Episode 64
FCG064 - Corporate is OK! (feat. Rob Terry)
You don’t need to feel bad if you “just do corporate”. Rob Terry and I, being the old dogs on the block talk about a bit of our history and experience servicing the corporate world, and we both feel the same way… ITS OK!!! Rob has been in the business for a long time and has great insight about workflow and professionalism. We also talk about making our own Motion Templates for our recurring clients.
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Featuring
- Chris Fenwick
- Rob Terry - @robterry
Transcription
00:00.001: There's only one thing I have to do, and at like five o'clock, or whatever it is, I have to be out of this booth, and I got to be over to the hotel.
00:00.080: Dude, because you're bringing me down.
00:00.080: 10.
00:00.080: Earn a hundred bucks or a hundred euros or a hundred pounds sterling or whatever for every time I mention it because he'd be a rich man.
00:00.160: But we get into a little thing about plugins and motion, so that's going to be good.
00:00.160: That was fun.
00:00.160: So you walked up and we sat down.
00:00.160: So I can catch the entire Final Cut 10 greatness that was going to be announced.
00:00.160: Final Cut 7.
00:00.160: Oh, some new thing comes out and you're like, oh, I'm going to try that keyer and see if that cure is going to work better than whatever I happen to be using.
00:00.160: than the cost of Final Cut Pro 10.
00:00.160: Yeah, I'm in I'm in Orange County, so I'm the bastard stepchild of the LA crowd.
00:00.160: about Aperture.
00:00.160: And they're like, huh?
00:00.160: I think the 40 A V was a 40 megahertz processor or something.
00:00.160: We're talking hundreds of videos for you know, whether it's Yamaha Music Corporation or medical companies.
00:00.160: I think there's a lot of people out there that kind of fall into doing corporate work and they, you know, in the back of their head, they're thinking, well, yeah, but what I really want to do is make my Star Wars fan film or whatever.
00:00.160: I would have taken the first one and I would have kind of thought to myself, okay, how am I going to lay these out in the screen?
00:00.160: Like they're like 1700 pixels by 900 pixels.
00:00.160: You know, you want to get it done in a high-middle manner.
00:00.160: But I kept thinking it couldn't be that way, you know, so you reboot the system and all that various stuff.
00:00.160: To a halt, and it was shocking after going so fast with everything else, which is why I immediately wanted to anchor chain a little bit about it.
00:00.160: Code pretty much his attitude is like it's like the whole thing, or like I said, just the engine portion of it, yeah, exactly.
00:00.160: No, I it's just that was just such a weird, shocking awakening.
00:00.160: You know, if I can't crash a demo, then I'm not having a good NAP.
00:00.160: That maybe they didn't think about before, and juxtaposing some images against some of the other things that are going on with their corporate message.
00:00.160: In an edit suite, is everybody shaking their heads going, why is the hardware or software not working?
00:00.160: So I was thinking, so I have to either A, take the graphics into Photoshop, the PNG files, and do the reflection there.
00:00.160: The whole thing would be built with the reflection.
00:00.160: Why don't you go over here and make some phone calls and come back and it's look really cool?
00:00.160: You can have these tools, you can have your hammer, you can have your screwdriver, but man, it sure is a lot better when it's got a battery connected to it, it goes way faster, and that's exactly what's going on in the Final Cut 10.
00:00.160: And better.
00:00.160: He says, Yeah, Fenwick, nobody else wants that.
00:00.160: Well, why doesn't it just do that one thing?
00:00.160: Final Cut 10.
00:00.160: Hey, Rob, have you ever made your own templates in motion?
00:00.160: You do a lot of stuff for Yamaha Corporation.
00:00.160: And by all means, tweet me if you have questions, all right?
00:00.160: Or maybe I'll wait till the beginning of August.
00:00.160: In stitches about something you're talking about with somebody, whether it's you and Alex on the other show.
00:00.160: So anyway, thanks for chatting.
00:00.160: Do all the wrap-up.
00:00.240: Hey, uh good morning, uh welcome to another episode of Final Cut Grill.
00:00.240: And then in my interview with John Davidson last week, there was a couple of times where I thought I was hitting my mute and I was coughing.
00:00.240: Gotten rid of all of the coughs.
00:00.240: And you'll hear about how I met Rob at NEB this year, 2014.
00:00.240: you can learn from yourself.
00:00.240: take a look at the site, go listen to their music.
00:00.240: And I open it up, and sure enough, it's got premium beat music in it in it.
00:00.240: you know, go take a look at their stuff and uh and and use it.
00:00.240: So, Rob, Terry, how did we when did we meet?
00:00.240: Yeah, and she was great.
00:00.240: She was out she was in the booth in the mornings shooting and we were doing other stuff.
00:00.240: Customize the feel of a piece of music.
00:00.240: To the FCP10 thing.
00:00.240: crap, what you know, what happened?
00:00.240: So I go get like a double vodka, whatever, some screwdriver, and I just start hearing people telling me all the stuff that's bad about it.
00:00.240: And I go, No, no, no, just download Final Cut 10 and try the key here.
00:00.240: you know, and diddle this and feather that.
00:00.240: but for compatibility reasons he chose to I don't know.
00:00.240: you know, just a handful of projects actually in Final Cut 10.
00:00.240: I made some good money.
00:00.240: Back then, a Macintosh 840 AV, a big hard drive, you know, 750 megabytes.
00:00.240: They got it really good.
00:00.240: I got to work on this piece for Autodesk, and I don't even know if this is going to be made publicly available.
00:00.240: He was sitting next to a 27-inch Thunderbolt display.
00:00.240: I understand.
00:00.240: Yeah, I mean, that's always what's nice about corporate stuff is that you get to see into their world.
00:00.240: Well, if you're not happy with it, why do you keep staying in the career?
00:00.240: And he was saying, you know, we talk about, like, you know, oh, I'm going to go ahead and polish this turd.
00:00.240: Yeah, that was my line that I don't like talking.
00:00.240: If you get into the mindset of everything you work on a turd, it's time for you to hang it up and do something else.
00:00.240: Oh, you know, whoever middle manager you're working with is a dork, or whatever they're trying to do is wrong, you're going to be miserable and it's going to show in your work, and you won't go the extra distance.
00:00.240: Track of video.
00:00.240: And I started thinking, well, okay, I'm using Final Cut 10 and there's all these great plugins.
00:00.240: And I did that and rendering just stopped.
00:00.240: By Idustrial Revolution, and it was free.
00:00.240: In a certain way, and you can look at all of your projects, and they just kind of like slide up in front of you and they fade off to one side, and it just builds really nicely.
00:00.240: cover flux, or again, whatever it was reaching out to and into motion to go ahead and actually do, it just brought things
00:00.240: Right.
00:00.240: Hey, this isn't fun anymore.
00:00.240: Is, you know, sometimes you sit there and you look at it and you go, okay, I know I could turn that little button off and go back to high speed and everything's cool.
00:00.240: You learned every single trick you could to make the user interface a little bit more responsive, to make your renders a little quicker.
00:00.240: I don't know that anything actually explicitly says it will render in the background.
00:00.240: I think that's where you know the crossroads of you know technology and aesthetics
00:00.240: Use the remaining ones.
00:00.240: And I think that's what sets up the mentality.
00:00.240: He said, It's not a successful NAB unless he crashes.
00:00.240: I just kind of said, I forgot about the magnetic timeline and I just started moving stuff around.
00:00.240: That's everything you want to do.
00:00.240: That there was basically nothing that you couldn't do in writing your final hit seven timelines.
00:00.240: go ahead and do the little cool little reflection.
00:00.240: Wanted to be the guy that's got 10,000 tools lying out all over his literal, either literal desktop and/or a computer desktop.
00:00.240: Kind of goes into the background and so it's racked out of focus.
00:00.240: I'm not good in After Effects, but I know it's possible.
00:00.240: What the hell are you doing?
00:00.240: But besides number one, doing what I wanted it to do, it showed me 20 or 30 other options.
00:00.240: And it just would have been multiple hours that truth would be known.
00:00.240: I'll show it to you tomorrow.
00:00.240: It is fa it's definitely faster in just about everything I can throw at it.
00:00.240: that little answer would have popped up in front of me and I would have figured it out.
00:00.240: As with any tool, you learn.
00:00.240: Older ones and I look at them and I go, Oh boy, have I have I learned a lot since then?
00:00.240: And that's basically when I said, I'll jump in and I'll move forward with it.
00:00.240: 10.
00:00.240: What I would, my workflow was always, you know, back up a couple times to local hard drives, but I would take my project file in seven.
00:00.240: And just throw it up to Dropbox, throw it up to Dropbox.
00:00.240: and have everything other than the media, which is cool because that's backed up in multiple hard drives all over the place.
00:00.240: And that was my scratch disk for that job.
00:00.240: Right.
00:00.240: And yet there are times when I could say, you know, I do understand while maybe I might want to have a library all Apple's way where all the files are in that library.
00:00.240: And now I can take a small file, the library file, and just throw it up to Dropbox as a backup.
00:00.240: By default, if you're ever wondering what Apple is thinking, and this isn't necessarily
00:00.240: But quite often Apple is thinking like an adult would with an unruly teenager.
00:00.240: you know, doing 4K like Sam Messman does all the time.
00:00.240: you know, with his cool trick of he actually chose to keep his proxies in the library so that he could grab his laptop and go down to the set and share.
00:00.240: We are in the problem solving business.
00:00.240: Well, you were talking to a really young editor.
00:00.240: But you're the only person who would want to buy it.
00:00.240: So I like that ability to move and mess with type.
00:00.240: And it got the job done.
00:00.240: You cut it in from here, and you will be thrilled that you can use a Bezier pen tool that you would normally be out in God.
00:00.240: Until I had a job that I had to outline somebody's eye socket because we were doing a medical video.
00:00.240: And build your own templates, and then you could share them on the web, do whatever you want to do.
00:00.240: using in Final Cut 10 and it's like, if I want to open it up, can't I just take that plug in into motion and like, oh, turn it on.
00:00.240: the basic titler and the you know, blur and what are some other ones?
00:00.240: And now you can go in and if you bother to you know, I mean, by all means, listen to what Mark Spencer has to say.
00:00.240: James Miller, Chairman Meow, said he really loved Alex Golner's Grow Shrink plugin.
00:00.240: grow by five percent.
00:00.240: It's like, okay.
00:00.240: You know, again, I didn't play too much in motion when it was just a standalone app.
00:00.240: But often within any given story you're telling for a corporate thing, you might want to reuse the same thing twenty or thirty times.
00:00.240: There is always that within any edit situation where you're like, okay, I'm going to get down in there and I am just going to do it by brute force.
00:00.240: And I'll spend 15, 20 minutes learning how to do this procedure the right way.
00:00.240: You know, music sets the tone for so much of this corporate work.
00:00.240: I'm trying to schedule the um the uh interview and I'm gonna hold off on exactly what it is, but it's coming up probably in the next week, maybe Monday probably not Monday, maybe tu of next Friday's episode.
00:00.240: So anyway, she's been doing a lot of editing in Final Cut 10, and I think she's showing my friend the ropes.
00:00.240: But he has this new product that is a literally on the verge of launching.
00:00.240: A lot of people are using Vimeo as their tool for sharing approvals with remote clients.
00:00.320: And so he's also very analytical and he's got a very clear mind in the way he looks at and approaches things.
00:00.320: I was actually there.
00:00.320: Oh no, you're kidding.
00:00.320: You know, and whenever we could download it, you know, I went ahead and I downloaded it, and I'm like, it's about as bad as they all said.
00:00.320: Well, that's fine.
00:00.320: you know, as we kind of talked about offline, is that Final Cut 10, I mean, sometimes it just like blows my mind with things that used to be hard now being easy.
00:00.320: Yeah, yeah, yeah.
00:00.320: Is the chroma keyer?
00:00.320: First thing I ever cut was eight-millimeter film when I was about seven years old.
00:00.320: And they're like, well, you know, I think they were buying something called Radius Edit.
00:00.320: So you do primarily corporate stuff?
00:00.320: Rob, I have no problem.
00:00.320: But yeah, it's it's bread and butter.
00:00.320: Exactly.
00:00.320: the slides were well composed and they were big and they were artistic, so it wasn't like a little eye chart.
00:00.320: And we had two cameras on him, and we had a close-up and a wide shot with him in this display.
00:00.320: And you get to see all this really cool stuff and you realize how excited the developer or whatever it is or company is about whatever there is they're going to be announcing.
00:00.320: Never refer to that, number one.
00:00.320: You do it as best as you possibly can in the time frame that you can.
00:00.320: You know, there's no gratitude in it.
00:00.320: But there was this one thing where the corporations got these slides that they kind of use in their presentations.
00:00.320: Titled them 1 through 11 and it just put them in the correct order.
00:00.320: And there is our little rendering error, and I'm thinking, okay, how do I fix this?
00:00.320: You know, on Premiere.
00:00.320: And I only know this because we talked the other day.
00:00.320: But yeah, he was saying, oh, yeah, a lot of times in color grading, there's certain things when you're moving masks and stuff, you want to turn the motion blur on.
00:00.320: You know, beckoning, if you will, from our final cut 10 timeline, you're calling up a motion project, essentially.
00:00.320: And motion blur was the first thing you learn about.
00:00.320: What do I really need the motion blur on?
00:00.320: And things just.
00:00.320: Hey, you can keep working.
00:00.320: But I will tell you, and I will freely say this because I don't work for Apple, I don't get a penny from Apple.
00:00.320: You know, come together.
00:00.320: The limitations of physics sometimes.
00:00.320: I I've always thought though with multiprocessor machines it would be really cool if I could just say, you know what, you take those two processors and you go ahead and render it and just let me
00:00.320: No problem?
00:00.320: Well, you know, the big demo they always do now with the the Mac Pro is they'll go ahead and say, oh, we got like sixteen tracks of 4K video, it's all red, RD three files, you know, the whole thing.
00:00.320: And so I have been the guy in the room, you know, some Apple guys up there saying, yeah, but what about when you do this?
00:00.320: I can definitely ruin a demo because I used to do them.
00:00.320: That renderer was a hog, and you are a self-proclaimed, and I will say it for you because you've told me multiple times.
00:00.320: So now you sent me a text message or a tweet this morning, and I think what you ended up doing, correct me if I'm wrong, you decided, well, okay, so
00:00.320: And I started doing this.
00:00.320: And so it expanded my mind.
00:00.320: I had zillions of possibilities shown to me that I kind of like, oh, yeah, that looks kind of cool.
00:00.320: Wow.
00:00.320: You know, Sony RM440.
00:00.320: modalities.
00:00.320: That now you have this really small library file that's very easy to push around room to room to room.
00:00.320: And I kind of whiteboarded this workflow.
00:00.320: You know, that's my thing coming from a very data-intensive background and teaching clients, you know, the proper way to set things up.
00:00.320: And we came up with the nomenclature FCPX created.
00:00.320: Now I have the options, and I like having that option, but I definitely now understand better what three years later
00:00.320: Why Apple was thinking, hey, just do it our way, do it our way.
00:00.320: So that's all we're, you know, I think you mentioned, you know, hey, I'm a grown man.
00:00.320: the the best for a what I will call a media professional, somebody who's been trained and has well steeped in this process.
00:00.320: I think that what they want to do is they want to simplify for the bell curve.
00:00.320: they are simplifying for the bell curve.
00:00.320: But you know, it's like I think he got off on a tangent about titling.
00:00.320: There is a bloody pen tool.
00:00.320: It'll say, open a copy in motion.
00:00.320: You can take somebody's pre-existing work, tweak it, modify it, change it, maybe change some of the default settings.
00:00.320: Like, let's say for example, well, I really like the centered text thing, but I'm not really happy with let's see, what font is that?
00:00.320: Putting in a timeline.
00:00.320: The poor woman, I mean, I love her.
00:00.320: Well, Rob, I'm gonna let you go.
00:00.320: But when they approached me and they said, Hey, we'd like to sponsor your show, I was like, Really?
00:00.320: So, Jeff, if you're listening to this, you're going, oh, really, are we?
00:00.320: Go check out frame.
00:00.400: And I shut it down.
00:00.400: And dropped it into Final Cut 10.
00:00.400: Yeah, I mean, obviously, a lot of things like that are great.
00:00.400: I agree.
00:00.400: Okay, so now let's talk about the edit that you tweeted me about the other day and some of the particulars of it, because I think
00:00.400: So what were you working on?
00:00.400: Yeah, motion blur was what I turned on.
00:00.400: Your motion type things.
00:00.400: That it absolutely does not render in the background.
00:00.400: And you can definitely show somebody and they're going to go, ooh, I have to have it.
00:00.400: Basically, just started doing that.
00:00.400: So you went and I think you went and tried to replicate what CoverFlux was doing for you in Final Cat 7.
00:00.400: My mindset was always the: I'm a mechanic, I am going to go ahead and make it work in Final Cut 7 because
00:00.400: You know, before it would have been like me kind of coming up with like my you know plan and laying out a background layer and the reflections and all this stuff
00:00.400: Everything just moves along faster.
00:00.400: And we were talking about how Ten One Two changed actually, I think it was John who said 10.
00:00.400: Possibility of keeping more things out of your library file and therefore making it much more lightweight.
00:00.400: Launch final cut.
00:00.400: All of a sudden, I realized, oh, I now understand how easy it can be because you can just go ahead and go into motion.
00:00.400: I don't want to go brute force if somebody's got the butter knife over here.
00:00.400: We will be back.
00:00.400: We have a great interview with Emery Wells.
00:00.400: Application, but he's got so many plans for it.
00:00.480: And I think at one point he goes, oh, well, excuse me.
00:00.480: You know, okay, you've obviously been to NAB for many, many times.
00:00.480: And uh um th there's so much great stuff to talk about.
00:00.480: They were like $7,000 to $8,000 by the time you built up a Macintosh system.
00:00.480: you know talking smack and I'm and finally about halfway through the day I turn to him I go you really got to fix your attitude
00:00.480: I think it just screws up the total mojo.
00:00.480: And I'm thinking everything is going so fast.
00:00.480: And building up just one, I just literally clicked boom, and this thing's built for me.
00:00.480: You know, the motion on, or whatever frame blending on, and all of a sudden it just came to a stop.
00:00.480: So creative and so freeing in terms of being a tool to cut in.
00:00.480: As much as I understood that that's what was causing it, and I get it even from working in seven, you turn on motion blur, you increase it.
00:00.480: You know, it's pretty it's and yeah, no, I've used it, I've used it that way, and yeah, you can see the performance going up and down, and
00:00.480: still be editing in Premiere 4.
00:00.480: It was either Sam or Alex uh just recently saying that ac in actuality
00:00.480: You know, it was funny because part of me is going, hey, you see Fennec or the Bricks Fitz Fenwick, they're bringing back these seven, you know, Final Cut 7 type
00:00.480: Or, you know, I liked it that way.
00:00.480: And continued luck and pleasure as you keep cracking open Final Pet 10.
00:00.480: We have exciting stuff coming up.
00:00.560: And I realized after the show, I wasn't muting it to the mix minus because somebody had hit my pre-fader, post-fader button.
00:00.560: And you were having some problems with one of your so tell me how much how much Final Cut 10 background do you have?
00:00.560: And yeah, it was a mess.
00:00.560: I go, he just said, no, they ruined it.
00:00.560: You gotta grab that?
00:00.560: And it took me like 20 minutes just to open it, and the keys are all done, and After Effects, and they're kind of crap.
00:00.560: And then they said to me, Well, we have to sync this thing up.
00:00.560: I had just had this really great experience doing this multicam thing, and I was just kind of elated.
00:00.560: It kills you in animation.
00:00.560: It was last night.
00:00.560: bummed out when I'm in a room where a sale is happening and I hear somebody saying, oh, yeah, there's no problem.
00:00.560: Yeah, exactly.
00:00.560: 1.
00:00.560: 1 days.
00:00.560: rolled out Monday morning Pacific time.
00:00.560: 1012.
00:00.560: In 10.
00:00.560: What's weird is you become educated to how Apple thinks.
00:00.560: I will never take money from something I don't thoroughly believe in.
00:00.560: We're going to have my friend's daughter on the on the show.
00:00.640: And I try to edit some of them out, and some of them I haven't edited out, and that's kind of a bummer.
00:00.640: And then I learned something from from Rob Terry.
00:00.640: You just like walked up to the booth and you started chatting, and we were Alex and I are sitting there with the mics, and we were in the Randy Altman's post-perspective booth, and she was kind enough to let us use her space.
00:00.640: I got turned on to 10 like everybody else did at NAB at the Final Cut Pro users group.
00:00.640: Maybe more.
00:00.640: Do exactly the same thing you do: is I put together a radio edit so it sounds great.
00:00.640: And I knew how to resolve it, but as you know.
00:00.640: Uh website.
00:00.640: But I started moving video clips around in 10 with that kind of abandon and just saying, okay, this software is marketed, that it's just going to work.
00:00.640: And John's a returning guest.
00:00.640: is we have taken these very trimmed down Svelte library files, copied them across our network, and we're just d dealing with gigabit here
00:00.640: But every time you have to do it after that, it's like 10 seconds instead of 10 minutes.
00:00.640: But that's going to be good.
00:00.720: the loop packs and the and the sh the shorts, the thirties, fifteen and sixties that they sell, I have used them all in order to help
00:00.720: And I've spent a lot of time trying to learn how to do it better.
00:00.720: started doing sales for for Apple.
00:00.720: Eight, seven, or eight.
00:00.720: It's spectacular.
00:00.720: A lot of times you forget that some of these generators and some of these plug-ins and some of these themes and some of these titles that we are
00:00.720: That was just one of those things where, yeah, it's rendering in the background, and guess what?
00:00.720: That's yet another iteration of how you can use this.
00:00.720: Used it all the time.
00:00.720: Jacking into the construct on the matrix.
00:00.720: Well, I think this is going back probably several months.
00:00.720: you're seeing from a really smart guy, but a guy who's still learning the application.
00:00.800: That is like buying a Mac Pro today, but fully, fully loaded.
00:00.800: But yeah, I mean it's it's very it is storytelling.
00:00.800: The content of the lecture was amazing.
00:00.800: I mean, listening to his shows, when you've talked to him, he's pretty much said, no, you don't understand.
00:00.800: And it would have worked.
00:00.800: To point the media folder and or the media and the cache to.
00:00.800: I do a lot of stuff within the software.
00:00.800: A couple of interviews out there.
00:00.880: And they become like really disenfranchised or unsatisfied.
00:00.880: This one I'm not going to say much about it.
00:00.880: You had been, you know, just flying through stuff.
00:00.880: And that's what gets us into so many trouble with these projects where we go, oh, yeah, I can get that done, no problem.
00:00.880: Yeah, I bowed down.
00:00.880: I mean, so I had to step away while it rendered.
00:00.880: 2 is probably a bigger deal than 10.
00:00.880: And when you launch that library, which you just toss onto your desktop because it's just a bunch of links to media across the network.
00:00.880: the rim of the bell curve, if you will, or as a friend of mine once called it, the l he actually he referred to me as being on the lunatic fringe, the pointy edge of the bell curve.
00:00.880: I will start making my own presets.
00:00.880: This is the Friday episode.
00:00.960: I got news for you.
00:00.960: You know, it was like you just thought he knew how to edit because he could demo.
00:00.960: The process of good solid communication and education.
00:00.960: you're not used to the fact that, oh, yeah, I can hit that switch and yeah, my render can turn into an hour or more.
00:00.960: And I resolved just to go do something with my kids for an hour and a half, come back, and hey, look, it rendered it, and life was good.
00:01.040: With another editor who ran out of time because there was some scheduling conflicts.
00:01.040: Yeah, and of course I ran into Alex at the Newport Beach Film Festival.
00:01.040: It was a very simple project.
00:01.040: I fell in love with helping people deliver that message.
00:01.040: So, yeah, if I had multi-cameras, I would have loved to cut this thing in multicam.
00:01.040: We've been doing that like every day.
00:01.040: And so, like you said, you get out there on the edge, and you're like, okay, I just need it to do this one thing.
00:01.120: I have been doing corporate work, gosh, for fifteen or twenty years, and by that wearing a variety of hats like you do as you age gracefully.
00:01.120: And you know, of course, I show that to them.
00:01.120: And it's very much like telling a story, but it usually doesn't have a surprise ending, and almost always nobody dies in it.
00:01.120: But I like wanted to do something.
00:01.120: I mean, I knew about the sparse disk.
00:01.120: But so we're calling it FCPX Created.
00:01.120: On his sand that is reachable from all of his machines.
00:01.120: I was almost out, and now we're gone.
00:01.200: The learning experience can be had from any angle.
00:01.200: I go back to, you know, obviously seven or classic days and before that.
00:01.200: And I only know this from our friend Alex Golner.
00:01.200: 12, as you did in 10.
00:01.280: And I should have actually, you know, told her thank you personally, but it seems like you guys would just like the show.
00:01.280: And I'll admit, I'm probably not very good at it.
00:01.280: And you know, I'd stay up till two o'clock.
00:01.280: If you're a little lost what we're talking about, go listen to episode 63 with John Davidson.
00:01.280: which is what we used to do.
00:01.360: And it completely changed our workflow here at Slice.
00:01.360: I made more money cutting their video than I did selling them an entire Macintosh system.
00:01.360: Oh, yeah, totally.
00:01.360: You know, you do want it to be easy.
00:01.360: What's this going to look like when it's done?
00:01.360: And he was the one who reminded me that if you point your media and your cache out of your library and do not save those in the default setting of in the library.
00:01.360: Yeah.
00:01.360: That was Julian Ferris, episode 44.
00:01.360: But you know, you don't like the default font.
00:01.440: We did it.
00:01.440: And I think that there's a lot of things like that.
00:01.440: We did an interview for DCC that's coming out next week.
00:01.440: And some things were good about Final Cut 7.
00:01.440: Again, and there's a whole controversy over some template manufacturers stealing this versus that, and that's we don't need to get into that.
00:01.520: It was one of those weird things.
00:01.520: You know, and you cannot deny that, you know, we deal with
00:01.520: So, but that's pretty specific.
00:01.520: Let me think.
00:01.600: I mean, you know, I'm just I'm not listening to the event live in any way, so and I finally run into a buddy, he goes, They they ruined it and I'm like, What do you mean they ruined it?
00:01.600: You're going to have to show me how to do that because I'm the one who's actually going to have to do it.
00:01.600: It's like, because again, it's going back to the demo guy.
00:01.600: Anyway, I hear you.
00:01.680: I apologize.
00:01.680: I just I literally just walked out of an edit suite where tomorrow morning at 7 a.
00:01.680: It'll just be rendering in the background and doing this stuff.
00:01.680: You know, I was actually digging around, going, Man, there's got to be some setting where I could do exactly what you're talking about.
00:01.760: No, I'm not gonna grab it because I'm doing this.
00:01.760: Yeah, it is crazy.
00:01.760: I didn't look that far in advance in the calendar.
00:01.760: I said, Yeah, Fenwick's right.
00:01.840: In essence, it could have been multi-cam, but we just shot the person's little thing on a teleprompter three times, you know, wide shot, mid-shot, close-up.
00:01.920: You were actually on our um DCC clip show.
00:01.920: You're in a car wreck?
00:01.920: I think like you did too, and I switched over to Final Cut 8, you know, Premiere.
00:01.920: Yeah.
00:01.920: Each module is a very short turnaround, and nobody I like to say nobody's going to win any awards here.
00:01.920: I'm going to work this way.
00:01.920: And she just she walks me, she goes, What the hell are you listening to?
00:02.000: It's just slamming your client.
00:02.000: I'm thinking, it just became, it was obvious it was going to be multiple hours to get it just right.
00:02.000: And I look at some of the early Funal Cut 10 edits I've done.
00:02.000: How did this transpire?
00:02.000: You know, yeah, I heard that episode.
00:02.000: This is going on a little too long.
00:02.000: But we have another sponsor, which is a company that I know you know, and you'll be excited to hear that they're supporting the show too.
00:02.000: This is the Friday episode.
00:02.000: I'll have another chance to tease this.
00:02.080: And last what day is today?
00:02.080: I kid you not.
00:02.080: And I'm just going to say, I'm just going to back up because I just really had kind of a mind-altering experience the last couple of days.
00:02.080: It's just getting something done.
00:02.080: And that's how you can do these motion style effects, even though you didn't pay the extra $49 for motion.
00:02.080: I can make a Bezier curve in the titling portion of Premiere.
00:02.080: So he said, well, I'll make one that says grow by ten percent, grow by fifteen percent, grow by twenty percent.
00:02.080: And I st you know, I really enjoyed this interview with Rob because
00:02.160: And it wasn't a bad accident, but it was on the strip.
00:02.160: So it's a no-brainer.
00:02.160: I am totally a corporate guy.
00:02.160: It was a guy sitting at a white desk, you know, kind of resting his elbows on the desk, and he had a keyboard and a mouse.
00:02.160: That would work.
00:02.160: And I think, you know, you and I kind of had that conversation.
00:02.160: I really don't.
00:02.160: I mean, it's obvious if I need that one specific thing, everybody must need it.
00:02.160: I'm sure they have a look and a feel that they use for the lower thirds.
00:02.160: io.
00:02.240: I mean, we used to spend so much time, you know, kicking stuff out of time lines and going into Keylight and After Effects and blah, blah, blah.
00:02.240: That's a lot of pressure.
00:02.320: Anyway, that's one minute health checkup on Chris Fenerick.
00:02.320: And not to mention how much work you can even do, like an iMovie on your iPhone, is crazy.
00:02.320: Okay, it's a little three to four minute corporate talking headpiece.
00:02.320: I was trying to get him to make me a product.
00:02.400: FCP, it's done.
00:02.400: And using Alex Lindsay's DV Matt Garage.
00:02.400: I don't like talking.
00:02.400: It kills you in color grading.
00:02.400: Yeah, it you just nailed it.
00:02.400: I could have done it in seven.
00:02.400: This is, I don't know, going back eight, nine, nine shows, and he was talking about the purity of cutting, and he really liked
00:02.400: It's like, oh my God.
00:02.400: Now, if you follow any of the kind of tech broadcasty filmmaking news, you may have seen
00:02.480: Even the editor on this project said he considered doing it in Premiere because some of the newer tools in Premiere are actually better than Keylight.
00:02.480: We'll do this again sometime, all right?
00:02.560: And and and I will say that I think that somewhere along the line, um, I kind of fell in love with the um
00:02.560: Big client.
00:02.560: If anybody's ever listened to my lectures about project organization and file management, you'll know that I always had a folder called Scratch Disk.
00:02.560: And sure, I go out to Photoshop and I do this and that and the other thing, but I'm not going to go out to After Effects, and I'm really not even going to go out to motion.
00:02.560: I think he did something with Mr.
00:02.640: I was actually working the show, and I told the manufacturer I was working for, I said,
00:02.640: And luckily, the client is not the type that's sitting over my shoulder.
00:02.640: But yeah, but I'm not an After Effects user.
00:02.640: We deal with the limitations of our tools all the time.
00:02.640: And soon as I did that, it got a lot better a lot quicker.
00:02.640: If you choose to toggle that little switch on, you know, your graphic gives nice glassy look underneath it and all that stuff.
00:02.640: It's more fluid.
00:02.640: It really is interesting.
00:02.720: So, anyway, great music.
00:02.720: And I mean, there's some good tricks.
00:02.720: Like I said, we've all had those kind of stories where all of a sudden you realize, oh, the client's been in the back of the room for the last 15 minutes.
00:02.720: And I still have to do all the keyframes to make it move the way I want to do.
00:02.720: I'd been listening to your show, and I've worked with those and just for other CD-ROM projects, you know, so I understood all that.
00:02.720: No, I'll absolutely do that.
00:02.720: IO stands for Indian Ocean.
00:02.800: It's and and and it's not a charity case, it's great music and it and the the um
00:02.800: Let me just see.
00:02.800: I think so so now here's an interesting question for you.
00:02.880: And I just went Keyer, Click, Doom.
00:02.880: But I will say I think that the that the chroma cure that is in Funnelhead 10 is really spectacular.
00:02.880: And as you were alluding to, I mean, you know, just a few years ago, that was kind of like a mission.
00:02.880: We're not talking big graphics in any shape of form, and they're actually PNG files, so they were all nice alpha masks.
00:02.880: You know, of course you want to put motion blur on everything, but then you start realizing, hmm.
00:02.880: So, oh, absolutely.
00:02.960: You were talking the other day.
00:02.960: 1.
00:02.960: I mentioned in the end of the interview there, we have a new sponsor that's going to be joining the show.
00:03.040: So, yeah, I mean, I'm enjoying my experience with 10.
00:03.040: And you just build this up, and there's a series of 11 of them.
00:03.040: 1.
00:03.040: So I've got a Dropbox folder that's probably got 200 Final Cut 7 projects because it's the fastest way to get it off-site.
00:03.120: But before we talk about those, why don't you tell us the type of work that you do?
00:03.120: Anyway, old days, yeah.
00:03.120: You know, he had been on the show in the first, you know, I think episode nine, and now he's back on 63.
00:03.120: So, anyway, that's Emery Wells next week on Wednesday's episode of Digital Cinema Cafe.
00:03.200: And I was a you know, a demo guy.
00:03.200: You know, those days are long gone.
00:03.200: So last weekend, I talked with John Davidson.
00:03.200: 1 or 10.
00:03.200: You're like, oh, that's interesting.
00:03.200: It's like, okay, well, guess what?
00:03.280: I got a project, a remote project that somebody else had started, and for whatever reason I got a handoff.
00:03.280: I mean, I'm just one of those people that, if I have a cool idea and I usually do something stupid, like tell the client, hey, I'm going to show you something pretty cool.
00:03.280: And you would have had that conversation.
00:03.280: We'll be back Monday with another episode of The Grill.
00:03.360: And I think I had coughed right in his ear.
00:03.360: Now Rob has only cut a few projects in Final Cut 10, although he's been an editor for decades like myself.
00:03.360: So let's just put it this way: as I finally get to the hotel, there's all these people walking out from the meeting, and they're angry.
00:03.360: And then he said, Look, why don't you just cut this for us?
00:03.360: No, it has nothing to do with me.
00:03.360: So I do spend an awful lot of time option clicking.
00:03.360: I think I made that announcement and I saw all the new features about how you deal with your data and your cache and whatnot.
00:03.360: And so, at any rate, you have to decide where you want to put those things.
00:03.360: So the bell curve is that middle eighty percent.
00:03.360: And when you are in that business, you're always looking for a tool that's going to make the job more efficient
00:03.440: And you throw in a little bit extra because, hey, it's your kids' school, it's your kids' play, or whatever it happens to be.
00:03.440: There's a little click of a button and drop in my 11 pictures, lays them all out.
00:03.440: Thanks.
00:03.440: That's, you know, like you said, it's not the end of the world.
00:03.440: 0 or I just I don't want to I don't have any nostalgic feelings for my old
00:03.440: a much more data organization friendly mode with the ten point one two iteration.
00:03.520: Everybody's heard of them.
00:03.520: So all that work was done for me.
00:03.520: Everything's always going to be in the right place.
00:03.600: You know those big monster buses you get on to go back to your hotel?
00:03.600: Yeah, and of course it was a Motorola processor.
00:03.600: And again, as I told you before, in Final Cut Classic, I would simply would have taken those pictures.
00:03.600: You're not a heavy duty After Effects user.
00:03.600: I'll tell you, go back to those you know, my first experience with After Effects was with my Macintosh 8408.
00:03.600: And I think part of it was because the way FCPX engine or the software is sold is like
00:03.600: I think and I get why they show that, but that's really all about IO when you think about it.
00:03.600: We'll see you next.
00:03.680: So anyway, that's always cool to see.
00:03.680: You do long form stuff.
00:03.680: So you don't ever want to get in that mindset.
00:03.680: And it was like, I'm looking at it, I'm going, this is cool.
00:03.680: And I thought, oh, motion blurred it, that you blur out the problem, and then people won't see it.
00:03.680: And I do it too.
00:03.680: Because most people aren't doing what I'm doing or what John Davidson is doing, where we're sharing files across the network.
00:03.760: It's a toy.
00:03.760: It's a little bit drier, but when it's done well, um
00:03.760: I don't like saying the turd, but I did think that his rolling in glitter was funny.
00:03.760: They've sort of backed into.
00:03.760: We sat down, all of us here at Slice, and I said, Okay, it's a new dawn, it's a new day.
00:03.760: 1.
00:03.760: And my thing is, I actually want a powerful titler in Final Cut 10.
00:03.760: It's like, that butter knife's warm.
00:03.840: He was just giving a slideshow, you know, and it was nothing.
00:03.840: But, you know, once your head starts saying, okay, I'm going to edit this, I'm going to put it together, I'm going to grab some music, I'm going to make something of it.
00:03.840: Final cut fi uh no, too many slashes.
00:03.840: And one of it was just the way you manage your data.
00:03.840: I can make my own decisions.
00:03.840: But anyway, I really want to do this, and I'm still trying to get him to confirm that.
00:03.920: And the only time it slows down is when I actually don't have the knowledge of the application to know, oh, if I would have just option-clicked here.
00:03.920: Yeah, that the 10.
00:03.920: And every time I'd open a job, I'd just reaim the the old Funnel Cut Classic scratch disk to that folder.
00:03.920: And so, yeah, that's when I was, you know, little light bulbs were definitely going off in my head, going, wait a minute.
00:03.920: I think I might have shot you a tweet telling you that my wife, you know, when I've listened to your show and I'm like listening to like in the house with like speakers so that you know you're resonating through the house.
00:03.920: And again, I'm surprised you didn't mention your sponsor in the show, but I did produce one of the songs in this thing, and it worked out really well.
00:03.920: Coming up next week on Digital Cinema Cafe on our Wednesday show.
00:04.000: Somebody threw out the uh stop fun parachute, and it was like,
00:04.000: You're not going to be doing a whole lot either.
00:04.000: What it does is it waits for you to let go of your mouse for a certain predetermined amount of time, and then it will render as it can.
00:04.000: He's really not, he knows how to stay kind of within his track of things.
00:04.080: I was sitting absolutely stone still, and one of them sideswiped my car on the way.
00:04.080: Yeah, it's all your fault.
00:04.080: And uh no, sure enough, it just happened to be with h however uh they built
00:04.080: Yeah.
00:04.080: Absolutely.
00:04.080: Thanks, thanks for all the kind words.
00:04.080: Awesome, ma'am.
00:04.160: This is episode sixty four.
00:04.160: And they're like, Oh my god.
00:04.160: A couple old guys talking about old computers.
00:04.160: It's going to be great, actually.
00:04.160: Or most people aren't you know aren't struggling at a com or take Thomas Grove Carter, who I interviewed last month.
00:04.160: And I'm really excited to join this new sponsor.
00:04.240: You and I first met at NAB 2014.
00:04.240: And I started thinking about it.
00:04.240: You know, large projects, small projects.
00:04.240: And if they ask you to do this one other thing, you know it's going to break.
00:04.240: You know, a client would never pay you for that.
00:04.240: Well, you know, whether you're an editor or producer, whatever hat you want to put on.
00:04.240: Jordan, and I think he's done something on post-perspective with Randy Altman.
00:04.320: They turned it into, you know.
00:04.320: Okay?
00:04.320: You had told me on the phone that you had you've done about
00:04.320: So I've been cutting for a long time in different mediums, done different things.
00:04.320: And it's, you know, I got to say, it's not an exciting job.
00:04.320: Maybe there's a smarter way to do it.
00:04.320: We're not quite that advanced yet.
00:04.320: Frame IO and watch the demo.
00:04.400: And we're talking these as $1994, $1995.
00:04.400: Well, yes, and I'm sure with his skill set and coloring, I'm sure he can do it.
00:04.400: You won't get any sleep.
00:04.400: You know, now we're finally back to where we have all that control.
00:04.400: Yeah, and he was a much younger guy, and he really just was too much of a purist for my point of view, and I got where he was coming from.
00:04.400: Not funny.
00:04.480: I like how you talk to this Australian guy, which, of course, you've talked to many Australians.
00:04.480: And he goes, Yeah, I can't make money selling it.
00:04.480: But once I started realizing, and I think what Golder refers to, it's just like this engine.
00:04.560: I think you're the first person I've talked to who was actually there in the room.
00:04.560: So, at this point, let's go to the interview with Rob Terry.
00:04.560: But, like you said, you hit motion blur and it is just
00:04.560: Hold on, wait a second.
00:04.560: You know, and even still, I mean, the I I find the learning process to be exhilarating.
00:04.560: No, but I am a geek.
00:04.560: And like I said in the beginning, you can learn from many different angles.
00:04.640: And then we we would arrive like right after lunch and she'd be out shooting in the field.
00:04.640: And, you know, it's not very often you get to work on something where you just go, oh my goodness, I want to rewind that.
00:04.640: And I think I personally think there's a lot of satisfaction to be had in the type of stuff that you and I do.
00:04.640: Yeah.
00:04.640: I've done them for Adobe.
00:04.640: I can't remember what the number was: 234 demos.
00:04.640: And one other thing Premiere has that I think I mentioned to you at NAB that I really like is that
00:04.640: I'll tell you what, Rub, next time I do an eye socket video, I'm cutting it in Premiere.
00:04.640: But like anything, what happens, of course, on any corporate project, with the preset from one place may not work someplace else.
00:04.640: See you on Monday on the grill.
00:04.720: And I'm tired of talking about they broke it, they broke it.
00:04.720: So many people just kind of head and bow their head and go, oh yeah, I just do corporate.
00:04.720: I tend to work with very high-end companies, and quite often some of the stuff I do is very high-profile for those high-end companies.
00:04.720: And I love what he said.
00:04.720: Okay, I'm going to slide it in left to right.
00:04.720: The bottom line is: yes, we want it to be easy.
00:04.720: You know, but I did arrive.
00:04.720: Um but there's uh there's this great
00:04.720: She goes, It makes no sense.
00:04.720: I dig premium beats.
00:04.720: It's called FrameIO.
00:04.800: And it's been a lot of fun.
00:04.800: There is an engine inside Final Cut X that allows you to render
00:04.800: Because you're thinking, oh, there's got to be a way.
00:04.800: And so, what the, and I'm not really pimping this whole cover flux plug-in.
00:04.800: I want to put my data over here.
00:04.800: But those of us who are in that kind of the
00:04.800: Take it easy.
00:04.880: So, John, if you're listening, I apologize.
00:04.880: And it was just so frustrating because everything had been so easy.
00:04.880: If I would have done that in Final Cut 7 with this client, they would have come back and seen me in Photoshop and they would have been going
00:04.880: Not only could I do something A faster, but
00:04.880: It's like we were doing something the other day, and it's like, oh, I have to learn how to use that plugin.
00:04.960: So, you know, that's my world.
00:04.960: And then I'm going to go ahead and lay some B-roll on top and all that fun stuff.
00:04.960: And I just went out on the web and I started just Googling various plugins, and I found this thing called the Cover Flux.
00:04.960: I was actually I had this a conversation with Alex just the other day.
00:04.960: I remember, gosh, you told some story about how people used to think you were a fast editor, just talking in your early days, because you just clicked lots of things really, really quickly.
00:04.960: But when I started thinking about all the things I was going to have to do, because one of the things that CoverFlux does is
00:05.040: And that's why in After Effects, you can turn motion blur on per layer.
00:05.040: So, right, exactly.
00:05.040: 1 thing was a giant, giant deal.
00:05.120: And although we do mention premium beat at the end of the interview, I also want to encourage you to
00:05.120: And he kind of joked about the whole, you know, we roll it and glitter.
00:05.120: So like I think I think anybody will tell you, any motion graphics person will tell you, oh yeah, motion blur is the killer of anything.
00:05.120: You know, I mean, I love the fluidity in Funnel Cut 10.
00:05.120: That's just like funny.
00:05.200: And I will say that, you know, if you're doing high-end compositing, right, compositing, sure, of course you can do great stuff.
00:05.200: And it's just, it's kind of key.
00:05.200: So I am going to play with that.
00:05.280: Hey, so today we're talking with a relatively new Final Cut user.
00:05.280: And if you haven't listened to that, I'm going to talk about it a lot more in this episode.
00:05.280: Okay, yeah, that looks great.
00:05.280: And, you know, that's a long time ago.
00:05.280: It's a big event.
00:05.280: And I was like, wow, I sure dig the multicam.
00:05.280: Done.
00:05.360: And uh and I will say one of them
00:05.360: And there's a few problems that you're glazing over there.
00:05.360: Thanks, Rob.
00:05.440: First of all, I want to apologize, last cu few shows I've had a cough.
00:05.440: Ran out of time and sent me his premiere 2014 project.
00:05.440: Of course, there were a wedding video.
00:05.440: And it's just insane how much computers have dropped in price.
00:05.440: It's just I'm happy.
00:05.440: And as you know, often it's before something's being released or, you know, whether it's two weeks, two months.
00:05.440: So instead of being in Final Cut, you know, 7 or classic.
00:05.440: There's motion basically just hidden right there in the
00:05.440: And so, and I think, I think, what ends up happening is, you know, if you're not an experienced motion graphic artist.
00:05.440: It has nothing to do with me being right.
00:05.440: And like you said, there's so many conversations with other people, and you're like
00:05.440: I'm going to even use that one.
00:05.440: And I haven't totally confirmed that.
00:05.520: But I've done a lot of it.
00:05.520: But sometimes you just want to and the worst part is
00:05.600: Yeah, yeah, I think I remember that.
00:05.600: So now you've got an accident on the strip with one of those big buses with all those people going, I think, pretty much to the same place I was trying to go to.
00:05.600: And I play over there every once in a while.
00:05.600: You know, I'm not sure.
00:05.600: I've done them for Apple.
00:05.600: It's going to save like bazillions of hours down the line.
00:05.600: So, thanks for turning me on.
00:05.680: But it's very interesting.
00:05.680: And, you know, we're talking, you know, think about it.
00:05.680: So the one in the furthest back is the one that's most out of focus, and so on.
00:05.680: The centered.
00:05.680: You can change that.
00:05.760: He goes, James Miller.
00:05.760: And again, to your point, it's like I said
00:05.840: Yeah, it's pretty spectacular, isn't it?
00:05.840: And I would have been proud of myself, but bottom line, I use this plugin.
00:05.840: And I'll still have my redundant copies on local drives and things of that nature.
00:05.840: Yeah.
00:05.920: And I did the same thing until I went out on a job and we're talking, you know, 1994, 95.
00:05.920: We are talking one
00:05.920: Still have to do the motion blur.
00:05.920: I hadn't really vocalized that, but they really have sort of backed into
00:05.920: And that's really not necessarily the case.
00:06.000: Who were you just talking to the other day that was
00:06.000: Because it's obvious your head's really in it, which it wasn't other than the demo guy type thing.
00:06.000: So, no problem, put it all together.
00:06.000: And again, everything was again smoking fast.
00:06.000: And they don't you know, what you want the guy to do is immediately go to the timeline and do that.
00:06.000: And it dawned on me, we needed a place
00:06.000: I think people like John Davidson, who have a big SAN, he I think he's just putting all of his projects on one giant folder.
00:06.080: On the Monday's episode, I learned an amazing tip from John Davidson.
00:06.080: It was way before the Intel transition.
00:06.080: I want to talk about that a little bit.
00:06.080: 1.
00:06.080: And that's where and we toyed with calling it Scratch Disk.
00:06.080: Well, that will make me very dangerous.
00:06.080: I wish I could somehow help Alex.
00:06.080: And it is a it's a it's a u it's a Vimeo replacement.
00:06.080: Later, later.
00:06.160: And I gotta say, the content of the lecture
00:06.160: I've done stuff for my kids' school.
00:06.160: It's never going to get screwed up.
00:06.160: I know why I want it over here, and I'm just going to do it that way.
00:06.160: And again, I you know, again, listening to your show.
00:06.160: I go, Oh, it's gold.
00:06.240: And they have been very generous in supporting what we're doing here.
00:06.240: 2 is a bigger a bigger update than 10.
00:06.240: Yep.
00:06.240: And it always made me feel comfortable.
00:06.240: And, oh, actually, I'm going to say one more thing before we sign off here.
00:06.320: I probably have 20 days booked with them in the next several weeks.
00:06.320: And the effect is cover flow.
00:06.320: And I get really
00:06.320: It'd be one of those things where, yeah, I opened my mouth, I told you I'd do something cool, and it will be cool.
00:06.320: It was like, oh, look at this.
00:06.400: You know, I did a few tweaks, I got that part figured out, going to the plug-in.
00:06.400: You understood the keyframing.
00:06.400: And it just made me start thinking differently about some of the points you've already said about Final Cut Pro.
00:06.400: I actually downloaded that in this project I just cut.
00:06.480: And I'm like, really?
00:06.560: Yeah, no, I set somebody up that I worked with, worked with for years, and they've been using
00:06.560: I'm going to go ahead and do a little feathering, throw some drop shadow.
00:06.560: So I'm just like watching, going, Really?
00:06.560: I arrived what, basically, in a
00:06.560: Why not?
00:06.560: And I'm sure you're going, well, why the hell would you want to do that?
00:06.640: Anyone else if I haven't
00:06.640: It may.
00:06.640: And, you know,
00:06.640: And that's why we're there.
00:06.640: Yeah, I think, you know, as with any tool
00:06.640: And he said the classic thing, which is it's just like having the old project file.
00:06.640: So in listening to what is Alex Goldner.
00:06.640: I tell you, watching tutorials on YouTube is kind of like.
00:06.640: Thanks for listening.
00:06.720: You know, I always say that
00:06.720: Yeah.
00:06.720: And all of a sudden, you're like, eh, it's four o'clock in the morning.
00:06.720: This looks kind of cool.
00:06.720: And I've even, on occasion in the last couple of months, had to open up.
00:06.720: It's like a, it's like, but it's a foreign language.
00:06.800: You just said something that's very interesting.
00:06.800: And most people are going to be just fine if they just
00:06.800: Well, as a matter of fact, like if you let's say you you're in your Final Cut and you click on your little titles tab there and you see, you know,
00:06.800: Oh, that's awesome.
00:06.880: Yeah.
00:06.880: We, yeah, yeah.
00:06.880: Okay, there's got to be.
00:06.880: You know, yeah, I'm all for it being easier.
00:06.880: Does After Effects, I guess it would because it's part of it, it's got like Illustrator as a backbone.
00:06.880: But but uh, Chairman Meow was saying, Oh, I love the plug-in, but he wasn't totally crazy about the default
00:06.960: And then and then a couple of days ago you tweet you tweeted something to me and you're like, Fenwick, I'm blaming you or something to that effect.
00:06.960: So we've all been there.
00:06.960: I'm happy here.
00:06.960: No, but I said I mentioned to you before.
00:06.960: It'd be awesome.
00:07.040: You know, it's basically the sex factor.
00:07.040: We can do that.
00:07.040: I mean, I've sold all over the place.
00:07.040: Well, it does in the sense that
00:07.040: And what we're talking about is this new potential workflow.
00:07.040: We dig premium beats.
00:07.120: It was really interesting.
00:07.120: You know, cut lots of stuff there.
00:07.120: I've done a lot of it, and
00:07.120: I mean, and like I said, I have no problem with it.
00:07.120: Final cut pro.
00:07.200: You can learn from experts, you can learn from new users, you can learn from intermediates.
00:07.200: So, you know.
00:07.200: But bottom line is, I'm showing them how to do your simple J cuts, your L cuts, and all this type of stuff.
00:07.200: I had one of those.
00:07.200: I think the A40.
00:07.200: But without getting too much into it, because I'm not sure what I can and can't say about it.
00:07.200: And then all of a sudden you're like
00:07.200: And that was
00:07.200: He's got great tutorials.
00:07.200: So that was Rob.
00:07.200: And like Premium Beat, I promise you, this is a
00:07.200: So anyway, that's it for this episode.
00:07.280: So now I'd have a kind of a finished graphic.
00:07.280: If you right click on any one of those
00:07.360: We're talking that's like an ancient plug-in.
00:07.360: So by and large, you could almost get away with not going to the slide full screen, but there were occasions where going to the slide full screen was advantageous.
00:07.360: It just wasn't one trick pony.
00:07.360: But that's what anyway, that's what we're doing.
00:07.360: And I probably, from what I got listening to some of his episodes, can't I take some of the stuff I'm like
00:07.360: And so he made multiple iterations of it.
00:07.360: Well, I'll tell you the most simple.
00:07.360: It's just, oh, you know, I'm usually like
00:07.440: I apologize for that.
00:07.440: Yeah, yeah.
00:07.440: You know, we're talking long form stuff that's 40 to 60 minutes long in nature.
00:07.440: That's just my thought process.
00:07.440: And I think that what was happening is
00:07.440: But sometimes you get that mindset of like, no, it must be broken.
00:07.440: And he knows if he goes off the reservation, well, all helmet might break loose.
00:07.440: And our clients don't necessarily care if it's easy.
00:07.440: Then I picked the one I went with and got it done other than the rendering issue.
00:07.440: And we debated on what we wanted to call that folder in our job folder.
00:07.520: It's just 11 slides, and they weren't
00:07.520: You might spend an extra hour or two making that first lower third.
00:07.600: And I, you know, plug in her.
00:07.600: So
00:07.600: I'm not trying to be too much of an apologist.
00:07.600: I'm like, really?
00:07.600: And
00:07.680: What's a better cure?
00:07.680: I mean
00:07.680: There's not a lot of good footage.
00:07.680: It's just the way it is.
00:07.680: Plus, I'd have to be adding a Gaussian blur because the whole idea is that they come up, the graphic is sharp, and then it.
00:07.680: And so I'm going to go back to working exactly the same way with Tim.
00:07.760: He's down there in Orange County, and we're going to hear about his latest Funnel Cut 10 project.
00:07.760: I think the thing is, is like Keylight for a while was really the keyer to use.
00:07.760: Now and you're in like LA area, right?
00:07.760: But no, I do.
00:07.760: Because the Monday morning after I did the interview with John, which that interview actually
00:07.760: And we debated what to call that folder.
00:07.760: And then sometimes you have to think, well, gee, if I actually go out to the web, watch a YouTube video or ripple training, whatever it happens to be.
00:07.840: Yeah, that was
00:07.840: And so there were flash photographers and certain things going on.
00:07.840: You know, there was the hurdle, and we talked about it.
00:07.840: Sure.
00:07.840: So, make sure you check that out.
00:07.920: It's so
00:07.920: He goes, we.
00:07.920: And you responded back with, Yeah, that's fine, but I have a render here that's taking two hours.
00:07.920: Yeah, famous last words.
00:07.920: No, you just want to make it look like magic to the client because that's really what we sell: magic.
00:07.920: And frankly, who was it?
00:07.920: Just kind of getting back to, I now have complete control.
00:08.000: If it's easy, everybody's happy.
00:08.080: Right.
00:08.080: So on a Macintosh, you can be
00:08.080: You could kind of take something apart mentally and say, Okay, yeah, I can make that.
00:08.080: Yeah, I did, you know, talk about, okay, gee, I've got a few hours to kill, so why not try that?
00:08.080: Well, yes, it would be.
00:08.080: It's right here in the Tigler.
00:08.080: Anyway, so I'm not much of a salesman.
00:08.160: But it just, it was definitely one of those things where
00:08.160: And I'm like, going, you know, I just don't write, I don't want to do it yet.
00:08.160: Hey, Rob, thanks again for being a part of the show.
00:08.240: m.
00:08.240: You know.
00:08.240: I, you know.
00:08.240: And there's some other cool stuff you could do with it.
00:08.240: I mean, this is like, you know, I'd messed around, but this is like a real project that's a paid project.
00:08.240: So I have changed my workflow a lot from seven to ten because
00:08.320: So I I definitely appreciate that about Rob, and I think you're going to enjoy the conversation.
00:08.320: Yeah, I like that show.
00:08.320: I find it.
00:08.320: I think if you think that way when it comes to trying to understand what Apple is doing,
00:08.400: Well, it's I was almost there.
00:08.400: Well, I think what you have experienced here is
00:08.400: Really?
00:08.400: Very dangerous.
00:08.480: And they take you on a tour of the desert first.
00:08.480: Oh, you're going to have to narrow it down.
00:08.480: If you're trying to impress somebody and you see Alex McLean approaching you in your booth, you might want to take your lunch break.
00:08.560: I'm like, oh man, it can't be that bad.
00:08.560: It was like what, Mac OS
00:08.560: And what we ended up doing, and we've done it now, like pretty much every day this week.
00:08.560: And I got news for you.
00:08.640: And there's some still things that I really do like about it.
00:08.640: I do corporate.
00:08.640: You sit there, you start increasing that knob.
00:08.640: I think I saw one just the other day, you know, getting started in motion.
00:08.640: And I don't know if I'm going to do that right away, but it might be like August 1st.
00:08.640: Thanks for listening.
00:08.640: It's really cool.
00:08.720: I've been in an accident, you know, not hurt, just shaking up and having to do the police report and all that stuff.
00:08.720: And as you already know, it's like sometimes you could spend far more money on buying a keying solution.
00:08.720: You know, I got into Final Cut 10 because of because of you.
00:08.720: Oh, okay.
00:08.720: It's not even remotely the case.
00:08.800: , I sit down with a producer who started a project
00:08.800: You've got to be kidding me.
00:08.880: That was it.
00:08.880: I'm sure I got a timeline in the background.
00:08.880: I go, yeah, but it's one I know.
00:08.880: So, I'm just putting you on the spot here.
00:08.960: You know, you're always like.
00:09.040: We almost never crossed paths with Randy because.
00:09.040: I don't know that there's anywhere in the Apple
00:09.040: And coming up in the next couple of weeks,
00:09.120: Yeah.
00:09.120: You said you
00:09.200: So they've been using that on 7, and it's been working.
00:09.200: Yeah.
00:09.200: Because what you're doing is you're preserving your original, but you open up the copy.
00:09.200: Okay, rewind.
00:09.280: And but in terms of actually making money with it, it wasn't until I
00:09.280: It is very important to know the limitations of your tool.
00:09.280: That's just how fast we're moving stuff in and out and throwing it up on a screen and showing it to you.
00:09.280: I can't tell without
00:09.360: Anyway, it was awesome.
00:09.360: And I think that
00:09.360: But what caught me up was that you brought up the key point:
00:09.360: Alex even told me on our way to NAB last year, he said,
00:09.360: So I was going to have to modify every one of my graphics.
00:09.360: And so.
00:09.360: Good grief, this is getting deep.
00:09.360: Hey, that's pretty cool.
00:09.360: It's just an engine, and you can just do these cool things.
00:09.440: So I'm asking you
00:09.440: So that's really great.
00:09.440: And oh, yeah, it's a killer.
00:09.440: So.
00:09.440: And I come wa I come walking back into the room, I know Kung Fu.
00:09.520: And I had actually taken one of the clips.
00:09.520: I mean, we did that a lot in the first 10 or 20 episodes.
00:09.520: I mean, the kids these days, you hate to say that, but
00:09.520: I hope you enjoy it.
00:09.600: And I just finished cutting it.
00:09.600: Otherwise, how do you deliver it for your client?
00:09.600: But the producer comes in and like right off the bat, minute one, he's like
00:09.600: Everything worked great.
00:09.600: And it was pretty obvious.
00:09.680: And
00:09.680: 1.
00:09.680: Now a lot of n not Vimeo like most people think of Vimeo, but the way we think of Vimeo,
00:09.680: And it's a remote viewing
00:09.760: And you are, there is a
00:09.760: I've never once
00:09.760: And I knew I wanted to do that.
00:09.840: And it's not professional.
00:09.920: I've done stuff.
00:09.920: 2 or any version of it because
00:10.000: Which one?
00:10.000: So it's all good.
00:10.000: I think maybe
00:10.080: You know, this is all against the nice background with bokeh and all this stuff.
00:10.080: So I thought, hey, it's free, I'll download it.
00:10.080: If it's smooth, it's happy.
00:10.160: They're paying us because we have some idea about putting a story together.
00:10.160: I was talking to
00:10.240: I go, All we have to do is sync the flashes, and we could sync up two tracks of video.
00:10.240: You know, I I don't wanna
00:10.320: Yeah, you know, just the other day I was starting a project.
00:10.320: And I said, really?
00:10.320: So when it's kind of cool when people contact me.
00:10.400: His name is Rob Terry.
00:10.400: She let us use her booth and uh
00:10.400: You turned, you turned.
00:10.480: Oh, geez.
00:10.560: Yeah, I'm sure you have Bezier pen tools in After Effects.
00:10.560: And
00:10.640: But they don't.
00:10.800: And I think what happened for you in that particular instance is
00:10.880: That's great.
00:10.960: And
00:10.960: Now, and again, people, if
00:10.960: I think kind of
00:11.040: So, you know, I may razz you about that.
00:11.040: I'm like.
00:11.200: I'm like,
00:11.200: You can't go in and click that?
00:11.280: Well, you'll know as soon as I bring it up.
00:11.280: I got to spend, oh, an hour and a half trying to fix this.
00:11.280: Most people don't have to integrate
00:11.360: Oh, okay, never mind.
00:11.360: Now I want to rewind it and watch it.
00:11.360: If you're sitting there thinking,
00:11.360: You know, and back in those days,
00:11.360: 1 was.
00:11.360: And the funny thing is,
00:11.360: Yeah, I thought that was.
00:11.440: Sorry, I didn't hear that question.
00:11.440: The last thing you want.
00:11.440: So then
00:11.520: Right.
00:11.520: Just
00:11.600: And I want to thank everybody for listening.
00:11.760: Oh, yeah.
00:11.760: And I
00:11.840: Things you, as a demo guy, you learn how to do.
00:11.840: And again, it's just.
00:11.840: But
00:12.080: Well, one of those ran into my vehicle.
00:12.080: And then, boom, when 10.
00:12.240: I tracked it all because
00:12.320: And I think
00:12.320: One of the things that we
00:12.560: But um
00:12.640: I kind of gave up
00:12.640: And you can work exactly the same.
00:12.720: He's an old guy like me.
00:12.720: Can we go to an easier one?
00:12.800: But yeah, I mean, I
00:12.800: It's a
00:12.800: So.
00:12.960: Sure.
00:12.960: I was setting up somebody's system.
00:12.960: 1 came out, I'm like, ooh.
00:12.960: And he goes, Yeah, but why would I?
00:13.440: And
00:13.920: Oh, geez.