Episode 66
FCG066 - FCPX and Pro Audio (feat. Jeff Dykhouse)
Rolls, X2Pro, ProTools and FCPX. Eventually we get to all that. This is a great episode if you want to hear two old college buddies talk about 35 years in the industry and FCPX.
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Transcription
00:00.001: With my good friend Jeff Deckhouse.
00:00.001: I fix his audio edits and then I trick out his graphics for him.
00:00.080: Hello there, welcome to another episode of The Grill, Final Cut Grill episode 066.
00:00.080: It's like, oh, yeah, that's this cute little studio you got there.
00:00.080: tape machine was tricky.
00:00.080: etc.
00:00.080: That's the name of it.
00:00.080: For Chris Fenwick to walk out and take that camera and maybe a lav and stick a lav on somebody and shoot an interview and Chris Fenwick to bring that back.
00:00.080: Clicked on it.
00:00.160: He is drawing a hard line of correlation between the beginning of Premium Beats sponsoring Funnel Cut Grill
00:00.160: We're talking about audio in Final Cut 10, and it's more than just audio in Final Cut 10.
00:00.160: I don't even know what you were doing, but literally you had like two or three four-channel mixers, and I think you bought out all the Y adapters at Radio Shack.
00:00.160: I've got four of them.
00:00.160: But if you read the video forums, it's always like, um, you'll you'll you'll read stuff like this.
00:00.160: Guides you by changing things on the beat for you.
00:00.160: when I'm doing the audio portion of it, I'm flying, just doing whatever I need to do.
00:00.160: Retina MacBook Pro with a far column to the right, as you would say.
00:00.160: Doing final cut.
00:00.160: Oh, I want to do an insert.
00:00.160: Criminal.
00:00.160: How to do it fast.
00:00.160: Yeah, because the audio, you know, 44.
00:00.160: I think where you don't have to hold down the command or control key for a lot of the common shortcuts.
00:00.160: Keyboard shortcut, that is the E key that I mentioned, and you can set that to fill the screen with the current selection, which is how I usually have it set.
00:00.160: And when you figure out what does what, you're like, oh, okay, it makes perfect sense.
00:00.160: Drop zone.
00:00.160: to be exposed to it, you'd have to be the type of person that goes to these crazy, you know, raves, you know, where everybody's high on ecstasy and like, Oh, hey, what software are you using?
00:00.160: And they'll give you a lower third, and they'll give you maybe a side panel, you know, for additional stats or whatever.
00:00.160: It's entirely come up with in inside of the audio app, the act of recording.
00:00.160: And they're like, hey, you know, that's a piano part.
00:00.160: ignorance of not having heard an interview with him.
00:00.160: I maybe that's too far out there, but there's that totally exists for audio.
00:00.160: you can want to hit the third one down and just dial that down three dB and save the file.
00:00.160: Stage and give me access to every one of the audio tracks and a piece of hardware that you know plays reliably and blah blah blah you know whatever
00:00.160: Bass.
00:00.160: I tried to change it and then someone made a beautiful stained glass sign to hang in the studio.
00:00.160: Jeff the studios, J E P H T H A Studios.
00:00.160: All right.
00:00.160: to use those VST and audio unit plugins is as even Jeff says, he goes, yeah, it's very powerful.
00:00.240: That can use production music.
00:00.240: So he's got those kind of ears that can hear the difference between various digital to analog converters.
00:00.240: the little sound effects that we play in the show, the little the swells and stuff, those were all things that Jeff um created for me.
00:00.240: And a noticeable drop in his income.
00:00.240: Hearing what Jeff has to say about the pro-audio world and the history of computers.
00:00.240: I can remember in the old days of buying D V D or excuse me, C D players.
00:00.240: Are you setting up a virtual mixer on your virtual computer?
00:00.240: I can't say that I do.
00:00.240: No, that obviously is.
00:00.240: And a Pepsi.
00:00.240: I can say this with certainty because I had to dig through some old records and was looking at my MP supports.
00:00.240: and you are a good fixer.
00:00.240: make wonderful.
00:00.240: you know, put people in the background and little little bits.
00:00.240: It's good enough for a lot of people.
00:00.240: And it does a really awesome job.
00:00.240: one image i in the foreground and three blurred ones in the background and then they'll shuffle about and and and they'll you know, they'll export you like a a high def
00:00.240: H.
00:00.240: You know, the mid-90s, really.
00:00.240: Right, right.
00:00.240: who had a clear vision of where they were going and was, you know, Quincy Jones used to say, chopping wood, you know
00:00.240: and with ten fingers play out full beats, you know, as though he were a drummer, you know
00:00.240: after the Grammys one night, and he said, Look, we have a tough night ahead of us.
00:00.240: Or whatever.
00:00.240: you know, you got to do things in the right in the right order.
00:00.240: That's why my studio doesn't have as much work as it used to, 'cause that you can do stuff, you know, in Final Cut with all these tools that are out there.
00:00.240: Junior year, and by his senior year, he had an eight-track Task Cam.
00:00.240: throwing cables out the window to other dorm rooms and s uh selling movie night to people who wanted to watch on their T V but didn't have a V C R.
00:00.240: For lesser videos, there's the line that's be you know, what software can do automatically for you has become good enough for a greater and greater percentage of the world.
00:00.240: Wow, that's a memory.
00:00.240: and they just want that finishing touch on it, or they ran out of time, one of those two things.
00:00.240: My wife and I have a theory that your patience is like you're given a certain amount at birth.
00:00.240: Endless.
00:00.240: And I enjoy being part of finishing.
00:00.240: That when Final Cut 10 first came out, I was astonished that my music edits were more accurate and better and easier to do.
00:00.240: Okay, so that that was the advantage of Pro Tools when it first came out.
00:00.240: And then dump over to Pro Tools to do their audio editing because you could edit down to the sample.
00:00.240: manipulated with a pencil tool in Pro Tools.
00:00.240: Avid bought ProTools some years ago, and they've kind of they've changed plugin formats one and a half times, which was two times for me because I had their hardware based system, the ProTools HD.
00:00.240: and all the hardware-based plugins, a lot of them didn't make it over to native and then they went sixty four bit native.
00:00.240: and some of the plugin developers decided to take their plugins to audio units and a few VST as well.
00:00.240: any core audio app.
00:00.240: So that's good news for the plugin developers, and good news for me that my investment in plugins gets to be used somewhere else.
00:00.240: breaths and you know just every little thing to get things to sit naturally.
00:00.240: it talks about how you know what how hardcore you are.
00:00.240: It's pretty speedy.
00:00.240: Sorely miss in Final Cut 10.
00:00.240: and show your entire timeline in the available space you have in your timeline.
00:00.240: ten or eleven clips in the middle of a big long time line and hit, I believe it was option shift Z and it would zoom to the selection and fill the
00:00.240: But that was the one where you could elastically do anything at any time, and you can grab a sample of any audio and throw it in, and it will put it in time to the end in pitch, to the song you're working on.
00:00.240: you know, that would make lots of or visualizer.
00:00.240: It's a really, really powerful chip.
00:00.240: It's so clever and so nichy kitschy that very few people really learn how to use it.
00:00.240: video creation?
00:00.240: And I did a thing, you know, for our big client Schwab.
00:00.240: You know, you can take a drum beat, ooh, I kinda like this beat, and just drag it out for the length of the song temporarily so you can go ahead and work on another track and you start composing that.
00:00.240: And I found a template.
00:00.240: salvage the little bits of it that I really wanted and then reuse it time and time again throughout this this is the history of our company.
00:00.240: Fantastic app for assembling that kind of music.
00:00.240: Song or even inspire you to do something different, which is where I'm pushing you to go with this conversation about Final Cut, because Final Cut does it to me, it's got filters to change colors and
00:00.240: you know, may give you the matrix green look or whatever, but it's not generating content really.
00:00.240: the way these audio apps push you to do things.
00:00.240: There are things like that.
00:00.240: Make a static piece of equipment look as exciting as I possibly can.
00:00.240: morph it into a tie-dye version that goes from this to something else without having to automate a bunch of parameters on the
00:00.240: No, I think what you find is it almost sounds like you're looking for like a style roulette wheel.
00:00.240: Audio from Final Cut 10.
00:00.240: bad idea.
00:00.240: Because I know that you can in um X2 Pro, you have access and you can assign those roles to various, you know, uh
00:00.240: But there's a whole nother thing that I find very interesting is that I can export, if I so choose, a multichannel QuickTime movie
00:00.240: I might be speaking out of turn there.
00:00.240: But here's my sign.
00:00.240: The music on the left track, or excuse me, the dialogue on the left track, and everything else on the right track.
00:00.240: Tell me this thing's going to play in stereo, or I won't put the extra work into it.
00:00.240: But like for example, as you know, I a lot of times I'm sending files to, you know, a giant ballroom or a or a you know, a convention hall someplace and I'm playing it on some giant sound system and they go, Oh, the sound effects are too loud.
00:00.240: two stereo tracks, dialogue and then everything else.
00:00.240: Might not be working live, and I need to dig for that.
00:00.240: Choose which roles and sub-roles to export and which to ignore.
00:00.240: multi-channel QuickTime, or you could export as individual files.
00:00.240: And as I've mentioned before in the past, I would love to see the ability to do what would be called an insert.
00:00.240: At any rate, we would love to see additional features added to Final Cut X.
00:00.240: Find people that are awesome at what they do and give them a call.
00:00.240: Roommate and College.
00:00.240: Spelling it funky like J-E-P-H-T-H-A for Jeff the studios.
00:00.240: Go to the iTunes, leave comments and stars.
00:00.240: And actually, I have a few backed-up comments that I need to roll into.
00:00.320: Ever since.
00:00.320: We were inspired from various conversations that I had with Jeff years ago when he was like, I can't figure out how to do this.
00:00.320: So, a lot of that was inspired by me, you know, teaching Jeff some video stuff.
00:00.320: No, I think you do.
00:00.320: Audio problems.
00:00.320: each year from your company.
00:00.320: And this year, so far, the total is zero dollars.
00:00.320: opening video that had all of the the chatter and background noise and talking and stuff.
00:00.320: I gave you some stuff and then we re I think we recorded some additional stuff and I said, Audio Soundscape, go.
00:00.320: he was looking for something today and he was going through old files and he came across that one.
00:00.320: you know, want to make your your videos better, always remember there's two speakers and one screen.
00:00.320: Audio people I I would think I I'd say from my experience with and limited experience with Final Cut five, six, seven and ten just messing around that video is a little behind audio in
00:00.320: how the apps push the creative content.
00:00.320: and you drag your clips or shots to the template, but it has movie trailers with predefined links for things and a little suggestion in the window, right?
00:00.320: You start playing your music and you can loop it, you can add to it.
00:00.320: And you've been doing this stuff in your computer since the 80s, and we couldn't do it functionally until
00:00.320: you know, rare audio equipment I run into and do little reviews of them for people.
00:00.320: So it should be speedy, and the audio is speedy.
00:00.320: and you were composing something and I was sitting in the room.
00:00.320: Even in Final Cut 7, there were things that I thought were really cool that could be brought over to Pro Tools, but the speed was just killing me.
00:00.320: Real time, that's what that's called.
00:00.320: So that when you get to solving that problem later in the process, it's much easier, you know?
00:00.320: you you'd come in with like the guitar solo or whatever and it's like, Well I how did you know how did you know that was gonna be there?
00:00.320: you know, the um the kids, if you will, they they can benefit if they'll slow down long enough to to let you tell the old man story once in a while
00:00.320: how you're going to sync all those sound files to the pictures that you've already cut when you could have s synced one
00:00.320: These kids basically giving them the power to not have to know stuff.
00:00.320: you know, I've watched him record at all levels of the business, you know, from literally he had like a little four track studio in our dorm room, our
00:00.320: Sold, done.
00:00.320: I think that what we've always said is it's not the tools.
00:00.320: He cuts it himself and then he sends me a hard drive and says Make pretty.
00:00.320: Who can do it and who can't?
00:00.320: And I even contacted somebody at Apple and I said, do you guys have like some magic bead detection in there that you're not telling me about?
00:00.320: Sample level editor.
00:00.320: See what I'm saying?
00:00.320: I'm sorry?
00:00.320: But the a lot of for me, a lot of a great audio soundtrack is automation, and I just can't get Final Cut to do what I need it to do 'cause I'm automating words in
00:00.320: I have trackpad on the right hand and a mouse on the left.
00:00.320: Too much mousing on the right hand.
00:00.320: Mousing with right and keyboard shortcut with left.
00:00.320: the point of interest, if you hit Shift Z, it will zoom your picture to fill the available space in your viewer window.
00:00.320: And if you're zooming in with that pencil tool to draw out a click or a pop or a mouth noise or something, you know, erase a couple of samples of popping, just filling the screen with it makes it go super fast.
00:00.320: And yet, I don't like Avid.
00:00.320: No, I got nothing.
00:00.320: a few features, elastic pitch, that are from the modern programs, but they're they're catching up a little bit to some of these other programs that are really creative.
00:00.320: record changes and it will make them happen.
00:00.320: Imogene Heap.
00:00.320: I do live sound stuff, and these live sound guys will come in.
00:00.320: 16 bar guitar solo, decide to do eight more and just stay on that section.
00:00.320: Yeah, I think I s I think I sent you a link once to um oh, this is going to be a really bad story 'cause I can't think of her name.
00:00.320: Let me see if I can find it.
00:00.320: Get it playing and just start hitting keys on your keyboard.
00:00.320: you know, the background elements and there's all kinds of things it'll do.
00:00.320: And the stuff it does is really fantastic.
00:00.320: will give you like an opening sequence.
00:00.320: So do you embrace those things as somebody that builds those kind of sequences for a day job?
00:00.320: the promise is or the implication is, here's a great thing and you can modify it and go from there.
00:00.320: When you do a tutorial on a whole app, you have to learn all those features that you normally ignore, never touch menus, you know, that you never look at, and figure out what they do.
00:00.320: and I have something in my head, I can manually put those pieces down to get what I had in my head.
00:00.320: You know, there was a a great documentary called Hail, Hail, Rock and Roll.
00:00.320: And you look at these chord progressions and you go, dude, that's a piano part.
00:00.320: So it's interesting that you're saying that you can listen to pop music and say, oh, they were using this feature in this app to probably generate or be inspired to do something along those lines.
00:00.320: And there's one that's word crimes, right?
00:00.320: Right.
00:00.320: is an app that allegedly allows you to take the roles.
00:00.320: Most people that I know don't even touch the roles.
00:00.320: So let's just keep those together.
00:00.320: Well, the sound that comes from that B roll, if you choose to mix it in, will actually live, even though it's an audio file, will live the w I like to say above the equator, in the upper half of your time line.
00:00.320: And so because you can have these sound files splattered about on the timeline, if you will, there needs to be a way to sort of cohesively gather those together.
00:00.320: to the role or the VCA called Nat Sound.
00:00.320: To function out.
00:00.320: you know, a drive-by of a car nat sound and a gunshot that happens as the car drives by, and those might actually be ganged together, unfortunately, on one roll.
00:00.320: But if I open up in QuickTime Pro I and hit Command J, I can see all of those tracks.
00:00.320: I have now remixed my, say, my vocals to my to my music, or my vocals, or you know, if
00:00.320: This is an interesting intermediate step.
00:00.320: Right.
00:00.320: Pro Video Player.
00:00.320: So I don't know that that hardware would it given an additional audio box would give me access to all of the audio tracks.
00:00.320: Choose the order in which the rolls and sub rolls are exported.
00:00.320: Because very few people, very, very few people, really, truly have the ability to do everything exceptional.
00:00.320: Ah.
00:00.320: And are you utilizing roles?
00:00.320: On a whole roll.
00:00.320: On a roll and treat that kind of like it was a channel or a bus.
00:00.400: And we're very appreciative of the generous support that they have given us.
00:00.400: We have, but I have a beef with you recently.
00:00.400: Okay, well let's let's beef up Jeff's Jeff's worth here then because you you know you know you're totally worth everything
00:00.400: I'm trying to remember.
00:00.400: This show is heavily video biased.
00:00.400: Um, Animoto is a online thing.
00:00.400: And some of it and you when you do it for a couple of decades, you get to the point where you've made all those mistakes before and you've made all those problems.
00:00.400: But but unfortunately, a lot of times people just want to jump in.
00:00.400: You know, one picture and one sound file, and then done all your cutting on that.
00:00.400: Now they don't need to know how something got where it is, and how the auto exposure actually does do a pretty good job of exposing the shot.
00:00.400: with your best stuff.
00:00.400: I don't have the patience for it anymore.
00:00.400: in I would say this probably about fifteen years ago, you and I were talking about audio editing and I was explaining how I dropped markers down on my on my audio track in Final Cuts s six and seven.
00:00.400: And it took me a while to figure out that it was um it took me a while to figure out that in Funnel Cut 10 I'm editing audio at the subframe level.
00:00.400: Yeah.
00:00.400: somebody, I can't remember who it was, they described it as basically, you know, you have your playhead and then you have your pointer, and it's almost like having
00:00.400: Two playheads on the screen.
00:00.400: Oddly enough, that doesn't even sound like it was that long ago.
00:00.400: In Live, in Ableton Live.
00:00.400: You could actually do quite a bit of that with iTunes.
00:00.400: Not my world.
00:00.400: You listen to a lot of popular music now, and it's not something somebody sits down and plays on the piano.
00:00.400: career or, you know, now that people say that there's a lot of Chuck Berry music
00:00.400: you know, in motion and become an After Effects expert.
00:00.400: you know, my A effect and my B effect so that I so the the crossfade isn't married down, you know, if things uh c uh overlap on top of each other.
00:00.400: Yeah, I guess you have to make that arrangement in advance.
00:00.400: Right.
00:00.400: Not pro.
00:00.400: How do they find you?
00:00.480: your Mix Minus thing with like a handful of four by four or one by four Radio Shack mixers and and like a a baker's dozen or a gross of Y adapters.
00:00.480: I don't even know what you were doing.
00:00.480: Yeah, most of it's gone kinda data-y for me.
00:00.480: And I had to create the soundscape for that piece.
00:00.480: You know, it is if you're really going to get into doing, you know, audio at the precision level.
00:00.480: You upload your vidi your your stills, and I think you can even do video clips now.
00:00.480: Need to come sit and watch someone who really knows what they're doing figure out.
00:00.480: Because I heard it.
00:00.480: Filled available space in your timeline.
00:00.480: , etc.
00:00.480: Well, Ableton Live was it.
00:00.480: you can take using airplay, you can airplay out of it to like an Apple TV in real time.
00:00.480: I don't know, four seconds of dead air or four minutes of dead air at the end because you didn't trim the endpoint.
00:00.480: Tortured myself with through motion enough to generate an intro and outro.
00:00.480: Motown bass, and I don't know how to play that.
00:00.480: The audio world is poking you with all these ideas and already played parts, basically, that you can drop in that are, you know, some other guy's opinion of what should be played there.
00:00.480: Yes, because that's what my opinion of what you do all day is take all these words like exceptional and synergy and turn them into something interesting or artistically interesting.
00:00.480: the metaphor that Final Cut 10 gives to you.
00:00.480: That has, like, say, one video track, yes, but six or eight audio tracks.
00:00.480: Because you're in the studio, the dynamics that might be perfectly fine, like being able to hear the trailing off end of a sentence.
00:00.480: Right.
00:00.480: Not all on the same track.
00:00.560: There's no way to make that sound good.
00:00.560: And what what we have now is you really have to come to the game, you know.
00:00.560: You know what I mean?
00:00.560: And you like looked at me like, Really?
00:00.560: Okay, so anyway, that's one thing that's actually very cool about Final Cut 10.
00:00.560: Gotcha.
00:00.560: App or something.
00:00.560: Uh, you know, I think the uh the technician in me hope it stays difficult, but I don't think it will.
00:00.560: That there's no way Chuck Berry wrote it.
00:00.560: Yeah, maybe I mean, video is such a different medium.
00:00.560: Weird Al just came out with his album, and he's coming out with a video a day of the songs on the album, right?
00:00.560: Like olden times, and have you walk me through some of these things that you're talking about.
00:00.560: Sorry, people, that's a total audio term.
00:00.560: I believe that it does.
00:00.560: The media can be referenced as opposed to embedded if you so desire in the Pro version.
00:00.560: Sub rolls.
00:00.560: So tho those are the main difference between the Pro and the Pro L E.
00:00.640: Hole in the front of my 5D Mark II.
00:00.640: You know, I don't even remember what they were.
00:00.640: two six four that you can go download and it's pretty impressive.
00:00.640: Um you know, people come to me wanting weird sounds sometimes, and I've I think
00:00.640: If I'm actually dropping mark if I have the audio file selected, and again, this would have to be an audio file that's separate from a video clip.
00:00.640: So that's kind of b I mean, does that does that get does that do anything for you in terms of saying, oh, yeah, I could actually really make this audio in this video project sound really great?
00:00.640: Yeah, and with and with loopers.
00:00.640: It's called like Video VJ or something, Ultra Video Productions or something.
00:00.640: Somebody'll tell me what it is.
00:00.640: The A7 chip in the iPads and the iPhone 5 better than anything else because everybody says that the A7 chip is not being utilized.
00:00.640: Like I said earlier, there's two speakers and one screen.
00:00.720: And maybe it's because of Premium Beat.
00:00.720: So anyway, um uh let's let's talk audio.
00:00.720: You set up your main interview and then it'll use the timing of that interview to determine B roll shots and cutaways.
00:00.720: We've known each other forever, but um not before renting videos at Captain Video down in Santa Barbara and then
00:00.720: You know, there's great companies like Motion VFX is one of them.
00:00.720: And what they allow you to do I mean, I will say this, that they um
00:00.720: And although I've I don't know that I've bought any motion templates, but there are also on Motion VFX, they sell After Effects templates.
00:00.720: Well, for me, making my little equipment reviews on YouTube, you know, the intro and outro things like you're talking about, I
00:00.720: So maybe you want gnat sound and then explosive sound effects coming from firearms as another role.
00:00.720: And there's an X two Pro L E by the way, which is half the price.
00:00.720: So LE, okay, first of all, embedded media can be trimmed in the pro version only.
00:00.720: Is that what you said earlier?
00:00.800: So I thought that was kind of cool.
00:00.800: Similar in that there are things that you do early in the work process that you know you're going to need to have done
00:00.800: In the old days, yes.
00:00.800: You know?
00:00.800: But didn't you see Back to the Future?
00:00.800: But roles allow you, by assigning things to a specific role, not only does it allow you to manage it in something like X2 Pro to get it out to Jeff
00:00.800: It's like, really?
00:00.800: And I think and that's actually available on the App Store.
00:00.800: and edit the thing and for Chris Fenwick to you know go to his garage bin and lay down some what did you say some Motown
00:00.880: I used to sleep under the console in the studio and people would try out every guitar amp known to man and all that, you know, and I was good for it.
00:00.880: I can actually drop my markers at a higher degree of accuracy than I can on the video track.
00:00.880: Well, File Cut, you can map it any way you want.
00:00.880: So d do you think that the Final Cut Pro 10 world is heading toward that kind of thing where automated
00:00.880: And how easy it made things and automated things for you.
00:00.880: The solution that Apple came up with was rolls.
00:00.880: tied to a specific graphic you might make.
00:00.880: Yeah.
00:00.880: Bye.
00:00.960: I've known the guy since 1981, so it's like a thousand years ago.
00:00.960: There is one in Ableton Live, but you don't usually look at it.
00:00.960: And it's at all levels.
00:00.960: I prefer the left slightly.
00:00.960: I think we've even talked about this before in the past.
00:00.960: Oh, well, that was a bummer.
00:01.040: As a matter of fact, do you remember um God i it was about six years ago.
00:01.040: it seems like genius.
00:01.040: So so he wants to he's a he's he was a writer first, then he learned the camera thing.
00:01.040: You had to punch in a little before the beat so you could replace just that one little lick without erasing the rest.
00:01.040: Drop a shot here.
00:01.040: you know, template websites.
00:01.040: But again, my own experience with Final Cup, you know, usually it's some editor sending me stuff.
00:01.040: Isn't that just a USB audio interface?
00:01.040: Playback Pro DT Video Labs.
00:01.120: Excellent.
00:01.120: So, yeah, I think that there's a lot of things that, you know, video applications can learn from something like Pro Tools that is that much more established, you know.
00:01.120: Everything has to be reviewed and uh confirmed with the authorities before I'll buy it.
00:01.120: And I think that that might be a little far out for video.
00:01.120: You mean um ProPresenter?
00:01.120: I'm pretty sure it is.
00:01.200: Well, what drive do you have your video stuff on?
00:01.200: They would be doing all this stuff, you know, and now people come to me like, We we have this Llana Del Rey vocal sound we want to get, and then they play me the recording and it doesn't sound that much like it to start with.
00:01.200: At all levels, it's pretty much there's always some good idea that comes in at the 11th hour that has to be incorporated.
00:01.200: But it's a little bizarre because if you don't understand it, you get really confused by it in the beginning.
00:01.200: Or you think it's always going to be a mechanic level job or a construction job where you get a bunch of construction materials in a plan and you start to put it together?
00:01.200: I don't know.
00:01.200: Have all of that to quote unquote together, almost like a subgroup, actually more like a VCA.
00:01.200: Yeah, so if I just turn the volume down in the audio settings control panel and resave that file
00:01.200: And unfortunately, a lot of times still, even in twenty fourteen, some of the companies we work for want me to put
00:01.200: Roommate.
00:01.280: Oh, what is it called?
00:01.280: And so when I would watch you do that, that's what you're doing.
00:01.280: He wanted to get some hands-on, face-to-face, Final Cut 10 pep talk.
00:01.280: By some music festival or whatever, yeah.
00:01.280: Yeah.
00:01.280: So much of the music world has turned into that.
00:01.280: To essentially guess you're putting it onto a track.
00:01.360: He's chopping wood.
00:01.360: So um the thing about roles is y y y y to understand the origin of roles you have to look at the
00:01.440: I've tried to wrestle the audio tracks in Famicut 10 to do what I want them to do.
00:01.440: So that includes GarageBand and Final Cut.
00:01.440: So that's really fast with left-handed mouse, right-handed push.
00:01.440: Although being a s you know, having run a few of those live events, I can say that I would rather have them on separate faders.
00:01.440: Yeah, you know, this is a dumb name.
00:01.440: Are you playing off the timeline in Final Cut 10?
00:01.520: So carry it around around with me wherever I go.
00:01.520: Yeah.
00:01.520: And you could push the hot key to change to insert.
00:01.520: Blast on ahead.
00:01.520: Right.
00:01.520: I got nothing.
00:01.520: It was a it was a I believe it was on Motion VFX, but it was a it was a timeline kind of thing.
00:01.520: Yeah, I've never messed with the sub rolls.
00:01.600: And when you read video forms, I don't know if you spend much time reading you made up the term videot a while ago, many years ago.
00:01.600: Custom music is one thing you do, clearly.
00:01.600: It can actually land in between frames of the video because I can zoom so far in, I can see, oh wow, I can't actually put my cursor right on that beat if I'm scrubbing the video.
00:01.600: Including most of my plugins, the Pro Tools plugins.
00:01.600: I mean, I I and I really miss that in Final Cut 7 because or excuse me, 10, because 10 has
00:01.600: We can talk about that.
00:01.600: solicit your services.
00:01.680: You could edit down to the sample level even if it wasn't recorded in Pro Tools?
00:01.680: The plugin architecture in Final Cut 10 allows me access to some very high end audio plugins that I buy.
00:01.680: I'm a mouse person.
00:01.680: I mean, yeah, it's like, oh, yeah, I remember dealing with that, and now I don't remember why it was a big deal.
00:01.680: And in the audio world, an insert allows you to insert a single effect or a chain of effects.
00:01.760: I only hear myself in one ear because I have to split track it.
00:01.760: And it took a long time.
00:01.760: I don't know how you would do it in the video world, but I know in the audio world, you get pushed in a direction.
00:01.760: So anyway, that's my friend Jeff Dykaus.
00:01.840: I think you do because people always run into
00:01.840: And I don't know.
00:01.840: And then, you know, and every iteration in between.
00:01.840: That'll cost me another $6,000 when they add that to Final Code.
00:01.840: Do you tend to draw it or do you grab a fader and duck things manually?
00:01.840: Superman the movie came out and you started calling my studio Jeff the Studio.
00:01.920: And a little side note: a lot of the tutorials that I made that I have made over the years on my ChrisFeneric.
00:01.920: Yeah.
00:02.000: That is probably the easiest way to do it.
00:02.000: Like, well, you idiot.
00:02.000: Oh, yes.
00:02.000: Yeah.
00:02.080: Like I remember they were pulling people out of the office and just saying, Here, read this line, read this line, and then you chopped it up and futzed it and
00:02.080: It's very hard for me to do video, even if I'm doing something I really want to do.
00:02.080: Yep.
00:02.080: So so yeah, I mean uh video has always been behind audio, primarily because of the technical requirements.
00:02.080: Drop the next shot here.
00:02.160: It was over my head.
00:02.160: One for audio connectors, video connectors, data connectors, and then adapters.
00:02.160: You know, there's some neat little things that could have been combined to make a better Pro Tools.
00:02.160: And so it took me a while to figure out, oh, that's why my audio edits are so much better.
00:02.160: Anyway, it is it, R Chaos V J.
00:02.160: He got his licks from Marty McFly.
00:02.240: You don't remember?
00:02.240: I think maybe the bigger problem is that I'm getting actually pretty good with the old audio audio filterizers and stuff.
00:02.240: Criminal Fenwick history.
00:02.240: Where was I going with anything?
00:02.240: Because, yeah, there's gonna be a fifteen year old kid.
00:02.240: 1, 44,100 samples per second.
00:02.240: I know.
00:02.240: That I mean, they're already on version eight or something.
00:02.240: She's super talented with looping tools.
00:02.320: It was a multi-screen, big wide thing.
00:02.320: That was the original sort of looping, time stretching audio.
00:02.320: But I'd like, you know, to be able to put the you know, the titles into that and have cool stuff happen, I don't know.
00:02.400: So, um, thanks for doing this.
00:02.400: It's been a while since I played with it.
00:02.400: I thought it was just the local guys that I worked with there on them, but I have worked on everything up to ABC prime time audio, and it's the same thing.
00:02.400: I don't know if that's a pain related thing or I've actually got better habits on the left side.
00:02.400: And those sections will loop forever or can be bailed out of at any moment.
00:02.400: You realize that there is a copy of motion embedded inside of Final Cut 10.
00:02.400: It's funny song.
00:02.400: So if you have a role that's music, and then sub role could be song one, song two, song three.
00:02.480: You never know.
00:02.480: So, like, it it would it was an interview that he did when they did We Are the World and they had all these celebutards come in to do their vocal parts.
00:02.480: And unfortunately, some of the people who had access to the tools still couldn't do it.
00:02.480: How's that happen?
00:02.480: And it they make an iPad app version of it.
00:02.480: And then you'd get different visualizer plug ins you could put in iTunes.
00:02.560: Right, exactly.
00:02.560: Yeah, put close up here, put wedshot here.
00:02.560: So I taught myself to left-handed mouse, which was awkward at first, and now it's um
00:02.560: I know you don't like the old man story.
00:02.560: Because most of the time, that's perfectly fine.
00:02.560: And for Chris Fenwick to write a music track, and for Chris Fenwick to post that on YouTube.
00:02.640: And if you can't use production music, you should contact my friend Jeff.
00:02.640: Not a lot of audio representation.
00:02.640: Let them get all their creative late night sleeping in the studio stuff out of the way and then bring it to me when you've got a week to go and you need it done by somebody who knows
00:02.640: There was actually a an app that was part of that.
00:02.640: In fact, I had to do a tutorial for a company and they wanted me to do a few different things in Pro Tools.
00:02.640: That's a plugin I do know what you're talking about.
00:02.640: I need to push up that vocal fader to hold the sweet spot that you gotta stay in.
00:02.640: That would be a cool thing to know because then I could just tell people, look, I'm keeping it stereo, but here, here's a USB box attached to your computer.
00:02.640: I think we should wrap this up.
00:02.720: But see, I mean, we've talked about this many times again.
00:02.720: So that was really handy if you were like, okay, now I want to work on this section here.
00:02.720: I do a lot of stuff for Schwab.
00:02.720: But it looks like he's got different artists, have been asked to do different videos and been given a lot of creative freedom because there's no cohesion.
00:02.720: So, have you ever?
00:02.720: So if they play the file and they go, Yeah, those effects are just too loud.
00:02.720: Well, JeffDykehouse.
00:02.800: I don't know.
00:02.800: Show me one thing you've recorded I want to listen to twice.
00:02.800: I want to say 2000 or something like that.
00:02.800: I want a plug-in that I throw on that thing that says, make this interesting for twenty seconds.
00:02.800: Yes, that's the one that uh many of our clients use.
00:02.800: You're going to make that decision for me.
00:02.880: And I noticed that right before you started using Premium Beats, I had received $6,000 in audio sweetening money from you.
00:02.880: You'll find all kinds there's keys where you can hit and it'll freeze momentarily and then it will drop out
00:02.880: And he just looks at the camera, like, I am not going there.
00:02.880: But um ba ba oh, I know you are.
00:02.960: That's why I think like the audio apps that are kind of cutting edge are showing these
00:02.960: Kids could get something like that and they just pull up a template that's doing all this complicated stuff underneath and they don't need to know.
00:02.960: Why don't you don't have beat detection?
00:02.960: Logic didn't have that for a long time.
00:02.960: And when you learn how to use those and get more comfortable with it, when you go back to only having one, it's really it feels really limiting.
00:02.960: So you go to the library and there's a library of Motown basses and you can drag them in and change their key at the appropriate point.
00:02.960: Or what we usually do is dialogue, music, effects.
00:02.960: And I think that when you're getting into more complex audio problems, you should really be using the roles feature in Funnel Cut 10.
00:03.040: Yeah.
00:03.040: Somebody else who's got that, you know, love for that part of it.
00:03.040: I may be going in the crazy part of the podcast to talk about that.
00:03.040: And I know that the audio engineer always wants to be able to like grab a fader and do it live in a hall, but
00:03.040: I don't get it.
00:03.120: Yeah.
00:03.120: And to you, it's work.
00:03.120: Notice I've tried to avoid those so far in this interview.
00:03.120: Drop the next shot here.
00:03.200: You don't remember that?
00:03.200: It was the sample, at least the affordable by humans.
00:03.200: Most people know, or if you don't, you should, that if you hit shift in the letter Z, it will take either your timeline and zoom out to sh to fit to fill.
00:03.200: That always helps the show.
00:03.280: And Jeff, I really apologize about that.
00:03.280: So Pro Tools you can put in a mode called keyboard focus.
00:03.280: Imogene Heap.
00:03.280: Do you know about that?
00:03.280: X2 Pro and X2 Pro L E.
00:03.280: Somebody who hates premium beats and wants to get some custom music, which I always prefer doing if we can, believe me.
00:03.360: And so, how do I EQ that and make it sound good?
00:03.360: Yeah, it's really cool.
00:03.360: Why?
00:03.360: They're like, look at me, I'm cutting pictures.
00:03.360: Well, what okay, so let's talk about that for a second.
00:03.440: So you're playing all that stuff out and then and then you'd lay down the string pad, then you'd come in with the bass line or whatever, whatever order you did it in.
00:03.520: You used to carry sharpies and white tape, too.
00:03.520: Yeah, exactly.
00:03.520: So there you go.
00:03.520: Uh no, ProPresenter is more no.
00:03.600: But sorry, Jeff.
00:03.600: In my day to day workbox, I still carry around XLR to tip ring sleeve adapters.
00:03.600: And after he graduated, he went to the twenty four-track Atari.
00:03.600: Wow.
00:03.600: Oh, definitely.
00:03.600: I've seen the user interface.
00:03.600: Yes, the tools that we have today make it possible for Chris Fenwick to grab a camera
00:03.600: So, yeah, and that's what people should be doing.
00:03.680: But hey, I can hear myself now.
00:03.680: It was pretty long, too, if I remember right.
00:03.680: It was this great stereo soundscape.
00:03.680: You're working in a different window.
00:03.680: Well, you sent me the one the corporate speak.
00:03.680: No, that's not it.
00:03.680: No, no, no, no.
00:03.760: I still buy all those adapters.
00:03.760: There's a thing I belong to, Animoto.
00:03.760: I will say they are make it faster.
00:03.760: Are you still using like a trackball on your right hand and a mouse on your left or something?
00:03.760: They don't get tracks that say dialogue, and it's a stereo track, and that's the multi-channel export.
00:03.760: So if I have nat sound on my B-roll and I want to
00:03.760: Yep.
00:03.840: Yeah.
00:03.840: Thanks for being on my little show.
00:03.840: Your sponsor, Premium Beat, has cost me six thousand dollars.
00:03.840: I have to learn log is logic worth learning?
00:03.840: And someday they're going to come out with the interview template and then or the corporate video template.
00:03.840: Of course, there's got to be a hole there for that thing.
00:03.840: Yeah, actually, I do remember that.
00:03.840: Even though things might be overlapped.
00:03.920: But it tells you how to assemble a great-looking movie trailer.
00:03.920: Is it VST?
00:03.920: And then when you're done, hit the foot pedal.
00:03.920: Most people don't realize it, but the iTunes Visualizer has about a dozen keyboard shortcuts in it.
00:03.920: So basically, they're saying 90% of the time, maybe more, the sound that comes with a video clip doesn't need to be separated from that video clip.
00:03.920: com is the studio website.
00:04.000: I hear something.
00:04.000: Indeed.
00:04.000: Some arbitrary deadline that they have set.
00:04.000: I don't know how to say her name.
00:04.080: Obviously, I'm a videot, so I don't know what I'm doing in the video realm, but just for a basic guy.
00:04.080: I used to hang out at Jeff's studio a lot and I'd sit there and I'd watch him like sit at his drum machine
00:04.080: Worked in studios with the big Pro Tools Fader console, and I'm using the mouse.
00:04.080: Band leader will have a foot pedal set up with Ableton live on his laptop, sitting on the ground, or if his keyboard player next to him, and the foot pedals play the different sections of the song.
00:04.080: And there was a thing where we were celebrating the 40th anniversary of the company, and we wanted to do this timeline thing.
00:04.080: Now have you played with the roles at all?
00:04.080: Maybe.
00:04.080: com is one way, or my studio is actually came from you when you were my
00:04.080: You really need to pay attention to your audio.
00:04.160: We're probably the last generation that will have learned things from first principles.
00:04.160: And it's been that way since Tum Tools, I believe, yeah.
00:04.160: And, you know, it's just one of these things.
00:04.160: Whoever wrote that wrote that on a piano.
00:04.160: Look at that.
00:04.240: And I think if you think about iMovie, iMovie has that movie trailer mode where it'll make you a movie trailer.
00:04.240: Yeah, as a company, they have forced me to rebuy things that I already owned and was happy with a few times, so a little sore about that.
00:04.240: Yeah, you should play with that one.
00:04.240: You listen to any RB music and it's samples from this or that repeated and loops and licks.
00:04.240: Jeff, you've been doing pro audio forever.
00:04.320: No.
00:04.320: It is.
00:04.320: So people would go to they'd record their music in Logic because it had better virtual instrument handling and MIDI handling.
00:04.320: That's another thing that, you know, it's not really video possible to do in video world, but hold on.
00:04.320: You're sitting down to record and you don't have anything prepared.
00:04.400: So, anyway, these are great guys.
00:04.400: And it's fun time to play with the camera and have fun, right?
00:04.400: And there were lots of different
00:04.400: Approach tools, you get the same keyboard shortcuts that you know you can just hit the E key to zoom in instead of having to command something.
00:04.400: Because when you look at the chord progressions, you know, Chuck Berry's a guitar player.
00:04.480: This is really articulate.
00:04.480: And it it ma it it comes so naturally that I can't even think of what it is that that was weird about it in the beginning.
00:04.480: That's when you know you're old.
00:04.480: But actually, Pro Tools is basically Final Cut 7 for audio.
00:04.480: It was all about Chuck Berry.
00:04.480: Exactly.
00:04.480: That's sort of a a hint at what it could be.
00:04.480: And I want to be able to take that shot and
00:04.480: And I think for the extra bucks, I think it would make it make sense.
00:04.480: But I gotta say, the ability to do the subframe editing and the
00:04.560: He'd take his headphones into the store.
00:04.560: You hit play, it goes, hit record, jump ahead, go.
00:04.560: Oh, um criminal record does tend to stop you in your tracks.
00:04.560: And Adobe Audition and Logic and Right.
00:04.560: There's plenty of great stuff out there.
00:04.560: Maybe we'll roll them into the Monday show.
00:04.640: But um I still have all that stuff with me.
00:04.640: It's like, it's like amazing slide transitions, and it'll have.
00:04.640: You know, I think you can.
00:04.640: I don't well, what no no, that that's the audio interface, but what's the software that I hit play in?
00:04.640: Definitely.
00:04.640: I don't know why that would matter.
00:04.640: So I know those are kind of audio sort of words.
00:04.720: You log on, you either pick a cut of music or you upload your own.
00:04.720: All solid state.
00:04.720: Name this one.
00:04.720: So you can ignore certain roles if you so desire in the pro version.
00:04.800: Well, that's why you're here, okay?
00:04.800: Or if your viewer window is
00:04.800: And I'll make one, it's called Nat Sound.
00:04.880: Exactly.
00:04.880: Is that what it's called?
00:04.880: You just hit a key.
00:04.880: What was it called?
00:04.880: Have you seen that one?
00:04.880: And uh I don't know there's some subtle differences in the market.
00:04.960: There's no time line or what I call God view, you know, where you can see the beginning and the end of the entire project at once.
00:04.960: Yeah.
00:04.960: There's a lot of tracking to do here, and we're just gonna chop wood one one stroke at a time, and we're gonna get one little bit out, and then you know, if you need to leave, you can leave.
00:04.960: And also, don't forget on the website on the right-hand side, there's that little tab.
00:05.040: Although Jeff has dabbled in Final Cut 10 a little bit, he will be the first to tell you: he goes, Yeah, I barely know what I'm doing.
00:05.040: But um it but I mean, let's face it though, audio is ahead of video because you guys use those little tiny miniature files
00:05.040: It's like, yeah, okay.
00:05.040: So they're a little ahead of from when they started.
00:05.040: And now some of those are built into Final Cut 10, which is glorious because motion was just
00:05.040: How's your Google working?
00:05.040: But if you're editing in Final Cut and you're going to send me a video or to work on the audio portion of it, you could send me that.
00:05.120: Because your right hand was getting sore from mousing, correct?
00:05.120: Some of it is, but some of it is like, what in the world?
00:05.120: Hello?
00:05.200: And Pro Tools, you got to make up your mind before you touch the mouse, otherwise, bad things will happen.
00:05.200: As a matter of fact, um last weekend or two weekends ago, um one of the producers that um work with us all the time
00:05.200: Right.
00:05.200: Exactly.
00:05.200: I know that there is X2 Pro.
00:05.280: Today I'm talking with a good friend of mine.
00:05.280: He's like, God, that was a good piece.
00:05.280: And this app is amazing.
00:05.280: They will give you some stylized transition elements that match the artwork from the opening sequence.
00:05.280: Even when you finish, you know, you've messing around, you make a song of an average length and you hit export.
00:05.280: I remember it was like, it just got momentum on its own.
00:05.360: Okay, so you had the four track.
00:05.360: I have boxes, clear lid boxes that are like multi-level, open up, and then you can see the entire contents of both levels that have.
00:05.360: Every one of those samples can be individually
00:05.360: That saves you hard drive space, but makes it difficult to email it or send it via FTP.
00:05.440: Oh, yeah, that would have been easier.
00:05.440: And she's a master with Ableton.
00:05.440: Name this one.
00:05.440: Or do you ignore them until they enter the room?
00:05.440: You know, everything has to be done manually.
00:05.520: Can you hear me?
00:05.520: But there have been many times in the past where I have done the OMF trick and sent you my files and just say
00:05.520: They are big giant files.
00:05.520: That was funny.
00:05.520: I can't find this app anyway.
00:05.520: And that's why so much stuff is just say, no, just put the dialogue on left and everything else on the right.
00:05.520: No, I think yes, that's the other thing that you can do it.
00:05.520: That might be a way to get audio out that is.
00:05.600: And then you hit the Make Bitchin' button.
00:05.600: You see the whole bit.
00:05.600: And I was a very, very patient person up to age 50, and I just don't have it for
00:05.600: But if I'm a little sloppier or I don't want to say lazier, but approach the project less prepared,
00:05.600: Uh but basically, I can assign anything that is nat sound from b-roll
00:05.680: Do you remember in college when you made
00:05.680: Uh, yeah, the battery on my Lav died and uh the only thing that picked up the talent was the little
00:05.680: Premium beat has cost me $6,000.
00:05.680: Oh, yeah, yeah.
00:05.680: And for audio, we're a bit ahead of you.
00:05.680: So it's not skipping around at all when it's doing Pro Tools, but boy, is it skipping around when it's
00:05.680: So, and then, you know, I was screwing around with video cameras and dropping out of college.
00:05.680: Oh, somebody's trying to contact me.
00:05.680: And so now I have Jeff the Studios documentary.
00:05.760: Right.
00:05.760: Because that's apparently that's something that Pro Tools has had for like forty years or whatever.
00:05.760: I think you can type in a level for those.
00:05.760: Pro Video Player.
00:05.840: And in the olden days, you know, I was always messing around with video and video production type stuff, and he was the audio guy.
00:05.840: And also, he's got some great input on some products that probably should be made in the video space.
00:05.840: No spinning drives here anymore except the time machine drive.
00:05.840: It's just work.
00:05.840: Now you're doing a bunch of unnatural things to get it to sit naturally.
00:05.840: I will say this to the Apple people that are listening to the show.
00:05.840: That was an early thing that would generate via video, kind of like the iTunes original iTunes screensaver.
00:05.840: What would you what would you like to see?
00:05.840: Very cool.
00:05.920: Sure.
00:05.920: And so, anyway, that's that's the kind of stuff you do.
00:05.920: But video apps, I just
00:05.920: You know, so I do the color, I I
00:05.920: That's right, old man's story, cue it.
00:05.920: So if you have a clip that's a B roll clip that's on top of your A roll or your primary storyline, if you will.
00:05.920: Playback Pro is it's same company, but it's called Playback Pro.
00:05.920: I know it took us a while to sort of get to the heart of that, but really I think the issue becomes how do you organize your roles?
00:06.000: And I ask you all to listen to Premium go check out Premium Beat for the type of productions that you're doing.
00:06.000: Well, that's all we're doing is talking about the old days.
00:06.000: It's been a while.
00:06.000: Hit play.
00:06.000: I love that.
00:06.000: Yeah, sorry.
00:06.080: So we've known each other for thirty some odd year about uh thirty two, three, four years, something like that.
00:06.080: And then the other thing is, and I don't even know how to say this, and I would have to look at it, but
00:06.080: Okay.
00:06.080: Like, I sit down inspired to come up with a piece of music
00:06.160: It was a big sound design thing you did for me.
00:06.160: So you kind of compose bits and pieces all over the place in this random sort of way, and it's sort of
00:06.160: You know?
00:06.160: But I love finishing.
00:06.160: And um R Chaos was a thing you could control with your keyboard to make live video swirls and things.
00:06.160: I think that you can already see, I mean, when you start searching around for just search search for motion templates.
00:06.160: So, like, I could have a
00:06.160: You know, and and now you're now you're preserving your full stereo image of your music and your effects and, you know, maybe even dialogue if that stuff's panned about.
00:06.160: There you go.
00:06.240: I mean, in the early days, the tools were the delineating factor between
00:06.240: That is most of my studio work right now.
00:06.240: But Ableton Live is the one that made it popular.
00:06.240: Make better.
00:06.240: And I think that, you know.
00:06.320: I should also mention that Jeff is the one who is responsible.
00:06.320: Got it.
00:06.320: There you go.
00:06.320: In about two hours, you're going to be coming to me and asking
00:06.320: He's like, oh, this doesn't look that hard.
00:06.320: And it's a whole graphics package.
00:06.400: Anyway, you're going to enjoy
00:06.400: I have these YouTube channels of
00:06.400: Right.
00:06.400: And then you get into it and you're like, ah, modifying this takes a serious amount of commitment.
00:06.400: So if I take a shot of my equipment and I'm yammering on about what the equipment does and I've taken B roll shots and I've got a little skateboard dolly that I roll around in front of it to try to
00:06.400: That's such a bummer.
00:06.400: Okay.
00:06.400: Superman.
00:06.480: Very, very skilled.
00:06.480: We do hire Jeff to do custom music.
00:06.480: No, it's not going to sound good.
00:06.480: I think I sent you a bunch of
00:06.480: It's what I do.
00:06.480: You s do you still have people that come to you and say, I want that snare sound?
00:06.480: Or audio units, yeah.
00:06.480: Final cut has some of those.
00:06.480: I've heard you say that, and I think I believe it based on how cool the things that are.
00:06.480: But I'm I mean, I know we've had this conversation in the past and I've never I think I think you know what it you know what I need?
00:06.480: When Final Cut 10 rolls are packed into Pro Tools tracks, sub rolls can be ignored, creating a far more compressed set of tracks.
00:06.480: Although it didn't work when I clicked
00:06.560: And so a little background.
00:06.560: It it's not pushing you to do something
00:06.560: It's like, okay, let me talk you through it.
00:06.560: That's what it's called.
00:06.560: So that's this Friday.
00:06.640: I go, Yep, that was Jeff.
00:06.640: Thanks.
00:06.640: That's super cool.
00:06.640: But certainly if you go and you look at these
00:06.640: I'm not on the side of creating roles.
00:06.640: And so what that does for me is it gathers all that stuff together, and I believe that is really important
00:06.640: Right.
00:06.640: All right.
00:06.720: Yeah, I got away from that 'cause I I stopped sitting behind mixers.
00:06.720: Not sure I have much to contribute to the video peoples.
00:06.720: Okay.
00:06.720: There was one thing in Final Cut VII, like you could pick up a clip and decide while you've picked it up, you've already grabbed it with the mouse.
00:06.720: Yeah, just as long as you do it before the transition, it will do an elegant live will do an elegant transition to the next section.
00:06.720: It's doing it right now.
00:06.800: And they have these amazing templates where you go, oh.
00:06.800: And I don't know if you've ever seen it, but you should.
00:06.800: I have been playing piano for Chuck Berry for a long time, and I'm totally good with that.
00:06.880: I can hear you.
00:06.880: What's so funny is so little of this business involves wires anymore.
00:06.880: Yeah.
00:06.880: Standard for bands.
00:06.880: I don't know that it'll get added.
00:06.880: Two shortcuts, I have not been able to unlearn.
00:06.880: Yeah, and you know, I could easily send
00:06.960: And um Paul was just
00:06.960: I like hearing that from your show 'cause there's been quite a few you know slights to audio that you know I just let 'em go 'cause you're my friend and everything.
00:06.960: So is it down to the sample level?
00:06.960: It was a Sony
00:06.960: Do you have any of that?
00:07.040: Well, I can remember.
00:07.040: You know, I don't know, it's just weird.
00:07.040: And then
00:07.040: And to the best of my knowledge, Chuck Berry wasn't.
00:07.040: And then
00:07.040: Should be X2LE.
00:07.040: I know some of you know those, and it might be a little lost on some people, and that's okay.
00:07.120: Excellent.
00:07.120: And I gave you.
00:07.120: They stay on tempo.
00:07.120: So what you can do is you can play video clips, you can key them on top of each other, you can do all kinds of crazy transitions live.
00:07.120: Thanks for that.
00:07.120: Sorry to bring it up.
00:07.120: Well, thanks for doing this.
00:07.120: Thanks for having me on.
00:07.200: So stand by here.
00:07.200: You'll just throw your footage at it and it will assemble a darn close corporate video.
00:07.200: And when I hit the video portion of the project, it's beach ball and and mouse skipping and and I've got, you know, last year's
00:07.200: Because he he actually cuts his own stories.
00:07.200: You know, and we've all seen those guys.
00:07.200: But um
00:07.200: No, I mean, you can see it.
00:07.280: He will also mention PremiumBeat.
00:07.280: And I think that and I think that the video editorial process is very
00:07.280: Yep.
00:07.280: And then, and then
00:07.280: So they I'd still have to be awake and do it under there, but
00:07.280: I love the sound of great audio.
00:07.280: So if I put a marker down on the, say, the music cut underneath,
00:07.280: Yes, Pro Tools has a
00:07.280: And it's the opening of your show.
00:07.280: And then optional stuff you might want to move around.
00:07.280: And it caught on, and I tried to change it, but so many people use that as the name of the studio.
00:07.280: So thanks for listening.
00:07.360: And to me, it just seemed so foreign.
00:07.360: So there have been a couple of plugin transitions
00:07.360: And it looks like he's got, and I'm saying this completely from
00:07.360: So yeah, Renewed Vision is the company.
00:07.440: Or do you gate stuff?
00:07.440: So it's top to bottom, other than the menu bar.
00:07.440: It's it's it is probably the app that is utilizing
00:07.440: It is a total bummer.
00:07.440: But the problem is it would be really, really bad if that were the case.
00:07.520: So there have been apps out for a while like Ableton Live that you never hit stop.
00:07.520: No, I haven't heard of that.
00:07.520: And now and then he was the first person I knew to get into Pro Tools.
00:07.520: But that what that got them for me is Pro Tools only plugins now are available in
00:07.520: You're just using the tool to create the audio.
00:07.520: I've played with them a little bit, just so I would be prepared to talk about it today.
00:07.520: And when I open it up in QuickTime, it'll just play.
00:07.520: Okay.
00:07.520: So it looks like my next interview is happening here
00:07.600: Premium Beat is a great sponsor of the show.
00:07.600: You know, sure, somebody will need to know for feature films, but
00:07.600: It's not as advanced.
00:07.600: And I ended up doing a fair amount of surgery to
00:07.680: I don't hear myself in the headphones, but I haven't set up a mixer.
00:07.680: You had and you wanted to be able to
00:07.680: No, I think the hip way to do it would be to just use the X2 Pro.
00:07.760: I go, What are you doing?
00:07.760: And I look at them, I go, Really?
00:07.760: It is called Funnel Cut Grill.
00:07.760: And to the casual observer, as you and I have said for decades.
00:07.760: Version one.
00:07.760: It's like so.
00:07.760: Make better with a with a severity knob.
00:07.760: And if need be, I belie I'm pretty sure I can select them and slightly turn them down in QuickTime Pro.
00:07.760: And if you want to see your work elevate,
00:07.840: So I was like, okay, I'll tell you what, I'll make you a tutorial.
00:07.840: They went, no, we don't know what you're talking about.
00:07.840: So that's fit to fill.
00:07.920: And I do, you know, sound system installs a bit these days, audio-video stuff.
00:07.920: I take the remote for the tape deck underneath there and they're like, Okay, punch in and you know, tape punching in on a
00:07.920: You plan the album release party before you've actually finished the album or got it duplicated.
00:07.920: Probably both of those.
00:07.920: I don't know, 2002.
00:07.920: But GarageBand just does all this housekeeping for you.
00:07.920: If I commit my file, it's usually played in Playback Pro.
00:08.000: But
00:08.000: And after Pro Tools, they said, Can you do GarageBand?
00:08.000: And you and I have done that in the past.
00:08.080: Jeff and I were roommates in college, and we've been in touch.
00:08.080: And someone who's just shot a bunch of random footage can throw it in there and
00:08.080: You can get darn close.
00:08.080: Let's see, it'll be Pro Video.
00:08.080: And boy, I really want to
00:08.080: No, but they actually, in this documentary, they kind of pressure his piano player.
00:08.080: Yes, I I can walk you through them.
00:08.080: Oh, there you go.
00:08.080: All right.
00:08.080: We will be back Monday with a new episode of The Grill.
00:08.160: Yeah, that's all part of the show.
00:08.160: It was the Schwab
00:08.160: And I think, you know, I mean, I can remember having a conversation with you many years ago.
00:08.160: And he shot some some pretty rough pieces.
00:08.160: So you can do a
00:08.160: Is that why?
00:08.240: Yeah, it does.
00:08.240: So if I open that up and hit Command J, I don't have a multi-track one.
00:08.240: Open it up in QuickTime 7, hit Command J.
00:08.320: But I will say this, and you've probably heard me say this.
00:08.320: And it's just one of those things is you just got to kind of dive in and start messing with it.
00:08.320: How do people find you if they want to
00:08.320: Thanks, Jeff.
00:08.400: You know, Jeff and I were college roommates, and I watched him
00:08.400: People have gone pretty far with it.
00:08.400: No, it's called, I can't find it.
00:08.400: Go back to video.
00:08.400: I really appreciate you muddling through the Final Cut Ten things so that we could talk about audio because
00:08.480: And I know that there's been a lot of times when you've said to me,
00:08.480: Of course.
00:08.480: But until I have a piece of hardware that will play a QuickTime movie back
00:08.560: He goes, Well, I gotta listen to him.
00:08.560: And I think that I would totally tell people that if you
00:08.560: Yes, it would have.
00:08.560: I could do it on my laptop, basically.
00:08.560: I mean, there are times when you look at it and you go, oh, that's trap code.
00:08.640: I believe so.
00:08.640: So they play along with your
00:08.640: We need to synergate people.
00:08.720: Oh, okay, so you would actually like this.
00:08.720: Right.
00:08.720: And there's guys all over, like
00:08.800: Don't forget, that was Jeff.
00:08.880: I don't care, man, you know
00:08.960: And you'll buy five different templates.
00:08.960: And I think
00:08.960: It's really fantastic because there was there was a fair amount of controversy in his
00:08.960: That's fine.
00:08.960: We'll talk later.
00:09.040: When am I going to use that?
00:09.040: You know, what were they thinking?
00:09.040: That is why.
00:09.040: Please tell your friends about the show, spread the word.
00:09.120: And
00:09.120: However, Final Cut 7 used to have a thing where you could lasso like
00:09.120: Uh she she uh
00:09.200: And in Pro Tools that's as intuitive as drawing it.
00:09.200: Dialogue.
00:09.280: We have not had the types of shows that need custom music.
00:09.280: I played with all that stuff for the longest time trying to figure out how to do this, and then I broke down and bought a mixer.
00:09.280: And it's
00:09.280: Until they take over my career.
00:09.280: It's a video podcast.
00:09.360: And I went and told you about my secret weapon audio plug-in.
00:09.360: We've known some of those guys.
00:09.440: Has one of those kind of ears where
00:09.440: And you just looked at me w just with total you were totally incredulous, like
00:09.440: So I think that
00:09.440: It does have looping and elastic audio and
00:09.440: Really?
00:09.520: So that part hasn't abated at all.
00:09.520: And the same plugins are available.
00:09.520: It was a lot harder to deal with the larger files, et cetera.
00:09.520: Have you seen there's an app called and I have it here I go on my phone.
00:09.520: So I think the thing that people have not
00:09.520: When you've given me stems, you'll give me
00:09.520: Let's see.
00:09.600: Really?
00:09.680: You troubleshooting.
00:09.680: And you click on that, and you can leave an audio comment.
00:09.760: But I was blown away by what GarageBand could do.
00:09.760: Oh, yeah, yeah.
00:09.760: You're a smart dude.
00:09.840: But it was what I was watching as I was watching somebody.
00:09.840: Stylize and the good the good motion templates
00:09.840: And th and just so everybody knows this is not a sponsored thing, this is just us nerding out here.
00:09.920: com blog.
00:09.920: I go, You can't hear the difference between two different C D players.
00:09.920: Boy, that thing just fills the screen.
00:09.920: So you can trim the media in the Pro version.
00:10.000: Yeah, that's likely.
00:10.000: There is one keyboard shortcut from Final Cut 7 that I sorely
00:10.000: Oh, yeah.
00:10.000: Exactly.
00:10.000: I actually.
00:10.080: They came over that.
00:10.080: I would agree with that assessment.
00:10.160: com uh because he's upset.
00:10.160: Okay, so there's a guy right there who's taking food off my table.
00:10.160: And when you throw it in there, I guess you're sort of controlling it.
00:10.160: Most musicians know a little piano, but he was a guitar player, right?
00:10.240: And I got to tell you, now he shot he shoots really nice pieces.
00:10.240: So you define sections like key changes.
00:10.240: And I mean, garage yeah, Garage Band is a fan of
00:10.240: And I didn't know much about it, so I had to.
00:10.320: Maybe it does.
00:10.400: But yeah, absolutely, because it saved me three days of work.
00:10.400: That's okay.
00:10.480: By the way, this is off topic, but it
00:10.480: Yeah, no.
00:10.640: Yeah, I think you gave me almost nothing in the way of audio.
00:10.640: So what are the modern audio w what would be the final content of the audio world?
00:10.640: You should j
00:10.800: It'll have
00:10.800: I think you were two weeks after it came out, I I bought in.
00:10.800: What do I call that thing?
00:10.800: Like how much better?
00:10.960: I think we've had this conversation privately.
00:10.960: In Pro Tools, if you do that, you're going to get.
00:10.960: I don't know
00:11.040: No, no.
00:11.120: And then I would see, like
00:11.200: You think you believe it because I said it.
00:11.280: You know that from the church installs you do.
00:11.360: Final cut 10.
00:11.440: You know, but, um,
00:11.520: And I'm like, I
00:11.680: Well, have you ever used um
00:11.760: I'm not sure.
00:11.760: And thanks for listening.
00:11.840: As a matter of fact, I have used some of them.
00:11.840: Those are that's trap code shine or
00:11.920: He's
00:11.920: Oh, that sucks.
00:11.920: So
00:11.920: I need to come hang out in your studio some day.
00:12.080: So, um
00:12.160: So I'll say here's an example.
00:12.240: It says tight shot of
00:12.320: And the best and the
00:12.400: Or are you still going to take it out to Pro Tools?
00:12.400: But
00:12.400: Let's see.
00:12.480: You started
00:12.640: When did Avid buy Pro Tools?
00:12.720: He goes, Oh, absolutely.
00:12.720: Yeah, yeah.
00:12.720: I'm not testing stuff.
00:12.800: And so today,
00:12.880: It was just images.
00:12.960: And I think that
00:13.040: But it makes it.
00:13.120: Good grief.
00:13.520: So let's go to the interview.
00:13.520: I'm not talking about it.
00:13.520: Why, thank you.
00:13.760: Yeah, you were like
00:13.760: Like you're
00:13.760: Okay.
00:13.840: Later, later.
00:14.079: But