Episode 55
FCG055 - All Things Proxy (feat. Thomas Grove Carter)
What is a proxie? How can I actually use it? In this conversation, returning guest, Thomas Grove Carter and Chris go into detail about the workflow for cutting a long form commercial for Sony, and no, Thomas didn’t have to use Vegas. Thomas goes into great detail about how he managed 9 days of footage on the set including making rough cuts for the director daily. There is an interesting facet of this story in that on the set, the director and Thomas decided to basically totally rework the flow of the piece based on what they were seeing with the media. The end result was fantastic.
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Featuring
- Chris Fenwick
- Guest Name - @twitter
- Thomas Grove Carter - trimediting.com - @thomasgcarter
Transcription
00:00.001: But yeah, it was a nine day shoot on Alexa and because I think after the shoot we had to we had to show the agency the ninety second cut.
00:00.001: And then I can go into that keyword and I can if I view all, I can see everything.
00:00.160: Final Cut Grill.
00:00.160: And she's, and I'm like, I'm pitching my, I'm doing the commercial for her.
00:00.160: Tuesday, Wednesday, Thursday for other podcasts.
00:00.160: That's kind of a standard update.
00:00.160: I have to change my mindset to work on other projects all the time.
00:00.160: you know, he went off and edited with a you know a big editor elsewhere.
00:00.160: It's a kind of a, I guess it's a romantic comedy, sort of.
00:00.160: I think you've almost got to pick an approach, which is either you could just go for big money jobs if you just wanted to continue turning over loads of money, or you could go for
00:00.160: Grief from women who say, How come you never have any women on the show?
00:00.160: carries on on his way to work and then he starts showing the girls the street dancer on the phone and then they start practicing and things like that.
00:00.160: I could just go down non-to-cent and switch to proxy mode and play it back.
00:00.160: you know, if you're going on a flight or a long train journey, rather than having to, you know, have all the drives and stuff, it's nice that you could you've got the option to have a relatively small a smaller version of your
00:00.160: and 'cause I had a lot of speed ramping and reframing and they took all that across into smoke and it seemed to go really well and it took everything across.
00:00.160: But no, 'cause it's it's eighty gig because it's got all the proxy media, all the render files, all the analysis files.
00:00.160: they're only about, I don't know, a hundred megabytes at most.
00:00.160: But I think I just decided to have it on Dropbox because then I can, you know it pretty you know, it backs up every fifteen minutes or so, and if you've got all right internet, it it's fine.
00:00.160: No, I wasn't sure if it was relaunching the application or the computer.
00:00.160: So I think I moved everything back onto an.
00:00.160: So there's a function called consolidate library files.
00:00.160: You go to the same place in the same menu, and it doesn't say consolidate library files anymore.
00:00.160: It's probably not for everyone, but it's quite a good um Yeah, a good thing.
00:00.160: Well, that's very cool.
00:00.160: got a Michael Jackson track on it.
00:00.160: It's like really?
00:00.160: But it's kind of not which is also a great feature, but it's not quite a lot.
00:00.160: I will say I used it actually out of frustration because somebody behind me was like, I hate that shot.
00:00.160: Very cool.
00:00.160: From the song here.
00:00.240: A couple of days ago, I'm reading FCP.
00:00.240: And he did.
00:00.240: Well, Thomas completely set me straight.
00:00.240: You know, and it's, and it's, I always appreciate working with people that, you know, see that attention to detail.
00:00.240: What a drag.
00:00.240: Played around with those audio Legos that I've talked about many times.
00:00.240: That's okay, it's not too late.
00:00.240: I probably mentioned it in a direct message.
00:00.240: Let me see, I it it wasn't that too long ago he said compelling radio as I read through Twitter
00:00.240: And I think I responded back and I said, Oh, I feel sorry for you.
00:00.240: But I appreciate you listening.
00:00.240: If it's one it's normally one hundred percent my choice what I get to cut in.
00:00.240: Probably.
00:00.240: Uh to my friend Doug, there was also the the sort of symbolizing uh or the the alpha wipes
00:00.240: Yeah, I don't know if you want me to explain a bit about what the actual final what the product was and what the final thing was.
00:00.240: choreographer seeing inspiration out and about in his day and then the fi you know, the dancers practising and perfecting and perfecting and then a big performance at the end.
00:00.240: which is quite a quick turnaround for a for when you've got that many days' worth of rushes.
00:00.240: Deliverables was it?
00:00.240: and then five thirty second films times three because they were cut down.
00:00.240: you know, multiple, multiple client revisions back and forth, back and forth.
00:00.240: the various cuts.
00:00.240: you know, if it's a music video, it'll only be a five day turnaround and the director will be there the whole time, so there's no way I can squeeze in, you know, I mean I'm not whether I did like changed on another job or anything but yeah, I was on that job for that period, I think.
00:00.240: you know, the changes get smaller and smaller by the end.
00:00.240: Lucas A commercial and and I c I didn't get to edit it because he was he had as a director he'd kind of leapt way beyond where I was in my career.
00:00.240: Um, the big picture is this great Kevin Bacon story about how he is a a film school graduate.
00:00.240: It's like, hey, I thought we were doing this together.
00:00.240: It's an interesting look at how Kevin Bacon loses himself to the industry and then ultimately finds himself again.
00:00.240: you can then maybe get you know, it's never the one you think it is.
00:00.240: the directors you like working with and see how that goes.
00:00.240: It's a I know that a lot of people are struggling to find any work, and there's nothing wrong with that.
00:00.240: But yeah, it's that thing where you always you put a lot of yourself into everything you do in an edit, I think.
00:00.240: it's all it always hurts a little bit when someone says, No, do it this way or do it that way.
00:00.240: you know, they wanted it to, you know, the f opening thirty seconds to be a one shot and they didn't want me to cut twenty times or you know, they you I don't know, you just have to learn to
00:00.240: I was just I was looking back over my Vimeo page the other day and just hiding a few older jobs that I wasn't just looking back through and sort of cleaning out some of the other stuff.
00:00.240: Interesting.
00:00.240: the guy would wake up, he would like he sort of uh you know, he starts his day, gets washed, goes to work
00:00.240: there's probably with that much footage as well.
00:00.240: He just did it to ProRes Proxy 1920, 1080 for me, just so it was, you know, just to keep file sizes and render times down and things.
00:00.240: And what is the main
00:00.240: you know, I had every day selected and scenes sort of roughly assembled, but just not in one big I hadn't assembled the ad, I'd assembled things as, you know, individual scenes and things.
00:00.240: Right in the beginning, it's, you know, people want to see some of that flash and you know, splash right in the off the top.
00:00.240: Yeah, and actually one thing that it enabled us to do was um we were actually able to make stronger connections between
00:00.240: I thought, huh, why is that shot squeezed back?
00:00.240: half it ma it does half the um frame size as well as making it into Pro's Proxy.
00:00.240: He made you proxy footage.
00:00.240: but my Final Cut library file is on the desktop of my computer.
00:00.240: its own Final Cut 10 proxy files, it makes them half the frame size of the originals.
00:00.240: I turned up at set, everyone was like, okay, cool.
00:00.240: Once I'd imported video, I changed the setting to import files into the library, so that every time I brought music or audio or graphics, it which are obviously a lot smaller, it would bring those into the library bundle.
00:00.240: I'd have proxy video and I'd have all my audio would be there as well.
00:00.240: final cut proxy files, which are generated from the ProRes LT files that the DIT made you.
00:00.240: project basically and be able to work on that.
00:00.240: the real size media, you don't have to reconform everything.
00:00.240: Final Cut sort of knows that it's you're still in you're in theory, you're still in a ten eighty timeline.
00:00.240: This last week actually I I was working with a smaller sort of effects house and they they're people I talk to quite a lot and I actually sent them a Final Cut ten XML.
00:00.240: Jason Wingrove on my website about some of the subtleties of how you can ramp in and out of the new speed.
00:00.240: Now that you're making your Final Cut 10 proxies that are embedded in the library that you're keeping on your laptop
00:00.240: and I'm away from the office and I'm away from the infrastructure that we have here.
00:00.240: in proxy format and it was on my G RAID in non-proxy format.
00:00.240: My Final Cut 10 library backups, I have that backing up to Dropbox.
00:00.240: Pull something, pull Final Cut 10 back down off Dropbox.
00:00.240: Under the general tab, there is library backup location.
00:00.240: Do you know, I've never I've had to go into the backups about twice in the last year, but I've never really had to use it seriously.
00:00.240: You know, you were sort of setting how much time you were willing to lose.
00:00.240: And you're like, oh, that's what drive it is.
00:00.240: Yeah, no, it is handy.
00:00.240: Yeah, because that's like I've actually been using that to because I started to very briefly go into Disk Tracker, which I have which I think I've probably heard about on here, but I didn't ever use it that much.
00:00.240: So even stuff, even stuff that's not related to the library of a Final Cut project, but stuff that's like Photoshop documents that were used to make graphics that are in the project or After Effects
00:00.240: Where's the Sony logo?
00:00.240: You mean version two or two?
00:00.240: the name of a sequence that you've got somewhere in one of the libraries, it will highlight the library it's in.
00:00.240: And then you can actually delete render files for that sequence or manage your sequences individually, which is quite cool.
00:00.240: at the end of a project, I use that consolidate and I consolidate everything into the library.
00:00.240: contextual things like that.
00:00.240: do you want to consolidate them into the library?
00:00.240: So I only ever do that when I'm like right at the end of a job and I'm archiving like completely.
00:00.240: Right, right.
00:00.240: So you could consolidate if you there's a little drop down, it by default it says into the library, but if you switch it to you can switch it to any folder, I think.
00:00.240: all the media for my Sony commercial.
00:00.240: Unless, you know, if you do by library, if you do it by event, it will take everything from that event and projects in that event, I think.
00:00.240: If you know what I mean.
00:00.240: In this instance, it's always great to hear straight from the horse's mouth what it was that got you to that place.
00:00.240: or I know I've spoken with somebody many times about the idea of working off of string outs.
00:00.240: probably dupe detection in the time line?
00:00.240: there's another instance of it on that timeline.
00:00.240: So then I added that in the note feed in the note function.
00:00.240: a bigger thing for sort of true library collaboration.
00:00.240: who who's being sort of destructive to have been or not.
00:00.240: Because the way I've talked about it with people I work with is that imagine if you could be working with an assistant and you've selected a load of stuff and used favorites.
00:00.240: You know, and you you know, your assistant can't remove your favorites and you can't remove theirs.
00:00.240: And then they could go or say your assistant has favorited a load of stuff, selected all your footage down, and then you can view your assistant's favorites, but then you can also add your own favorites on top of that.
00:00.240: you know, then you could then you could sort of both be working in the same project or I don't you know, I don't know how it would work.
00:00.240: I don't know.
00:00.240: because you can transfer events and time lines and stuff as as different XMLs.
00:00.240: Well, luckily you answered the direct message I sent you today.
00:00.240: And that's on that's just on fcp.
00:00.240: how I did stuff in that on that job, but that's on there as well.
00:00.240: So we talked about that.
00:00.240: The show.
00:00.320: And I'm like, oh, that's the thing he couldn't talk about.
00:00.320: I learned everything I needed to learn about proxies.
00:00.320: I don't think we mention it, but I had a great conversation with a producer I was working with today, and I said, hey, so have you ever used Premium Beat?
00:00.320: She was actually very astute.
00:00.320: The loop pack from Premium Beat.
00:00.320: I'm a huge fan if you haven't figured that out.
00:00.320: puma and different a few like small things like that and they sort of slowly got bigger and bigger.
00:00.320: over anything at the moment.
00:00.320: I probably cut two or three jobs in Avid and everything else in Final Cut ten.
00:00.320: Yeah, I recently had which I know is a bit late compared to some years, but no, no, no, no.
00:00.320: I may well cut something and have it.
00:00.320: platform that hasn't been updated.
00:00.320: kind of trick that came out in Final Cut 7.
00:00.320: that all come together into his final dance performance.
00:00.320: I think it was for the dancers and, you know, 'cause they had a good amazing ballet school there and, you know, some quite interesting architecture and things like that.
00:00.320: Yeah.
00:00.320: Yes, they last six weeks, but there's so many dark days in there while we're waiting for review cycles that I'm constantly doing
00:00.320: Yeah.
00:00.320: And then it goes back and forth a bit.
00:00.320: the chance to be able to cut one of his commercials.
00:00.320: At his footsteps, and he gets his first crack at doing a big job.
00:00.320: But yeah, I guess it was it is that kind of thing.
00:00.320: And you need to that's why I always try like where I work as well, we always try and sort of just pick work create on the create on the on creative grounds.
00:00.320: Trying to figure out, you know, where do you want to put your focus?
00:00.320: And then you start thinking, gosh, am I this far off base?
00:00.320: Yeah.
00:00.320: You know, it's like you're putting yourself on the line there.
00:00.320: Deal with that, with being let down, nothing.
00:00.320: I just realized that all the work that I left up there, all the best or all the work that I considered my best, was all really, really painful to go through.
00:00.320: you know, friction are the ones or mostly are the ones that are I now feel are the best, or the ones I'm most proud of.
00:00.320: But then every time you move on to a new editor I forget that it's always like that and then you have it and again everything, Oh, I know it's that and then it turns out well, you know
00:00.320: It's probably like childbirth.
00:00.320: So let me ask you a few like little detail.
00:00.320: you know, it was a storyboard that I'd looked over and thought, yeah, this is cool, this is working.
00:00.320: does a bit of, you know, work on his thing, then he goes and teaches the girls to dance and then the thi you know, it was literally following it through.
00:00.320: Yeah.
00:00.320: one shot in there that that has has to get left.
00:00.320: The director and I probably discussed Elmset, but it wasn't something that I'd stuck.
00:00.320: you know, got them all in, you know, sorted it out and begun selecting.
00:00.320: and feeling that it maybe the open the way it opened wasn't that interesting and it was sort of a bit stale just beginning and following this guy on his day.
00:00.320: he's showing them that scene.
00:00.320: Yeah, no, it's it's definitely strong.
00:00.320: In order to prep for somebody else finishing, do you leave your media in place or do you import into the library?
00:00.320: Gotcha.
00:00.320: The f the footage was whatever it was coming out of the camera.
00:00.320: Yeah, and it annex stores them in the library, yeah.
00:00.320: You have that that you leave in place, but you check on and in the in the Final Cut Preferences, there's a little checkbox that says make me proxy footage.
00:00.320: Yep.
00:00.320: and I opened it up, played it back and all my all my sync sound, all my music and everything was offline.
00:00.320: Yeah.
00:00.320: Yeah.
00:00.320: Yeah, and it's just um and just sometimes I it's nice to have it's nice to be you know, if you just want to unplug and take something somewhere or just work on your laptop or
00:00.320: Because when you're when you're doing spatial conform or readjusting a shot with the proxy media, the final cut proxy media
00:00.320: You're dealing with it at a smaller size, but it will take all of the math and keep that straight so that when you swap out
00:00.320: largely I send EDLs to which seems so antiquated now, but I still send EDLs for all my grades and things like that because they're gonna
00:00.320: you know, they're big post houses and they just want the they want the most basic, solid thing that they've got these workflows in place and they know that's the way it works and they that's what they take.
00:00.320: Well, at least for the speed ramps, they didn't have to rematch all the ramping and all that kind of stuff.
00:00.320: The DIT gives you ProRes LT.
00:00.320: Yeah, I've got a terabyte SSD in it, which is quite empty as well.
00:00.320: copy the media to a second Thunderbolt drive, Daisy chained off that one.
00:00.320: Yes, it's just got the proxy media.
00:00.320: Because I haven't that because in Final Cut 7 I used to use the backups quite a lot and I used to set it to fif backup every fifteen minutes.
00:00.320: So, um and this it made sense for us and not for a lot of people, but um we were for the longest time doing everything on portable hard drives.
00:00.320: Oh, you know, so this driveway hard drive labeled X has this job on it.
00:00.320: Projects that are used to make files that are in the project.
00:00.320: Have you seen the latest version of um um the Final Cut Library Manager?
00:00.320: there's a little nice one that fits around a drive, so you can then just stack all these drives on a shelf for archive, which is really cool.
00:00.320: Yeah.
00:00.320: Now does that include media that you quote unquote left in place?
00:00.320: Yeah, I think it's a good idea.
00:00.320: occasionally something slips into your project, even if you're really diligent, something can sort of sneak into Final Cut and not be in the sound effect from iTunes.
00:00.320: into a one place.
00:00.320: was getting really big.
00:00.320: So if you've got if you've got a managed Final Cut library that's got all the media and all the stuff inside it, you can choose to consolidate everything out of the library.
00:00.320: when you say consolidate, when you if you choose to choose an external folder, it'll just take it all out.
00:00.320: it's a different music track and a slightly different cut.
00:00.320: This is the other thing.
00:00.320: Yeah.
00:00.320: in some of those little details.
00:00.320: And I'd liter I just trusted my libraries to show me my used clips from that current timeline with the little orange indicator at the bottom of the clip.
00:00.320: Or sometimes I'll have a collection of shots I haven't used right down the end of my time line and occasionally things get duplicated up or you end up and you need a little indicator on that clip to show that.
00:00.320: sometimes whole clips, sometimes um ranges.
00:00.320: And what I'd love is because on Avid have this really good thing called they have it you have an AvidISIS, which is shared storage.
00:00.320: So that would be a good episode to go listen to.
00:00.320: you know, it's not a problem now to share media, is it, over shared storage.
00:00.320: the letter G in the middle, Vimeo slash Thomas G.
00:00.320: Yeah.
00:00.320: Thank you.
00:00.320: I just love doing the show.
00:00.400: You were kind of evading a little bit.
00:00.400: Yeah.
00:00.400: 30 second product films that were sort of different sections from the film but with extra footage.
00:00.400: Through the director that you knew.
00:00.400: No.
00:00.400: Six months down the line, that director, and even if that director doesn't come to do anything, you might um you know, you might get
00:00.400: And on directors you want to work with, whether they're big things or small music videos and just working trying to work with interesting people on interesting jobs.
00:00.400: Storytelling world that we're in, a lot of times we are investing a lot of ourselves.
00:00.400: the person that is sh quote unquote shooting you down is doing it for reasons that you don't understand because you weren't in all of the meetings that they were in before they started this process or this project.
00:00.400: Yeah, yeah, always.
00:00.400: So on all the job I don't I never actually do the final finish on any of the jobs I do on music videos or commercials.
00:00.400: in ten on a music video or two, and they've taken the uh ProRes four four fours from Alexa and you know worked with that.
00:00.400: And you were cutting on the set.
00:00.400: Or I'd forgotten that it w all of that was still going to be on the drive.
00:00.400: Quite often they will half dissolve in a shot and they will eye match something that's been reframed.
00:00.400: Oh, right.
00:00.400: That basically everything stayed solid.
00:00.400: Symbiotic relationship.
00:00.400: So I had because I had so I had my library on my desktop with all the proxies within it.
00:00.400: Sort of with all the transcodes I've been given.
00:00.400: how often I do it, blah, blah, blah.
00:00.400: launch the last version of that particular job because the auto save autosaves to the the local drive.
00:00.400: This EPS file of this logo that's used in this After Effects project to make a file that's in the project.
00:00.400: That's pretty great.
00:00.400: and then back and then archive it if we know it's pretty much done and not coming back.
00:00.400: The view menu, no effect, where is it?
00:00.400: Because I I use I use it to cut off the heads and tails of all the clips, all the stuff before action and then after cut.
00:00.400: But it also manages so two people on different computers can have the same project open in Avid.
00:00.400: Many, many different things.
00:00.400: Yeah.
00:00.400: you actually have the opportunity to ask that second or third or fourth or fifth question.
00:00.400: Anyway, so thanks for listening.
00:00.480: I sort of still prefer Final Cut seven to Avid, but I've tried to completely cut that out as a
00:00.480: Barely an upgrade to Final Cut 6.
00:00.480: Okay.
00:00.480: as well when you're waiting on the the revisions?
00:00.480: Yeah.
00:00.480: Yeah, yeah.
00:00.480: what's going to pay off and what's not really.
00:00.480: It doesn't feel fresh or interesting at all.
00:00.480: So whereas in the nonlinear cut, we were able to finish the scene on a close up of the street dancer's hand bending in a certain way and then match cut straight to one of the girls bending her hand in the same way and then pull out to reveal that
00:00.480: And then I also did I'd also made proxy like Final Cut Ten proxy files, which are
00:00.480: Pictures.
00:00.480: So that they were always local to my always local and with my library, if that makes sense.
00:00.480: Right.
00:00.480: it will make two K proxies because it's always half of the original frame size.
00:00.480: Deal with quote unquote conforming timelines.
00:00.480: You're redoing what I did?
00:00.480: tie into Final Cut XML, hasn't it, Resolve?
00:00.480: You can also select choose and your choose is you choose the your Dropbox folder.
00:00.480: If you have a crash when you open final cut, you don't actually lose anything.
00:00.480: Okay, so let's say that drive has been put away.
00:00.480: But um Well, you know, you use do you use Final Cut Library Manager now?
00:00.480: since Final Cut Library Manager, you can sort of you can sit have all grayed out all the drives you've ever connected that had libraries on them.
00:00.480: One of the nice things about disk trackers, it is it catalogs the entire directory structure of the whole drive.
00:00.480: The menu and the appropriate one was grayed out.
00:00.480: It's quite nice to know that there's not going to be something in your Dropbox or on your desktop, you know, a little file that didn't quite, you know
00:00.480: Huh.
00:00.480: And there are so many ways to get from here to there.
00:00.480: Oh, so yeah, so you've started using favorites and all that.
00:00.480: a shorter string out without the crap.
00:00.480: You can't the other person can't edit that bin while the other one while the other one is open.
00:00.480: In the latest Resolve 11 or 12 or 47 or whatever it is.
00:00.480: I think that I'm so thankful for all of the conversations I've had doing this show.
00:00.560: Good grief.
00:00.560: Back on episode blah, blah, blah.
00:00.560: About your Sony spot, correct?
00:00.560: And I know that there's a lot of these episodes that have been generated rather quickly.
00:00.560: Even a lot of the guests of this show didn't even touch Final Cut until 10.
00:00.560: as you said, since February, entirely in ten.
00:00.560: It had one hundred new features and some of those were that's kind of I'm sure a lot of them were bug fixes as well.
00:00.560: you know, was mainly going on the Internet.
00:00.560: So um yeah.
00:00.560: a wrong path or a dead end path.
00:00.560: Or are the people that are making these decisions living by different rules that I am not privy to?
00:00.560: decisions that have been made and locked down.
00:00.560: And because of that, there were so many things where we felt, oh, we could have done this, or we could have done that.
00:00.560: Hang on, what was I saying?
00:00.560: Yes, it's as it comes from back from the street dancer back to the studio, you get these kind of little connections that you can help.
00:00.560: what it's meant for, I think.
00:00.560: A you know, a kick out from the timeline, and they will load that into their
00:00.560: Because it was eighteen hours of footage, I think it might have been close to eighty gig.
00:00.560: And then periodically, I will well, any time I bring in new media, I will, after it's in my folder structure on my RAID, I will
00:00.560: sort of generated media.
00:00.560: So you now have several projects several files spanning at least two drives.
00:00.560: And I'm going to exclude the common answer that everybody gives, being able to customize the user interface.
00:00.560: The rejecting of a clip by hitting yeah, and I don't normally do that because I.
00:00.560: I learned a lot.
00:00.560: This guy I work with all the time, Ed, over at Schwab, and I said, you know, I kind of have this thing where I like, I take the confusion out of things for the confused.
00:00.640: I just I'm not hearing you full volume.
00:00.640: So let's talk.
00:00.640: because we've cut together for a few years now.
00:00.640: Oh, okay, it doesn't matter.
00:00.640: It was either one or two cameras.
00:00.640: Yeah.
00:00.640: the bit of work might get you more work from someone else who's seen it.
00:00.640: What if we did this?
00:00.640: him seeing an idea and then following it through in the performance.
00:00.640: Color tool, whether it be Resolve or Symphony or whatever the other ones are.
00:00.640: Yeah.
00:00.640: You know it's an option now, you won't forget.
00:00.640: And the fact that these machines now are so wicked fast, you can get away with something like that.
00:00.720: And then we continued for, you know, once all the different versions, 'cause I think the main film was a ninety second commercial that was going on
00:00.720: And it's only when someone takes a little bit of a you sort of get to move to the next level by someone taking a slight chance on you.
00:00.720: Any new person that you work with, regardless of the size of the job, you never really know where that's going to take you.
00:00.720: Yeah.
00:00.720: I can't even begin to imagine it.
00:00.720: And get and w when I got back to London as well, yes, I had duplicates of I made duplicates of everything.
00:00.720: So we've got this quite cool Thunderbolt dock, like a black magic Thunderbolt dock that you can dock about four little naked drives in.
00:00.720: Very impressive.
00:00.720: So that's quite sort of another level.
00:00.800: So I ha just went out there with my laptop.
00:00.800: Yeah, it's really good.
00:00.800: And he takes it because he's a very famous DP, but his best friend who had DP'd his um his film school project
00:00.800: How much media did you garner from the shoot?
00:00.800: Um uh maybe and maybe some of that was uh like half speed, fifty frame footage.
00:00.800: Um I think on this one they I think they shot to the raw format, 'cause it means you can shoot 3.
00:00.800: Okay, now all of so I've got a G RAID as well that all the media original media, the HD media, is living on that G RAID.
00:00.800: But when you import audio or graphic bits, you go into preference and say, yeah, yeah, put it in the library also.
00:00.800: Yeah, not the most elegant way of working, but it does have some advantages.
00:00.800: We were working in a much more sort of caveman way, but it worked for us.
00:00.880: Can you hear me okay?
00:00.880: Chris Raines says, got a 13 and a half hour flight with and downloading podcasts like a madman.
00:00.880: And it's something that's not my reel at all, but something I did and got in with him.
00:00.880: You know, it happens all the time.
00:00.880: We've probably edited for at least a day and a half after the shoot before we decided that we try and do it nonlinear.
00:00.880: So it was probably quite late before the final presentation.
00:00.880: Okay.
00:00.880: But it's quite a nice feature.
00:00.880: It's on YouTube.
00:00.960: In several years, we will look at anybody who used Final Cut in the 10.
00:00.960: It was a brand piece for the new Sony mobile phone.
00:00.960: we pulled out the p the practice as a the practice was this spine going all the way through the film and it sort of flashed forward and backwards between his references and all the you know, just because it felt like a more interesting way of doing it.
00:00.960: I think those layers are really nice in Final Cut actually.
00:00.960: I saw that as like, hmm, I wonder if we're going to see something like that in Final Cut.
00:01.040: And that and that you got to choose to use Final Cut.
00:01.040: Kevin Bacon?
00:01.040: How do you mean in terms of well, like when you're winning jobs or not winning and that kind of thing, do you mean?
00:01.040: Yeah, much I would imagine that's a lot stronger.
00:01.040: Contextual things.
00:01.040: Yes.
00:01.040: So if you if you look up if you search Sony Xperia commercial, it'll probably come up on YouTube.
00:01.040: really appreciated is your idea of using the proxies.
00:01.040: That's something that would be great.
00:01.040: Yeah, that's the same thing.
00:01.120: Well, it was with a director I've worked with quite a lot over the last few years.
00:01.120: Yes, we started with some sort of urban music videos and ended a few small things for ASOS, the online clothes store.
00:01.120: Well, that's an interesting topic.
00:01.120: Yeah.
00:01.120: So yeah, so I was working with offline rushes.
00:01.120: And I knew that all the media was inside the library file that was on my desktop rather than dragging a G RAID and all that kind of stuff down with me.
00:01.120: Okay.
00:01.120: I just noticed that there was an update to Final Code Library Manager, and I'm wondering whether or not I should hit this button.
00:01.120: Yeah, but it always seems like there's something that gets that sneaks its way into there.
00:01.120: We had this unreleased Michael Jackson track that we had to use on it that Sony had paid for, which for the director's cut, we didn't really want the track because we didn't really like it for the director's cut.
00:01.120: Actually, one thing that would help it a lot better is that because I have all my things divided into keyword scenes, a keyword for each scene, for example.
00:01.200: And as is the case with many of the episodes here, these are conversations that reveal an episode in themselves.
00:01.200: Not to mention, and I've had people say this, that when they kicked stuff out to resolve.
00:01.200: Is that an SSD in your laptop?
00:01.200: You know, there was there's a a feature of Final Cut VII, I will say this, that we miss.
00:01.200: I don't see that.
00:01.200: I mean, that just seems a little crazy, but I totally understand the benefit that it gives you.
00:01.200: I don't have a word for it, but kind of the prescribed, this is the way we would recommend you work, as opposed to, you know, you and I were talking, I think, last time.
00:01.280: And actually, I don't remember if he actually talked about it on the show, but I know that he and I talked about it before or after the show.
00:01.280: So I finally got it to work, but it, you know, it was a lot more work than it would have been if it had been the premium beat loop packs because I could have, you know.
00:01.280: So that was um yes, so I was out there on my laptop and then just working completely solo.
00:01.280: Yeah.
00:01.280: But what I've come to do now is when I archive a project, we've got these we've got these drives at the place I work at that we you know sort of naked drives that you can
00:01.280: Well, cool.
00:01.280: All right, so that was Thomas Grove Carter, and we're going to call this episode, I think, all things proxy or something like that.
00:01.280: We talked about consolidating.
00:01.360: Here's a new feature.
00:01.360: It only makes proxies with the pictures.
00:01.360: So yeah, I mean, this gets a little complicated, but it gives you a lot of flexibility for you to be able to not just say, well, here's a quick time of what we have so far, but yes, I can change it also.
00:01.360: all the sort of thinking and upscaling for that.
00:01.360: And it's my understanding and I would lo I I really wish Apple would allow me to talk to somebody in depth about spatial conform.
00:01.360: Okay, so that's that.
00:01.440: Intermediate step.
00:01.440: I don't know, is it?
00:01.440: So it gets a little bit I wouldn't want to do all my work on those.
00:01.520: And I think, you know, a lot of those, especially towards the end, a lot of those days would have been, there wasn't a great deal happening.
00:01.520: Um I think j we s because I when I first started out doing music videos, I worked with him quite early on on a very tiny music video that was probably one thousand pounds or something for the whole video.
00:01.520: I actually really like it.
00:01.600: I hear you just fine now.
00:01.600: Uh so I guess ninety, sixty and forty five of the main films.
00:01.600: I don't think so.
00:01.600: You know, especially when you look at the way speed ramping works in Final Cut 10.
00:01.680: So it was it was shot in uh it was shot in Berlin, and it was a nine day shoot on Alexa.
00:01.680: When you look back, you can totally see which job helps with but you yeah, but exactly.
00:01.680: It's got about twelve million views, which is quite bad.
00:01.760: And I look down at the timeline, I'm like, oh, it's not a Premium Beat cut because it was something that somebody else had started.
00:01.760: Good.
00:01.760: I mean, it it Final Cut ten came out three years ago now, actually, didn't it?
00:01.760: I want to be able to manage that.
00:01.760: Yeah, version two or two point two or something like that.
00:01.760: So if you're not working with a managed library, you probably won't be able to replicate that.
00:01.760: But yeah, so yeah, I feel like I've I don't know if I've actually said anything illuminating about no, absolutely.
00:01.840: Hard jobs, like ones where I had to put in all the ones with the most hours and the most sweat and the most arguments and the most
00:01.840: There's probably two hours a day, I think, mostly.
00:01.920: This is episode 55, a repeat guest with Thomas Grove Carter.
00:01.920: So let's talk about this this the Sony commercial that you did.
00:01.920: So yeah, the question was how did you you mentioned that the the Sony commercial came about with a producer that a director that you had worked with.
00:01.920: Yeah, when you say other things, you mean other jobs.
00:01.920: I think this is one of the things that's always been sort of it's been something that I've really wanted to delve into more.
00:02.000: It is about 2,000 degrees at the third story tower here at Slice Editorial.
00:02.000: Well it takes about half an hour, just over half an hour for me to cycle in and half an hour back, so it kind of fills up a Monday.
00:02.000: And it was just at the be out I just really loved using it.
00:02.000: Um, and I think since so that was uh when was that?
00:02.000: So you shot all the media that you gathered was LT.
00:02.000: Yeah.
00:02.000: It doesn't back up render files, it doesn't back up so you know, so so if there was a complete disaster and my laptop died, I could
00:02.080: What if we followed this shot with this and then build up to that and lead to this?
00:02.080: There are some advantages to the disk tracker route.
00:02.080: Hold on, let me find it.
00:02.080: Because I think a lot of times when people are learning this, I've said it before, editors are creatures of process.
00:02.080: Can I have one big one and one small one?
00:02.160: But thanks for yeah, thanks for having me back again.
00:02.160: Well, saying that as a man, that's pretty.
00:02.160: And then I'm looking again, I'm looking at a computer monitor, and a small Vimeo window.
00:02.160: That's the whole drill.
00:02.160: So let me ask you one last question.
00:02.160: They can search well or trimediting dot com is the company I work at.
00:02.160: I was shocked, not shocked, but I thought, you know, I was like, wow, really?
00:02.240: Right.
00:02.240: Yeah, especially like in advertising as well, there's so many layers of between the agency and client and all that stuff and the brand.
00:02.240: So yeah, so even though yeah, even though there was that much footage, there's always things that you think you could you could use or you know and then all the things you have to leave out as well, because there's about
00:02.240: And you know, with it being so planned and prepared, there's you know, there's probably ten ten amazing shots for every
00:02.240: Go grab that drive.
00:02.240: I think once I got back to the office, I worked off of because my library file was always in the same place.
00:02.240: And then it will basically suck up everything you every bit of MIDI you've used.
00:02.240: And it's going to take everything, everything from every project timeline you've made, every bit of money.
00:02.240: And then it becomes the selects when I switch it to favorites.
00:02.240: Hey, Thomas, I appreciate your time.
00:02.240: That's it for this episode.
00:02.320: She's like, no, no, no, no.
00:02.320: I guess I think the second camera was if they just had a steady cam.
00:02.320: And there was a cinema version of it, there was a sixty second version for T V, and then a probably a forty second version, and then there were five
00:02.320: Yes, consolidate library files.
00:02.320: And there was a certain job recently where I decided I didn't want my media in the library anymore.
00:02.320: Yes, I mean it's a simple thing.
00:02.400: I don't want to box you in and keep you from any of your clients by anything you say.
00:02.400: And it happened with a few different clients I've worked with over the years.
00:02.400: Yeah.
00:02.400: If you've got a good structure, if you've got a good folder structure and you know that you're going to back that up onto a drive anyway, there's almost no need to do it.
00:02.400: And then it would chuck everything into that folder, so it's still external, but it's putting it into a
00:02.400: Show used media ranges under the view menu.
00:02.400: co.
00:02.480: It doesn't crash when you do this.
00:02.480: And actually, that's when we first got in contact, I think, was when I was out in Berlin that first time.
00:02.480: No, I haven't seen it, no.
00:02.480: Oh, wow.
00:02.480: But the DIT on set is backing up, has got multiple copies of everything.
00:02.480: So basically what we're saying is if you in your library, if you select the library and go to the file menu, it will say consolidate library files.
00:02.480: I believe you.
00:02.480: You know, sometimes you might accidentally use, for example, a B roll shot.
00:02.480: But anyway, that was my first time.
00:02.480: Yes, there's definitely like really there's some documents online about it as well.
00:02.560: I don't feel like looking it up, but Thomas was on the show a few months ago, and he was alluding to something that he was working on that he couldn't really talk about.
00:02.560: It's completely genuine.
00:02.560: And do you know what, those proxies, they're a little they are a tiny bit too small when you go from H D down, because it's basically going from H D to S D.
00:02.560: Also, it's if you were going to hand it on a if you were going to hand a job to a drive on someone el to someone else
00:02.560: Very cool.
00:02.560: Well, that's a much more elegant version of what I ended up doing with Stephen Luxic in Hawaii a few months back on episode thirty one.
00:02.640: But said, oh, I can't really mention specifics, but maybe you still want to talk to you.
00:02.640: And then a couple of days ago, somebody tweeted, Oh, you should really have Thomas on the show.
00:02.640: So I think it's basically Gatorade.
00:02.640: There's still some mystery in there that I need to unfold.
00:02.720: My bad.
00:02.720: And you have to kind of navigate those waters and try and and but then once you know once you know if you sort of understand some of the boundaries, then you've got to try and work within those, haven't you?
00:02.720: So I kind of straight away there I had a dupe of all the media between those two.
00:02.800: Well, yeah, and just just because I think it you know, it's a it is a a dying or dead
00:02.800: But it was an effect that never really took off.
00:02.800: Yeah, I think that's the problem with a linear progression of something like that.
00:02.800: So then, so then I knew that was all on the internal drive, so I could just run down to now.
00:02.800: And I'd left behind all my music was stored in a folder structure on the drive and all everything was stored I've you know, I've got my own like folder structure there.
00:02.800: But then I actually realized that because Final Cut is saving every single move you do anyway
00:02.800: Just now noticing that.
00:02.880: Hello, hello.
00:02.880: It may have been after the show.
00:02.880: You've worked with the guy before on other things that weren't big Sony jobs.
00:02.880: Sometimes I think I have.
00:02.880: We've all had it, where we think we have the great idea or the great bit of input and you lay it on the table and it just gets shot down from every direction.
00:02.880: I'm going to I want to get like total nerdy editor guy here with you about this particular commercial.
00:02.880: If anyone wants to read sort of it sort of gets a bit nerdy and a bit it rambles on a bit about
00:02.960: So that way when you take your laptop down to the set again, this time you don't have to be embarrassed because you do have all your audio, you have all your graphic bits, you have all the
00:02.960: I just everything was then external again onto an external drive and I worked off of that.
00:02.960: So I don't know why I'm even saying that, but it's, I learned so much.
00:03.040: And so, essentially, in this episode, you're going to learn everything there's to learn about proxies in Final Cut 10.
00:03.040: Or you could go with people you like the type of work they do.
00:03.040: When did the decision to change it from being a linear timeline to sort of a flash forward, flash back happen?
00:03.120: If you think about it, if you look at it realistically, a lot of us would say that Final Cut seven was a
00:03.120: But yeah.
00:03.120: But after that, you can maybe get more.
00:03.120: Yeah.
00:03.200: So, anyway, go check out Premium Beat.
00:03.200: I'm kind of shocked that more people don't know it.
00:03.200: I'm just actually looking through that portion of it at about 15 seconds or 20 seconds in.
00:03.200: And yet, you know, it seems like Resolve, all that stuff comes through perfectly.
00:03.200: The version I've put up on that article is actually the director's cut, which doesn't have which is kind of which is a different
00:03.200: So when you when I'm in that scene, I can type in tick and it will show me all the shots that were ticked.
00:03.200: Now you said there was one other big feature that you'd like to see.
00:03.200: That's what we're here for.
00:03.280: But you end yeah.
00:03.280: And you could sort of jump back and forth a bit like that.
00:03.280: Right.
00:03.360: Yeah, there's always some because it was really heavily storyboarded as well.
00:03.360: Yeah, but the frame size was HD.
00:03.360: So when you so if you if it is already managed, if you've got everything inside it already
00:03.360: I love the feature actually.
00:03.360: What seems to me we saw some of this functionality at NAB.
00:03.440: I want that violin part to hit when he says this line.
00:03.440: As you get on with something like that, are you typically doing other things?
00:03.440: That just seems really like a whole lot of work and a whole lot of places where things could go wrong.
00:03.440: Okay, so let's refresh, and my next question will come to me.
00:03.440: It's nice to have the layers, but I almost wish both things were in the
00:03.520: I don't know why.
00:03.520: And it was like this big, you know, hurt feeling thing.
00:03.520: You you really can't predict how things are gonna how things are gonna pan out.
00:03.520: Yes.
00:03.520: We'll be back Monday with another episode of The Grill.
00:03.600: And then I guess yes, I think I've been using ten more and more since last August.
00:03.600: Director wanted to see something, just check out how something looked and cut together and we'd we needed to pick up a different shot.
00:03.600: I think this is a new question I've been asking people since you were last on the show.
00:03.600: So that's solved.
00:03.600: Carter.
00:03.680: Right.
00:03.680: Totally true.
00:03.680: It's like, ah, I'm trying, really.
00:03.680: So on the other hand, I've never thought of working that way.
00:03.680: Okay.
00:03.760: Yeah.
00:03.760: Okay.
00:03.760: So the library back down off Dropbox.
00:03.760: We used to have it in seven.
00:03.760: Actually, I just started a commercial today where I started adding notes.
00:03.840: And she's like, no, it's premium beat.
00:03.840: Too many volume controls.
00:03.840: Yeah.
00:03.840: Yeah, other clients.
00:03.840: But you know what, I think I don't know if spatial conform even comes into it on that.
00:03.840: You make your own proxies locally.
00:03.840: It says consolidate event files, I think.
00:03.840: Oh, I'm in the I'm I have the right thing.
00:03.840: Yeah.
00:03.920: Because I think in the end I was work probably working on the job for about for about five or six weeks in the end.
00:03.920: So I think in terms of hours, it was about eighteen hours.
00:04.000: So I hit him up and I said, hey, do you want to come back and talk about the Sony job?
00:04.000: I pretty much will always go with final cut over Avid.
00:04.000: So it wasn't particularly product heavy.
00:04.000: Yeah.
00:04.000: I don't even know how I would classify it, but anybody involved in this business should see it because it's
00:04.000: There's nothing I flagged up to the director as being we need to get this or that.
00:04.000: Because you had these 15-minute backups.
00:04.000: And we used to do that just as a lazy man's way of keeping track of where everything was.
00:04.000: It's not hu structurally it's roughly the same, but on it's on YouTube and I think on YouTube it's had about 'cause
00:04.000: Then I hide reject and it gets rid of all the crap either side of the shot or anything where the camera's all over the place.
00:04.080: co, and it's, you know, this whole article about Thomas doing this commercial for Sony.
00:04.080: That's true, yeah.
00:04.080: Yeah, no, no, it is part of the business.
00:04.080: Okay, so actually right, right, right.
00:04.080: Okay.
00:04.080: So there was a lot of yeah, so it worked quite well.
00:04.080: Maybe less.
00:04.080: And you start searching for all the names that you think it should probably be called, and sure enough, you find out it's on Drive 91.
00:04.080: You've been working more in the browser for that.
00:04.080: You know, I also noticed that back on episode twenty nine, when I had you send me a picture of your edit suite, I'm noticing it's a bunch of shots from the Sony up on the screens.
00:04.160: I don't specifically recall.
00:04.160: Well, I don't know that I have enough time to fill that.
00:04.160: Yeah.
00:04.160: The idea being that all the details of the Sony phone that come together to make the the perfect phone.
00:04.160: I I tried to use this as a reference on Digital Cinema Cafe, and Alex made me cut it out of the episode.
00:04.160: And the Alexa um I've never dealt with the Alexa footage.
00:04.160: And then I'm on Twitter as Thomas G.
00:04.240: Hey, Chris, how are you doing?
00:04.240: I don't does that are you saying that if you didn't have it set to Well, I think I will say this.
00:04.240: Because I know that all the work I do, you were saying like it goes all to a colorist, but I'm still I still send we talked about this last time, I still send
00:04.240: You know, like they didn't have to re you know, all the conform stuff worked really well in the middle.
00:04.320: So, anyway, as I said before, this episode is all about proxies, and you're going to learn something.
00:04.320: Or is there just so many deliverables that you can constantly be rotating through
00:04.320: Do you know what?
00:04.320: And you you know, you end up just doing a couple of tweaks in a day and then that's it and then the next, you know
00:04.320: Yeah, mate, let's not go there.
00:04.320: I was pretty much selec each day I was just selecting the days before rushes, really.
00:04.320: The the DIT made you L T was it L T footage?
00:04.320: There was a great trick in Final Cat 7 where you could open up the backups folder, the auto-save folder.
00:04.320: All of that stuff gets cataloged, or maybe even just
00:04.320: Now you're in a position which is understandable for you.
00:04.400: Yeah, that was the one I was avoiding talking about last time.
00:04.400: 'Cause I my career sort of had to catch up with his a little bit.
00:04.400: Wow.
00:04.400: Because I think, actually, by the time I'd been given the rushes,
00:04.400: But it sometimes sometimes I forget I'm working with those because it doesn't look horrendous.
00:04.400: And I'm recording on this computer, and it's all good.
00:04.480: So clearly then, and this is a little bit of a study of like how do you get those like dream jobs.
00:04.480: And then I did a couple more music videos with him.
00:04.480: And again, it's like one of those tough things in this business.
00:04.480: So there's a moment when he sees a street dancer.
00:04.480: Sure.
00:04.560: So it was sort of at the point where I didn't really want to cut it unlu unless it's dictate that I have to cut it in something else.
00:04.560: Because I know, like, for example, I I mean, I do things the only things that I ever do that last four or five or six weeks
00:04.560: How big did that library file end up getting?
00:04.560: In the old days, you used to lose a lot.
00:04.640: Where do you want to put your heart?
00:04.640: And a lot of times you get shot down, and either you have no idea what you're doing, or.
00:04.640: Oh, I didn't recognize the uh the exterior of the dance studio.
00:04.640: So that was a bit embarrassing.
00:04.640: And then you o you open the little disclosure triangle, then it'll show you the event that it's in.
00:04.640: But and but also what you can also do is you can consolidate to any other you don't have to consolidate into the library, you can consolidate into a folder somewhere else.
00:04.640: It's the thing that has allowed me to feel more comfortable sort of embracing the
00:04.720: Yeah.
00:04.720: So all sorts of colored tabs and Progress Proxy, I guess.
00:04.720: And the way it is typically done is they will ask for
00:04.800: I w uh I pretty much was on that exclusively for about five weeks, I think, because like the kind of jobs I do as well, they're always
00:04.800: Give or take.
00:04.800: So because that backs up everything, but
00:04.800: Yeah.
00:04.800: Right.
00:04.800: There's sort of like locks on it.
00:04.880: And somebody said to me the other day, I wonder if I can find this real quick.
00:04.880: I haven't done a job in Final Cut seven since or since August, yes.
00:04.960: And it was, it then took a couple of years.
00:04.960: Oh, so can you do it by event as well then?
00:04.960: But it was you know, at the sta at the time that was the only place you could hear the track, so that probably helped.
00:05.040: Can you hear me now?
00:05.040: Yes, my cycle to work to and from work on a Monday and Friday is basically FCP Grill.
00:05.040: And that doesn't mean I won't go to Avid on if I'm if we're sharing if I'm sharing a project with another editor.
00:05.040: That's not a feature actually, but thank you.
00:05.040: Hand it to an editor, assign him a room.
00:05.040: So can we talk about that for a second?
00:05.040: And where is the commercial actually playing?
00:05.040: So it's and actually now it works better than Final Cut seven.
00:05.120: Yeah, yeah, no, no problem.
00:05.120: I can't remember.
00:05.120: So you knew it was an option, yeah.
00:05.120: Okay, so you did consolidate library files.
00:05.120: And also and then that article I well, it was actually a post on the FCP forums originally that they then put up on the front page very kindly the other day.
00:05.200: Or what are the reasons why you're not?
00:05.200: It was all there for them already.
00:05.200: When it when Final Cut 10 makes its backups the library backups within Final Cut 10
00:05.200: One of the disadvantages is a lot of times you would forget what drive a job was on.
00:05.200: And it's got you can search it'll it'll search media sequences, events.
00:05.200: And and I'm paying attention to the orange.
00:05.200: So there's like a little server in the middle that manages
00:05.200: If people want to find out more about you, how do they find you on the Internet?
00:05.280: Gain stage, you know?
00:05.280: 0 days as, you know, the pioneers or the crazy, you know, the crazy ones or whatever.
00:05.280: And you it it do you know, it's still I think however many years you do it for, it probably it always get and then you look back and you're like, Oh, yeah, that was just because they didn't
00:05.280: And the reason I did with that was so that when I was if I needed to run down to the set, ho 'cause I was cutting in the hotel, if I needed to run down to the set, I could unplug the drive and just take my laptop.
00:05.280: So the audio and graphic bits stay in your folder structure on your RAID.
00:05.280: So I think that's what it's really designed for, is that you can bring in four K and then switch down to two K.
00:05.280: It's always illuminating and always enlightening to hear straight from the horse's mouth, you being the horse in this
00:05.280: So if it was one small one.
00:05.360: We love that they're sponsoring the show and
00:05.360: Okay.
00:05.360: So it's about eighteen hours in total, which is a lot.
00:05.360: Really?
00:05.360: I d I don't know if it would even be possible, but I just think something and it would be a huge feature.
00:05.360: Yeah, that's all I'm there.
00:05.440: So I don't know, like so it's probably twenty different films in total.
00:05.440: But it's a very interesting question.
00:05.440: I think by default it's set to Funnel Cut Pro Backups, which probably goes in your movie folder, I would assume.
00:05.440: Yes, it will pull out that will pull everything in.
00:05.520: We've worked a lot together on lots of different projects, lot music videos and commercials.
00:05.520: And I think that's the biggest thing we've done together.
00:05.520: So that means Final Cut seven probably hasn't been updated in five years
00:05.520: I never want to see that again.
00:05.600: Hey, Thomas, how are you?
00:05.600: Well, yeah, I can't really talk about that.
00:05.600: It's that kind of thing.
00:05.600: Yeah, it's kind of an older film, but it's worth seeing.
00:05.600: Yeah, how come, Chris?
00:05.600: Um what were you doing in terms of backing up on the road on the Sony bit?
00:05.600: Putting I would not have thought to put the library file actually on my laptop.
00:05.680: But with Final Cut 10, you can't decide how often it does it.
00:05.680: And I'm actually moving away from that as a workflow.
00:05.680: Yeah, I've been using that.
00:05.760: It was all about the story was supposed to be about a choreographer coming up with the ideas for his choreography piece and all the little details he picks up.
00:05.760: So so I so I was I was on set or cutting in a hotel room.
00:05.760: And or the in the best work you do, I think you have to.
00:05.760: 5 K or something like that.
00:05.760: So it's actually it made the connections and this whole thing about details a lot stronger, I think.
00:05.760: You probably did hear about it from me.
00:05.760: So at the moment, you pass back XMLs or you have transfer libraries to pass sequences around.
00:05.840: I was like, oh, you gotta get premium beat.
00:05.840: So I started looking at it and I go, yeah, yeah, it'll be easy.
00:05.840: That was February.
00:05.840: No, no, it's fine.
00:05.840: Yeah.
00:05.840: But yeah, there was a lot.
00:05.840: That's the way I was working.
00:05.840: So it takes ten eighty and it makes them the library.
00:05.840: Good.
00:05.840: Uh I have n uh I I know it's
00:05.840: And I've met some astounding people, and I learn so much when
00:05.920: Oh, you know, it's my laptop.
00:05.920: I I do have it on one machine.
00:05.920: I've definitely been using the browser more.
00:05.920: And then when you add more favorites, it that's there in context.
00:05.920: So it it's already working better than it used to.
00:06.000: Yeah, I would almost rather
00:06.000: Yeah, yeah, there is, yeah.
00:06.000: And given the closeness between the apparent closest between Final Cut and Resolve,
00:06.080: But do you know I think I still remember when Final Cut 7 came out, there was a list of the one hundred features it had.
00:06.080: Yes, the payoff might be great, but.
00:06.080: Sorry, people.
00:06.080: Oh, I know what I was going to ask you.
00:06.080: It says consolidate event files.
00:06.080: But I was talking with one of my clients this week and
00:06.160: But the but not too bad, because I know everyone who works on set, so it's fine.
00:06.160: You might just pull it into your time line forgetting that you've already had it there.
00:06.240: I kind of understood it, not obviously, not completely.
00:06.240: So it always goes off for a grade and sound mix elsewhere.
00:06.240: So I I got what you just said, but I think this escaped some people.
00:06.240: So I could so both of those if either of them went down, I could carry on working.
00:06.240: Yeah.
00:06.240: It will just suck it all into the library, and then everything is local within that library bundle?
00:06.240: And I thought we got it back when we had the when it said used media ranges on the on ten point one, I was like, yes,
00:06.240: There's definitely really good ways that you can be sharing projects and sharing
00:06.320: No, no, not so much winning the job, but just like have you ever been in an edit where you see something and you go, hey
00:06.320: 1920 by 10.
00:06.320: I have the wrong application highlighted.
00:06.400: So it seems to me last time we talked
00:06.400: And then ten fifteen second and ten second versions of all of those.
00:06.400: Yeah.
00:06.480: Welcome to another episode of
00:06.480: The first time I did this
00:06.480: But just when I was working on the road, it was on my laptop
00:06.480: I'm living on the edge.
00:06.560: Since then I haven't done anything else in I haven't cut in anything else but ten.
00:06.560: So he then went off and he got this his first commercial, which was this big
00:06.560: And I think you sort of have to pick a wearer and just sort of forge ahead.
00:06.560: Then I had a separate G RAID with all the
00:06.560: Or for a while I had it going onto just a separate hard onto another hard drive.
00:06.560: Because I've always been afraid to touch that.
00:06.560: I was like, okay, how about this?
00:06.560: But if someone has a bin open
00:06.640: And it's like, yeah, you know, that happens in this business.
00:06.640: Right.
00:06.640: You actually put your library on the desktop.
00:06.720: I think by and large, I would say that
00:06.720: 1.
00:06.720: But like if it but if it's um
00:06.720: Definitely.
00:06.720: Looking forward you can't see it at all.
00:06.720: We should settle that now what's going on.
00:06.720: But in the edit we actually completely changed the
00:06.720: Yeah, yeah, it wasn't something it was something that I was sort of born out of looking at the rushes every night with the director as well.
00:06.720: No, I gotta say those guys.
00:06.720: And it's yeah, it's got quite a different feel with the Michael Jackson track on.
00:06.800: So it was
00:06.800: And then he he actually got a do you have do you have the drink LucasAid in
00:06.800: I still did smaller projects with him.
00:06.800: You do the smaller stuff and you don't quite get a chance at the bigger stuff for a long time.
00:06.800: Am I completely not understanding this?
00:06.800: You know, there was a lot to go through.
00:06.800: Okay, yes, yes.
00:06.800: Um and then the the reverse of that is I had a library that
00:06.800: Cool.
00:06.800: Carter as well, but I don't use that so much, only a little bit.
00:06.800: It worked really well.
00:06.800: Very cool.
00:06.800: And, you know, please go to iTunes and leave the comments and the stars and stuff.
00:06.880: Yeah.
00:06.880: Oh, the games, the games.
00:06.880: But I know I know quite a lot of people who I know some people who've finished
00:06.880: So in the linear cut, it was probably twenty seconds after you see the street dance that you see a girl doing a street dance move.
00:06.880: I know that the way I tend to work is I work with a little Le C Thunderbolt raid
00:06.880: Well, hold on.
00:06.880: I added a note to all the shots that were ticked on set as sort of good takes.
00:06.960: So then I'm searching for
00:06.960: Or what we've tried what we've tried to do as well is
00:06.960: That's part of the process.
00:06.960: Because you could easily choose
00:06.960: Yeah.
00:06.960: Sorry, Alex.
00:06.960: Which is the way it should be.
00:06.960: And somebody says
00:06.960: And actually, just on this last job for the first time, I actually used the um
00:06.960: That's the first thing I use on every job.
00:07.040: Yeah.
00:07.040: It clearly is
00:07.040: Okay.
00:07.040: If you're down a level.
00:07.040: Okay.
00:07.120: Now, if you recall.
00:07.120: Have you ever seen the movie um have you ever seen the movie uh The Big Picture?
00:07.120: And the studio offers him a very famous DP to work with.
00:07.120: And in the original linear cut, he saw the street dancer and then he
00:07.120: And it meant they didn't have to
00:07.120: He goes down and he starts working.
00:07.200: And then
00:07.200: And they shot the storyboard and
00:07.200: Or maybe it's 2.
00:07.200: Yeah.
00:07.200: 1 now.
00:07.200: Does that make sense?
00:07.280: I'm good, thanks.
00:07.280: Hold on.
00:07.280: Maybe you mentioned it, but you weren't allowed to talk about it.
00:07.280: I mean, it it the rule of thumb is that there is no small job.
00:07.280: I already get enough.
00:07.280: But then once we get into the editor we actually completely restructured it originally it was supposed to be quite linear.
00:07.280: And that's worked really well.
00:07.280: Now,
00:07.280: Well, depending on you used to lose half an hour if your backups were set to half an hour or the last time you saved.
00:07.280: Yeah, exactly, because I can't read this thing's mind.
00:07.360: It didn't feel
00:07.360: Yeah.
00:07.360: And it was a trick we used to do quite often.
00:07.360: Well, Thomas, thanks for your time.
00:07.360: So if you ever want to learn something really well, start a podcast.
00:07.440: Yeah.
00:07.440: Now I know I just got back from doing a job on the road
00:07.440: The 80 big library file to Dropbox.
00:07.440: I just hit it.
00:07.440: It's very impressive.
00:07.440: If it was one small one, it would be.
00:07.440: Well, there's probably more, but I'd really love, it might not ever be possible, but I'd love it if there was.
00:07.520: So he's so he he came to me
00:07.520: You know?
00:07.520: It's ProRes, is that correct?
00:07.520: And I
00:07.600: Yeah, that's true.
00:07.600: As a matter of fact, I think that was you were in a hotel, I believe.
00:07.600: Oh, yeah, that's the exterior of the building.
00:07.600: My work is on there.
00:07.680: And I'm like, okay, I got it.
00:07.680: But yeah, so
00:07.680: So then I made the and then Fin when Final Cut makes the
00:07.680: Yeah, but I think I think Final Cut does all the
00:07.680: How big
00:07.680: And then you'd use it as if you had a major crash.
00:07.680: I've been preaching that for years.
00:07.680: Yeah, it wouldn't be that anyway for me, actually.
00:07.760: I didn't have an assistant or anything.
00:07.760: That's that's three films, then a T V version which would make it four.
00:07.760: Yeah, for ninety seconds, even with all the iterations.
00:07.760: So it's going over USB three.
00:07.760: Possibly.
00:07.760: It was always the same library file.
00:07.840: Yeah, no, I hate it.
00:07.840: And you can there's a there's a you can use it the opposite way round and get it to throw everything out the library.
00:07.920: I can't remember.
00:07.920: And I was like, Yeah, you know, he's been on the show.
00:07.920: I'll be spending lots of time with Nerdist and Chris Fenwick today.
00:07.920: But this is really where the spatial conform comes into place, I think.
00:07.920: I haven't put it on every machine in the office, and it's really impressive.
00:07.920: How did you eventually consolidate everything down once you got back to the office?
00:07.920: Once I've totally finished with the job, I consolidate everything into a library.
00:07.920: Yeah.
00:08.000: The only way to do it is you've
00:08.000: I mean, I did a whole tutorial about it for
00:08.000: Okay.
00:08.000: I think, yes, very good.
00:08.000: So we've got so we so we basically back all our things up onto there.
00:08.000: But if you I think if you click the l if you've got the root library selected, it should say library.
00:08.000: Like it'll pull in your music, your graphics, your audio, all your original files.
00:08.080: So
00:08.080: Go ahead.
00:08.080: How did it come about and how did you choose Final Cut to do it in?
00:08.080: Yeah, exactly.
00:08.080: Yeah.
00:08.080: On this job, I left it in place because actually this was the first thing I ever did in 10.
00:08.080: So and what we're talking about here is in the Final Cut preferences.
00:08.080: And then they come in they come in a little you know the blue Sony tape boxes.
00:08.080: A sound effect yeah, a sound effect from iTunes or a sound of you know, all those like sometimes little things like that.
00:08.080: What feature, if you could sneak into Apple and ask the guys to make you on the next version of Final Cut?
00:08.080: I use it to get rid of all that and and then
00:08.160: So, um, hey, uh, welcome back to the little show.
00:08.160: Maybe you'll be able to find somebody else because I'm a little tapped with for time.
00:08.160: What was the commercial like?
00:08.160: And again, I say this all the time: people hire people.
00:08.160: I mean
00:08.160: Okay, so now.
00:08.160: Yeah, yeah.
00:08.160: I'm using I'm marking my favorites
00:08.240: No, I don't think we're going to talk about that.
00:08.240: 8, I can't remember which.
00:08.240: It just seems silly that I couldn't even imagine trying to rematch a bunch of speed ramps.
00:08.240: Like really?
00:08.240: So it really seems like it's a great
00:08.240: Yeah.
00:08.240: And we both kind of walked away from that job going, wow, I didn't know we could do this with Final Cut 10.
00:08.320: We had to show them that two or three days after the shoot had finished.
00:08.320: It took a couple of, so maybe about a year for me to slowly get
00:08.320: And then we had another day and a half to do that before we presented it.
00:08.400: And as it turned out, we were cutting a piece where, um
00:08.400: So you can make a folder like
00:08.480: Did you tell me anything about it?
00:08.480: Uh because when you make proxy, it only makes proxies of the
00:08.480: So I sort of like if something if my G RAID went down, I still I could still carry on working.
00:08.480: So considering that
00:08.480: Uh I think technically you go under
00:08.560: My something's wrong here.
00:08.560: You know, I mean, so
00:08.560: So if I wanted to unplug my master drive, I could go and I'd know that
00:08.560: And that the first time I saw that happen, I was like, really?
00:08.560: But yeah, I'm not sure if it's a great tool, for sure.
00:08.560: If you go down a level, it changes the thing.
00:08.560: I appreciate you joining us.
00:08.640: It's great.
00:08.640: And the and the laptop handled that no problem.
00:08.640: I did it on this job where I was in Southern California this week.
00:08.720: So, um
00:08.720: Wow.
00:08.720: Because eventually some of those you know, the ones that pay no money and may not seem to go somewhere, you know.
00:08.720: And
00:08.720: Go back to it the other way.
00:08.720: So you can see where they were, and it's really handy.
00:08.720: Yep, and then you can chip what by default it says consolidate them.
00:08.800: So I can't remember if I even answered your question.
00:08.800: Is it
00:08.880: So that's why they shut out there.
00:08.880: He was the top of his class.
00:08.880: And I find that a lot of times in the corporate world, that's exactly what it is.
00:08.880: And then
00:08.880: The library just has the proxy media.
00:08.880: And you could probably
00:08.960: And then and then I then brought it back to London onto a Mac Pro into our suite and we continued cutting there.
00:08.960: So you didn't do the final finish?
00:08.960: Okay.
00:08.960: And then
00:08.960: How do how do you eye match that?
00:09.040: We can get the
00:09.040: So I was like, oh.
00:09.040: I felt I almost felt sorry for him.
00:09.040: And he had to go off and edit with
00:09.040: Once you get that job that's slightly out of reach, once you get one of them
00:09.040: Do you ever find yourself even with that m much footage going, ah, if only I had this shot?
00:09.040: Yeah, it shoots to ProRes well, you can shoot to a raw format or you can shoot to ProRes four for four.
00:09.040: And the first thing it would say is, Oh, I'm looking for all this media on Drive X.
00:09.040: Yeah.
00:09.120: There's so many layers of
00:09.120: I think
00:09.200: Well, and there was, and to be fair, uh
00:09.200: You can also find me on Vimeo, which I think is Thomas G.
00:09.280: And then you know yeah, and then obviously all with many
00:09.360: I'll make my hotel room and that's so my laptop's hooked up to that.
00:09.360: What feature would it be?
00:09.440: And
00:09.440: What did it entail?
00:09.440: It's great.
00:09.440: Right.
00:09.520: Yeah, this is fun.
00:09.520: I've never actually looked at that, but because I think Final Cut does when you're in proxy mode.
00:09.520: It does a good job.
00:09.520: I think the thing that I have
00:09.600: And you always want to realize that what we do in this sort of
00:09.600: You said you shot it was shot on Alexa.
00:09.600: So um you had eighteen hours of proxy footage.
00:09.600: Um but then there was a DIT on set who transcoded everything to
00:09.600: And when it first did that, I was really annoyed.
00:09.600: Okay.
00:09.600: Oh, that that new Michael Jackson song, huh?
00:09.680: And you can so one keyword collection becomes
00:09.760: Yeah.
00:09.760: And I think where they're really good probably is if you're using four K media.
00:09.760: But but in my understanding, spatial conform basically alleviates all of that.
00:09.760: It's a different tone, definitely.
00:09.760: And then I switch it to favorites and it becomes so so it goes from being a string out to being like
00:09.840: Uh it was actually prox ProRes proxy.
00:09.920: Or you know.
00:09.920: Ugh.
00:09.920: Yeah, that's got, I think that's got a really good, like.
00:09.920: But yeah, it's um
00:09.920: You'd then
00:09.920: Oh, I can't hit that button because that would relaunch.
00:09.920: A show, no.
00:10.000: But at a certain point, you start
00:10.080: But the so from that day on, I just in every time
00:10.160: It's a very interesting.
00:10.160: But I want something like that would be cool.
00:10.240: And through this conversation with Thomas.
00:10.240: And then I see something on I think it was on fcp.
00:10.240: So how many total deliverables?
00:10.240: That's great.
00:10.240: But for the client cut, that's what's on YouT
00:10.240: Thanks for having me on again, Chris.
00:10.320: But yeah, so no, that's not that's no big deal.
00:10.320: So it wasn't actually until
00:10.320: So
00:10.560: I think I mentioned the first time we spoke on Twitter, I probably.
00:10.560: I have watched colorists
00:10.560: I just rejected it.
00:10.640: Yeah.
00:10.720: So so that's so that's what we were making.
00:10.800: I don't really I'd sort of choose Final Cut Ten
00:10.800: You know, the world is
00:10.800: Yeah.
00:10.800: So you've got multiple layers
00:10.800: And what I mean by that is myself.
00:10.880: That was really funny.
00:10.880: He said,
00:10.880: And I think they shot in Berlin
00:10.880: Yeah.
00:10.880: So what it meant was by the end of the shoot, I had
00:10.880: No, I I'm always interested
00:10.960: I appreciate you taking the time to do this.
00:10.960: I think we discussed this last time.
00:10.960: That's probably
00:11.040: Did that happen on the set or later?
00:11.120: I know I did.
00:11.120: Cool.
00:11.120: And it was all on there and I'd forgot I hadn't realized that it was only
00:11.120: And when I do that now, I just get
00:11.200: So, that's what we'll be talking about.
00:11.280: And then my my um
00:11.280: I thought, oh, well, I want to be able to decide.
00:11.280: However, if you select the event inside the library,
00:11.440: You've been grilled.
00:11.520: And since Au and since August last year, I've only
00:11.520: This was
00:11.600: Because you you can't be too you don't know what's going to
00:11.600: Yeah.
00:11.680: And then
00:11.760: I will say I appreciate
00:11.920: How many total
00:11.920: Yep.
00:12.000: So it'll be an enormous, enormous bundle.
00:12.080: So, let's now go to the interview with Thomas Grove Carl
00:12.080: You know, by the time it had gone back and forth.
00:12.160: 1.
00:12.240: And it may never be necessary, but it w it might
00:12.320: No, yeah.
00:12.320: So if you type if you type in
00:12.400: He made you.
00:12.480: I know it's late there.
00:12.560: And it was about this
00:12.560: So I left it in place.
00:12.800: Yeah.
00:12.880: That that's great to be able to focus like that.
00:12.880: And try and get the best.
00:13.040: Yeah.
00:13.040: But which is the one below.
00:13.040: I think because is
00:13.120: Carter.
00:13.200: So it's quite a good
00:13.360: So you've been cutting.
00:13.360: Let me double check.
00:13.600: co.
00:13.760: That always helps other people find.