problem.
00:05.760: So it's not it's not even a money thing.
00:05.760: You should definitely check that out.
00:05.760: That's awesome.
00:05.760: Yeah, and I kind of feel stupid in a way because
00:05.760: So it's only three files.
00:05.760: I wish this was a video podcast.
00:05.760: You know, without having to go out somewhere else.
00:05.840: Yep.
00:05.840: This is so crazy.
00:05.840: Personally, I think so.
00:05.840: One was the release of ten point one, which was a game changer for the software itself.
00:05.840: It's pretty powerful, yeah.
00:05.840: So how much footage have you done?
00:05.840: And you can constantly be adding and updating to that.
00:05.840: I know that one thing that I discovered back when I was doing the show with Steven Luxik, if you remember that episode.
00:05.920: And when you further back it up with the accessibility at the home level, with
00:05.920: Oh, an event.
00:05.920: And then you have I have 18 different clips now that I've created favorited clips.
00:06.000: If you remember, it like started on a bunch of clocks and the camera
00:06.000: Oh yeah.
00:06.000: Interesting.
00:06.000: They're individual clips.
00:06.000: And it's like you run into editors who are very good at what they do, but when you ask them what tools they're using, it's
00:06.000: So, all the keywording, all the metadata, everything that I'm doing now is going to be so helpful.
00:06.000: Do you have compressor?
00:06.000: It's probably called.
00:06.000: Right.
00:06.080: And we went up to their property up in Massachusetts and we spent the day with them.
00:06.080: That sixty thousand was used towards finishing the film.
00:06.080: So I the only thing trapped out of there was like two seconds where he clarified something that was unnecessary, so I cut it.
00:06.080: You will import it to Final Cut Pro and it will import perfectly.
00:06.080: Not every project has crazy amounts of budget for audio post-processing.
00:06.160: I mean, you can't make this stuff up, right?
00:06.160: Well, I think that's one of the things about doing, you know.
00:06.160: And you can do that.
00:06.160: So what I'm doing, because Final Cut X makes it so easy
00:06.240: But I mean, who doesn't know Doc Brown?
00:06.240: So we've had
00:06.240: That's one of my biggest beasts.
00:06.240: Yeah.
00:06.240: The one error which I hope somebody from Pluralize, which is now owned by Red Giant, can hear, is that
00:06.240: But I like that trick.
00:06.240: And in there, you want to go to the Settings control.
00:06.240: I don't know which is which, actually, but there are two separate soundtracks.
00:06.320: Anyway, I watched that and then I looked up who made it, and it was made by by Jason, Jason Aaron.
00:06.320: In fact, that's one of the Kickstarter rewards.
00:06.320: So before I ever hit.
00:06.320: And then shortly after I moved to Premiere
00:06.320: If the crossfade is selected, you won't be able to gang change a bunch of stuff to be the part of the music role.
00:06.320: They had a utility.
00:06.400: Well it's it's by Jason.
00:06.400: Okay, so now I'm just I need to get a something clarified here.
00:06.400: Oh, yeah.
00:06.400: And then within that event, certain places that we went, all we did was shoot interviews.
00:06.400: And Final Cut Pro can handle it because
00:06.400: And that's basically that.
00:06.400: Are you delving deep into the metadata?
00:06.400: Realistically, I edited the original Kickstarter piece, so that tells me that
00:06.400: I don't know Avid.
00:06.400: Okay, so as I just said there, I'm 95% certain.
00:06.400: You can extract that as a separate track.
00:06.400: So much work is going to be done already.
00:06.480: What was wrong?
00:06.480: That's something that pays the bills here.
00:06.480: Now the default setting is QuickTime Movie.
00:06.480: And then when you export, what you're going to get, open up that file in QuickTime.
00:06.480: Okay, so it does have access to all that stuff.
00:06.480: We're going to revisit the original conversation that we had.
00:06.560: The other two that are remaining from filming are in the hands of Universal Studios.
00:06.560: Yeah.
00:06.560: Okay.
00:06.560: Looks good.
00:06.560: So what he did is, as he was listening to things, any time he was listening to something, either in the browser
00:06.560: Then you could put a hard limiter on that track.
00:06.560: All right, let's go back to the interview.
00:06.640: But I restarted it and now it is working.
00:06.640: And we actually spent an like an hour looking at that car.
00:06.640: If nothing else, yeah, whatever.
00:06.640: I can't get away from the word timeline.
00:06.640: What kind of footage comes out of that?
00:06.640: And then what I have is I have a smart collection which stores anything that's favorited with the keyword of the person who's speaking.
00:06.640: And then give it to somebody and say, okay, polish this up for me.
00:06.640: I know what's dialogue, you know, inside of most projects that I work on.
00:06.640: And just to close, while you were talking, I found it
00:06.720: Maybe I'll have a couple extra bucks when this campaign's ending.
00:06.720: So that dinner will take place in Hollywood the weekend of the premiere.
00:06.720: And we look at it from all sorts of different angles.
00:06.720: And then I sync them myself because my files are almost identical because I'm rolling camera at the exact same time.
00:06.720: And I'll say another thing that we do around our office is when we put a slate in front of the camera
00:06.720: So I need to find somebody else to do it.
00:06.720: But there is a utility that gets the stuff out of ten into Pro Tools.
00:06.720: I happen to have an R6 Pegasus.
00:06.720: com.
00:06.800: Let me see.
00:06.800: Universal had had borrowed the car from somebody, and then it ended up
00:06.800: And oh no, wait, that's back to future.
00:06.800: And what I've been doing is, I have one library for the entire film.
00:06.800: I shouldn't say that.
00:06.800: So that multicam clip I find to be ideal for
00:06.800: And then what you have to do is essentially manually you say, okay, that's clip number one, two, three, four.
00:06.800: It's like I can't tell you how many times by the way, it's totally clipped out, and nobody even puts in a pair of headphones, and it's like
00:06.800: You're talking about the notes field, the notes column in the browser?
00:06.800: Therefore, without even knowing who the editor is, I know that he's going to be.
00:06.800: Not to be too blasphemous.
00:06.800: Like, ta-da, it's gone.
00:06.800: But can I apply a filter to a roll as though it were a track?
00:06.800: And I think your answer would probably be
00:06.800: And I'm convinced
00:06.880: Just Google Legends of the Night and you'll see all the great things he's done with that film.
00:06.880: I took some liberties with the audio.
00:06.880: I need one of those.
00:06.880: So for that reason alone, I'd almost rather do it in pluralize.
00:06.880: Especially if you're actually slating something.
00:06.880: I mean, you're going to know it so well.
00:06.880: When it comes down to the finish, what you're talking about is
00:06.960: There were there were times during the campaign
00:06.960: That's awesome.
00:06.960: It costs $150.
00:07.040: That was the exact number.
00:07.040: So I mean, I have a lot of familiarity with Audition because of the amount of time that I worked in Premiere.
00:07.040: It doesn't have to be a stereo output.
00:07.040: Agreed.
00:07.040: Very good.
00:07.120: And then
00:07.120: Or you can do as separate files.
00:07.120: This is bullshit.
00:07.120: I think yes, I think it could simplify simplify the
00:07.200: You know, because in the area that I was shooting, I mean, people have
00:07.200: Yeah, we were very focused.
00:07.200: Now you can't just walk away from that.
00:07.200: Almost every behind the scenes video that we've done has music from there.
00:07.200: It's certainly how it's going to be edited.
00:07.200: That's how I learned it.
00:07.200: I'm definitely I like the write the sound file name on the set.
00:07.200: They're not, you know, they're not necessarily synced with audio.
00:07.200: Correct.
00:07.280: Yeah, the seed the seed was already there.
00:07.280: Oh, yeah, yeah, yeah.
00:07.280: Two is look for sound bites of Kevin.
00:07.280: You want to say.
00:07.280: You know, you have a down day.
00:07.280: If there's some Final Cut 10 editors out there that want to cut a long form doc about Back to the Future and they want to send you their resume, how do they find you?
00:07.280: And now she's the youngest professional entertainment reporter and she's
00:07.360: So I know that as a backstory just from sort of what's out there on the Internet.
00:07.360: This is really this brings family together.
00:07.360: And not to give away too much, but she said, you know, the opportunity to
00:07.360: I have to be honest, because of how long
00:07.360: I don't even save them.
00:07.360: I mean, the problem is that by the time I get there, it's done, it's not happening.
00:07.360: But yeah, I mean, the fact that there's going to be this great library, which isn't going to be that big
00:07.360: So,
00:07.440: This is episode 053 with Jason Aaron.
00:07.440: I should look this up because it would mean I'm like actually doing my homework.
00:07.440: I first learned about it on Kickstarter.
00:07.440: He actually is a cancer survivor
00:07.440: It's like, really?
00:07.440: Right.
00:07.440: I'm sure people are rolling their eyes yelling at their speakers right now because I don't remember the name of it.
00:07.520: Who's doing what?
00:07.520: And the third one was an actual screen used DeLorean from Back to the Future Part 3.
00:07.520: But to narrow down our focus, because believe me, I mean, I could probably do a thousand interviews to this documentary, but
00:07.520: 0.
00:07.520: So there are no syncing problems.
00:07.520: Sometimes it was verbatim of what the guy was saying.
00:07.520: I'm calling out bugs and stuff all the time.
00:07.520: And that is enough of a market for him to actually be able to sell that product.
00:07.520: One of the things I gotta say is like every format just seems to be different and it's kind of a pain.
00:07.600: We used a Mark III as our second camera, which is certainly nothing to snuff at.
00:07.600: 0 anything, you know, they got on at 10.
00:07.600: I have a smart collection set up.
00:07.600: And there's going to be two ways around that.
00:07.680: Jason cut it.
00:07.680: It's
00:07.680: July 4th was about
00:07.680: I mean, it's so powerful and
00:07.680: The projects that I do create are the behind the scenes videos, or like the Kevin Pike video that you saw.
00:07.680: So it's all right, give me a multicam clip.
00:07.680: Many years ago, I was sitting on a set with a guy.
00:07.680: I'm confident in my ability to learn it, but I don't feel like learning it just because somebody else is going to use it to edit my film.
00:07.680: Because when looking at the documentary, I'm probably going to hire
00:07.680: It may very well.
00:07.680: Thank you so much for your time.
00:07.760: And there's all kinds of like uh, what's it called?
00:07.760: And there are these blogs and message boards and things like that.
00:07.760: So maybe I'll like this Final Cut X thing.
00:07.760: And it was a pain.
00:07.760: Don't own it.
00:07.760: Are you doing it inside a multicam viewer?
00:07.760: I think you're going to find somebody who's going to cut this in 10.
00:07.839: So um
00:07.840: .
00:07.840: Never mind.
00:07.840: And you are not going to try and make the editor
00:07.840: We'll see you Monday.
00:07.920: And Final Cut X has actually been the savior of that disaster.
00:07.920: Blah, blah, blah, blah, blah.
00:07.920: I mean, it's gonna it's a lot of footage, but I'm gonna want to keep
00:08.000: Fox without Back to the Future?
00:08.000: Yeah, no question.
00:08.000: And I think I'm kind of speaking for many, many, many people out there.
00:08.000: You say you've done like five or six different remote shoots.
00:08.000: Yes.
00:08.080: For $10,000, you can put on the visor.
00:08.080: We already did that interview.
00:08.080: I'd love to know what he would say about it.
00:08.080: I'm sorry, Shuka.
00:08.080: Make sure that your levels are good before you start recording.
00:08.160: So what you're saying is
00:08.160: Come on.
00:08.160: And I think the argument and it may have been Philip's argument was that
00:08.240: I'm a fan.
00:08.240: Yeah.
00:08.240: And the discussion came up someplace.
00:08.240: Exactly right.
00:08.240: I think if I hit this button.
00:08.320: And as you know, if you create a multicam within Final Cut Pro
00:08.320: Yeah.
00:08.320: So, yes, it's a wee bit of a workaround, but it will.
00:08.320: And if you wind the clock back three years to the release of the application,
00:08.320: Two, I think it doesn't surprise me at all that so many people stepped up to support your Kickstarter.
00:08.400: So let's go to this interview with Jason Aaron.
00:08.400: Who has what?
00:08.400: Any big deal, extra out there with an extra 10 grand.
00:08.400: The problem is that knowing how these interviews go
00:08.400: And Apple really likes to be able to do things perfectly, absolutely, every time.
00:08.400: Oh.
00:08.480: I mean, this is.
00:08.480: Yeah.
00:08.480: And knowing that it took advantage of
00:08.480: 0 also.
00:08.480: I spent about a day and a half
00:08.480: I go, Why do you say that?
00:08.480: You're recording on the gizmo.
00:08.480: No, you could say anything you want.
00:08.480: It's like, ah, let's
00:08.560: He shot it.
00:08.560: So you found a
00:08.560: Yeah.
00:08.640: We bought the the the Lego blocks that I've talked about, the little um loot pack.
00:08.640: And Larry Jordan did a great tutorial on it, but it doesn't work.
00:08.640: It is a different metaphor.
00:08.640: So I think I think
00:08.720: Yeah, great.
00:08.720: How are you going what are you doing?
00:08.720: I've never used it.
00:08.720: I'm gonna want to be able to make changes if I have to.
00:08.800: Oh, my goodness.
00:08.800: So to say to them, you know
00:08.800: Really?
00:08.800: So, um
00:08.800: You know, just keep
00:08.800: And when you find bits, oh, this is probably gonna be in the movie.
00:08.880: And you didn't have to offer to have.
00:08.880: It was a
00:08.880: But to go to Massachusetts, it's a car ride.
00:08.880: And frankly, it got my it got my
00:08.880: I'm actually just manually syncing them myself.
00:08.880: It is a framework
00:08.960: Also, if you wanna see the Kevin Pike interview,
00:08.960: So this is about
00:08.960: I'm a huge Back to the Future fan.
00:08.960: They don't only have the cars, they have tons of other props.
00:08.960: This is sort of how the music is going to play into things.
00:08.960: Get out of the way.
00:08.960: So I mean, the beauty of it, like you said, it's all searchable.
00:08.960: If all your roles were assigned properly, you wouldn't have a problem, but it's like there's also another issue in that
00:08.960: And I don't know what the deals with keyframing in Final Cut 10, but that seems to be a big issue.
00:09.040: I think that's an interesting facet of a long-form documentary where you are.
00:09.040: Ironically
00:09.040: This is 24 hours ago on Saturday night.
00:09.040: One is going to be the logs.
00:09.120: So what you're good.
00:09.120: So, yeah, no, that it waiting till 10-1 actually.
00:09.120: So each role will be a separate file when you hit the export command.
00:09.120: Later, later.
00:09.200: Who would be an interesting subject.
00:09.200: I mean
00:09.200: You get to be on my little show.
00:09.200: Oh, yeah.
00:09.200: You know what?
00:09.200: But then when you open the multicam, you'll see that some of the clips are black.
00:09.200: My absolute pleasure.
00:09.280: So I found Jason.
00:09.280: Oh, that's cool.
00:09.280: And we sort of panic.
00:09.280: But the that first twenty or twenty five kind of paid for
00:09.280: And I sort of have these
00:09.360: Skype interface?
00:09.360: If you need to get your DeLorean converted to a time machine.
00:09.360: And now it's funny, I do it myself now.
00:09.360: I was like
00:09.360: Are you talking about via XML or just an actual file?
00:09.360: So what you're looking for, if you go to the File menu, Share, Export, Master File,
00:09.440: And then Brett raises this money for his film about Batman called Legends of the Night.
00:09.440: Or does it leave you with three things in a project that are stacked on top of each other?
00:09.520: Who knows?
00:09.520: Wow.
00:09.520: Yeah, I think they would.
00:09.520: So I download Final Cut 10.
00:09.520: Especially if you offer dinner with Jordi LaForge.
00:09.520: Yes.
00:09.520: That'll be a follow-up for this conversation.
00:09.600: No, you and everybody else, I still say the same thing.
00:09.600: Can't we just find out what it is?
00:09.600: Maybe he'll want to cut your movie.
00:09.680: And one of the questions is he looked at Lewis and I and he said, well, who's going to do the polling?
00:09.680: That's the whole point of this show.
00:09.760: We couldn't believe it.
00:09.760: Right.
00:09.760: Let me plug my headphones in.
00:09.760: Monday's interview was with
00:09.760: That's what I want.
00:09.760: So he's going to need an OMF or an XML or or
00:09.760: Yes.
00:09.840: So, was it a wreck when they got it?
00:09.840: I mean, if you look at our tagline,
00:09.840: And hopefully he has a nice big Pro Tool set up with
00:09.920: We raised
00:09.920: The one issue that Final Cut Pro has is that the interviews can sometimes be an hour long.
00:09.920: But
00:10.000: And a couple of months later,
00:10.000: And people are having barbecues and stuff.
00:10.000: I just kind of didn't.
00:10.000: You're on a video shoot.
00:10.000: Interesting.
00:10.080: So it was like, all right, I'm I'm joining lots of other people who are doing this.
00:10.080: And and and I'm sorry, I missed how much did you raise on Kickstarter?
00:10.080: So he answered eighteen questions.
00:10.160: So people click the button.
00:10.160: It's completely royalty free.
00:10.160: You can say whatever you want.
00:10.160: Exactly.
00:10.160: Thank you so much.
00:10.240: So what you're saying is technology is not perfect.
00:10.240: We interviewed them, saw all their really cool toys.
00:10.240: You have a single library, you have multiple events.
00:10.240: It's a different paradigm.
00:10.240: So yeah, tweet me again.
00:10.320: I was shooting a
00:10.320: It's it's you know, the the passenger visor is autographed by Michael J.
00:10.320: So now I can go back to Massachusetts and kind of rethink
00:10.320: So when I start putting requirements like
00:10.400: So then I hit the internet very, very hard.
00:10.400: Yes.
00:10.480: I'm not even sure anybody listens, to be honest.
00:10.480: When you use Pluralize in Final Cut 10,
00:10.480: His name was
00:10.480: But I think it works great.
00:10.480: That's my guess.
00:10.560: Actually, I found Jason on Facebook.
00:10.560: They've done over 300,000 miles and they're DeLorean.
00:10.560: Actually, there's been plenty of people that I've even interviewed
00:10.640: You might want to give them one more crack at it.
00:10.640: 1.
00:10.640: Okay.
00:10.640: And all of those words attached to those markers
00:10.720: The um
00:10.720: You know, he's done enough.
00:10.720: I would bet you a really good Pro Tools guy would own that.
00:10.800: In audition, you can.
00:10.800: I can't remember where I heard it.
00:10.880: I have been since I'm a little kid.
00:10.880: The visor.
00:10.880: You've been grilled.
00:11.040: And he's currently working on a documentary about
00:11.040: So
00:11.040: And I know that I can redo that interview.
00:11.040: Because your sound your sound device will will tell you what it's gonna call the file.
00:11.040: And he goes
00:11.120: I mean, that's why Apple, well, you know.
00:11.200: But
00:11.200: How much have you shot so far?
00:11.200: I'm just relaying what I read.
00:11.280: They deserve to see this, don't they?
00:11.280: So if it's making a new multicam clip out of one clip,
00:11.280: It's
00:11.280: It does that.
00:11.360: Did you offer anybody?
00:11.360: So it's.
00:11.440: I was like, Oh, that's awesome.
00:11.440: Oh, I'm sure she'll love to hear that.
00:11.760: How long have you been shooting so far?
00:11.840: First day it's out, I open it.
00:11.920: When I'm backing things on Kickstarter.
00:11.920: Oh, that's awesome.
00:11.920: And
00:11.920: You know, what's crazy is that
00:12.000: Oh, you just get to put it on, though.
00:12.080: And I'll be able to write
00:12.080: You don
00:12.160: But
00:12.320: Yeah.
00:12.320: And you have to do that
00:12.400: Have to do that.
00:12.720: I love hearing that.
00:12.720: Yeah, there we go.
00:12.720: No, just a file.
00:12.720: Let's connect.
00:12.880: Exactly.
00:12.880: Boom.
00:12.960: He tweeted something.
00:12.960: And
00:12.960: That's really great.
00:12.960: All right, we're good.
00:13.040: Right.
00:13.040: Okay.
00:13.120: Same deal with audio.
00:13.200: Boom, make a little favorite of it.
00:13.280: You can actually
00:13.360: But.
00:13.440: Fox, who was
00:13.440: Me and you, me and you.
00:13.600: So I would say
00:13.600: Thank you.
00:13.680: And