Episode 58
FCG058 - An Informed Ramble (feat. Eric Wise)
Eric Wise Cuts in Avid, Premiere FCP7 and FCPX, but now, his preferred edit platform, is FCPX.
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Featuring
- Chris Fenwick
- Eric Wise - @splice_eric
Transcription
00:00.001: A color mask is a key.
00:00.001: Because they're a great company.
00:00.080: Thinking, oh, well, he'll just edit this out of the show.
00:00.160: Play with what people ask him to play with.
00:00.160: Seven every time I went in there every day, and luckily I don't have to do that or remembers it at the place that you're working at.
00:00.160: Play it the you know, half a measure, you play it backwards and stuff, and just really so you can get to the next beat quicker and that kind of thing.
00:00.160: Say, I don't know.
00:00.160: content they do.
00:00.160: Right.
00:00.160: Fiscally responsible to be able to say yes to everything.
00:00.160: I'm going to start a library.
00:00.160: 15 years or whatever.
00:00.160: Key chain?
00:00.160: That just got weird.
00:00.160: 10 stop crashing.
00:00.160: We won't tell anybody how far in advance we are.
00:00.160: He goes, I just got tired of hearing you go on and on and on.
00:00.160: I'll color mask the sky and pump the chroma in the sky, make it look a little more melancholy.
00:00.160: Stuff isn't easy, obviously, and there's all the kinds of things.
00:00.160: that a DP would do by shaking his camera about.
00:00.160: And he'd put trails on him and stuff.
00:00.160: And then the producer says, Oh, well, he's going to send the project file and go, Really?
00:00.160: 50 here, 50 there.
00:00.160: Right.
00:00.160: Oh, you were talking about send emotion.
00:00.160: Lot.
00:00.160: color spectrum.
00:00.160: Currently, getting caught up on now.
00:00.160: Does Premier do that as smoothly?
00:00.160: They just came out with a new app called Edit Ready, and it basically will transcode like MOV like files that are like H.
00:00.160: But yeah, I use that at Really anyway.
00:00.160: It's right there.
00:00.160: You know, we're like ants, you know.
00:00.160: And our clients understand why organization and efficiency is important.
00:00.160: Basecamp or WireDrive or whatever kind of project management platform we're using.
00:00.160: I think I mentioned this on one of the other shows.
00:00.160: tape and stuff.
00:00.160: I'm dealing with real world people that you know, by and large, they have less Twitter followers than me.
00:00.160: Would you read that in a book?
00:00.160: Oh yeah.
00:00.160: So, gotcha.
00:00.160: I really liked it.
00:00.160: So.
00:00.160: You know, I gotta admit, as you know, you're looking at this user interface here.
00:00.160: At my lynda.
00:00.160: I like to say I have a lot of keyframes invested in After Effects.
00:00.160: Gosh.
00:00.160: That'll be coming out the first Monday of July.
00:00.160: First of all, I want to say, Eric, thanks for coming to the studio.
00:00.160: I've gotten some really amazing little tweets and messages from people giving condolences.
00:00.240: Now, um Eric is a is a local Bay Area editor, friend of mine.
00:00.240: But of course, you know, we cannot do a show without thanking them for supporting what we're doing here.
00:00.240: 20th, 21, 22.
00:00.240: But he's definitely gotten to the point where he has told me, he goes, Oh no, my choice is to go to Final Cut 10.
00:00.240: Had you know, the client wasn't crazy about the music.
00:00.240: But of course we'll be back after that.
00:00.240: Sent me an email, I think.
00:00.240: and he is like, Oh, I gotta do this in seven others, I'll not get it done Like, uh, okay And he cuts away and you know, he he g he hit his his deadline and I'm just thinking, I know, I know, I
00:00.240: It remembers that it's me.
00:00.240: Oh, okay, so that's cool.
00:00.240: I'll take a song and put it in the Ableton Live.
00:00.240: I know that I've done some pitch shift things in um in uh th th th this this one audition.
00:00.240: Yeah, it's more clo it's closer to logic.
00:00.240: I'm thinking video, but can you speed up?
00:00.240: Or you play a measure backwards?
00:00.240: Yeah, I know, I know.
00:00.240: Yeah, they're like, What do you want to use?
00:00.240: Last time, but that was on DCC.
00:00.240: It's just really helpful.
00:00.240: Because it's just so different.
00:00.240: No, so like I uh here's what I would do.
00:00.240: Fairly universal, although I do have one client who dumbs down their machines and makes them so they can't you can't put a memory stick in it, believe it or not.
00:00.240: a library file.
00:00.240: that I start every job with.
00:00.240: This is how you name a card coming off a camera.
00:00.240: And then in the like in the sequences folder, I have a whole bunch of smart collections that are already built.
00:00.240: You rename it or whatever or whatever, but it's already peer-populated with bins that have all that.
00:00.240: Yeah, and the thing is I can put all my like worldy-free like Straight Snowden on them, you know?
00:00.240: So there was a free plug-in by Core Melt.
00:00.240: You'll enjoy this episode because it was the first real job the guy had done in 10.
00:00.240: On the color sub panel, you can take those pucks and move them left and right also.
00:00.240: And I can now go beyond safe because all my color boards are after that.
00:00.240: Right.
00:00.240: I don't work at the level where tracking a mask is is an everyday thing, like what Alex does all the time.
00:00.240: But, you know, it's a three hundred dollar app, not a three thousand dollar app.
00:00.240: And then I'm going to kick out a file and I'm going to bring it back to my timeline.
00:00.240: Scroll down about seven or eight rows down in the center icon, you're going to see one called Pro Shake.
00:00.240: No.
00:00.240: Pixelfilmstudios.
00:00.240: Okay?
00:00.240: And he took it into After Effects and he did his Twitch and his lens flares and go, you know, and he gave it the Steve look.
00:00.240: Now, a few episodes ago I had Steve Navrat on the show, who's you know Steve from Slice.
00:00.240: It's just an adjustment layer.
00:00.240: I think that's marketing.
00:00.240: even cheaper than this.
00:00.240: It's called um tran slice.
00:00.240: Seven or eight times in my piece, I showed it to the producer.
00:00.240: But the bit one of the biggest cons too, just besides it can get expensive, is now I can't move my project around.
00:00.240: But it can still be a bit overwhelming.
00:00.240: You know, like, and I could even do that on somebody else's machine.
00:00.240: I met a guy at SF Cutter's last time I was there.
00:00.240: Is massive.
00:00.240: I like Premiere.
00:00.240: It is more convenient if you you're doing a lot of AE stuff to use Premiere.
00:00.240: Okay.
00:00.240: I was going to learn resolve, like, but you know, 10.
00:00.240: Vegas.
00:00.240: But I look at that and I'm like, dude, that's a cool feature.
00:00.240: No, when I was using it recently, it literally finally kind of really disappeared from me, and that was a great isn't that magical?
00:00.240: Files.
00:00.240: and I'm gonna make a copy of it, and I'm gonna duplicate it, and I'm gonna rename it, and I'm gonna import it, and I'm gonna log it, and I'm gonna you know.
00:00.240: Free.
00:00.240: You invest some time on the front end and you gain it back and then some on the back end.
00:00.240: straight to China.
00:00.240: Money money they can actually save, like how this affects their bottom line.
00:00.240: you can post a video on their server.
00:00.240: Now we, as an editor, in an ideal world, those comments will go to our production manager or our producer.
00:00.240: And then that producer will sit down with us and they will cull that data and filter that data and prioritize that data.
00:00.240: We now have to be that guy that filters through all that information and that ridiculous email chain.
00:00.240: But I think what would be a game-changing thing would be if someone if there somehow you are able to say, if some if I get an email from this person or a text from this person as part of this project, it's going to send to, you know
00:00.240: you're going to get the message through the project management tool.
00:00.240: WWDC, I sat there and I watched the whole announcement.
00:00.240: sometimes I ramble and you know we do too.
00:00.240: Event that happened or a thing that I did that I forgot that I did, and that's what I think really got me started as an editor.
00:00.240: So I had like yeah, the radio with the two the double cassette recorder.
00:00.240: Control option one, two, whatever.
00:00.240: It's kind of cool.
00:00.240: Whatever, you know, use it more.
00:00.240: I want you to have a send to Ableton Live feature.
00:00.240: Every time I open up logic and I'm like, okay, I want to I want to because I even got the new logic 10 that's that's all 10 right now
00:00.240: To make a few like most of us do, right?
00:00.240: I just like get you know crossfire no and it's a good and it's a good it's a
00:00.240: Good argument.
00:00.240: This is what a this is what a Final Cut 7 editor will be saying in them wanting to go to Premiere because I have something a lot invested in this paradigm.
00:00.240: How would you convince them to go to 10, which is a whole different way of doing things?
00:00.240: You know?
00:00.240: deal do some software stuff off off the air.
00:00.240: So Splice Vine underscore Eric on the Twitter, right?
00:00.240: I don't remember the URL didn't make any sense to me, but Alex Lindsay had a just a knockout face-to-face virtual user group.
00:00.240: And he did it using his question and answer tool.
00:00.240: Right there, you have a powerhouse of big thinking Final Cut 10 users, and it was a great episode.
00:00.240: Gordon Fleming, he a great friend of mine and a real big thinker.
00:00.240: We will be back as soon as possible, and let's just keep track of how long has it been since an update?
00:00.320: I kind of do, but whatever.
00:00.320: Well, I I still stand by the I get angry when I have to open up seven and I had to do it a couple of days ago.
00:00.320: No, I'm gonna have to deal with this later.
00:00.320: Okay.
00:00.320: So so you so now you have your own Final Cut ten keyboard shortcut file that you carry around with you?
00:00.320: Screen.
00:00.320: Some guy logs onto her screen, and all of a sudden the mouse starts going crazy, and he enters in the admin username and password.
00:00.320: Right.
00:00.320: So that was fun.
00:00.320: Um so I would um I got the music that they they had.
00:00.320: Just the okay, so we're gonna we're gonna go I I love the way these shows end up being like this so so Ableton Live is it closer to
00:00.320: Like a Pro Tools replacement, or more like a logic replacement in that it deals with a lot of digital instruments.
00:00.320: And it also meant we had to to change the audio also, which it's a little bit of a juggle back and forth, but um I I don't know.
00:00.320: Using the retime thing.
00:00.320: But a palindrome is 1, 2, 3, 4, 3, 2, 1, 1, 2, 3, 4, 4, 3, 2, 1.
00:00.320: Cut of music.
00:00.320: I would not have thought of extending that there, you know?
00:00.320: viral content or kind of user generated content that's on YouTube and create shows out of it.
00:00.320: So yeah, they're using a a couple versions and even Premiere.
00:00.320: Bizarro DCC.
00:00.320: I have the shortcuts that I use the most and I put them down.
00:00.320: And so I'm like, oh, how do I do that?
00:00.320: Yeah, I did.
00:00.320: Okay.
00:00.320: I know I want one that finds all my multi-cams.
00:00.320: Having issues, and you know, and it's a thing where they could they could totally update it and it's fine, yeah, you know, new version, but um, I was kind of bum, and um, I know this too because once I install it
00:00.320: And one of my beefs with the colorboard, and I don't mind the colorboard.
00:00.320: But some people I think, because I know I did at first, I'm like, well, I don't get this.
00:00.320: In your stack of effects.
00:00.320: three color boards on it.
00:00.320: On my second colorboard, and you know, you just hit that little plus sign.
00:00.320: Really?
00:00.320: Right.
00:00.320: Most of them.
00:00.320: Kick it out as you know an effect and be able to do it all in your timeline.
00:00.320: Okay, what's your exception?
00:00.320: It's already there.
00:00.320: I just think it's a safe assumption.
00:00.320: Okay, so what you're seeing is, I'm narrating for the audio, it's a lot of shaky cams, swish pans, focus racks, very kind of aggro-camera-look sort of thing.
00:00.320: I don't even know who it was, but there was one moment in his show Open where a big hit in the music, he'd go
00:00.320: From Kansas, he had been at a he had worked at a place that did sports promos.
00:00.320: redrop it into the timeline.
00:00.320: And instead of committing the labor to a clip, you commit the labor to a tool.
00:00.320: And now I can use that tool a thousand times over.
00:00.320: These plugins add up before you know it.
00:00.320: Although obviously we've been able to make plugins.
00:00.320: Okay, I don't want it to come off like I don't like plugins because I do.
00:00.320: If I'm working on my project and I'm sitting at this machine and I want to add a lot of polish and pizzazz to my thing,
00:00.320: Right.
00:00.320: I like the way Media Composer feels when I'm in it, using it, but I don't miss it.
00:00.320: You know, has great resources available to me.
00:00.320: CS6 was the first big leap forward in terms of user experience.
00:00.320: But I have to use it because like it's a lot of people using Premiere more and more.
00:00.320: So we'll see.
00:00.320: And the proxy workflow works so smoothly.
00:00.320: Yeah, I don't know where it's heading.
00:00.320: Walk back upstairs, plug into his raid, hit the little switch, go back to optimize media, boop, boop, and it's and you're done, and everything's back exactly the same.
00:00.320: No, I don't think so.
00:00.320: Use software only or tink tink, click it, use GPU acceleration.
00:00.320: Yeah.
00:00.320: So I'm just trying a lot of different stuff.
00:00.320: Sometimes we're so wrapped up in that process that we really do need to step back and say, okay.
00:00.320: And we in the very least need to make the business case for it because I'm sure there's not an editor around that likes communicating via Gmail.
00:00.320: The editor gets an email, and I can't remember all the details of this because I played with it once and I was like, wow, that's actually really cool.
00:00.320: Guess what it does?
00:00.320: has been budgeted out of existence.
00:00.320: You know, it's what I think is the, um it's what I've called the inertia conundrum, right?
00:00.320: So when you have a big vendor like that, you know, they're getting clients used to so maybe iCloud can be mapped into Final Cut.
00:00.320: They basically said everything was going to work better, you know, smoother.
00:00.320: Well, the openness, right?
00:00.320: computer soon.
00:00.320: But I don't know who you are.
00:00.320: But it's important that the audience connects with that person.
00:00.320: Elevator speech about where I started with eumatic tape, that kind of thing.
00:00.320: On some of the ones, especially when I relate to them more.
00:00.320: But but you know, it's like it's like hanging out at the water cooler and and I realize that you know, let's face it, this is this is Chris Fenwick's show and
00:00.320: And so having said that, I do want to say one thing that I 'cause when I was on DCC a while ago, you asked me how I got started.
00:00.320: Again, I know the audition's been around, so it's probably a different code base, a different way of doing things.
00:00.320: And when I first started using it, I was shocked because it was the one app that I had on my Mac that never
00:00.320: Crashed.
00:00.320: My tool is awesome.
00:00.320: I want people to know, and I think that in the beginning of the grill, everybody thought you couldn't
00:00.320: you know, there's a problem logging on through their authentication servers.
00:00.320: Mix and match.
00:00.320: Anyway, so we should wrap this up.
00:00.320: So thanks again for listening.
00:00.400: So anyway, that's it for our little intros.
00:00.400: From Screenflow.
00:00.400: system, whatever it was, I don't know what they used, then toggle over to the Mac side, hit record on the screen flow, toggle back to the Windows side, and do your screen fl your you can do screen flow captures of a Windows
00:00.400: A way of doing it without changing the pitch.
00:00.400: and I get the file back and I slip it in and because I was so intimately aware of every beat of that thing, I listened to it later and I was like, oh wow, oh, oh, that's
00:00.400: Yeah, have a version on Dropbox.
00:00.400: They they wanted a look that was super saturated for some of the things.
00:00.400: A man?
00:00.400: And I just don't have the time to play.
00:00.400: That a lot of times when we think about what we want to do to a piece of video in motion or After Effects
00:00.400: You know, it's what I'm saying is, so you ask, how come I can't do my send emotion?
00:00.400: And it was, you know, drop you know, drag and drop.
00:00.400: You said at the beginning, I said, so you've been using Final Cut, and you're like, Yeah.
00:00.400: You know, final cutting side of that thing.
00:00.400: Even I think a casual observer is beginning to see that there seems to be this crossover between what is happening with Resolve 11 and Final Cut.
00:00.400: 55.
00:00.400: If you're having to come in and learn all this stuff.
00:00.400: So I don't think I don't know.
00:00.400: tool where you can and I can't remember what it's called, I apologize.
00:00.400: They can like go, oh, at this point right here, I want to say, you know, this word is spelled wrong.
00:00.400: You know.
00:00.400: Talked about everything that I wanted to talk about.
00:00.400: That not only do I connect with you better, but the audience does too.
00:00.400: So one thing I the real it's a different show, right?
00:00.400: Yeah, I don't well I don't use logic but but but I think you can do you can you can do adjustable customizable track heights and logic yeah okay
00:00.400: So I think the reason you can't do customizable track heights in Final Fed 10, do you know why?
00:00.400: The paradigm is Premiere and in Media Composer is a similar paradigm, so that's why.
00:00.400: You know, I was like, Oh no, I'm in my video toaster flyer and it uses some proprietary codec that nobody else uses.
00:00.400: Michael Garber, the Garber Shop, they were on Alex's show and they were up there with Steve Martin and Mark Spencer.
00:00.480: Some events for him and all of our friends together.
00:00.480: So, Eric, how you doing, man?
00:00.480: to the to their system.
00:00.480: Yeah, because I didn't even know that because we always log in with the same thing.
00:00.480: They can't you know, I I I ne um she had she runs Windows on her MacBook Pro, and we needed to grab some some stuff
00:00.480: Okay.
00:00.480: Like uh uh in a typical like you know musical beat a loop would be one two three four one two three four one
00:00.480: Okay, so you were doing music stuff and short promos for for for broadcast or cable?
00:00.480: You know, I just, my thing is, and you hear other freelancers say this: you don't want to leave money on the table.
00:00.480: Like starter keywords.
00:00.480: That's a good idea.
00:00.480: Do really super saturate it.
00:00.480: Filter on?
00:00.480: Is that my phone or yours?
00:00.480: Why?
00:00.480: And then watch the one-minute video.
00:00.480: But but um Steve is a master of that kind of style.
00:00.480: Okay, so you put those on your track that you already have, or your layer, your video track, and it does all of that stuff.
00:00.480: No, but anyway, Pixel Film Studios is not a sponsor of the show, but along with them and along with FX Factory.
00:00.480: Can be is that I'll be in Final Cut, and I'm like, okay, what do I have to use here?
00:00.480: Right, right.
00:00.480: But and he was from you know like an LA you know trailer park, you know, they cut trailers and he was telling me some of the politics behind it and you know like like I asked him to come and talk on the show and he goes, Oh no
00:00.480: Oh, no, no, no, I do not want to be a part of that.
00:00.480: Do you think do you think that's just a coincidence that so they're using the same color palettes for their green audio tracks?
00:00.480: Yeah, I know.
00:00.480: It's rock solid.
00:00.480: I use Adobe Media Encoder all the time.
00:00.480: Great class because one thing um i I went over the whole like um was it drop uh not drop what is it watch folder watch folder
00:00.480: But we eventually do evolve.
00:00.480: There must be a better way.
00:00.480: Okay, what else do you want to talk about?
00:00.480: And I conscientiously have have made a decision very early on that when I hear your background
00:00.480: Tape full of like just different cuts in and out of music you already had.
00:00.480: And I can't do the simplest things in it.
00:00.480: I've used after a fix since like version 2.
00:00.480: Well, the difference is, is that Final Cut 7 is not being developed anymore.
00:00.480: So, um, you know, and and Alex Golner, he does amazing stuff with it.
00:00.560: And the producer felt that he felt a little plodding in his delivery, so they wanted to speed him up a little bit.
00:00.560: Even if it's a half beat, you know, you just got to get to it quicker and and you're locked into you know, obviously since I'm not a composer, I can't just, oh, give me the pro tool session so I can
00:00.560: Every time.
00:00.560: Well, you may not want to write it down because it it kept crashing my system and I had to uninstall it.
00:00.560: So and we talked a little bit about color and the difference between dealing with the color board where you can go plus or minus a color as opposed to using complementary colors on a color wheel.
00:00.560: I just want to say that because I learned that by watching one of the Ripple things.
00:00.560: You know, hey, I can't have everything.
00:00.560: It's it's a bargain.
00:00.560: And um but um I I do like the way tin feels.
00:00.560: So you're saying it feels what did you say, fashion forward?
00:00.560: You know, when you look at the way you use speed ramps, especially the blade speed, it's called in Panopa 10, you're like, really?
00:00.560: But I experimented by putting a watch folder on my Dropbox, and that way I'm able to now use my Dropbox as a review and approval kind of thing.
00:00.560: And so the net net is that, yes, I invest some time on the front end.
00:00.560: You know, and that's like a game-changing workflow thing.
00:00.560: Well, it's the way we do it.
00:00.560: 18 next.
00:00.560: Yeah.
00:00.640: this coming Friday and also this coming Monday.
00:00.640: Okay, not necessarily in that order.
00:00.640: And also, and it's not entirely intuitive, but you just got to say this because I didn't realize it at first.
00:00.640: And you told me that was awesome, like those one, two, three that you just currently, when you put on the the color safe filter, it's like it doesn't matter because it's above all of that stuff.
00:00.640: And you can also use a triple col
00:00.640: Open hand editor.
00:00.640: Have you ever heard of Pixelfilm Studios?
00:00.640: He used to he was really big into what he called glow worms, where he would like, you know, trace the baseball bat and then when the ball got hit, he'd go
00:00.640: There's a site called AE Scripts.
00:00.640: That was huge because it was like overwhelming.
00:00.640: I have a total leg up with with I think with a with a tool that's faster, flexible
00:00.640: You know?
00:00.640: And somebody is going to make a decision.
00:00.640: I mean, there there's already a guy that has a um I can't remember what it's called.
00:00.640: But I mean again for for particularly for freelancers it's tough.
00:00.640: turning on the generate proxies, which were then put again on the desktop of his laptop.
00:00.640: But I actually started using Remark, which is used to be First Cut Pro.
00:00.640: And I'm sitting there around the table, and somebody says to me, You know, so what they announce?
00:00.640: So you know what those?
00:00.640: But they have logic.
00:00.640: tech-wise and also for this industry.
00:00.640: They have a great product and great music.
00:00.720: As you know, a couple of episodes ago I did a tribute episode to my friend who passed away, and this coming week I'm going to be involved in
00:00.720: And it does what it says.
00:00.720: So ProShake is a series of adjustment layers that you put on top of your track that you already have.
00:00.720: Well, it may very well be that the polished look is something that you can only do out of your shop.
00:00.720: I dig those guys too.
00:00.720: Lightworks, you know, who knows, right?
00:00.720: Maybe I didn't.
00:00.720: We a line I've used many times on this show that editors are creatures of process.
00:00.720: And it makes sense.
00:00.720: I mean, the fact that we can mix and match files back and forth, it's a world of difference than what it used to be.
00:00.800: Very smart guy, very, you know, high techie, nerdy guy.
00:00.800: You know, it's a joke anyway, whatever.
00:00.800: has an odd number of letters.
00:00.800: Any kind of like what's it called?
00:00.800: Wow.
00:00.800: And I think by default it leaves them on, and that's just a matter of being tidy.
00:00.800: Yeah, and I think that there's a lot of little things like that in Final Fed 10 that people are just, you know, they're so worried about the oh, magnetic timeline, so dumb.
00:00.800: I want to get I want to really get this workflow thing figured out so I can 'cause yeah, I was talking about it, writing about it.
00:00.800: It might take me a half a day or more to figure out how to save five minutes, but I'm going to do that five minutes for the next five years.
00:00.800: I just do you know why I do that?
00:00.800: Do you find it funny that you're like Mr.
00:00.800: Okay, I can't keep up.
00:00.800: Show in this studio.
00:00.880: So you'll take a measure and you'll you'll kind of I think in the loop world, that's called a palindrome.
00:00.880: It's like a key.
00:00.880: So yeah.
00:00.880: Well, I just wish there was a way to and I said this before and that we talked briefly about it, track a mask, right?
00:00.880: We think of it like, well, I'm going to push these two shots there, and then I'm going to do this thing to them.
00:00.880: I mean, Alex McLean has said many times to me that the XML between Fancha Ten and Resolve is the best.
00:00.880: You know I use Adobe Media Encoder.
00:00.880: And so I used his app a couple of times on this project because, you know, compressor is so slow.
00:00.880: It's front and center.
00:00.880: And what's so great is you can you don't have to upload your media to their servers.
00:00.880: I asked this I you know why I asked this question?
00:00.960: You know, like yeah, one's for a um some promo stuff.
00:00.960: It didn't m only the the TRT mattered when I did like a 30 second cut down that they might you know use for air for broadcast.
00:00.960: It may very well be.
00:00.960: You create bins and it's totally different.
00:00.960: I can't remember.
00:00.960: Wow, they have a lot of plug-ins.
00:00.960: And I feel sorry for any colorist that has to eye match that.
00:00.960: I mean, Vegas does 4K.
00:00.960: A great unit manager can do something like that.
00:00.960: Well, yeah, I forgot that for some reason.
00:00.960: You know, these are good tools.
00:00.960: So, anyway.
00:01.040: Oh, wow.
00:01.040: You've heard this show before.
00:01.040: encroaching on the skyline, it's only going to colorize the the color of the sky.
00:01.040: Why can't you send to motion?
00:01.040: You know, adjustment layers, and you look at the fact that you can make transitions.
00:01.040: They're using the same code base, basically, right?
00:01.040: I have no I d d I don't want to get anybody in trouble.
00:01.040: And so there's a way, yeah, you can use it.
00:01.040: I don't think, at least in the universe that I work in, I don't think we're ever going to get away from email.
00:01.040: You know what?
00:01.120: I like it.
00:01.120: So anyway.
00:01.120: Yeah, Net2 TV.
00:01.120: It's really smart.
00:01.120: Um, just watch
00:01.120: You're like, you can be trap code master, but if you go to a shop that doesn't have trap code, you're like, oh, crap, I got to use the built-in like I got to use the built-in AE like stuff, and it's just not as good.
00:01.120: This coming.
00:01.120: My roommate was like, Man, you're really good.
00:01.120: I had that thing for two years before it even locked up once.
00:01.120: And there, to be fair, there's a lot of stuff in motion that is really impressive.
00:01.200: Right, right.
00:01.200: What you thought you needed to send it to motion for, you probably could make a tool in motion.
00:01.200: You know, that was at the episode with Jesse, Jesse Spencer.
00:01.200: It launches Premiere on my machine.
00:01.200: And I know, well, I know I can't talk about I want to have customizable, yeah.
00:01.280: Hello, hello, welcome to another episode of Funnelcut Grill.
00:01.280: I have a list of things to talk about.
00:01.280: So that way, at least I'm getting something out of it.
00:01.280: So um so that template would have my four folders
00:01.280: Man, that's hard to keep up.
00:01.280: She's cute, but it's really her hot friends, After Effects and Photoshop, that I really like, and that's why I hang out with her.
00:01.280: It might be July.
00:01.280: No, I dream big, son.
00:01.280: And it's interesting, you know, the more people I talk to and the more things that I learn from the various people that I've spoken to, I'm just like, yeah, you know, it's like hometown team rooting for it.
00:01.280: You had to adopt an ecosystem 100%.
00:01.360: So if you have your own login, we don't actually do that here.
00:01.360: It's surprising.
00:01.360: Yep, well it's about I'm not even gonna respond.
00:01.360: Yeah, of course I can't.
00:01.360: You're not track tunnel.
00:01.360: What am I excited about?
00:01.360: I just took a just took, I just did a Linda class on Adobe Media Encoder.
00:01.440: Yeah, I just do it.
00:01.440: And so, you know, why wouldn't I want to use a tool that offers that kind of thing?
00:01.440: They had iTunes on PC for years, although I hear it never worked as well.
00:01.520: You actually did the real email.
00:01.520: Yeah, I have to I have to give it a shot.
00:01.520: Like, I mean, you can be on Premiere 7 and Media Composer, and it's pretty much the same procedure, right?
00:01.520: And in O s and in O seven in uh File Cut seven, we used to do send to motion.
00:01.520: I mean, you know, yeah, maybe, yeah.
00:01.520: It's hard to say.
00:01.520: Okay, you guys you young guys, yeah, and you're not that.
00:01.600: Monkey one, two, three.
00:01.600: I actually use folders in the event.
00:01.600: And I'll be in places too where they have like this is a template project and have a shortcut on the desktop, and you click on it, and that's you know
00:01.600: So here's one of my beefs about color in general in 10.
00:01.600: Partly because of this show, I think.
00:01.600: You know, not only, you know, things like FX Factory or Pixel Film Studios, but even like Alex, Alex Golner.
00:01.600: That's what I hear too.
00:01.600: One, I'm a curious person.
00:01.600: For like a for like a band?
00:01.600: Do you use roles?
00:01.600: com thing expired years ago.
00:01.600: But I know it's more interoperability now than there ever used to be.
00:01.600: until there's another Power Emotion user behind besides Mark Spencer.
00:01.600: That's just for my own personal things, and I just want to thank all of you for all the support
00:01.680: This is Monday the 23rd, I believe.
00:01.680: And so, like, whoa, whoa, whoa, what?
00:01.680: You know what?
00:01.680: You know, and so I did one project in Premiere, then one in like 10.
00:01.680: Oh, so you can't drag it.
00:01.680: I'm sure you have.
00:01.680: And you know what?
00:01.680: Yeah, it's like you can tell it's like from kindergarten.
00:01.760: I used um I didn't use Premium Beat, which I know is a sponsor.
00:01.760: It wasn't on.
00:01.760: It's not so yeah I mean and ultimately that's no different than the way I did every Final Cut 7 project for
00:01.760: Yeah, we have actually, I think, here, right here.
00:01.760: Yeah, it's really cool.
00:01.760: And you know, no, no, no new Mac Pros, no new MacBook Pros, no new Final Cut.
00:01.760: Isn't iCloud going to now also work on a PC platform?
00:01.760: But I know it's on my list, definitely, for sure.
00:01.760: Yeah.
00:01.840: Yeah, so we had to do that, but we had to install Screenflow to do it.
00:01.840: I just had a problem with their free plug-in, but I want to try SliceX because everybody loves it.
00:01.840: Except that why can't I use the tracking engine in motion?
00:01.840: So here's an example of something where Steve would take the clip into After Effects, diddle-fiddle it up, aggro it up, bring it back in.
00:01.840: Next thing is 50,000.
00:01.840: But the share menu actually is essentially a Senta compressor.
00:01.840: Oh my goodness.
00:01.840: Yeah, but you know what?
00:01.840: The inertia conundrum.
00:01.920: Well, one of the things I do, um, 'cause like I said, I have a client that they still use seven, is I've mapped all of my um seven keyboards that I can to Final Cut at Final Cut 10 versions of it.
00:02.000: And I have perspective because I like Scott Simmons and other people, I use different NLEs.
00:02.000: I've never thought of doing that with music.
00:02.000: I'm going to open up my template.
00:02.000: So I'm pulling a key off the sky.
00:02.000: I mean, you know, definitely Black Magic, they keep the wild card, you know, and but then there's other wild cards out there too, like, you know
00:02.000: It's like it's at the bottom of your, what's it called, the queue where you have all your files.
00:02.000: I don't know.
00:02.000: I mean, you know, did you know that you can take a whole row, or excuse me, roll, and there's a little checkbox, and when you check it or whatever, it takes that whole roll and collapses it down?
00:02.080: Yeah, it's just like you know, it just it gets you on to the next thing quicker because sometimes you're waiting for that for that beat to come back.
00:02.080: And inside that library file would be one event.
00:02.080: com.
00:02.080: He used to do that stuff all the time.
00:02.080: I think the XML is.
00:02.160: Um and uh he's been you know, he's the kind of guy that a as a freelancer he has to
00:02.160: I mean, they're good guys.
00:02.160: Yeah.
00:02.160: Rame.
00:02.160: And I number them: one, two, three, four.
00:02.160: Right.
00:02.240: So he's a little bit like you know, Scott Simmons out there in Nashville town, and he'll cut on anything.
00:02.240: And she said, Okay, well, kick me out in OMF.
00:02.240: I get it.
00:02.240: They have a crapload of plugins.
00:02.240: I interviewed Thomas Grove Carter again.
00:02.240: I know we did some stuff in the NAB.
00:02.320: Oh, we're recording?
00:02.320: Okay.
00:02.320: Actually, it doesn't have to have an odd number of letters.
00:02.320: So I have that there.
00:02.320: I want to just say, too, that I'm a user, I don't code.
00:02.320: Drop it in on the beat, change it.
00:02.320: Because it's like, it seemed like they add 50 new plugins to FX Factory every week, which is great for us.
00:02.320: I think what FX Factory has done is they've built this really great ecosystem.
00:02.320: So I want to wait.
00:02.320: I know.
00:02.320: All right, Eric.
00:02.400: And sure enough, like the next day or two days later, it's like, oh, yeah, there's a fix and he's not available.
00:02.400: I haven't seen it, but I just actually do a little loop.
00:02.400: There is a way in the app where you can turn off the ones that you have not actually purchased.
00:02.400: I want to try Cenio's next.
00:02.400: Now I do, and I realize that we started this very innocuously, but I will do a little intro and I'll tell everybody how great Eric Wise is and blah, blah, blah.
00:02.400: It was great to sit down face-to-face.
00:02.480: I did a piece a few years ago for a producer that we do work with, and I had cut for like a week with this
00:02.480: It's really clever.
00:02.480: No, you haven't been on this show.
00:02.480: It gives you curves, a curve editor, and it does some.
00:02.480: But I was thinking, okay, well, what's something that's out there free that I can use as a plug-in that can just instantly give it to me?
00:02.480: You're doing two weeks now.
00:02.480: You know, I just like I like the way it feels in there, the user experience.
00:02.480: Yeah.
00:02.480: I mean, well, Lightworks have been around for two years.
00:02.480: We use it here at Slice.
00:02.480: I I think I'm looking looking at all my notes here.
00:02.560: Now I'm not saying I'm not going to do a show.
00:02.560: Here's a guy, you know, this Pixel Film Studios.
00:02.560: And yes, I've already paid fifty bucks for motion.
00:02.560: Yeah, send emotion.
00:02.560: Whether or not they make the right decision, it's that's for them to deal with.
00:02.560: I mean, this would be a good question for like Scott Simmons.
00:02.560: It's like it's it could not be more in the middle of the application when you launch the window.
00:02.560: That's like saying we're never gonna, we're always gonna be on a horse, you know.
00:02.560: You're really good at this.
00:02.560: We go in here and do specific things in motion, but you wouldn't do a whole lot.
00:02.560: It's amazing.
00:02.640: I know I want one that finds all my projects.
00:02.640: But sometimes you go to places and you're locked down, you can't go on the web.
00:02.640: I don't know if Motion has the kind of scripting side to it the way After Effects does.
00:02.640: It does I know I know you're saying it's like, okay, well, they don't have color anymore, so they it'd be nice if another company could take care of that side of things.
00:02.640: Including, which I find to be truly amazing, the speed ramps.
00:02.640: So someone I just I don't know, I just feel like systems integrators and these kinds of companies, they need to really make the business case for
00:02.720: And uh So you were able to speed up your track and fix the pitch?
00:02.720: So, like in the media one, I have an A1 and an A2 to remind anybody else who uses it.
00:02.720: I never have been able to.
00:02.720: And I'm getting caught up early in the show, right?
00:02.720: You probably know about it, right?
00:02.720: And there's tons of great stuff out there.
00:02.720: I realize you haven't listened to every episode, but I want to just remind you: two episodes ago, I think it was
00:02.720: Okay.
00:02.720: Thank you.
00:02.720: What do you guys talk about?
00:02.800: Where do I go?
00:02.800: Oh, shoot.
00:02.800: I'm supposed to be like writing a review.
00:02.800: Yeah.
00:02.800: Sometimes it could be legal things, sometimes it could be anything.
00:02.800: Clearly, there are segments of our industry that are immutable.
00:02.800: And I've said this, you know, even since the very beginning of these shows: that the plug-in community in Final Cut 10
00:02.800: I don't even think Media Composer, even the latest version, does true 4K.
00:02.800: I want us to take it to the next level and it's really and really make the business case for efficiency and optimizing efficiency.
00:02.880: I think you can.
00:02.880: I have cheats to make it so that it fits right on 30.
00:02.880: I'm just saying, like, technically, I don't know how you do that.
00:02.880: Okay.
00:02.880: And what that ends up doing is the first one is just get get the levels right.
00:02.880: It looks like a transition, but what it ends up being is this three-way wipe, and you can put a title in one quadrant.
00:02.880: Never know what those guys.
00:02.880: Okay, so then we mentioned it a little bit earlier.
00:02.880: 10, but you you use After Effects, you won't think of using Motion?
00:02.880: Well, thanks for being here.
00:02.880: And I got to say, Alex Lindsay, you're a big thinker, and I appreciate you.
00:02.960: You know, I have a thing on what I do at the start of every project.
00:02.960: It is the always the top thing
00:02.960: But they don't tell me you have not listened to all 56 episodes before this one because I'm going to be hurt.
00:02.960: You spend a couple hundred a few hundred bucks when if I just sent it to motion and can I say this
00:02.960: Yeah.
00:02.960: To work with proxy files, I mean, it may very well be, and I could just be showing my stupidity by asking the question.
00:02.960: You can send a client a link.
00:02.960: And this and you know, if if I had to write an outline for this interview, it'd be crap.
00:02.960: Well, customizable track heights would be nice.
00:02.960: I don't, but I want to start using it.
00:03.040: So uh so what have you been cutting?
00:03.040: Right, you can preserve pitch.
00:03.120: To their computer.
00:03.120: I have links to things that are out there on the web and like free plugins or whatever.
00:03.120: Yeah.
00:03.120: He's like, Is that customizable?
00:03.120: I want to wait until whenever.
00:03.120: No, I I think Ten does proxy has a proxy workflow.
00:03.120: We're being on the west coast, you know, it finishes up right before lunch.
00:03.120: You know what?
00:03.200: So you sped your st you you actually sped your music up to change the BPM?
00:03.200: Don't call it, you know, left side camera number one.
00:03.200: Yeah, that's gonna happen.
00:03.200: No, oh no.
00:03.200: Thanks for driving all the way over here.
00:03.280: And it's completely different.
00:03.280: Sorry.
00:03.280: Go check out Pixel Film Studios.
00:03.280: We're going to watch this together and I'm going to tell you.
00:03.280: This is kind of a recap of that episode.
00:03.280: I'm not saying you can't use Adobe unless
00:03.360: I go to premium beat first, as always.
00:03.360: I'm a big live f fan.
00:03.360: Here's what I would do.
00:03.360: Well, you might, you might have it.
00:03.360: By the way, that plug-in is $29.
00:03.360: So I mean, I I don't think financially it's not an issue.
00:03.360: It's like, oh, I need to have this effect.
00:03.360: Oh, actually, this is recorded.
00:03.360: He talked about how he kept his library file on his desktop, of his laptop, using
00:03.360: That's a great term.
00:03.360: Okay, it's now version 13.
00:03.360: And yes, everyone else, check out Splice check out SpliceWine.
00:03.360: So they had some of our guests on the show, Sam Mestman and
00:03.440: Hell yeah, man.
00:03.440: Yeah.
00:03.440: And little known fact, you can actually launch your Windows.
00:03.440: Oh, I can't even think anything Clara to say that.
00:03.440: I thought, okay, I'll give it a try.
00:03.440: I don't know how I got on their mailing list, but I would say I get three to four emails a week from them.
00:03.440: He's like, oh yeah, man, we gotta warm that thing up, you know?
00:03.440: So tran meaning it's a transition.
00:03.440: I know, I I will I will not argue that fact that that
00:03.440: Because I know people at at Apple are listening to this podcast.
00:03.440: Splice underscore Eric.
00:03.520: I don't know that I've done this yet, but I think this is the first face-to-face Final Cut Grill.
00:03.520: I can't speed up audio.
00:03.520: Yeah.
00:03.520: I'm going to drag all that stuff and just go boom, done.
00:03.520: But but fifty bucks, how long is that gonna take you?
00:03.520: I mean, I know I did an episode a few weeks ago where it was like, okay, so it's been 30 minutes.
00:03.520: So, you know, you play w you play on one side and you record on the other.
00:03.520: You're right.
00:03.520: It really is.
00:03.520: Can you give us a tease?
00:03.600: What, dude?
00:03.600: I haven't been on the show yet.
00:03.600: Where's Alex?
00:03.600: And if you know about that, it's called like I know Core Melt because they they make Tract X and Slice X.
00:03.600: Color mask tricks.
00:03.600: But then they show a split screen where you can see, oh, this stuff was all shot.
00:03.600: This is kind of a rambling episode, isn't it?
00:03.600: I have nothing against Adobe unless I can't actually launch my software.
00:03.600: And now I click on comment number one and my playhead jumps there.
00:03.600: And so quite often we are the person that it falls on our shoulders as content creators because
00:03.600: Well, I'm just glad, you know, with WWDC, you know, Apple made a lot of announcements where it looks like they're finally improving on their whole cloud, you know, thing.
00:03.600: Oh, no.
00:03.680: No, you never you rarely edit stuff.
00:03.680: Okay, so a web-based viral repurposing stuff like that.
00:03.680: I'm going to replace.
00:03.680: Where all my money go?
00:03.760: Right.
00:03.760: But on the last episode with Tom LaRue from from Ottawa, and he was it it uh it was a great
00:03.760: Nobody has told me anything.
00:03.760: I've been keeping, I keep putting it off.
00:03.760: It is our compression tool of choice.
00:03.760: But that's just another thing that could break.
00:03.760: All right, thanks.
00:03.840: It's a good idea.
00:03.840: You could save a half a day or a full day maybe if more organized, you know?
00:03.840: Okay, I'm gonna let everybody all the listeners in on a little secret here.
00:03.920: How you digging Final Cut 10?
00:03.920: And again, I give them to you out of order.
00:03.920: Yeah, I should be able to drag it down below the color boards.
00:03.920: And I think some people may not realize that.
00:03.920: They actually sent me a license to the Core Melt bundle.
00:03.920: But the politics in some of those businesses, when you're dealing with the big studios, it's immutable.
00:03.920: But what do you think?
00:03.920: So I just did 'em I for songs that I had, I had like hundreds of cassettes of hip hop cassettes.
00:03.920: It's a different show, right.
00:04.000: And so I was like, I wasn't I know you can do you can probably using you know the the kind of color board within 10
00:04.000: Well, that's the problem, right?
00:04.000: I know, it's insane.
00:04.000: Because there's like $2,000 worth of plug-ins in this thing.
00:04.000: What I mean, what kind of feedback have you got on the show?
00:04.000: And there's obviously like maybe I you know, I learn very slow.
00:04.000: I'm not going to walk away from After Effects this week.
00:04.000: And that's it.
00:04.080: And when you excuse me, when you get your mind around the plus-minus thing, being able to push a puck up or pull it down
00:04.080: Oh, oh, okay, I get it.
00:04.080: Hopefully, that's going to come out.
00:04.080: Yes, and it is important that like if you don't know where you came from, you won't know where you're going.
00:04.080: So that was like the year before I got started doing volunteering at my college's television station.
00:04.080: XML In and Out of Logic is supposed to be pretty good.
00:04.080: I've been using Audition to record all these shows.
00:04.080: They're going to say, I've invested so much.
00:04.080: In those days, you can't use it.
00:04.160: What?
00:04.160: Yeah.
00:04.160: And it's interesting to listen to somebody, you know, it's just like anything when you watch over somebody's shoulder who really knows what they're doing, you learn stuff all the time.
00:04.160: So if I pan across the sky and a tree is, and a tree is.
00:04.160: It's got a few parameters.
00:04.160: No, I'm not that that's the thing.
00:04.160: I definitely need some help with it.
00:04.160: As I said in the interview, I think that was my first face-to-face for this
00:04.240: I'm not looking at a calendar, I could be wrong.
00:04.240: Yeah, last time you were here, you had your Evernote going crazy.
00:04.240: But you know, they they needed to have the tempo sped up.
00:04.240: Well, true.
00:04.240: I think it is it's a safe assumption that we will see tracking inside of Final Cut 10.
00:04.240: I think this Thursday, Z.
00:04.320: Yeah, because we've actually had to do it.
00:04.320: And it's hard.
00:04.320: But it is important to remember that you can keyframe it.
00:04.320: But even now, this second version, if you will, of CC, it's still it still feels almost kind of clunky in comparison to Ten or even Media Composer to me.
00:04.320: Although I know you have that workflow that you it works great for me.
00:04.400: This is 058 with Eric Wise.
00:04.400: I know him from SF Cutters.
00:04.400: But it's spelled the same forward and backward.
00:04.400: So, yeah, basically, they repurpose.
00:04.400: Yeah.
00:04.400: What are some of the things that you've been excited about?
00:04.400: That way, you don't even have to go to your Gmail or your whatever or your email service because
00:04.400: You've been grilled.
00:04.480: I might be able to s uh squeeze one in.
00:04.480: Yeah, yeah.
00:04.480: Where's Alex?
00:04.480: But I also have procedures in there too, how to do things.
00:04.480: Yeah, it looks like a key.
00:04.480: So I think that's a huge flaw in their architecture.
00:04.480: I got a comment about that, but go ahead and okay, I will listen.
00:04.480: Now, if we were in the Premiere world, we would do open in dynamic link, open in Premiere After Effects thing, whatever.
00:04.480: So they have a lot of plug-ins and scripts for After Effects and where you can do this kind of thing.
00:04.480: And don't get me wrong, because I've always been anti-plugins.
00:04.480: They look at it in a web browser and they can make comments on it per frame.
00:04.480: You're always good at coming up with those things.
00:04.480: I like knowing somebody's history.
00:04.480: It's definitely worth looking into.
00:04.560: So you have your own login at the desktop level.
00:04.560: I'm so sorry, people.
00:04.560: I mean, you know, I don't know.
00:04.560: It feels very uh uh very fashion forward as
00:04.560: You can actually put in your Dropbox information.
00:04.560: Well, that whole month is going to be on color on Swiss fine.
00:04.640: Right.
00:04.640: I think you can.
00:04.640: It it was weird.
00:04.640: One is called sequences, one is called noise, one is called media, and one is called graphics.
00:04.640: They've been around, but now they're finally on the Mac.
00:04.640: I'm just really you're just out there just playing with everything, aren't you?
00:04.640: Oh, you brought notes for an interview?
00:04.720: Does it do one of those on-screen curve editors?
00:04.720: And I was like, wow, this is a difference between great code and good code.
00:04.720: You know, I mean, it is a great tool.
00:04.720: I mean, XML, for God's sake.
00:04.720: Feel free to go to the iTunes and leave comments.
00:04.800: Is a lot of stuff like locked down?
00:04.800: It just feels the same.
00:04.800: But you know, so but that project was interesting on getting back to the project I just did because
00:04.800: I said, in these ways.
00:04.800: Crazy.
00:04.800: And I'm like, why?
00:04.880: A lot of travel and last minute stuff for that.
00:04.880: Um, big fan of uh what what's the thing called?
00:04.880: Let's go now to the interview with Splice Vine himself, Eric Wise.
00:04.880: Boom!
00:04.880: You know the password to all the machines here.
00:04.880: Yeah, it would be such a pain if I have to go in the keyboard manager every time and
00:04.880: So promos for some shows that were, you know, that this one company they make and so I had to do a kind of real sizzly stuff.
00:04.880: I would take a memory stick just because it's uni it's
00:04.880: Okay, it's color, but I guess let's say you need to track a logo or something.
00:04.880: Do you see Pro Shay?
00:04.880: Why?
00:04.960: So I pre-build those, and all I do, so when I sit down at your hard drive.
00:04.960: Rule number one of podcasting.
00:04.960: I want to show you what I think is the coolest example of what can be done with motion as a plug-in generation tool.
00:04.960: Right.
00:04.960: And of course, just I always say this, and I know this probably isn't like, you know, I don't want to sound sexist, but like, I always say, like,
00:04.960: I mean we were there when we did the Resolve 11 demo like a month ago.
00:04.960: Good night.
00:04.960: Okay.
00:04.960: German.
00:04.960: Yeah, that's going to happen.
00:04.960: And if you have not heard episode, I believe it was 56 now, actually 45 and 56 with
00:05.040: And delete.
00:05.040: This won't come out.
00:05.040: And this is a question I've asked people many times.
00:05.120: How much different if you have a if you can't see this look on my face.
00:05.120: 95.
00:05.120: Where's my retirement?
00:05.120: Yeah, yeah.
00:05.120: Right.
00:05.120: Supposed to come out, Resolve 11, supposed to come out this month.
00:05.120: I don't know, does Avid do that as smoothly?
00:05.120: Even though I've been using it, I wanted to kind of fill in any holes I might have had.
00:05.120: The inertia of just these old school tools.
00:05.120: However, this is 2014.
00:05.200: It's like maybe you get to oh, three hundred dollars, but by the time you you buy Slice X and all these other things.
00:05.200: Well, just the user excuse me, the user experience feels great.
00:05.200: They're like a review and approval like Screenlight or WireDrive.
00:05.280: Wait, am I supposed to hear myself?
00:05.280: Uh what like what kinds of projects?
00:05.280: Now, were you doing it just for the BPM or for the TRT of the whole piece?
00:05.280: I know, I know.
00:05.280: You're going to turn on new moot.
00:05.280: I haven't used Media Composer in like a year now.
00:05.280: No, no, no.
00:05.280: iTunes on the PC doesn't work as well as it does on the Mac.
00:05.280: There's no tracks.
00:05.280: Okay.
00:05.280: I appreciate it.
00:05.360: I'm going to go have my guy, like, like, fix it.
00:05.360: I did I did a video for them like an old West free-for-all
00:05.360: So it's good to have it on your thumb drive.
00:05.360: You might have it next.
00:05.360: Where you know, I know at the end you're going to say, What could you say to the developers?
00:05.360: And I think so often we as users are like, well, I come, this isn't, I want holograms in Final Cut.
00:05.360: Boop, boop, boop.
00:05.360: I can say that, 'cause I'm not young.
00:05.360: Oh, yeah, I wanna keep saying, I don't know what you're gonna say.
00:05.440: But no, your way is good too because
00:05.440: And it seems really obvious the first time you've done it.
00:05.440: Anybody I know at Apple would never say anything to me anyway.
00:05.440: It does swishes and pans and rack focuses and
00:05.440: But it's fifty bucks, Eric
00:05.440: And he said, Yeah, it feels like the future in a way or whatnot.
00:05.520: And so, and I'm like, well, why are you listening anyway?
00:05.520: And I don't think we talked about this when he was on the show, but
00:05.520: And we were talking, we got really deep into the whole proxy workflow.
00:05.520: Yeah.
00:05.520: So but um what I will say instead of giving my whole history of how I started, there was actually a big
00:05.600: You say you're going to, but then I know that's usually a mistake.
00:05.600: It when you log in.
00:05.600: I think that more often than not
00:05.600: So it was good when I found that out.
00:05.600: That you can, like, yep, yep, yep, making changes, making changes, whatever.
00:05.600: You know, I mean, that's like.
00:05.600: And also, I don't know if you guys caught this, but this last week on Pixel Core
00:05.680: Yeah.
00:05.680: One and a quarter inch floppy.
00:05.680: And they are not sponsors of the show, but I would like them to be.
00:05.680: So it's this three way wipe thing.
00:05.680: I think you can even draw on the frame and annotate things.
00:05.680: And I think, and I think what we're, you and I are both talking about the same thing.
00:05.680: And that I love the fact that Apple is going out on a limb and saying, yep, we're just going to make it better.
00:05.680: At this point, dude, I'm not even trying to convince people anymore.
00:05.680: Sorry.
00:05.680: Really?
00:05.680: So I will be dealing with stuff for Gordon this coming week.
00:05.760: So I'm just going to tell you right flat out, I may actually not have a show
00:05.760: Okay.
00:05.760: I would love to have you show me that someday.
00:05.760: You know, like you use a symbol or a switch or you do
00:05.760: Like, you want to be able to say, Yes, I can do it.
00:05.760: So the thing about sentiment, a lot of times, I believe, I believe
00:05.760: Here's an example where you might want to send emotion.
00:05.760: Yeah, yeah, that's true.
00:05.760: But uh, yeah, no, it's true.
00:05.760: You know, the German.
00:05.760: And so, um
00:05.840: Yeah, I've never thought of it.
00:05.840: Did I say that right?
00:05.840: Yesterday was Cutters.
00:05.840: I don't even know how people do that.
00:05.840: I don't even know what net net means, but I hear Bernley Mann say that all the time, so I felt like saying it.
00:05.840: Because if you realize how much time we really spend on your project trying to find media or whatnot or communicating with Gmail threads that go.
00:05.840: Well, no, I mean, and it's it's fair because I know that
00:05.840: I didn't realize that was going to be such a universal answer.
00:05.920: Yeah, it's easy to do that and I feel like in um in Ableton Live.
00:05.920: I know, I know.
00:05.920: And so I do want to say that.
00:05.920: I want to just see what's native there that I don't need to buy.
00:05.920: I didn't know that.
00:05.920: I go, Well, I don't know.
00:05.920: That's it for this episode.
00:06.000: First of all, and I had this conversation just last on the last episode, I should say.
00:06.000: You hit that little plus sign.
00:06.000: I don't think so, dude.
00:06.000: Because this this is a show, I mean, this is the land of misfit toys here, right?
00:06.080: So I can change the cue by going left and right.
00:06.080: Yes, yeah.
00:06.080: You know, he does stuff like that all the time.
00:06.080: He's like, Cool, yeah, let's do it.
00:06.080: It's their whole workflow of
00:06.080: When I know your history, I connect with you.
00:06.080: Well, I mean, this goes down with everything that I've always said.
00:06.080: Thank God for XML, right?
00:06.080: It's not Splice Vine?
00:06.160: I'm loving it.
00:06.160: So but the final cut keyboard shortcuts are saved at the user level.
00:06.160: Or sometimes they can create shows out of like feeds of AP or even Time has some
00:06.160: And so, yeah, you really do have to like switch your brain.
00:06.160: I know what he's going to say.
00:06.160: It's gone.
00:06.160: I can log on, I can pull it in, I can do the thing.
00:06.160: I used to make click tapes
00:06.160: It's worth it.
00:06.160: I use Media Encoder every day, multiple times.
00:06.240: He's been on Digital Cinema Cafe.
00:06.240: No, basically, in my, I have an Evernote note, and it is basically FCP notes, and it's like.
00:06.240: Yeah.
00:06.240: You know, like the house tours that we do, a lot of times.
00:06.240: I think that's an issue.
00:06.240: Or text messages or phone calls or whatever it is.
00:06.240: I will ask you the official last question: what would you change in Final Cut?
00:06.240: I mean, what so since you know they don't have soundtrack anymore, whatever.
00:06.240: What would you say to an editor that's thinking about going to Premiere or going to Media Composer that has a similar paradigm?
00:06.320: So we're going to talk to him about that.
00:06.320: Now, this is the Monday.
00:06.320: That's why there are no cheat sheets.
00:06.320: How big is yours?
00:06.320: I'm like, oh, yeah, it does have that button over there.
00:06.320: I got to get this pro-shake thing.
00:06.320: And I mean, so it's just, you know, just, you know, stuff happens.
00:06.320: That's one thing I don't want to do is talk about, ah, when I got started, we had to use
00:06.320: Per track, as opposed to just making them all the same.
00:06.320: I think it makes it worth looking into.
00:06.400: It's it's for it's it's for it's a web base.
00:06.400: And he totally admitted.
00:06.400: Yeah.
00:06.400: Well, it could break, but it could work too.
00:06.400: Like, horses will still work.
00:06.400: You know.
00:06.400: But I feel like I want to use it.
00:06.480: I mean, that's what you can turn it up.
00:06.480: Right.
00:06.480: But yeah, it's like, well, this is the way we do it.
00:06.480: I know.
00:06.480: It's a deadline.
00:06.560: We did a a sit-down with an older gentleman.
00:06.560: And then inside each one of those folders is a series of
00:06.560: Pixel Film Studios?
00:06.560: You go to a shop and they don't have it.
00:06.560: But now it's like, well, I'm not going to learn 10.
00:06.560: Okay?
00:06.560: Okay, well, you know what I mean.
00:06.560: Yeah.
00:06.640: And this is
00:06.640: And to so to install it, it was like, oh, we got to call the mothership, and some guy sc
00:06.640: I don't know that for a fact, and we could test it here in a second, but I don't want to bother.
00:06.640: Because it's the same place
00:06.640: And now I'm set.
00:06.640: It is the app store for visual effects for your final cut because it's so easy to log on.
00:06.640: A Cutter's.
00:06.640: There are ways to get your your Final Katen time lines into After Effects.
00:06.720: Like, if you want to do it, absolutely.
00:06.720: I mean um well, color mask is automatically tracked because it's color.
00:06.720: I know you can track things in motion.
00:06.720: But I think that when you look at the architecture of motion, right, and you look at the fact that you can make titles and you look at the fact that you can make
00:06.720: When Steve first moved from
00:06.720: And right there at the bottom, there's a little pop-up menu.
00:06.720: And so that's the thing.
00:06.800: I love them, but they they they they weren't set up or whatever.
00:06.800: Yeah, just to get it a quicker feel.
00:06.800: Okay, click on that.
00:06.800: But that sort of aggro look, Steve does that stuff in After Effects all the time.
00:06.800: You know?
00:06.800: I that
00:06.800: You're trying to take over the show?
00:06.800: Hey, well, there you have it.
00:06.880: So what I use sometimes when is the song is too slow, and I think the the BPM needs to be faster.
00:06.880: And it's also a movie by Todd Solance.
00:06.880: You know, because
00:06.880: At least the ringer wasn't on.
00:06.880: You're right, there's no tracker
00:06.880: And sure enough, it's like, you know, and I agree.
00:06.880: Oh my goodness, it almost doubles my compression speeds.
00:06.880: And so you have to be super precise when you hit the like record, pause, record, pause, and you basically put together a whole
00:06.960: Oh, uh, yeah.
00:06.960: Well, it's in my it's in my Evernote too.
00:06.960: I was like, I could not work in that environment.
00:06.960: And by speeding him up a little bit, he would feel a little bit younger.
00:06.960: I spit it off.
00:06.960: That's better than all of the other ones.
00:06.960: And I walked over to the lunch table here at Slice and
00:06.960: So it's like you're making a mix, but instead of it being a dissolve, actually using the pause.
00:06.960: Really?
00:07.040: It just goes back and forth.
00:07.040: Stop it a loop.
00:07.040: Did you know about the button in CC where you can choose to send stuff through the GPU?
00:07.120: And you do that kind of stuff in Ableton?
00:07.120: I'm sure it's great.
00:07.120: Absolutely.
00:07.120: Yeah, but still motion is fifty bucks.
00:07.120: And so here's the thing about FX Factory, which I love, but the problem.
00:07.120: Although I will say, we have a mutual friend, Mike Woodworth, who his company, Divergent Media.
00:07.120: I'm early in my forties, you know.
00:07.120: And then I think we're going to
00:07.120: com.
00:07.120: We'll be back again, like I said in the intro.
00:07.200: Just worked on a project today.
00:07.200: It's like,
00:07.200: And I have, I have, ooh, I love it.
00:07.200: 64 gigs.
00:07.200: Right, right, right.
00:07.200: I mean, I've dealt with a lot of After Effects artists over the years where you get files and you're like, ugh
00:07.200: And now that I'm done with the project, I'll turn that feature back on.
00:07.200: Although I will say too, I
00:07.200: And that meant he could unplug from his RAID and walk down to the set and go over stuff with the with the director.
00:07.200: I hope you saw it.
00:07.280: Sometimes it's repurposing of like
00:07.280: And that event would be called template.
00:07.280: So it's just like, really?
00:07.280: Because I deal with corporate America, and that's their tool.
00:07.280: You know, so anyway.
00:07.280: So we talked about, yeah, what he's doing there and his gear and his clients.
00:07.360: And so I just you know, I have little cheats when when
00:07.360: So I in that memory stick, or okay, I know you're laughing at me on my Dropbox or whatever, I would have
00:07.360: You know what I have that I've been loving lately?
00:07.360: Yeah, I went online and it's all kind of stuff about how it is
00:07.360: Another thing, and this is not a final cut thing, but this is something that I just learned just this week.
00:07.360: Well, yeah, that, but I guess what I meant was: I want the people that hire us.
00:07.360: Oh, right, that's Adobe.
00:07.360: Okay, know they listen.
00:07.440: Yeah.
00:07.440: Oh, oh, whoa.
00:07.440: That's what we do.
00:07.440: Well, what did they announce?
00:07.440: You can quote unquote email a 10-gig file.
00:07.440: I just you know, I I just like to be quick about it when I say, Okay, here's the my
00:07.440: But
00:07.440: Well, just XML.
00:07.440: None anymore.
00:07.440: Hmm.
00:07.520: I know what he said.
00:07.520: Well, and here's a point, another point I want to make about the cons of plugins, right?
00:07.600: Yep.
00:07.600: I think it might be able to do it in ten.
00:07.600: I'm like, okay.
00:07.600: Yeah.
00:07.600: Clean, keep watching.
00:07.600: It'd be a circle.
00:07.600: But anything else?
00:07.600: I appreciate everything that you do.
00:07.680: I doubt I doubt I'll get to two.
00:07.680: Yeah.
00:07.680: Because I know now you can speed up
00:07.680: And some people will spell all that out.
00:07.680: And then my third color board is usually reserved just for a vignette.
00:07.680: I bought one from them on a job I did for down in I was doing a face a show down in LA last week.
00:07.680: So, um, so what have you
00:07.680: What do you think about the what
00:07.680: 264 or whatever animation and turn them into like ProRes or DNXHD.
00:07.680: But
00:07.680: So now I'm actually glad they don't have Cinder Compressor in Final Cut anymore.
00:07.680: I was just having this discussion the other day around the office here and I said that, you know
00:07.680: You know, we that's what we do.
00:07.680: I guess the only reason why I've never used logic is because it's it to me it's like a really dense, deep
00:07.680: And you just did an interview with Alex, Alex McLean, your co host of DCC.
00:07.760: So, but yeah, so.
00:07.760: And they're using Final Cut 10 there?
00:07.760: I can't remember if he did it after the show or during the show.
00:07.760: To my plugin folder.
00:07.760: But at my level, where I'm working, where I get to control my own destiny,
00:07.760: I don't know how people do that stuff.
00:07.760: I know, but any day now, the OS is going to change and going to make it.
00:07.840: I'm loving it.
00:07.840: Have you stepped?
00:07.840: But I mean, it's true, right?
00:07.840: So it's it's kind of it's it's still anyone's guess nowadays, but it's just tough
00:07.840: And the editor gets an email and he double-clicks on it.
00:07.840: And they will sit down with you as an editor and say, okay, this is what we're going to fix.
00:07.840: But I like to own my software.
00:07.840: Another episode of The Grill with Eric Weiss.
00:07.920: So I apologize for that.
00:07.920: And on that one, I will do
00:07.920: I've seen all the other ones.
00:07.920: They
00:07.920: That's what I hear.
00:07.920: Why would I go to 10?
00:07.920: No, I mean, obviously, I mean, you look at Pixel Film Studios, those guys are using motion and they're doing amazing stuff with it.
00:07.920: I always appreciate hearing those.
00:08.000: You keep talking.
00:08.000: Yeah.
00:08.000: I click on comment number two, my playhead jumps there.
00:08.000: You want to talk about Final Cut now?
00:08.000: Well, if I was sending it to a Pro Tools person or whatever, I would probably
00:08.000: Well, I have used no, I have used Motion to make a few
00:08.000: I think it'll be on YouTube.
00:08.080: Okay, I got to do a little math here.
00:08.080: Yeah.
00:08.080: I think that thing looks cool.
00:08.080: I don't know.
00:08.080: And I totally get that.
00:08.080: Right, right.
00:08.080: You know what I mean?
00:08.080: I am so happy with Final Cut 10 right now.
00:08.080: Crazy town.
00:08.160: The Evernote.
00:08.160: Because if you like the music, but I was like, okay, I can use this, but I need to speed this up so that it that it moves more.
00:08.160: Oh.
00:08.160: And so, yeah, I mean, I've just never had to deal, I've never.
00:08.160: It doesn't matter.
00:08.160: And I looked at that and I and I looked at some of the variations.
00:08.160: And what's a big problem this happens all the time and with like trap code, right?
00:08.160: Yeah, okay.
00:08.160: So you keep all the media.
00:08.160: And that buffer between the decision makers and the editor
00:08.240: Really?
00:08.240: Because quite frankly, a typical shot for me, a typical shot has
00:08.240: Okay, what's your color mask?
00:08.240: And that's what I learned on, and that's what I use for, that's what I really cut my teeth on.
00:08.240: Does
00:08.240: Have you ever played with Adobe's
00:08.240: But they're real people that are having real problems and real issues and real success stories.
00:08.240: That doesn't make any sense.
00:08.320: One second.
00:08.320: Yeah.
00:08.320: I can't track a mask?
00:08.320: We're like little.
00:08.320: And I was like, well, um
00:08.400: You can keyframe a map.
00:08.400: He did he did this thing for
00:08.400: Yes, I don't
00:08.400: And back then, at least, and certainly now, it was great code.
00:08.400: So you got to just say
00:08.480: Oh, I gotta clean that up later.
00:08.480: Yeah, I just, uh, you know, one of our big clients.
00:08.480: Sometimes it might be a while before I do image stabilization or something.
00:08.480: Really?
00:08.480: I'm going to write this down in the show notes.
00:08.480: I don't care.
00:08.480: Right.
00:08.480: Oh, really?
00:08.560: I don't think we mentioned Premium Beat in the interview.
00:08.560: And you were like, oh, I can't remember this.
00:08.560: That day of
00:08.560: It's a little old CD, and I don't know.
00:08.640: I mean, it's all right.
00:08.640: Or a floppy or a zip disc or a jazz drive.
00:08.640: Any other feature?
00:08.720: But it does take a certain amount of.
00:08.720: So to be clear.
00:08.720: I'm going to wait for 11 to come off because it looks completely different now, right?
00:08.800: It was funny too, because a guy came in.
00:08.800: Correct.
00:08.800: Okay.
00:08.800: But what bugs me is when you put the broadcast safe
00:08.800: It has a big red word on it.
00:08.800: It's very cool.
00:08.800: You know, I still say one of my favorite plug-ins is his Gro Shriek Shrink plug-in.
00:08.800: But once we like really convince and show like potential employers or producers or whatever,
00:08.800: I didn't.
00:08.800: I know what I want to say.
00:08.880: And and plus they s they save the user settings where I'm at too because it saves it across the network.
00:08.880: So
00:08.880: Isn't that insane?
00:08.880: It's $29.
00:08.960: Yeah.
00:08.960: Go ahead.
00:08.960: And if it wasn't that their stuff looks so cool, I would be really annoyed.
00:08.960: It says
00:08.960: Okay, now you save it and you go, yeah, yeah, reply back.
00:08.960: You want to go use Premiere?
00:09.040: Um Alex and Eric are totally into that thing.
00:09.040: Yeah, well, I know I do it in the NLEs.
00:09.040: Kind of like so i i in linguistics, a palindrome is a word that
00:09.040: I bought the you know Lacie makes this little
00:09.040: And then they show how you bring all of that is done with adjustment layers.
00:09.040: It's very cool.
00:09.040: See how, since I'm a freelancer, I just jumped to a whole nother.
00:09.040: Because there's a whole different paradigm
00:09.040: What about just Pro-Res?
00:09.040: Anyway, later, later.
00:09.120: And he goes, I'm a voracious podcast consumer.
00:09.120: What we're going to destroy our perfect acoustics here.
00:09.120: Right.
00:09.120: Yes, but is it the best way?
00:09.120: Yeah.
00:09.120: Yeah, look.
00:09.120: So the five participants were sitting face to face, but the virtual portion was all of us watching.
00:09.200: Yeah, I just came off a a project where I was just knee deep in it and
00:09.200: So here's that's another thing, all right?
00:09.200: I have no idea.
00:09.280: And
00:09.280: They're called net to net I guess I can
00:09.280: I know I want one that finds all my compound clips.
00:09.280: Yeah, no, I can't wait to use it either.
00:09.280: I've never heard that.
00:09.360: Tomorrow's the
00:09.360: Um and and it has a
00:09.360: Have you been, is your mailbox filled with emails from Pixel Film Studios like mine is?
00:09.360: Let's do it in audition.
00:09.440: I think so.
00:09.440: And you're you're
00:09.440: Now I know you can speed things up.
00:09.440: It's like, oh, come on, A1.
00:09.440: Let's talk about it.
00:09.440: I feel like Premiere has come a long way compared to like even five point five.
00:09.440: I don't have send to After Effects yet.
00:09.520: 95 now, but it's normally $50.
00:09.520: Plug-ins are plug-ins can be a problem.
00:09.520: They have a lot of good stuff here, it seems.
00:09.520: I mean, it's like
00:09.520: That's cool.
00:09.520: Oh, absolutely.
00:09.520: I don't know, just because I'm
00:09.600: Let me just because some people they don't, they still mean that.
00:09.600: I just wish she could analyze, you know, whatever.
00:09.600: Like, I still like all right, so yes, ProShake is awesome, he does a great job, but it's
00:09.600: Very cool.
00:09.600: And I think you and Jesse were talking about
00:09.680: I just.
00:09.680: I may not have shows this coming weekend, but
00:09.760: How do you match that?
00:09.760: Oh, you hand me a card of files, guess what I'm gonna do?
00:09.920: And then.
00:09.920: We're dealing with people that respond via email because that's their tool.
00:09.920: Yeah.
00:09.920: I know.
00:09.920: Don't forget Premium Beats as our sponsor.
00:10.000: Never do.
00:10.000: Yeah, so it looks just like your keys.
00:10.000: Very cool.
00:10.080: I don't know how you do that.
00:10.080: No, I can't.
00:10.080: Have you heard me talk about send to motion?
00:10.080: You know, where is my Apple-branded Michael J.
00:10.160: They don't see all the other things that are really powerful.
00:10.160: And I like them better.
00:10.160: And that's what I was going to say.
00:10.160: Go for it.
00:10.240: I mean, seriously.
00:10.240: iCloud looks like it might actually be working better now.
00:10.240: But at least it's on there.
00:10.240: And again.
00:10.240: I use After Effects almost every day.
00:10.240: Maybe I'll put it in the show notes if I can find that.
00:10.320: Nice.
00:10.320: Anyway, so how do we get onto that?
00:10.400: Okay, you know, I don't have all the biggest names people on this show.
00:10.480: I mean, I guess sometimes you do.
00:10.560: I'm not going to say his name.
00:10.560: And you had your little cheat sheet going.
00:10.560: I don't want to slow down.
00:10.560: Okay.
00:10.560: Yeah, hav now I I gotta I I wanna confess to the people at Cormel,
00:10.560: If I was Dropbox, I'd be nervous right now, you know.
00:10.560: Hey, so.
00:10.720: You know, I
00:10.800: No, let's thank goodness.
00:10.800: But I got news for you.
00:10.960: Done.
00:11.040: So I'm like, done.
00:11.040: I'm the same way.
00:11.120: I when I speed things up in ten, it's
00:11.120: Okay.
00:11.120: What is this one called?
00:11.120: Oh, yeah, that's the one I'm.
00:11.120: Right.
00:11.200: I hope it didn't sound like I'm bagging on them.
00:11.200: Yeah, yeah, definitely.
00:11.280: And I think that you can.
00:11.360: I'm not saying it's not.
00:11.360: I showed him that plug-in the other day and he's like, Wow.
00:11.360: A lot of them are
00:11.360: Because we all know the pros, right?
00:11.440: Very cool.
00:11.520: I recorded it last night.
00:11.520: Is it
00:11.520: I feel like I
00:11.600: So
00:11.600: Yeah.
00:11.680: No, I'm just saying that.
00:11.760: You tell me.
00:11.760: Then wait, did I quit Final Cut over here?
00:11.760: It's keying off the color in the frame.
00:11.760: I just
00:11.840: Blessing and a curse.
00:11.840: So who knows?
00:11.920: Is it costy?
00:11.920: So I have.
00:11.920: Yeah.
00:12.000: I still don't really get it.
00:12.000: It's as simple as that.
00:12.000: It seems to me that with
00:12.000: If you said audition, you meant logic.
00:12.080: So.
00:12.160: I know I mentioned it.
00:12.160: RGB levels and Curves.
00:12.160: Vox signature hoverboard?
00:12.320: Thirty bucks, done.
00:12.320: I don't know.
00:12.320: Okay.
00:12.400: But, um,
00:12.400: It's basically got.
00:12.400: Maybe it'll be Final Cut on the H P
00:12.400: All right.
00:12.480: So, hey man, you uh you you uh
00:12.480: Okay.
00:12.480: It makes our lives easier.
00:12.480: What's it cost?
00:12.560: I'm just saying, but the
00:12.640: Unless I'm in a pure cutting session.
00:12.720: Now
00:12.720: Yeah, you have to be really so.
00:12.800: But it but
00:12.800: I'm gonna start my process.
00:12.800: Oh, I didn't know that.
00:13.040: And
00:13.120: Okay.
00:13.280: So every time I log in,
00:13.280: And when's that come out?
00:13.600: Mm-hmm.
00:13.600: I used it about
00:13.680: Okay.
00:13.760: Exactly.
00:13.920: Like
00:14.240: And it's like this.