Episode 60
FCG060 - Portable DIT & 10.1.2 (feat. Sam Mestman)
10.1.2 is out and Sam and I touch on it but So much more. 12 Core vs. 8 Core. Spatial Conform. Some new 10.1.2 features for pros. Also, Sam announces his new Keyboard mapping for Tangent Element Surfaces and FCPX, available exclusively thru FCP Works. delete move and optimized media where ever you want and consolidate
Download
Featuring
- Chris Fenwick
- Sam Mestman - fcpworks.com - @sammestman
Transcription
00:00.001: I mean the important the important thing is understanding that spatial conform because I think to most people that's just this mystery tab that I don't know what that means.
00:00.001: I mean, this has the monitor built in, and you just go set up, and you can do whatever tests you need.
00:00.001: I think at this point.
00:00.001: Because we use tangent elements and it's a product that we like at FCP Works and all of that.
00:00.080: So Sam, good morning.
00:00.160: uh we get into a little bit of like the spatial conform and some some some chat about 10.
00:00.160: I mean, I talked to a lot of people, you know, that were at N and B and they were like, Well, how come any you know, how come Vote Cut didn't make a better showing?
00:00.160: I don't even know how you find out about those things.
00:00.160: What the DIT station basically allows you to do is, you know, I know if you've been on some of these sets, they have this cart there, and they like, you know, you roll this thing on, and then people are like, well, what does that guy do?
00:00.160: What?
00:00.160: Premium Beat, and they have been awesome at uh supporting this show.
00:00.160: Um, yeah, you mentioned red bar.
00:00.160: Yeah, it's not nearly as disastrous or potentially disastrous as it was from going from 10.
00:00.160: Let's say, for example, I wanted to send an XML to another machine of everything in this library.
00:00.160: And I might as well just break the news.
00:00.160: I type in tangent element and everything on the first page is actually the tangent element.
00:00.160: And then he went in and showed me the tangent mapper, which you can do this for any application basically based on key presses and you just map the individual buttons on the control surface.
00:00.160: I went through and I had a basically pretty standard mapping that was really pretty cool.
00:00.160: For them.
00:00.160: Very cool.
00:00.160: But I gotta say, I'm very intrigued by having you know the extra buttons and the shuttle thing.
00:00.160: So, anyway, that's this episode of Final Cut Grill.
00:00.160: You know what I'm talking about.
00:00.240: If only I could figure out how to record conversations while I drive, it'd be awesome.
00:00.240: They basically built a magic desk with five monitors and mice around it where everybody could talk to the same time line.
00:00.240: Are him testing another feature of Hangouts on Air in the middle of the night?
00:00.240: I mean, we deal with this in around the office.
00:00.240: Yeah, it's pretty cool.
00:00.240: There was great information because, like, the stuff you guys were showing in your suite was crazy cool.
00:00.240: a producer will come back and they'll just say, yeah, we they told us we'd just be able to fix this and post.
00:00.240: I don't know if you've ever heard me tell the story, but literally one time in an edit, a woman was sitting behind me and I said,
00:00.240: For us, what this product opens up is basically you're allowed, you put a new Mac Pro inside of it.
00:00.240: Which is kind of the same thing.
00:00.240: So based on that, is going to decide how much more powerful your machine is based on the number of cores that are in there.
00:00.240: But there's also a certain amount of overhead that is tied up when you take a process and divvy it up into 12 little bits and send it out to the 12 cores.
00:00.240: So like for straight math, you know, for the way someone was talking to me about it was based on math problems, right?
00:00.240: the less exact the science, I guess.
00:00.240: I guess the more impurities or something in terms of pure processing power that are then being introduced in terms of the way the computer thinks, and you have those resources splitting out to other places.
00:00.240: You're going to see, based on your processor speed and your graphics cards and the amount of RAM that you have, a cache for how much you can watch before you're going to need it to cache again, right?
00:00.240: And then you're going to have to wait before you can continue playing back.
00:00.240: And then you add processor speed on top of that.
00:00.240: That Foldy Bayer playback is now practical, if that makes sense.
00:00.240: You know, cut some of that stuff into the timeline, and it's going to be a 6K timeline, but it's actually really going to be a 3K timeline because the proxies are a half-size.
00:00.240: I might have to launch the software.
00:00.240: Now, there's some interesting stuff in there, by the way, which so basically there's a couple tricks I can tell you about spatial conform.
00:00.240: Well, if you look at their inspectors, they're practically identical on OCAT 10.
00:00.240: Or actually, Final Cut to Da Vinci Resolve video where I literally tested the different things that were and weren't going to work, and I just kind of run the same test every time.
00:00.240: Does that make sense?
00:00.240: When you put it at fill, it's actually no, I think it's always going to be letterbox.
00:00.240: Go check out their site.
00:00.240: So, anyway, Sam, you back yet?
00:00.240: You know, at 1920 by 1080, and you're like, you know, 2K by 1080, or you're at like 2048 by 1152, and you know that you're finis
00:00.240: And it's just going to play the one-to-one from the pixels, and you can adjust your, you know, for the extra resolution that you had around it.
00:00.240: Some people want the PCI cards versus the Ultra Studio 4K, for instance, which I can completely understand because the Ultra Studio 4K is deafeningly loud.
00:00.240: And the HDMI is on the same bus as the bottom two.
00:00.240: Tell me what you have discovered, found, find interesting with 10.
00:00.240: what, the twenty seventh um of June.
00:00.240: Put your proxy and optimized media wherever you want.
00:00.240: Go in, and you'd say, Oh, I want to put my audio waveforms here, and I want to put my renders here.
00:00.240: Which is because we've never really been able to work this way, where you've been able to
00:00.240: You know, for me, I'm thinking in terms of data asset management and that sort of thing.
00:00.240: I'm sorry, here's what I'm actually thinking.
00:00.240: It's a very easy way to do that because you can just export it out, and like it's just going to bring in all of those events into a larger library.
00:00.240: Yes, I knew you were going to say that, and I'm going to one-up you one more thing.
00:00.240: And immediately, that was the first thing I did.
00:00.240: Because that was one of the first things.
00:00.240: That stuff, and I was going through, and it was working great.
00:00.240: The tangent element comes in four parts.
00:00.240: At any rate, it's a four-part thing.
00:00.240: Hold on.
00:00.240: I had about 48 commands pretty much mapped with this thing.
00:00.240: I created like 11 different modes for Final Cut.
00:00.240: Of the four modules, the f the one I'm looking at on the Tangent website, the far right one, which is the shuttle, it has twelve buttons and a fourth wheel, if you will, for shuttling.
00:00.240: And it also has some shuttle buttons.
00:00.240: Yeah.
00:00.240: Yeah, so I'm working on it.
00:00.240: Okay, and so how do people is this like a product you're selling?
00:00.240: give you I'm going to put out the mapping for free for this regardless.
00:00.240: All right.
00:00.240: our little baby here, our Final Cloud ten, get more and more entrenched into more pro applications.
00:00.320: And it was great.
00:00.320: and we were able to just in a few minutes go find some good bits on on Premium Beat.
00:00.320: So today is Monday, July, Tuesday, July 1st.
00:00.320: That was, I think, actually a really interesting way to do some of this thing.
00:00.320: And he's always talking about various things.
00:00.320: On the questioning tool, almost like it was a chat window.
00:00.320: Single person getting up and giving a very prepared presentation and all of that.
00:00.320: Really horribly record conversations, but uh you'll probably never hear that.
00:00.320: Yeah, you still uh you owe a few of us $1,000, Chris.
00:00.320: kind of technical stuff and just make it feel like, oh, I'm sitting here reading my computer because the Google the Hangouts on Air technology works quite well.
00:00.320: And Alex is very good at it, so he does some extra mystery stuff to make it go better, I think.
00:00.320: five monitors set up and we just sit down and we start going and it all worked, which was a bit of a miracle.
00:00.320: Really interesting.
00:00.320: The DIT station Rogue Pro.
00:00.320: Essentially, it's a mobile edit system.
00:00.320: Well, how do you want to deal with this thing?
00:00.320: for for AIDS, which in many cases is like the cure for post-production problems, it was to light money on fire.
00:00.320: But the whole idea is that there it doesn't really need to be that way.
00:00.320: that are going to open some doors for broadcasts.
00:00.320: by using a Monster Mac Pro and I believe me, I get it.
00:00.320: by using a Mac Pro versus a Retina or a great laptop?
00:00.320: Larger productions.
00:00.320: You know, in terms of the amount that you can provide to set right from this little device, and you can power stuff for directors, you can do review, you can be editing.
00:00.320: And by the way, also with the Mac Pro, if you're on a red chute, you can be doing without a Red Rocket, if you have the 12 core.
00:00.320: Going out to Black Magic, Video Village, doing LUTS, doing Resolve, basically anything you would need to do.
00:00.320: And you could have it going through the buses, which is going to allow for faster copying, depending on how many cards and readers you hook those up to one bus and they go to
00:00.320: Your larger RAID, which is on the other bus, which is built into the machine, and all these things.
00:00.320: A lot of people, a lot of articles have been written and a lot of like speed testing has been done.
00:00.320: um and ha didn't you know, there was no there was no uh benchmarks out there to really speak of.
00:00.320: It starts to get above my head, but I have done real-world tests with this, which is so I can speak
00:00.320: is that and I might be wrong, so if anyone out there wants to fill me in and I am, you know, let me know, because I'm somewhat curious if I actually am correct.
00:00.320: The way that multi-cores work is for applications is you have processor speed and then you have additional cores, right?
00:00.320: So programs most programs are written for clock speed.
00:00.320: The eight core is the sweet spot in terms of price and performance, I think is what they're referring to because it is a big, I think it's like a $1,500 upgrade to go to.
00:00.320: Upgrade and RAM, and you know, it's all like a balancing act based on your budget.
00:00.320: actually clock in the eight core as doing certain things actually faster than the twelve core because because it's doing things that are more dependent on
00:00.320: processor speed as opposed to its ability to multithread.
00:00.320: Those cores and the multi-threading is going to be straight really straightforward and like you're going to see blazing fast speed when you the more cores that you add.
00:00.320: Yeah, and then, you know, and some of that depends on, you know, who's doing the programming and the coding, you know.
00:00.320: Things get more complicated when you start factoring in SSDs and graphic overlays, and the more parts that you're bringing into the mix, you know
00:00.320: When you get up to 12 cores with 64 gigs of RAM and the D700s, like basically the maxed out Mac Pro.
00:00.320: you can play for minutes at a time, like a very long time, with 6k dragon footage.
00:00.320: In a realty bayer with no issues, no drop frames, any of that stuff, you know, and eat in and let in eat into that cache.
00:00.320: Probably going to start at 4096 by 2160, which is the standard 4K DCI spec.
00:00.320: You would start cutting in your timeline, and then you'd go, Oh, I screwed up.
00:00.320: take everything out of the timeline, go into the sequence settings, change it, diddle-fiddle it down to what you actually want, then rewind the playhead to the beginning and paste all your stuff back in.
00:00.320: And then you'll work your that's where you'll master from, and then you'll work your way down from there.
00:00.320: you know, stuff.
00:00.320: And by the way, Spatial Conform now passes through over XML to DaVinci Resolve.
00:00.320: And, you know, I mean, back the reason I know this is because I periodically test this stuff when there's a big update because I'm like, because back in the day I did a DaVinci Resolve the Final Cut video.
00:00.320: The default is going to be to for your spatial conform to be at fill.
00:00.320: If you then select that clip and you switch over to fill
00:00.320: So it's gonna like, what is it?
00:00.320: I guess reverse pillar box your footage slightly based on whatever it is so that it can fill the screen on the top and bottom.
00:00.320: Even something coming out of a DSLR that's a photograph is a I believe it's a 3D.
00:00.320: Here, make that big a difference, but maybe I shouldn't say that.
00:00.320: And also take a look at the shorts, the fifteens, thirties and sixties, because it very well may be that that's exactly what you need.
00:00.320: Exactly.
00:00.320: your red bar is going to go away, which means that you can edit at your delivery resolution using the Spatial Conform tab
00:00.320: and not have to worry about rendering and playback issues because the spatial conform is just showing what's in the picture there.
00:00.320: Testing and working out when it comes to just the new modifying the new Mac Pro itself, it opens up all kinds of possibilities.
00:00.320: You know, you can get a bunch of storage in there, and there's only one thing that you need to plug in, and only one thing that you need to carry.
00:00.320: So, for instance, basically the video that we're going to do for this is we're just going to and really this product is not a competitor for the laptop model at all.
00:00.320: You know, if like a laptop is good enough for what you're doing on set, which in many cases it is, you don't need this.
00:00.320: And which one takes longer and what functionality do you lose between the two?
00:00.320: You know, you're not limited.
00:00.320: Okay, so now I'm going to give you my tip.
00:00.320: You never and actually, I think a lot of people probably buy it and don't even realize that these three buses exist, and you have to understand how they're mapped out.
00:00.320: It the ports are two wide and three high, and the upper left two, if you will.
00:00.320: But the other thing is like I think you need a flowchart of how the DIT station works and how it optimizes all of that.
00:00.320: Putting some additional documentation on top of things for that.
00:00.320: It's the same library structure.
00:00.320: you know, gone back to a lot of the concepts in Final Cut VII, but they now work and are much better thought through and are far more elegant.
00:00.320: And then you just select which ones you want to get.
00:00.320: And apparently the XML is all is all new because um back in 10.
00:00.320: So I can step up one more purple icon.
00:00.320: In Final Cut 10, being able to just send an entire library into a data asset manager that is fully like, you know, and if you want to archive and things along those lines, becomes
00:00.320: At being able to do it from the project level, then at the event level, which I often think about as the bin level, and then at the larger project level.
00:00.320: That you're not using for archival purposes.
00:00.320: Well, hey, look, you know, it's different strokes for different folks and different different people have different budgets.
00:00.320: Ah, so if you're a DaVinci person, you know what it is, which is basically it is one of those magic keyboards for color correcting.
00:00.320: That, like, you know, blew my mind because I had a tangent element, and I'm like, well, I can't just have this sit here now and not take advantage of this.
00:00.320: where I had these two parts of the tangent element that have twelve buttons on them apiece, and then there's the play, stop, you know, shuttle log, and you can put in a modifier on those and all
00:00.320: It yeah, it's got well the so yeah, I think the MF is the one that's just got the 12 buttons.
00:00.320: For functions, for views and window modes, and all of that stuff.
00:00.320: Moving forward, if you have problems with it or anything along those lines, and if you have
00:00.320: or if I make modifications to it and add additional features, people who buy it through us are going to get the updated stuff.
00:00.320: Now, if you're using Resolve, you should buy all four.
00:00.320: You're a busy dude.
00:00.320: Or just email me at Sam at fcpworks.
00:00.320: Gear, recommendations for a final cut system, what works well with what, what you should buy, and if you want to buy it directly from us, just reach out to me at Sam at fcpworks.
00:00.320: I'm just asking the questions.
00:00.320: Clearly, this is a very power user type thing.
00:00.320: That the tools were there, that Sam could create the keyboard mapping into Final Cut.
00:00.320: Classic, we'll call it developed over the years.
00:00.400: And also, those shorts give you alternate opens and closes and stings and stuff.
00:00.400: And Alex Lindsay has been I think he actually has Google as a client, but he's a he's the Google Hangout on Air Master.
00:00.400: Being able to sort of add on top of each other's things.
00:00.400: Presentation for the New Mexico Post Alliance, and that was also
00:00.400: Uber Super Secret Pic FCP Works suite, which was at the end of the day.
00:00.400: to have one plug into one system where you can put this in a Pelican place case and take it on a plane or have possibly even bring it on the plane and have them have it waiting for you when you come off it.
00:00.400: You have three Thunderbolt buses built into the Mac Pro, which are all capable of 20 giga second coming out of there.
00:00.400: On another one, and then you've got a third one for video.
00:00.400: What the 6K D Bayer is doing and why the 12 core helps.
00:00.400: On some cases, to a potential reason why, and like a way people explain the Big Bang theory.
00:00.400: commitment to get those extra four cores.
00:00.400: Full Debayer playback in terms of the Red Raw, which, by the way, the same thing would apply on the DaVinci side as well.
00:00.400: Probably, you know, if it were me, I'm going to bring that dragon footage in.
00:00.400: you know, in my 6K native timeline, 3K Pro is because then I don't have any render issues or anything like that.
00:00.400: And cutting at 1080 or 6K to 4K.
00:00.400: Standard to a delivery resolution, right?
00:00.400: And it's set to fill, you're going to see the little bar orange bar on it.
00:00.400: Because of certain things that you can do in terms of breaking power out of certain parts of the Mac Pro.
00:00.400: Right.
00:00.400: So and actually the one that I'm using is a prototype.
00:00.400: One and three are one bus, two and four are one bus, and five and six are one bus.
00:00.400: Yes.
00:00.400: than Ten One One or Ten One.
00:00.400: And actually adds to this functionality is what you had in Final Cut 7, where you would just have the project file.
00:00.400: Oh, that's really smart.
00:00.400: to whatever they do in the application, and you're going to be able to map all of these commands.
00:00.400: The jog and shuttle wheel and all that stuff.
00:00.400: Anyway, it's like $600 for the little and and I gotta say, if you just want your desk to look cool, this stuff looks great.
00:00.400: The uh I believe this well, the twelve button thing, whatever it's called, I'm looking at it on the B T, I think.
00:00.480: Hello, hello.
00:00.480: You know, I'm excited.
00:00.480: So, but but mostly today, what we're going to talk about is Sam, what he's been up to.
00:00.480: FCP Works new DIT station in a box, which is really quite fascinating what they're doing with that.
00:00.480: And I thought there'd be a easy way to do it.
00:00.480: And we just barely made it.
00:00.480: Or, well, not early, but I had to leave during the I guess exit interview because I had to jump on a plane to get out to Albuquerque.
00:00.480: Yeah, and you know, I think that's that's the way it is if you know you're not planning posts correctly.
00:00.480: Okay, so l l let me just ask you a couple of questions about this because I'm going to just play devil's advocate.
00:00.480: The Mac Pro allows you to do it in a far more portable, far simpler, far easier way.
00:00.480: The 4 core is like the 3.
00:00.480: The theory, and a lot of you know, and I think when a lot of people are talking about bang for the buck, you know
00:00.480: is or has been the sort of conduit between stuff coming in, you know, my my R3D files coming in and then getting it out to the point where I can actually cut it.
00:00.480: So if you're on a four core with a bunch of RAM and some of these things and you set it to a full D Bayer
00:00.480: For a minute or that day while I'm doing prep, and I'm going to be transcoding down to proxy at some
00:00.480: And I'll cut it that way while I'm offline.
00:00.480: Okay, so in Final Cut there's a little tab called spatial conform and in the inspector.
00:00.480: And when you show it, there's three settings in there.
00:00.480: your those little black bars are going to go away, and it's basically going to crop the left and right side to compensate for that.
00:00.480: Fill or none.
00:00.480: It will be letter.
00:00.480: And I'm going to get some more coffee.
00:00.480: If you were getting red bars in Final Cut VII with certain footage in certain instances, you could force it to play in real time
00:00.480: If you scaled the viewer window down to like one percent smaller than it needs to be to play it
00:00.480: Okay, so let's go back to the DAT station.
00:00.480: PCI slots, right?
00:00.480: Basic idea is that, yeah, that's exactly it.
00:00.480: And there's all kinds of different reasons.
00:00.480: Into a car, go to wherever you want to shoot, and then the simple test is get the DIT station set up and get your cart set up.
00:00.480: And ship the DIT station.
00:00.480: And longer term, we're looking into ways to turn it into a sand in the box.
00:00.480: it has the three buses, okay?
00:00.480: I don't know.
00:00.480: You can use this library XML and import it into another library.
00:00.480: With all of the different associated metadata that you throw in within Final Cut on top of it, I mean, it just opens up a lot of doors flexibility-wise.
00:00.480: Command option L to relative volume because that's what it used to be in Final Cut 7.
00:00.480: Um and then I saw that there was a modes button um for
00:00.480: But the 'cause I don't even think they've tested everything, you know, that that's in there in the in the keyboards that hasn't been mapped.
00:00.480: Okay.
00:00.560: ten point one point two, where I actually I actually know a little bit about what's going on.
00:00.560: Before we get going, I want to encourage you to go take a look at PremiumBeat.
00:00.560: And sorry, this may get slightly politically incorrect depending on how you feel about it, but their cure
00:00.560: And if you and a team of people and a lot of finger pointing and anger.
00:00.560: And when really what they're actually doing is in a lot of cases they're setting up LUTs, which is questionable how much you should be doing that anyway, depending on what camera you're using and all of this other stuff.
00:00.560: The general idea is that it's one plug and you have storage, your computer.
00:00.560: A full 6K Dragon Debayer right within Red CineX.
00:00.560: Machine to buy.
00:00.560: basically what I've seen with my own eyes is that in terms you know, how familiar are we with Red Cinex?
00:00.560: Yep.
00:00.560: Um uh conform.
00:00.560: So, you know, and this is now with the new XML and 10.
00:00.560: So let's say that you have 4K red footage that, you know, the full sensor off, you know
00:00.560: Off the dragon or off the epic is at a different sort of weird resolution that is that is not
00:00.560: The size of your image changes.
00:00.560: Sometimes you're going to have a sequence where you've shot footage that's slightly different and then what you know your mastering sequence is going to be.
00:00.560: It's a simple test, right?
00:00.560: Right?
00:00.560: Because it's everything.
00:00.560: Well, and one other use for it, by the way, I mean, I think you're totally right, is one interesting thing about this is that
00:00.560: So anyway, I'm sitting there meeting with him and I'm like yeah, you know um
00:00.560: So how much do those things cost?
00:00.560: Thanks, Sam.
00:00.560: Very interesting.
00:00.640: Yeah.
00:00.640: Yes, two weeks ago, some of you guys may have seen well, I know you saw, and we've got to get you on there.
00:00.640: And interact with their timeline because your guys were all on the same computer very conveniently.
00:00.640: But yeah, so that was that was one thing.
00:00.640: Yeah, I wish.
00:00.640: There's multiple PCI slots, and so there's all kinds of different configurations that actually we're even looking into on our end.
00:00.640: But at a certain point, the question becomes how well your application handles multithreading, I believe.
00:00.640: You know, point along the line.
00:00.640: No, but I it all gets it.
00:00.640: Because I don't think DaVinci has released the new software.
00:00.640: What a one-to-one frame from your sequence is versus the larger footage is.
00:00.640: Regardless of which one of those selections you have, when you scroll up to the Transform Scale little window, it always says 100%.
00:00.640: Which I never understood.
00:00.640: Here's another test you can do.
00:00.640: But I did notice that when you open a 10-1-1 project, it says, Hey, I'm going to make this a 10-1-2, and you're like, Okay.
00:00.640: almost feels like that becomes the old project file.
00:00.640: or a mode mapper in the element map or in the tangent mapper application.
00:00.640: It's always good to s talk with the smart people before you spend your money.
00:00.720: Exactly.
00:00.720: Right.
00:00.720: It's basically almost what you've done is you've taken an old PC chassis and put a Mac Pro in it because you have slots in there that you're using some break mystery breakout thing to get
00:00.720: And you are, you know, so there's so many different ways that, and it's so new that at a certain point, I think there's going to be people smarter than me that come up with even more interesting ways of using it.
00:00.720: But so I thought about that.
00:00.720: Yeah.
00:00.800: Oh, uh, I've been I've been good.
00:00.800: And then, you know, literally right down the hall from you, Apple had a suite.
00:00.800: This is the first time I've actually heard somebody specifically say, Now, but if you have the 12-core, this works better.
00:00.800: You're going to see a small amount of cash that's going to get taken up very quickly.
00:00.800: even on the medical side, the way we look at it, where if you need a high-powered computer that you want to bring in to a home patient, for instance.
00:00.800: Something that they don't even list because you know it would be, I think, titled in every release, Various Performant Issues and Bug Fixes.
00:00.800: I mean, it was just really buggy, and people were like, I don't understand.
00:00.800: I might be wrong about that.
00:00.800: And you basically export a library XML and you want to bring it into a master archive library of a TV show.
00:00.800: Oh, really?
00:00.800: The uh what did you call it?
00:00.800: Okay, so we're not using knobs yet.
00:00.880: So here, okay.
00:00.880: We used to do a lot of and I not used to we still do a lot of cutting at shooting at 1080 and and cutting at 720.
00:00.880: Okay.
00:00.880: Now in old Final Cut 7 days, when I would drop a 1080 into a 720 timeline, it would automatically scale it down to 67%.
00:00.880: to uh how do you how do I say this?
00:00.880: So this is a far more stable version of the software.
00:00.880: Basically, and also be able to consolidate that stuff after the fact.
00:00.880: Event XMLs and project XMLs, right?
00:00.880: Because, like, you know, you'd think you'd be able to do it.
00:00.880: In Final Cut, you know, certain things like certain keyboard shortcuts don't work.
00:00.880: So how do people find out more about FCP Works?
00:00.960: This is Sam Messman, the return again of Sam Messman.
00:00.960: How are you today?
00:00.960: 13 and I didn't find out about the Apple Suite until like the day I was leaving.
00:00.960: Be doing post on set.
00:00.960: And then I can tell you what I've seen with my own eyes, which is, you know, why.
00:00.960: Yeah, hold on.
00:00.960: And you know, or at least I mean, basically, just with that box, depending on how you configure a couple of things longer term, that we're still
00:00.960: So the other really huge thing, especially for higher end workflows, is the ability to delete, move.
00:00.960: Because the currently the color balls and the sliders on the other two aren't going to work.
00:01.040: Pretty much anything on the Dragon at this point, if you want to use the full sensor.
00:01.040: Perhaps you can.
00:01.040: So, what I was about to say is, here's something that will kind of illustrate this that we actually found on a movie accidentally.
00:01.040: or different th weight lines that indicate what kind of speed you're getting from and to various items.
00:01.040: So, well, you're somewhat in luck there as they're putting something when you flip the lid up on the inside, they're putting something very similar to that on there.
00:01.040: I think simpler, better laid out, more efficient way than it was done in Final Cut 7, which is, I think, what they've basically done with Final Cut 10 at this point, is they've
00:01.120: probably eight years ago and I had an idea this is when I used to commute a long ways and I had an idea for um com I think I was gonna call it commute chat or something and I figured out a way to really
00:01.120: Or I mean, it could be something off of like a GoPro POV camera or somebody might whip out their cam their whatever those ones that do the Uber fast frame rates or it could be anything these days, let's face it.
00:01.120: stuff with your footage and you know you can even put in the new Red Rocket in there like I don't think you need to but you could you know like it's got dual link slots it's got single link slots there's like
00:01.120: Where is the um and again, I've spent so little time in this.
00:01.120: So if you select your library and you go to File, Delete Generated Library Files.
00:01.120: So I went through and I started off just doing like a basic mapping.
00:01.200: We chatted on the phone for a bit.
00:01.200: Something's going on.
00:01.200: It makes perfect sense.
00:01.200: It'll be its smallest size if it's at fit.
00:01.200: And as you start layering things on, you may see it more and more.
00:01.200: Take care.
00:01.280: the six K thing because what we're really talking about here is the DIT station.
00:01.280: Well, this okay, can we take like a one second or a ten second break here?
00:01.280: It's slightly different if you're sending a card.
00:01.280: What would be really cool is if you guys would put out a keyboard mapping module for Final Cut, right?
00:01.280: Well, at a certain point, you know how it gets when like you just like become obsessed with course.
00:01.360: You know, we had a good transition.
00:01.360: And I did the whole thing from a little bit of a new piece of gear that we have available at FCP Works, which is
00:01.360: And your display.
00:01.360: Red Cinex, yeah, you know what?
00:01.360: Yeah, it's better now.
00:01.360: I mean, because there's so much more going on, I think, in the Final Cut 10 XML now, where like being able to do that at a library level, like
00:01.360: Final cut or for DaVinci Resolve, if you don't want to spend the $30,000 on the DaVinci Resolve official control service, it is the next best thing.
00:01.360: Because I have a mode for prep, for edit, for color, for sound, for keywords, for markers, for auditions.
00:01.360: Very cool.
00:01.440: And the question is, is that faster worth $1,500 or are you just good enough with the D700
00:01.440: It will be pillared.
00:01.440: Yeah.
00:01.440: So he has some interesting insight into what we are seeing now in Final Cut 10.
00:01.520: And the big thing that you get with the Mac Pro, I think the number one selling point on set is the three Thunderbolt buses.
00:01.520: But there's a there's a feature that I want to mention here because I like to I like to talk about si you know, si kind of the simple, small little things that people don't notice all the time.
00:01.520: So no you know how if you set your you know by default if you cut a piece of footage in
00:01.520: you're not going to do that like probably for color correction, but where like what are the new use cases for this at this point?
00:01.600: Yeah, I think that makes sense because it's not doing any scaling of it.
00:01.600: So I just installed it on all the machines in the office last night.
00:01.600: So, anyway, when I was at NAB, I met with Chris Rose from Tangent
00:01.680: There's stuff I wish I could tell you, but I can't yet.
00:01.680: you should take a look and the orange bar goes away.
00:01.680: I think you mean orange bar.
00:01.680: There's also, you want to know what my favorite thing?
00:01.680: Hey, I don't want this to go on too much longer, and besides, you know, we got to save some stuff for Sam Messman Part 4, which will happen eventually, I'm sure.
00:01.760: He's a wizard.
00:01.760: And you know, we actually, for what it was, we got some really good press out of it.
00:01.760: But anyway, there's a little tidbit tip from the past.
00:01.760: Yeah, I mean, basically, we've converted the new Mac Pro into being the old Mac Pro.
00:01.760: Now, granted, you'll kind of need guerrilla arms to carry it, but it is just one AC outlet and it's all built in.
00:01.760: Bye, buddy.
00:01.760: And you know, the I'm actually very comfortable with a computer keyboard.
00:01.840: I think of 10.
00:01.840: No, I've never heard that.
00:01.840: You can pretty much put anything you need to in there.
00:01.840: It's my bin structure, it's my keywords, it's my time lines.
00:01.840: Because we had talked last Friday, and you said, Whoa, did you see it's got relative and absolute audio?
00:01.920: But the way that, you know, but that doesn't mean that the 4 core is faster than the 12 core.
00:01.920: I had to do one XML for the event and one XML for the for each project or timeline.
00:01.920: I'm sorry, I totally cut you off.
00:02.000: I don't even, you know, frankly, I don't even know why they sponsor this show because they get such monster traffic.
00:02.000: I'm back.
00:02.000: It's a very simple test.
00:02.000: Now, I think you can buy each module separately, can you not?
00:02.080: Now, I'm going to ask you one more question.
00:02.080: Hold on.
00:02.080: Anyway, and why do I know that?
00:02.080: Delete optimized media and delete proxy media.
00:02.080: And now it's all in one XML?
00:02.080: Well, I've never even actually tried that.
00:02.160: 7 gigahertz, and then the 8 is like, or the 6 is like 3.
00:02.160: Right, because you fly you fly around with this thing doing even just doing demos.
00:02.160: So that's going to come out standard.
00:02.240: This is the day of South Park where they're like, you know, Magic they're trying to figure out how Magic Johnson found his cure for AIDS.
00:02.240: And then I'm sorry, I totally forgot what you said, dude.
00:02.320: Hello, Apple.
00:02.320: So here's what you need to know in terms of red playback and red cinex.
00:02.320: So, more stable, we got that covered.
00:02.320: Right, right, right, okay, cool.
00:02.320: And it looks like like, for example, the um uh the M F I think it's called.
00:02.320: You're the one with all the answers.
00:02.400: And that's basically what I tell people.
00:02.400: You've got a computer and a display.
00:02.400: We actually purchased a 12 core here at our office because we ordered it the day it was announced.
00:02.400: And you're going to let Final Cut do that transcode to proxy?
00:02.400: I mean, maybe I got some great features that don't work anymore.
00:02.400: The M F is the one that has twelve knobs?
00:02.400: Maybe that will be a thing.
00:02.480: And we'd like to see post get more, you know, because I'm sure this has never happened to you, where, you know
00:02.480: What do we uh well when you're um spatial conform.
00:02.480: So, Chris, you're bringing up keyboard mapping here.
00:02.560: Really?
00:02.640: And actually, if you follow Alex on his YouTube channel, about 80% of the videos he quote unquote posts
00:02.640: Right.
00:02.640: There's some collusion going on.
00:02.640: If you shot at 4K and you're in a 1080 timeline, it's going to show you center punched
00:02.640: But if you just want it for Final Cut, it's going to be significantly cheaper.
00:02.720: It's way better now because you don't have to do the cut and paste mystery thing.
00:02.720: Oh, cool.
00:02.720: And the orange bar, the orange bar, yeah.
00:02.800: There's nothing worse than having people like huddled over your shoulder trying to read a menu item or something like that.
00:02.800: And it's so how much do you really gain at the DIT level?
00:02.800: I'm always trying to figure out the b I'm trying to hear the best explanation of oh now I forget what it's the dang thing's called uh
00:02.800: And I think this is something that a lot of people don't until you like own the Mac Pro and go to start wiring it up
00:02.800: So don't miss that.
00:02.880: 1.
00:02.880: Because I was there like last uh two years ago.
00:02.880: Pull out the DIT station and the Rogue Pro, and there's two tests you can do.
00:02.880: Now that I've got it in my system, I'm like, this needs to happen now.
00:02.960: I was like, yeah, we need a different cut of music at this little point.
00:02.960: And then I immediately went out to New Mexico, which is why I had to leave the show early.
00:02.960: When it's on fit, it's squeezed down enough that it fits perfectly inside the frame, either letterboxed or pillar, depending on the aspect ratio of the thing that you're dropping into your frame.
00:02.960: A lot of people complained about not having, you know, slots, like audio guys, they have all these sound cards, video guys, you know, that
00:02.960: But the the big thing is that the reason you would have this is that it's a mobile edit suite with
00:02.960: So you mentioned earlier, excuse me, you mentioned earlier that
00:02.960: Coming up Monday, we're going to hear from another alum of the show, Alex Golner.
00:03.040: We had like literally every possible thing go wrong.
00:03.040: io.
00:03.040: Oh, yeah, yeah, because if it's portrait, it doesn't fit.
00:03.040: I had to walk away because I was cl I realized how loud the background noise was.
00:03.120: 2 is running much smoother, much more stable than 10.
00:03.120: Like, if only I had been there.
00:03.120: I've opened it a few times when I started to mess with it, and I am not an expert by any stretch of the imagination in the whole Red Workflow, but I know that Red Cine X
00:03.120: Ah, there it is.
00:03.120: The BT will be cheaper than the MF, I think.
00:03.200: When I'm done, I'm going to drop it down to whatever my delivery is, which is
00:03.200: I just got in a commercial break while you were playing.
00:03.200: I don't know if a lot of people real were really comfortable saying it.
00:03.280: Yeah, we probably should have just recorded that one.
00:03.280: You're going to get some extra resolution on the top and bottom.
00:03.280: And he's like, well, yeah, you can.
00:03.360: So, you know, you can play back fully bayer, but it's going to be in really small chunks.
00:03.360: I've brought this question up a few times before in the past, and I don't want to totally get off
00:03.360: And then I have something interesting that'll show you what's going on.
00:03.360: So scale the player window down so you just barely get the little scroll bar to like scroll left and right.
00:03.360: I was like, This is awesome!
00:03.440: So actually everything I'm talking about, I don't think works today.
00:03.440: Oh, yeah.
00:03.440: And you just import that right in there.
00:03.520: I just showed up there and Mike and I, we ran into some travel problems to get down there.
00:03.520: Yeah, let's talk about that for a little bit because you guys had that at NEB in the
00:03.520: You should probably get even a small booth.
00:03.520: Okay.
00:03.520: Yeah.
00:03.520: They call it TK, MF, KB, and BT, or I don't know how you say that out loud, but.
00:03.600: No, no, not conform.
00:03.600: So the one, literally, my mapping: if you have an element, you will be able to get it.
00:03.680: You can be running video village and some of these other things direct out of there as like a breakout box.
00:03.680: Yeah, it's gonna push.
00:03.680: It will be slightly larger if it's at fill.
00:03.680: So at the end of the day, this is simplifying the cart process when you need to do some higher end
00:03.760: So I've done some of these other user groups, which are fun, but generally it involves, you know.
00:03.760: Yes.
00:03.760: So there you have it, Sam Mestman, part three.
00:03.840: I mean, it's basically some cell phone, you know, plugging in and stuff like that, whatnot.
00:03.840: So there was that.
00:03.840: I think technically that was $1,000 worth of Taco Bell lunches.
00:03.840: Um so at any rate, the DIT uh so back to the original point, um, which is vers the eight versus the twelve core when it comes to uh
00:03.840: Go check out their music.
00:03.840: I'm hoping that the next step for me is going to be mapping, as soon as I can, mapping the knobs to inspector controls for motion stuff.
00:03.840: com and we can, you know, email or have a phone conversation.
00:03.920: So when they're talking about that, yes, the twelve core is faster.
00:03.920: And then there's a whole other thing for broadcast ingest where I think this becomes really useful.
00:03.920: And playback controls.
00:04.000: And you get up to six core, and you get up to eight core, and you can go a little bit longer
00:04.000: So you have a box, it's got a place for the Mac Pro.
00:04.000: Ship everything on that card.
00:04.000: Yeah, I'm it seems like it's doing it.
00:04.000: Check out Premium Beat.
00:04.080: It's been hectic.
00:04.080: But the big intended use case that at least I figured out at this point is
00:04.080: Gotcha.
00:04.080: So, yes, I couldn't agree more.
00:04.080: Oh, wait, twenty seventh June?
00:04.160: I'm waking up here, Chris.
00:04.160: And she's like, oh, well, I thought we'd just fix that in post.
00:04.160: There's no way the Black Magic is just figuring this stuff out.
00:04.160: Okay.
00:04.160: And actually the mapping that I made is going to come out as a standard mapping for Final Cut in the next version of the Tangent Hub.
00:04.240: Because one of the big things that we'd like to see is see more people
00:04.240: There's fit, fill, and none.
00:04.240: I was like, oh, what's the keyboard shortcut for that?
00:04.240: Cool.
00:04.320: I'm used to the red bar and the red bar.
00:04.320: Okay, so it's important to know that as you're wiring your stuff together.
00:04.480: Okay, welcome to another episode of Final Cut Grill Zero Six Zero.
00:04.480: 12 and uh some of the great new uh um uh XML and uh features uh there.
00:04.480: There's gotta be a way to do it.
00:04.560: I was like, hey guys, oh shit, they're not reading.
00:04.560: And then I think the way you would say this, and clearly the two of us should get an expert on the show.
00:04.560: And it's, you know, but if the orange bar will completely go away when your spatial conform is set to none.
00:04.560: Why is my brain filled with this crap?
00:04.560: You can have it start one place and move it outside.
00:04.560: So and this opens up, I think, some doors that like we haven't even considered, you know
00:04.560: Here's what it seems like to me: that exporting that library XML
00:04.560: Yeah, now just for a second, just for a second, I just want to point out here so.
00:04.560: What do you got here?
00:04.640: I keep having to restart.
00:04.640: It's really easy.
00:04.640: Yeah, I know.
00:04.640: Well, Sam, thanks for being here, and we will certainly, certainly do this again.
00:04.720: Because, regardless of which one of those three settings you have selected, fit.
00:04.720: Um when you change between those three settings, fit, fill, and none
00:04.720: Right.
00:04.800: I considered calling it Sam Messman 3D, but no, that'd be confusing.
00:04.800: What is this technology you speak of, Chris?
00:04.800: Okay, well, let me explain this.
00:04.800: Of course.
00:04.800: Are you saying the twelve buttons or twelve knobs?
00:04.800: You know, it costs several hundred bucks to get into this, but I think it's fascinating that the
00:04.880: The guy's like a mad scientist.
00:04.880: I mean, I'm not complaining.
00:04.880: It doesn't have to live in the bundle.
00:04.880: Awesome.
00:04.880: And I'm like, I'm busy setting that feedback into
00:04.960: com.
00:04.960: And many people say that the eight core is the most cost effective
00:04.960: Right.
00:04.960: Well, actually, I do somewhere.
00:04.960: And please, please,
00:04.960: So I think there's different applications that are even outside of the film world.
00:04.960: And then I was going through, and it was like, this is working great.
00:05.040: Yeah.
00:05.120: It'll remove your pillar boxing or whatever.
00:05.120: No, I what I'm saying is sometimes if you're dropping in a photo that's three to two aspect ratio.
00:05.120: If you're still editing in Final Cut 7 and listening to this show for some freakish reason, torturing yourself.
00:05.120: 11, if you wanted to XML
00:05.120: Yeah.
00:05.120: Now, for those of us that don't know, what does tangent element mean?
00:05.120: And I was, I had like a modifier because if you hold down the A button, you could have it go to another set of commands.
00:05.200: And we chatted last Friday, like probably, I don't know, maybe a few minutes after the 10.
00:05.200: And I do want to come back to that.
00:05.200: It's just propping it down.
00:05.200: That's why I like talking with you, Chris.
00:05.280: It was like planes, trains and automobiles.
00:05.280: I love it.
00:05.280: 1.
00:05.280: Yes.
00:05.280: Well, so we are a reseller for Tangent.
00:05.360: I just solved a big problem with a client just yesterday.
00:05.360: So check out their stuff.
00:05.360: And posts should be more involved on production.
00:05.360: And I cannot tell you enough how much that means to me.
00:05.360: Listen to the loop packs, and I've described them in the past as like little audio Legos to help you build your song the way you need it.
00:05.360: The best way is, well, to go to the website.
00:05.440: Because, look, the story's taking a whole different turn.
00:05.440: It was a good chat.
00:05.440: You want the more s stuff, but how much do you really gain at the DIT level?
00:05.440: Yeah.
00:05.440: Right.
00:05.440: 9 to 10.
00:05.440: Very cool.
00:05.440: Oh.
00:05.440: I'm going to tell you about something else that I did.
00:05.520: No, I think it's a really good question.
00:05.520: And what that's going to mean is that's why you're going to see the little letter boxing at the top and bottom.
00:05.520: And let's face it, I mean, traveling with gear, it just gets harder and harder.
00:05.520: 2.
00:05.520: And I mean, you could choose where everything was stored.
00:05.520: And it looks like we can even export the XML of a compound clip.
00:05.520: Thanks for listening.
00:05.600: And actually, I think one of the things that was really interesting about it was, you know.
00:05.600: Where is the new, um, like, I want to delete my optimized files that they kind of borrowed from Arctic Whiteness?
00:05.600: Um so
00:05.600: It's all been mapped.
00:05.600: Okay.
00:05.680: It's like you can yeah, you can do pretty much anything, but like, you know, there goes your budget.
00:05.680: Now, how much is being edited in 4K or in 6K?
00:05.680: I made my timeline 1080.
00:05.680: And in olden days of Final Cut Classic,
00:05.680: 1.
00:05.680: And then I went down a rabbit hole and
00:05.680: So I'm bothering people.
00:05.760: I didn't want it to be a secret.
00:05.760: So you can be watching stuff at the highest quality with pretty much no additional hardware.
00:05.760: So, to answer your question, is if you need that kind of functionality,
00:05.760: Um I mean, none.
00:05.760: Yeah, it's not.
00:05.760: And yes, we have projects that are mid-project, and I don't care.
00:05.760: Being able to, because of all of the additional functionalities.
00:05.760: Eh, I'm not so I'm not so crazy about that.
00:05.840: At this point, we should go to our interview with Sam, and he's going to talk about FCP Works.
00:05.840: Oh, there's there's ways to do it.
00:05.840: And in actuality, some of the speed tests that I've seen
00:05.840: So, um, how much stuff is actually being shot at 6K?
00:05.840: You know, well played, sir.
00:05.840: You right?
00:05.840: I think I was pretty forthright with saying, hey, Apple, ten one one blows
00:05.840: Yes.
00:05.840: Okay.
00:05.920: Um, I guess uh
00:05.920: And hopefully, we're going to be able to get you on.
00:05.920: Uh wait, yeah, two years ago.
00:05.920: Okay.
00:05.920: What's it called?
00:05.920: I think it's cool.
00:05.920: Okay, so and again, my experience of dealing with this is doing more Ken Bernsey crap.
00:05.920: Yeah.
00:05.920: I go, yeah.
00:05.920: I'm like, what?
00:05.920: Cool.
00:05.920: I've said in the past, look, I've got 102 keys and I know what they all do.
00:06.000: And in this scenario, you were actually able to interact with your other presenters.
00:06.000: You know, I was dealing with some of this a little bit the other day, not the 4K, 6K
00:06.000: 2, which we haven't even mentioned.
00:06.000: And depending on the resolution of it, it might be quite a bit larger if it's at none.
00:06.000: And it's so I think there's lots of applications for classrooms and some of these other things.
00:06.000: 1.
00:06.000: So if you want to merge libraries.
00:06.080: I was like, Well, you know, if you were looking
00:06.080: Michael's demo with all of the sync and link was insane.
00:06.080: For a couple of years now, they've been selling a thing called a laptop.
00:06.080: Where if you're doing like something heavy, math intensive.
00:06.080: Right.
00:06.160: And I and there was no way to get in.
00:06.160: Right.
00:06.160: What other things have you noticed?
00:06.160: So you now have the ability to select a library and go export XML from that library.
00:06.160: It wouldn't surprise me because they're basically treated as projects.
00:06.160: Remap.
00:06.160: And the BT has 12 more buttons, but it has also got
00:06.240: 3, and then the 8 is 3, and then the 12 I think is 2.
00:06.240: I will probably work with it in 6K in Final Cut.
00:06.240: Very cool.
00:06.240: Now, the ones that if you just want this for Final Cut, you're just going to want the MF and BT modules.
00:06.320: When you click on it, double-click on a clip, depending on what your DBA or setting is.
00:06.320: I just whatever.
00:06.320: Well, I think maybe in the Resolve 11 beta you might get lucky.
00:06.320: And then everything else lived outside, and you could.
00:06.320: Uh no.
00:06.400: You're back again.
00:06.400: But yeah, the user group was awesome.
00:06.400: But to have full access to your display and it's I mean to be honest, I don't have any idea how they did that.
00:06.400: And the problem is, is like
00:06.400: Yeah.
00:06.400: And to be honest, this is where.
00:06.400: It will probably in a few days.
00:06.400: Right.
00:06.400: I think, you know, the uh a lot of these carts, you know, if you're not on a truck with a ramp or a lift gate, um, it's kind of a pain.
00:06.400: You know, that's the project file of Final Cut 7.
00:06.400: Huh?
00:06.400: Very good.
00:06.480: The problem was I was driving to Southern California.
00:06.480: But the one of the big things we had in there was this Rogue Pro, which was this
00:06.480: And you guys can do this, right?
00:06.480: No way.
00:06.480: Oh, yeah.
00:06.480: Very cool, man.
00:06.480: 12 and comparing it to how Final Cut.
00:06.560: But I'm just this is what we do.
00:06.560: Okay.
00:06.560: Sometimes it works great, and I don't know what just happened, you know?
00:06.560: That's pretty straightforward, right?
00:06.560: We'll be back Monday with another episode of The Grill.
00:06.640: Don't forget to take a close look at the loop packs, the audio Legos as I call them.
00:06.640: I mean, there's nothing worse
00:06.640: No problem, yeah.
00:06.640: That's what the project file used to be
00:06.640: And then the most expensive one you don't actually need, which is the
00:06.720: We publicized, and actually, it was very well attended.
00:06.720: I remember those days.
00:06.720: I'm going to remove my dog from the room because she's driving me nuts.
00:06.720: I basically had to do
00:06.800: Doggone it.
00:06.800: So when you cut that into a 1080 or a 2K or a 4K timeline,
00:06.800: Yeah, and the orange b
00:06.800: Because what this really gives you back is that
00:06.800: Ah, yeah, whatever.
00:06.880: Display in it also, right?
00:06.880: Yep.
00:06.880: None.
00:06.880: Okay, so just to be clear.
00:06.960: And I'm now recor and this intro I'm recording actually a few days after I recorded the interview with Sam.
00:06.960: I can't imagine the people.
00:06.960: That's a we're maximizing time.
00:06.960: I apologize for the last thirty-seven minutes for having a road noise, so I was closing the window.
00:07.040: Actually, that's part of the reason why I bought the Zoom H6, because one, it's got a lot of knobs, and I thought that was cool.
00:07.040: And we walk in and they have these like
00:07.040: I said, yep.
00:07.040: So, explain, explain for some people because I barely understand.
00:07.040: Oh, yeah, yeah, yeah.
00:07.040: Do you have any red clips on you, Chris?
00:07.040: Yeah.
00:07.040: So what that means is that like if you've shot in like 2K and you're at
00:07.040: I would 10.
00:07.040: The adjust relative and adjust absolute volume of
00:07.040: Okay.
00:07.120: As a matter of fact, there's a long lost episode that I recorded about
00:07.120: Yeah, it it'd be nice to have some money to light on fire sometimes.
00:07.120: And for certain productions, I mean, look, this is designed for
00:07.120: And I'm then going to
00:07.120: Or like, it'll, you know.
00:07.120: However, if you're used to having a card on set,
00:07.200: I don't know if you've heard that.
00:07.200: So if you set it to none
00:07.200: Sam has no life.
00:07.200: Of course.
00:07.280: And so just come on by.
00:07.280: So cores affect things, but not as much as the clock speed.
00:07.280: But I deal with it a lot with photos.
00:07.280: It doesn't even have to be a portrait photo.
00:07.280: Okay.
00:07.280: Twelve buttons.
00:07.280: So if you buy it through FCP Works, I will
00:07.360: Gotcha.
00:07.360: Well, because back in the day when I.
00:07.360: So the biggest thing in there is
00:07.360: Sorry, keep going.
00:07.360: It's going to come standard in the hub.
00:07.360: Yeah.
00:07.440: I know, it's just that's the problem when you're off site.
00:07.440: So number if you if you number them one, two, next row three, four, next row five, six.
00:07.440: Delete unused render files.
00:07.440: And I think that as we see
00:07.520: I can't keep you off of this show.
00:07.520: And s but um and I just uh my good friend Steve Miller just purchased one and he got an eight core.
00:07.520: Yeah, so it's the top two on the left, the top two on the right.
00:07.520: I think that's the day that the iPhone was first released back in two thousand seven.
00:07.520: Sorry to sneeze.
00:07.600: So I paid an oversized baggage fee.
00:07.600: Okay, so now in our last little bit of the show here.
00:07.600: You know, after we talked, I took a close look at that tangent element thing that he was talking about where he was mapping.
00:07.680: Okay.
00:07.680: So
00:07.680: Guess what?
00:07.680: I gotta say, Tangent Element has serious Google juice because.
00:07.680: Twelve buttons.
00:07.760: So if you have one bus for storage and then you've got multiple cards
00:07.760: And the only way to change that sequence settings was to select all cut.
00:07.760: Yeah.
00:07.760: There's an interesting thing.
00:07.760: Bar in Final Fat 10 is the, I kinda sorta need to render this, but it'll probably play back fine bar.
00:07.760: That's coming soon.
00:07.760: We all do.
00:07.840: And now you're in post.
00:07.840: So, supposedly, the way this was explained to me
00:07.840: Here's an interesting little tidbit from the past.
00:07.840: But the
00:07.840: Okay, and the
00:07.920: Yeah.
00:07.920: This was as of 10.
00:07.920: Now what is it?
00:07.920: We're about to do a major overhaul on the website.
00:08.000: We did the user group for PixelCorp.
00:08.000: Oh, okay.
00:08.000: Very, very much so.
00:08.000: I actually tweeted this a few days ago
00:08.000: We're going to look into his little crystal ball.
00:08.080: You should be able to check your work a lot faster.
00:08.080: There's no question.
00:08.080: Right.
00:08.080: 09.
00:08.160: We can do a handheld green screen shot with no tracking marks.
00:08.160: Because we were trying to
00:08.240: 1.
00:08.240: 'Cause like they're like, who's ever going to use this?
00:08.320: Yeah.
00:08.320: Right, exactly.
00:08.320: Ladies and gentlemen, I'm going to take this opportunity while Sam de dogs himself to mention
00:08.320: And I go, Dude, I'm driving.
00:08.320: I had all my standard stuff that, like, I ordinarily, like, what is the keyboard shortcut for that mapped to?
00:08.400: Then they surrounded the room with a bunch of cameras
00:08.400: I know.
00:08.400: You have some and I have a tip I want to give you.
00:08.400: It's one of those dormant features that isn't keyboard mapped.
00:08.400: Yeah, it is the hybrid control surface for
00:08.480: Cores still play a role in that, right?
00:08.480: Put one in the trunk of a car and then get everything that's in the cart.
00:08.480: And then, as a value add, we're going to be
00:08.560: 1 ever did.
00:08.560: And so that's
00:08.560: I think we're going to see more and more companies like Tangent stepping up and giving us features like this.
00:08.640: So literally, the reason the sh the show started is because we weren't there yet.
00:08.640: Yeah, no, of course not.
00:08.640: Okay, so you're going to get a total of twenty four buttons and the shuttle control.
00:08.640: And if you need
00:08.720: We're going to get into talking about their
00:08.720: Exactly.
00:08.720: So they've largely duplicated this just in a far
00:08.800: Good grief.
00:08.800: They don't really have it.
00:08.800: And a display.
00:08.800: Yeah.
00:08.880: I feel like you just added the Taco Bell thing.
00:08.880: You said something really interesting there.
00:08.880: Explain spatial conform to me.
00:08.880: This is how things go with us.
00:08.880: And if you set it to none.
00:08.960: Anyway, nobody wants to hear about that.
00:08.960: However,
00:08.960: But the
00:09.040: And when you get rid of I mean, it sounds silly, but when you get rid of all of that
00:09.040: The little brother, if you will, to shooting at 4K and
00:09.200: And I will tell you, there's been multiple times where I've thought.
00:09.200: People didn't see that.
00:09.200: You're bringing photos in, fit, fill, and none, makes sense there, too.
00:09.200: Right, exactly.
00:09.200: However,
00:09.200: Later, later.
00:09.280: So
00:09.280: So anyway, back to the point here.
00:09.280: So, yeah, the upper, so there's
00:09.280: Absolutely, man.
00:09.360: Oh, that's what that means.
00:09.360: Now we still have
00:09.440: And so
00:09.440: Spatial conform didn't work, it does now.
00:09.440: Right, there was that mystery screen where you would
00:09.440: I can't see anything.
00:09.440: Because, as you said, there are all these commands in Final Cut that haven't even been mapped, right?
00:09.520: It's like a fully portable computer
00:09.520: Yeah.
00:09.520: I like well, the other things I started finding some bugs with the keyboard mapping.
00:09.600: So this is the first episode kind of post
00:09.600: I was listening.
00:09.600: Well, they want it kind of to be a secret.
00:09.600: 1.
00:09.600: Yeah.
00:09.600: So, if you're cutting, for instance, an episode of a TV show.
00:09.760: Because that Saturday I went and did a
00:09.760: Right.
00:09.760: I'm still doing it.
00:09.760: You just export the library XML and then you have a larger library.
00:09.840: Channel 60 actually was the first TV show I ever worked at.
00:09.840: We went, mmm, more, better, good, I'll take that.
00:09.840: Does that make sense?
00:09.920: It's impossible.
00:09.920: There's no compromises on set.
00:09.920: I haven't had time to test it yet.
00:09.920: That's nice.
00:10.000: It just kind of ends up being that way.
00:10.000: At 2048 by 1080, and you set your spatial conform to none
00:10.000: It's really a drag, actually.
00:10.000: If you're dealing with a large catalog, for instance, of stock footage, right?
00:10.080: I mean, I can remember even day one, it was like uh a little hanging and rolling and stuff.
00:10.080: But here's my question.
00:10.160: We'll go nine other places and then we'll be like, what were we talking about?
00:10.160: So, anyway.
00:10.160: So for instance, 2K, right?
00:10.160: And it would f and I it would just do some magic thing.
00:10.160: And to be honest, I literally, so I mean, this is July 1st, so it came out.
00:10.160: Oh, that's cute.
00:10.160: If you've ever heard one of Alex's episodes,
00:10.240: We were actually a bit surprised that it worked as well as it did.
00:10.240: So 10.
00:10.240: That's why I wanted to talk to you.
00:10.240: Cheapskate.
00:10.320: So wait a few weeks and then go to the website.
00:10.320: Anytime you want.
00:10.400: But the way it was explained to me was basically
00:10.400: Oh, yeah, it's a significant
00:10.480: And your flowchart should have like different color
00:10.640: I was actually using the.
00:10.640: And
00:10.640: And I'm going to cut with
00:10.720: That was Pixel Core is Alex Lindsay's group.
00:10.800: 7 or something
00:10.800: And it's like $3,000.
00:10.880: I know where this is going.
00:10.960: I'm pretty sure it was a bad connection on the cell phone.
00:10.960: There's a bottom of the way of saying it.
00:10.960: So that's very cool, very powerful.
00:11.040: You mentioned the 12 core doing 6K DBAR.
00:11.040: 1.
00:11.040: com and I'll take care of you.
00:11.200: Here we go.
00:11.200: Yeah.
00:11.200: So the more complex the program.
00:11.440: And it's going to take a very long time.
00:11.520: And they're like, oh, he copies files.
00:11.520: You have a place for the Mac Pro in the middle.
00:11.520: Well, I started to.
00:11.600: 2, I think actually everything is now broken.
00:11.600: Oh, that'd be cool, wouldn't it?
00:11.680: 1.
00:11.760: How you been?
00:11.840: Write that in terms of clock speed.
00:11.920: But
00:12.000: So um
00:12.160: 2 release.
00:12.240: Okay.
00:12.240: I think I hopefully I can say I'm not under NDA.
00:12.320: Okay.
00:12.480: Cheapskate.
00:12.560: Yeah.
00:12.640: What you been up to?
00:12.640: Yeah.
00:12.640: But, um,
00:12.720: I know.
00:12.800: And
00:12.800: It was like, oh, yeah, I can play this now.
00:12.880: Yeah.
00:13.040: So I think it's like
00:13.040: I'm horrible at this, aren't I?
00:13.200: It was great.
00:13.280: It's got
00:13.360: And you
00:13.440: And
00:13.520: Um.
00:13.600: And
00:14.000: So
00:14.080: Okay.
00:14.160: Cool.
00:14.240: Right.
00:14.320: Now