Episode 67
FCG067 - Thunderbolt Networking (feat. Tony Gallardo)
The Good, the Bad, and the Ugly of FCPX. Tony Gallardo of JEH Productions walks us thru his Thunderbolt Networked New MacPro Cluster in his Digital Sweatshop in Texas. Through diligent backup strategy Tony and his team avoided a big problem when his Network strategy decided to take a dump one day. All in all however, Tony is still very happy with his setup and we talk about all the pros and cons of how they have everything set up at JEH.
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Featuring
- Chris Fenwick
- Tony Gallardo - jehproductions.com - @tomiga2
- Guest Name - @twitter
Transcription
00:00.240: Speaker 1: Good morning, happy Monday.
00:01.440: Speaker 1: Welcome to another episode of Funnel Cut Grill.
00:03.360: Speaker 1: This is episode zero six seven, Digital Sweatshop.
00:07.040: Speaker 1: Anyway, today we're going to be talking about Tony Gillardo.
00:09.280: Speaker 1: Now before I get into that, I'm just going to apologize to you.
00:12.320: Speaker 1: You know, I went and I had lunch with my mom yesterday.
00:15.179: Speaker 1: And I gotta say, she listens to every episode.
00:19.900: Speaker 1: And she said to me, she goes, You know, there's something you're doing that you need to kind of check.
00:24.340: Speaker 1: And she started to tell me, and I knew exactly what she was talking about.
00:28.100: Speaker 1: So I'm going to confess to you, you know, I barely know what I'm doing here.
00:32.420: Speaker 1: So a lot of times in these intros, I'll like
00:34.680: Speaker 1: Say, oh, so let me tell you about Tony Gilardo, and I'll tell you about Tony Gilardo.
00:38.839: Speaker 1: And then I get into the interview and I do the same thing.
00:42.039: Speaker 1: Like I did it a couple episodes ago, or I guess last Friday with my friend Jeff.
00:47.040: Speaker 1: Where I told you all about being his roommate in the intro, and then I do the exact same thing.
00:52.000: Speaker 1: So, anyway, I'm going to try and stop being repetitive like that.
00:55.199: Speaker 1: And I purposely did not talk about Tony too much.
00:58.660: Speaker 1: In the actual interview.
00:59.859: Speaker 1: Now, Tony's been on the show before.
01:02.420: Speaker 1: Let me see.
01:03.059: Speaker 1: He was on, I want to say like episode 19, I think.
01:06.259: Speaker 1: Yeah.
01:06.740: Speaker 1: Back in February.
01:08.420: Speaker 1: And if you recall, Tony was building a a new network.
01:12.820: Speaker 1: They were outing all their old machines and getting all new Mac Pros.
01:17.560: Speaker 1: And so at the time we talked, he did not even have he had not even taken delivery of all of the machines.
01:26.240: Speaker 1: And he now has had all the machines.
01:28.080: Speaker 1: He's been working with the machines.
01:29.440: Speaker 1: He's got a Thunderbolt II raid you're going to hear about.
01:33.280: Speaker 1: And I just thought it was important to check up with Tony and see how things were going.
01:36.800: Speaker 1: So that's what we're doing today.
01:41.140: Speaker 1: Couple of things.
01:42.020: Speaker 1: Let me think this is still July.
01:44.340: Speaker 1: So I want to thank Premium Beat for sponsoring the show.
01:49.220: Speaker 1: As always, you know, I keep getting messages and
01:52.040: Speaker 1: Tweets from people who are saying like, Hey, check out my timeline, that's a premium beat soundtrack.
01:57.000: Speaker 1: So that's that's always fun to hear because it means that the listeners of this show are going out and they're supporting premium beat, and that's really important to me.
02:06.220: Speaker 1: because they are supporting what we're doing here.
02:09.259: Speaker 1: And we love doing this.
02:11.420: Speaker 1: And I think this is a great conversation.
02:15.020: Speaker 1: And when a company like Premium Beat
02:17.140: Speaker 1: You know, who has a great product and, you know, steps up and says, Yeah, we want to support what you're doing.
02:24.180: Speaker 1: That's just awesome.
02:25.379: Speaker 1: So go check out PremiumBeat.
02:27.220: Speaker 1: com.
02:27.780: Speaker 1: They have, you know.
02:29.520: Speaker 1: A gazillion artists and thousands of songs, and they're designed.
02:34.879: Speaker 1: I will say this: as an editor, I like Premium Beat because their music doesn't fight with my edit.
02:40.720: Speaker 1: And I think a lot of times.
02:42.620: Speaker 1: Production music is made by frustrated rockers, and like in the right in the middle of the otherwise good song, there's like some complicated key change to the bridge and some g giant guitar solo, and it's like
02:55.620: Speaker 1: That doesn't help me, that that fights my content.
02:58.900: Speaker 1: So, as an editor, that's why I really like Premium Beat.
03:02.340: Speaker 1: So, go check that out.
03:03.620: Speaker 1: So, now we're going to go to Tony Galardo.
03:05.940: Speaker 1: This is the second time we've spoken with him.
03:09.780: Speaker 1: And he's going to tell us all about what he calls the good and the bad and the ugly of his new network setup.
03:18.420: Speaker 1: Gilardo.
03:20.200: What's up?
03:21.400: Speaker 1: Hey, man, I've been practicing saying hello to you for three days now.
03:24.600: Speaker 1: Galardo!
03:27.880: Speaker 1: Fenwick!
03:31.000: So how you been?
03:33.160: Oh, been pretty good.
03:34.440: Pretty good.
03:36.120: We had our son's birthday party last night, so we're all toast here.
03:41.480: Speaker 1: How old is your son?
03:42.740: He just turned seven.
03:44.260: Speaker 1: Oh, cool.
03:46.020: So, yeah, we had uh people over and and then we had an after party to the after party and so it just yeah.
03:54.360: Speaker 1: Sounds like a rager.
03:56.599: Yes, I'm uh that's getting too old for that.
04:00.280: Right.
04:00.840: That was good.
04:01.400: All is good.
04:02.200: Speaker 1: Good, good, good.
04:03.000: Speaker 1: So when I contacted you to be on the show, I basically wanted to talk about
04:08.720: Speaker 1: your m to kind of catch up, talk about your Mac Pro installation.
04:13.360: Speaker 1: I think you were doing it all with the ThunderTube, as I recall.
04:17.680: Speaker 1: And you said you responded back and you said, Oh, yeah, I got a lot to talk about.
04:23.159: Speaker 1: So, what's going on?
04:24.919: The good, the bad, and the ugly.
04:26.680: Speaker 1: Yeah.
04:28.120: So, well, you know, I think I first would like to preference that
04:32.960: And you know this from we didn't upgrade for years, but we like to make sure that we usually stay a year behind technology or two years, even software, normally.
04:43.759: I don't like to be on the on bleeding edges.
04:48.560: You'd rather have somebody else take I'd rather have somebody else take the hit.
04:52.960: I'm going to raise the volume here.
04:54.400: Hold on one second.
04:56.360: Yeah, so usually we like to play it safe, you know, and as long as the machines are running, we're good.
05:01.880: But we were kind of at that point where
05:06.020: we waited too long and we needed to move up, but budgets and all this stuff.
05:12.259: So
05:13.380: we decided to take the plunge, and we did that.
05:16.660: And we got like you said, a four Mac Pros.
05:19.300: Everything's thunderbolted together.
05:21.940: And so we started testing and the Thunderbolt speeds are amazing.
05:27.220: They're wonderful.
05:27.940: I mean, transferring back and forth.
05:32.000: two hundred, three hundred gigabytes is nothing.
05:34.800: Speaker 1: Right.
05:35.840: It's just so great to be able to move stuff back and forth so quickly.
05:41.680: And
05:43.440: there's not too much stuff on the on the net about people doing this and how they are connecting and what they're doing.
05:48.639: But we started
05:51.420: connecting automatically and some things worked and some things didn't.
05:56.220: Sometimes it would connect, it wouldn't connect.
05:58.940: So we started noticing these kind of fluctuations of not performance, but consistency.
06:06.020: Speaker 1: And to be clear, you're talking about I'm getting a weird slap back from your yeah, yeah, it's hard to hear.
06:13.699: You know what?
06:14.020: Speaker 1: Let me try calling you right back.
06:15.699: Speaker 1: Sometimes that helps.
06:17.379: Speaker 1: Let me think one of these buttons hangs up.
06:18.900: Speaker 1: This one.
06:20.960: Speaker 1: Well, that was unusual.
06:23.200: Speaker 1: You know, I gotta say, Skype normally works really great.
06:26.000: Speaker 1: We're gonna call again.
06:30.740: Speaker 1: Hello, hello.
06:32.100: Speaker 1: Hello.
06:32.820: Speaker 1: Ah, that's better.
06:33.860: Oh, yeah, much better.
06:35.140: Speaker 1: Weird.
06:36.260: Speaker 1: So to be clear, you're talking about
06:39.640: Speaker 1: Thunderbolt as a networking protocol.
06:42.280: Speaker 1: So you're using Thunderbolt bridging between machines, not just Thunderbolt as a locally attached drive, correct?
06:50.360: Correct.
06:50.920: So we have four Mac Pros and they're
06:54.020: they're each connected to each other by a Thunderbolt cable, and then you go in and you can network them together and access each computer
07:02.240: you know, via Thunderbolt Bridge.
07:04.160: And there's a couple different ways that you can set things up.
07:07.360: You can do a manual IP.
07:09.840: There's a couple other different things as well that we've been trying
07:13.000: And when the bridge works, the bridge works great.
07:18.680: It's awesome as far as transfer speeds and be being able to access things across
07:23.820: from one machine to the next.
07:27.260: Playing red footage off of it is great.
07:29.420: We were, I think we had
07:33.500: We had seven streams of ProRes, our ProRis HQ, and we had one or two streams of of red.
07:41.640: 5K HD footage playing.
07:43.800: Now, I don't know remember what we were debaring it at.
07:46.200: I think it might have been half res.
07:49.560: But, I mean, we just
07:51.699: Turned them on and started playing right across over, you know, from one machine to the next, and it was pretty it's pretty powerful.
07:59.539: So
08:00.420: the bridge the networking part, it's it gets a little inconsistent sometimes.
08:05.940: And I what I think what's happening is that if you're connected by Ethernet to an you know
08:13.580: another networks for Internet or whatever or even WiFi, it defaults to those to those network connections.
08:22.820: And then you can even, you know, in your preferences, you can set which one you want to be your main connection point first by just changing the position of the hierarchy.
08:34.180: Speaker 1: Yeah, you can actually grab those.
08:36.580: Speaker 1: You can grab between your Wi-Fi and your Ethernet or your Bluetooth, and you can actually just drag it up and down in the stack.
08:43.140: Yeah, so even with doing that, even with putting Thunderbolt at the top.
08:46.740: and saying, you're my main connection always, it would still we would notice we would start doing something and it would it would just sometimes just bog down and it'll be what what was taking fifteen minutes
08:58.240: twenty minutes to transfer two, three hundred gigabytes, all of a sudden it's in the hours.
09:03.680: And we would stop it and then restart it and boom, it would work it's working.
09:08.759: Speaker 1: Now to restart it, do you actually have to shut the machine down or turn off?
09:13.639: No, no, no, we just stop the the transfer.
09:16.120: Speaker 1: Oh, okay.
09:16.759: So just stop the transfer and then you know delete whatever you're transferring or or
09:20.940: retransfer to a different spot or whatever, but it was just it's it's it's funny.
09:25.020: You just you stop it and then you restart it and oh yeah, there there I am and and you know, twenty minutes later you have your footage.
09:31.740: So
09:32.240: it it's little inconsistencies like that that kind of get in the way and just kind of you know, it's it's it's so powerful and when it's working, man, it's it's awesome.
09:44.000: It's really cool.
09:44.960: So that just by itself as a connection point between the machines, it's pretty damn cool, excuse me, but it still needs it still needs some work.
09:57.160: from Apple and or third party if it's possible.
10:03.560: So that's one aspect.
10:05.320: And then the next aspect is that and this is another one of those
10:09.620: you know, bleeding edge or playing with Firefight, if you will, is so now you have to you know, think about you have one hard drive, you know, we have a Pegasus R eight
10:21.220: And now you're sharing media to other machines off of one machine.
10:27.060: So we have three other machines that are accessing
10:30.280: I guess we'd call it Mac Central, is what we call our main machine.
10:36.200: So you have meat, you have you have
10:38.720: three other editors accessing the media and saving to that.
10:41.600: So that also raises some questions and whatnot and how
10:47.740: How does the machine handle that?
10:49.900: Because you do run into situations where you don't have a SAN management software that can get in there and control traffic, so to say.
10:59.740: So we actually did have a I'm assuming a kernel panic or something of that nature, and we lost a bunch of stuff.
11:07.819: It just wiped away
11:11.140: about two projects.
11:13.060: Speaker 1: Now are you saying you lost the media?
11:15.460: Speaker 1: Like it like it disappeared or became corrupted or what?
11:18.740: No, it you know, it's it's I've never seen this before.
11:22.260: Um, so I'm not sure if it's if
11:25.800: the way it behaved, it was really, really weird.
11:28.520: And I'm thinking it's just because of the nature of too many machines accessing
11:36.160: through it over the network through the Mac Central and into the Pegasus.
11:40.399: But it was we were all on it working about on the same project.
11:44.959: And
11:47.120: My guy's like, hey, I need this audio file.
11:49.200: I'm like, hey, yeah, it's over there in the project folder and under the audio folder, and then there's the music.
11:54.920: And he's looking for I don't see any music folder I don't and then he's like, Well, I don't even see the project folder.
12:00.279: Speaker 1: Oh, wow.
12:01.319: And then all of a sudden it was uh the guy
12:03.940: the other edit A is editing and like, hey, wait a minute, my optimized media is gone.
12:12.660: So it just decided to randomly strike away
12:18.300: just sectors of on the drive.
12:22.140: And so we were just missing we had one project that had like elements that we created that were it was that were there.
12:29.180: But
12:29.920: other parts of the project were just gone.
12:31.279: So it was just like a random glitch that just killed everything.
12:35.839: Luckily, we keep all of our ma camera masters and whatnot on separate backups.
12:42.240: So we were able to get back up and running, just transferring stuff.
12:46.000: The first time I got us, we weren't too deep into anything, and we only had one about one point five projects on the Pegasus.
12:53.040: The other project was still on our old machine, so we were able to bring it back off off of those, retransfer it, and we didn't lose too much.
13:01.639: But right away immediately got a Jobo, and now we have that that mirrors that that machine, so we have a constant one-to-one backup of the Pegasus.
13:13.020: the notion of I'm kind of jumping around here, but each machine has their own Thunderbolt drive.
13:18.300: So that way we can work off of our libraries, off of those machines.
13:22.140: So we've been using proxies, the proxy workflow inside of Final Cut.
13:27.680: which is actually amazing.
13:29.680: We love that workflow.
13:30.959: So even though that our machine went down, we were actually still fully functional
13:36.240: our editors were so they were just working in proxy mode and they can keep going.
13:40.560: And then my guy would bring back all the footage back online.
13:45.680: And then once that was good, we would just reconnect.
13:47.839: and we are good to go.
13:49.839: So that's the bad side of it.
13:52.480: Speaker 1: Well, before we go any further, I want to just back up a little and clarify a few points of thing, because I think I understand
14:00.800: Speaker 1: I think I understand, but I just want to make it clear.
14:03.040: Speaker 1: So if you missed the interview that we did back in February where Tony and I talked about what he was doing, they built a
14:10.759: Speaker 1: Formac Pro system.
14:13.240: Speaker 1: And I think that because of the physical layout of your office, it was functional to be able to apparently you are daisy chaining or I think what
14:24.400: Speaker 1: what in old network speak that would be called a like a almost like a token ring topology, where you're just creating a loop between these four machines.
14:35.860: Speaker 1: But that's not a closed loop, correct?
14:38.500: Yeah, that's absolutely correct.
14:39.860: Speaker 1: So machine one plugs into machine two, you loop off of that to machine three, you loop off of that to machine four, and each one has its own Thunderbolt drive attached to it, also.
14:50.040: Oh, well you know what?
14:50.920: No, uh each machine d connects directly to our our Mac Central.
14:56.360: So instead of looping, each machine jumps their own cable to the computer.
15:02.440: Speaker 1: Three of the Thunderbolt
15:04.040: Speaker 1: ports on what you're calling Mac Central.
15:07.640: Speaker 1: So that's actually more like a star topology where that becomes the central plug point and then everything is spidered off of that.
15:17.020: Correct.
15:17.580: Yes.
15:18.060: Speaker 1: Okay.
15:18.460: Speaker 1: And then the R eight, which is that now that's the Pegasus eight drive, Thunderbolt two really cool drive.
15:27.180: Speaker 1: That's actually directly attached to Mac Central.
15:29.980: Speaker 1: Correct.
15:30.860: Speaker 1: Okay.
15:32.200: Speaker 1: So now win, and then when it started to go down, and these folders started disappearing.
15:39.420: Speaker 1: your guys could flick over using their proxy media, which is on their local drive, because you were at I don't know when this happened, but I'm
15:48.839: Speaker 1: Excuse me, uh I don't know when this happened, but I'm gonna assume it was before ten point one point two and and you were doing you were using the proxy um trick, which would actually put
16:02.700: Speaker 1: How does that work?
16:03.420: Speaker 1: It's going to put the proxy media right inside the library, which is on your local which is on each individual local machine or local ray.
16:13.640: Speaker 1: Thunderbolt Drive.
16:14.920: Yes.
16:15.160: So before we started working, you know, so when we talked, we were just jumping on the ten one.
16:19.800: And everybody else was still on Classic, Final Cut Classic.
16:24.140: And so we did a bunch of tests to see, okay, how is this going to work?
16:29.500: We talked about that document that breaks out how to do transfer libraries and XML and whatnot.
16:35.100: So we literally just started
16:37.480: doing that and locking up scenarios on how to transfer things back and forth.
16:41.399: How should we best opt when should we use XML versus when should we use a transfer library?
16:46.279: All these types of different things.
16:47.820: And we jumped into the this proxy thing.
16:51.180: We're shooting on red 5K HD.
16:53.900: And yes, the we could stream it
16:56.660: And we actually did have two machines playing back red footage simultaneously through Final Cut, and it worked.
17:03.860: If you set the debairing
17:06.840: Speaker 1: Really low?
17:07.880: Yeah, low.
17:08.680: It works.
17:10.120: But just for consistency's sake, we decided let's explore this proxy thing.
17:14.440: So we really delved into proxy and how does proxy work.
17:19.539: And even into how can we re I really would like to recreate my own proxy, either burn in some time code or some specific
17:29.220: metadata on the proxy.
17:31.620: So we really jumped into proxy, and it's interesting how it how FinalCut works with it and treats it.
17:41.500: So once we realized proxy workflow is the way to go, then we started just implementing it.
17:47.740: And then it actually kind of saved our bacon when the R8 went down.
17:54.980: because we can just keep going and nothing had to stop.
17:58.500: We just brought our backups back online and however long that took, we reconnected and up and running we went.
18:07.140: Speaker 1: Yeah, I think when you talk to true network people, and I've been spanked many times in the past when I tell people about
18:15.519: Speaker 1: some of the workflows that I have come up with, they will always talk about what what up until today
18:24.840: Speaker 1: for me was that mythical moment when everything goes down.
18:29.480: Speaker 1: And I think that, you know, essentially, sometimes it feels like
18:33.360: Speaker 1: I mean, I'll just tell you, historically, digital video feels a little bit like ice skating on a lake in the winter.
18:38.960: Yeah, oh, absolutely.
18:40.080: Speaker 1: You know, it's like, yeah, look at look at the beautiful lake.
18:42.320: Speaker 1: I'm just gonna go skating.
18:43.519: Speaker 1: It's gonna be fine.
18:44.559: Speaker 1: But you never really know how thick that ice is.
18:48.179: Right.
18:48.500: And like I said, we we're not usually risk takers when it comes to that.
18:53.620: It came down to our equipment being just so old and was budget.
18:57.380: Do we get new machines or do we get a sand?
19:00.260: I'm still I'm still glad we went
19:02.640: Went this route.
19:03.440: And like you said, it is very specific to the physicality of our location and the closeness of our editors.
19:13.140: and then the team that we have and how we work.
19:16.580: So I don't think I would recommend this just, yeah, jump on the boat and go do it.
19:22.799: But if you feel that you have that closeness physically and you have a very tight work group, and we do,
19:30.940: Speaker 1: You can get away with it.
19:32.220: You can get away with it.
19:33.100: And that's how we still operate that way now.
19:35.260: We haven't changed anything.
19:36.540: Speaker 1: The beauty of what you have done, though, is
19:39.120: Speaker 1: If you decided to day, you know what, I'm going to go a little bit more traditional, get a proper server, a proper
19:46.640: Speaker 1: you know, metadata server, whatever it is.
19:48.560: Speaker 1: I don't even know.
19:49.120: Speaker 1: You'd have to talk to like the Bob Zellens of the world to reverse engineer all that.
19:55.019: Speaker 1: you could end up with a system that's more like, say, what John Davidson has.
19:59.419: Speaker 1: He's been on the show a couple of times talking about his setup.
20:02.620: Speaker 1: And in between his first interview and second interview, he actually had modified a few bits of hardware.
20:08.440: Speaker 1: And I think he's even getting better performance.
20:10.760: Speaker 1: So there are other ways to go for a I'm just going to based on the amount of money you've spent so far
20:17.940: Speaker 1: A relatively small amount of money, you know, only a few more things.
20:21.299: Speaker 1: Yeah, I agree completely.
20:22.500: Speaker 1: But I do think it's really fascinating to kind of
20:26.440: Speaker 1: look down some of these what the network again, what the network pros would call deep dark alleys, and see how things work.
20:35.440: Speaker 1: What we've been doing, and I don't know if you've been listening, but since talking to John the last time a few episodes ago.
20:43.700: Speaker 1: we've been using more and more and I don't have a name for it, but I call it the trimmed down library workflow.
20:55.080: Speaker 1: where you can now in Ten One two, you can aim all of your media and cache files to be someplace outside the library.
21:05.480: Speaker 1: And that means you can take I mean, literally, I've taken
21:08.720: Speaker 1: hundred gigabyte library files.
21:11.280: Speaker 1: And by just by reaiming those two things, after you reaim them, you can sit there and watch the folders in the Finder and watch the
21:20.320: Speaker 1: The data transfer.
21:21.600: Speaker 1: It's like, oh, this just got half as big, and that got bigger over there, and it's getting smaller.
21:26.160: You can see the library getting smaller and smaller as the data is transferring.
21:30.860: So you're talking about a consolidate a library consolidation where you tell it to move.
21:34.620: Speaker 1: No, no, no.
21:35.260: Speaker 1: That I'm definitely not talking about that.
21:38.460: Speaker 1: That's a different beast altogether.
21:41.019: Speaker 1: That would actually make your library larger.
21:44.919: Speaker 1: Yeah, I won't go totally into it because I know I've talked a lot about it with Rob and both with John Davidson and even Rob Terry in the next interview.
21:54.620: Speaker 1: But I think I think I talked about it with Rob.
21:57.020: Speaker 1: At any rate, essentially in the in the 10-1-2, and I'm just going to ask because I know that you're
22:02.880: Speaker 1: very cautious about upgrading.
22:04.240: Speaker 1: Have you upgraded your machines to ten one two yet?
22:06.720: No, we haven't.
22:07.440: We've we've been talking about it, but we haven't done it yet.
22:09.520: It's the result.
22:11.440: Speaker 1: I will tell you, I think the ten one two is a slam dunk upgrade.
22:18.240: Speaker 1: There is an issue that has come up, and I can't remember if I've talked about it.
22:22.559: Speaker 1: I don't think I have.
22:25.500: Speaker 1: A couple weekends ago, like on a Friday night, somebody posted, and I apologize, I don't remember your name, but I got looped into this because, you know, the show.
22:35.140: Speaker 1: but somebody posted a Vimeo video saying, Hey, there's this big bug in Ten One Two.
22:41.060: Speaker 1: And um and I I'll tell you about that because I don't think that I've really talked about it in its entirety on the show.
22:47.740: Speaker 1: But except for that one bug, I would say wholeheartedly get into 10.
22:52.059: Speaker 1: 1.
22:52.299: Speaker 1: 2 because what it allows you to do is in the
22:56.620: Speaker 1: There is now a library inspector.
22:59.580: Right, I've seen that.
23:00.700: Speaker 1: And so, what you can do is when you click on media locations.
23:04.900: Speaker 1: you can point the media and the cache to someplace other than the default setting, which is inside the package contents of the library.
23:14.940: Speaker 1: And by doing that, your giant libraries turn into these very small files.
23:20.460: Speaker 1: So what we've done on multiple occasions just in the last two weeks is
23:25.140: Speaker 1: You know, we, in our work environment, we have a pegasus attached to each machine.
23:31.780: Speaker 1: And so
23:32.740: Speaker 1: by trimming out that library, you can copy a library file from anywhere on the Office network using, again, gigabit networking, nothing fancy like you have.
23:43.140: Speaker 1: I can copy that library file to the desktop.
23:47.640: Speaker 1: Of any other machine.
23:49.080: Speaker 1: All the media lives remotely on the other Pegasus down the hall.
23:53.320: Speaker 1: And I take that little tiny library file, which can be two megabytes
23:58.700: Speaker 1: I think the largest one I've seen is like 50 megabytes, and that was a very complex project with many timelines and many versions in it.
24:05.760: Speaker 1: So you copy that to the desktop of your machine.
24:08.240: Speaker 1: And as long as that remote drive is still mounted on your machine, I double click on that guy and it goes, Oh, there's the media.
24:14.400: Speaker 1: Okay, I'm good.
24:14.960: Speaker 1: What do you want to do?
24:16.000: Speaker 1: Now the first day we tried this, two of us
24:20.140: Speaker 1: So we have three main edit suites, each with a Pegasus R6, Pegasus Thunderbolt 1, not Thunderbolt 2.
24:29.260: Speaker 1: But two of us were simultaneously hitting the third machine.
24:34.320: Speaker 1: And we did it all day long.
24:36.480: Speaker 1: And at the end of the day, and nobody was actually doing anything substantial on that machine that day.
24:42.240: Speaker 1: But we talked about it afterwards and
24:45.559: Speaker 1: Almost without exception, we totally forgot that we were hitting a remote machine.
24:51.320: So your cache and your media and your footage were all on that remote machine?
24:54.919: Speaker 1: Correct.
24:55.419: Speaker 1: And just the library file.
24:57.100: Speaker 1: So essentially, what you've done now is with 10.
24:59.660: Speaker 1: 1.
24:59.980: Speaker 1: 2, by re-aiming the media and the cache location, your
25:05.820: Speaker 1: current library file is very similar to what the old Final Cut 7 project file was.
25:13.820: Speaker 1: Right.
25:14.300: Speaker 1: Very tiny little file.
25:17.280: Speaker 1: And so anyway, that may be another way that you might want to work.
25:22.160: Speaker 1: You're still accessing the media remotely.
25:25.780: Speaker 1: But the library file lives locally.
25:28.820: Speaker 1: So I will say this at the end of that day
25:33.919: Speaker 1: Steve and I were clicking away, and Steve's been on the show, he was on several episodes ago.
25:37.760: Speaker 1: But Steve and I were clicking away and working away, and all of a sudden
25:43.940: Speaker 1: That third machine is also in my boss's office, and he's packing up to leave for the day, and he just shuts down, and all of a sudden we're both like, Hey, what's going on?
25:54.460: Speaker 1: And everything goes red in the timeline, and we're like, ah, you bastard.
25:59.660: Speaker 1: So I went, but I went in there, relaunched the machine, and my machine was still looking for it.
26:06.780: Speaker 1: It hadn't totally lost the.
26:08.640: Speaker 1: The path, if you will, to that drive.
26:11.760: Speaker 1: And all of a sudden, boop, boop, boop, boop, boop, boop, boop, boop.
26:13.840: Speaker 1: I didn't even have to relaunch Final Cut, and it just, oh, yeah, never mind.
26:17.440: Speaker 1: H
26:17.600: Speaker 1: Here's the media, I got it.
26:19.120: Yeah, no, it's it's a great that sounds I actually want to experiment with that.
26:22.960: But I kind of like the proxy being spread and step and put into different
26:28.540: each machine.
26:29.580: And it takes about like twenty minutes, not even that.
26:32.060: If we're our library files would be with proxy media.
26:35.740: Speaker 1: Yeah, that is a benefit.
26:37.100: Speaker 1: I can see that.
26:37.960: like two hundred gigs ma I think uh the largest one we've had so far is about three hundred gigs, and that's what Proxy Media.
26:46.120: So we have like that means that's probably about roughly about a terabyte of footage.
26:50.760: Speaker 1: Right.
26:51.880: And it just it screams transferring over to you know, it's like literally go downstairs and you know, take a
26:59.140: a break and they come back and it's ready to go.
27:01.860: But I still want to experiment with that because it's a little bit more.
27:03.940: Speaker 1: Well, the other thing that I want to mention, let me think here.
27:08.420: Speaker 1: Cache media.
27:09.800: Speaker 1: Consolidate.
27:11.560: Speaker 1: Okay, the other thing that I want to mention, and I just want to back up and talk about this 10.
27:17.160: Speaker 1: 1.
27:17.480: Speaker 1: 2 paste attributes bug.
27:20.320: Speaker 1: So first of all, the description of what it is, and I'm bringing it up because just this morning on Twitter, I noticed somebody was going, Hey, it's actually his name is Nick Justice.
27:29.520: Speaker 1: Actually, I think it may have been on Facebook.
27:31.640: Speaker 1: So Nick was commenting, he said, all of my color grades are not exporting.
27:37.800: Speaker 1: So here's the bug.
27:39.560: Speaker 1: Let's say you have multiple shots that were all shot the same way.
27:44.019: Speaker 1: You set up your color, you fix your color on the first one.
27:48.980: Speaker 1: You copy that, then you select the subsequent shots and you go to paste attributes.
27:53.460: Speaker 1: You paste attributes of color.
27:56.040: Speaker 1: And as you scrub through your time line, you will see, yep, the color grade has pasted just like I expected it to.
28:07.860: Speaker 1: So now you hit Command D to export your timeline, and you know the little icon how you can scrub through the icon, which is kind of cute.
28:16.660: Speaker 1: Now you can scrub through that, and sure enough.
28:19.040: Speaker 1: all your color grades are there.
28:20.960: Speaker 1: Okay, good.
28:21.760: Speaker 1: This is what I'm going to be exporting.
28:23.760: Speaker 1: So you pick a location, you hit save, you're all done.
28:27.280: Speaker 1: Here's the problem.
28:28.240: Speaker 1: Once you open that file and scrub through it, you don't see those color grades.
28:34.059: Speaker 1: Anything that was a paced attributes.
28:36.620: Speaker 1: And I just read this morning that it's more than just color grade.
28:40.380: Speaker 1: So, like, let's say you repositioned a bunch of 4K in a 1080 frame to pull a close-up.
28:46.740: Speaker 1: And you paste that attribute.
28:49.140: Speaker 1: Now, I have not experimented with positioning attributes.
28:52.340: Speaker 1: I only know with certainty that color does this most of the time, not all the time.
28:57.780: Speaker 1: That's the other thing.
28:58.820: Speaker 1: So you paste the attribute.
29:01.340: Speaker 1: And export, and it doesn't work.
29:03.500: Speaker 1: Now, when it comes to the color, here is the fix.
29:06.539: Speaker 1: And I have not actually looked into these other things that I'm hearing people talk about.
29:10.779: Speaker 1: The fix is very simple.
29:13.360: Speaker 1: Sele while you still have all those shots selected, go to the inspector.
29:19.840: Speaker 1: Just turn them off and on.
29:21.040: Speaker 1: Turn them off, turn them on.
29:22.919: Speaker 1: That's all you do.
29:24.279: Speaker 1: And there's some something is just not writing into the database file.
29:28.200: Speaker 1: Although you can see it in the timeline, you can see it in the viewer.
29:31.880: Speaker 1: You can see it in the icon on your export.
29:34.740: Speaker 1: It just never makes it to the file.
29:37.140: Sounds like a programmer was in a hurry to leave leave for home or something.
29:41.460: They forgot to put that back on.
29:45.300: Speaker 1: Yeah, it is an interesting bug, and I'm sure we'll see a fix for it pretty quick because it's it made a really giant splash that evening.
29:54.020: Speaker 1: I remember reading
29:55.540: Speaker 1: I had walked away from my phone for a couple of hours and I picked it up late Friday night and I'm like, holy crap, what's going on on Twitter tonight?
30:05.540: Speaker 1: And I had gotten looped into this because of the show.
30:08.820: Speaker 1: And so
30:09.840: Speaker 1: I think by within 24 hours, somebody had come up with the off and on fix.
30:17.760: Speaker 1: But it is definitely something to think about.
30:20.160: Speaker 1: And I will say that the next
30:21.980: Speaker 1: Monday, a couple days later, when I went into the office, I was examining a one-hour thing that I had cut.
30:29.900: Speaker 1: It was a
30:31.140: Speaker 1: That's a guy in a PowerPoint slide.
30:33.940: Speaker 1: And I, you know, I thought when I, because I had posted a small 640, 360 approval for the client to peruse.
30:43.260: Speaker 1: And I remember thinking, you know, I didn't realize my color changed so much when I made my H264.
30:51.660: Speaker 1: And sure enough, it wasn't.
30:53.020: Speaker 1: It was just.
30:53.840: Speaker 1: The very subtle grade that I had put on everything.
30:57.200: Speaker 1: Scamma change is really ridiculous.
30:59.120: Speaker 1: Yeah.
30:59.440: Speaker 1: Yeah, it was actually that's what kind of felt like an old Final Gun 7 day.
31:03.120: Speaker 1: Yeah.
31:03.600: Speaker 1: But so anyway, I just selected all the clips.
31:06.260: Speaker 1: Turned it off, turn it on.
31:07.539: Speaker 1: And then the other thing I'll say, and this has come up since who taught me this?
31:14.820: Speaker 1: I'm curious because I want to give credit where credit's due.
31:17.539: Speaker 1: It was an early show.
31:20.040: Speaker 1: I believe it was Ben Consoli, that you could remap or you could turn on a keyboard shortcut that is not naturally mapped.
31:29.100: Speaker 1: to toggle your color settings off and on.
31:33.019: That is huge.
31:34.620: Speaker 1: I use that all the time.
31:35.659: Speaker 1: We map it to option C.
31:38.940: Speaker 1: And so basically, you can select a whole timeline and just go option C once, option C twice, and now export.
31:47.540: That's huge.
31:48.100: Stuff like that, little workflow things are so huge to just keeping things going and not having to make four clicks just to see something.
31:57.620: Speaker 1: Okay.
31:57.940: Speaker 1: Now a while ago I interrupted you because you had once you got through the
32:02.019: Speaker 1: the R eight Lost Its Mind story.
32:04.740: Speaker 1: You said so that was the bad, but you prefaced all of this by saying that there's a good, bad and ugly.
32:10.100: Speaker 1: So what's next?
32:12.300: Well, you know, so that's the bad, and it sucks.
32:15.660: We have a a direct mirror backup of it.
32:19.820: It's you know, this is an organic thing, and I realize that, and we are playing with fire, and I realize that as well.
32:26.840: Yeah, very thin ice.
32:29.320: And that's not usually our our mode of operation, but we're pretty nimble.
32:35.019: And we adjust and kind of roll with the punches, so to say.
32:38.860: So we've just kind of modified, okay, so if we do this here, we have a direct mirror backup of the Pegasus.
32:43.980: We already back up all of our camera archive onto
32:47.380: raw drives.
32:48.580: So those are all labels.
32:49.620: So if anything does go down, we've got it in two two spots.
32:57.039: Speaker 1: What software are you using to do the mirror of the Pegasus to the Drobos?
33:00.960: You know what?
33:01.519: We grabbed a something off the Mac store.
33:04.320: I I think it's called Backup.
33:06.240: I forget what the actual name is.
33:09.740: Jordan actually got it and downloaded it.
33:11.580: I think it's called system backup or backup.
33:16.540: And it's just is scheduled and then he I just tell him to get ADD and press that button as much as he can whenever he can.
33:24.780: But it's scheduled at night to go every night, and it's just, you know, it keeps a mirror.
33:29.420: So, whatever's changed, it'll just adjust that.
33:32.400: And then it can also keep a like a difference file thing.
33:37.039: So if there's things that are hard changed or been deleted, it'll kind of hold those for like fifteen days and then it'll wipe that away and just keep the mirror.
33:44.120: So that's huge and that's peace of mind.
33:47.640: Speaker 1: I'd love to know what that is.
33:49.960: Speaker 1: If you could find out Monday and email me, I'll add it to the show notes.
33:54.720: Okay, yeah, definitely.
33:55.840: And then we each machine has their own Thunderbolt.
33:59.360: But our project files are two hundred, three hundred gigabytes and the transfer speed is great.
34:04.160: So I wouldn't like I said, we're still operating this way and we haven't changed.
34:07.520: We've just adjusted
34:08.740: how we do things and all of our other project files like After Effects and Photoshop, we'll keep them on the Pegasus and then we'll also keep them
34:18.379: on our local Thunderbolts as well.
34:20.379: And just being able to reach over and grab stuff is it's not too big of a deal.
34:25.100: It's kind of like the whole paste thing with the color.
34:27.580: It's like every once in a while we can tell, you can kind of get a feel, like you can get that spider sense.
34:31.380: of your machine and kind of know, yeah, I think it wants to transfer via Wi-Fi.
34:35.300: Let me just, you know, let me go over here and click this on and off and it'll access the Thunderbolt.
34:40.820: I know that
34:41.720: I know that they're working on it.
34:43.639: And what I'm really hoping for and wanting to is to see is Exxan working with Thunderbolt.
34:51.319: And I think once that happens, that's going to be a killer killer combination.
34:57.300: So I'm hoping that that that they're pushing for that.
35:00.740: Speaker 1: Okay.
35:01.619: That would be good.
35:03.859: But yeah, I mean, the proxy workflow in Final Cut is it's
35:07.700: It's pretty phenomenal just to be able to be a proxy working in red footage and then switch over.
35:13.460: Now you're in full red.
35:16.020: It's from what it from what we used to have to do, that's the one thing that's blown me away.
35:21.140: Speaker 1: Yeah, I don't know if you caught the interview I did.
35:24.260: Speaker 1: It was the second interview I did with Thomas Grove Carter, episode 55.
35:28.420: Speaker 1: And he talked about doing exactly that.
35:30.339: Speaker 1: He was leaving his library file on the desktop of his laptop.
35:35.180: Speaker 1: For a multi-day shoot, and he was doing, you know, rough edits in the field.
35:43.620: Speaker 1: And when he would unplug from his raid, he would just toggle over to his proxy files, which were again on the desktop of his of his retina, and he could walk to the set and go through edits with the director.
35:58.299: Yeah, it's a powerful thing.
36:00.539: You don't really realize it until you do something like that.
36:02.779: You're like, oh my gosh, this is great.
36:04.220: I can just unplug, go do something, come right back and
36:07.500: and you're up and running again.
36:10.300: I do have a question for the have you messed with the XML export on one point two a lot?
36:17.340: Speaker 1: I started to until John set me straight.
36:20.540: Speaker 1: John Davidson set me straight.
36:23.900: Speaker 1: I do know that Alex McLean, my co-host of Digital Cinema Cafe,
36:29.620: Speaker 1: He's been doing a lot of XML testing.
36:32.660: Speaker 1: I don't think he wants to talk about it publicly too much, but he's been doing a lot of XML testing and troubleshooting between
36:40.000: Speaker 1: Like some of the high-end color grading tools, like Luster and whatever the other one is.
36:47.040: Speaker 1: And
36:48.020: Speaker 1: Looking at the XML flows from both from Funnelcat 10 and from Premiere.
36:53.380: Speaker 1: And essentially, what he is seeing is there's a whole lot of trouble, a whole lot of trouble.
37:00.260: Speaker 1: with the Premiere XML implementation.
37:03.220: Speaker 1: Like a lot of data is just not showing up in the XML.
37:06.820: Speaker 1: Now the places, the bigger houses that are using Premiere, and again, you know
37:13.920: Speaker 1: Our house is pretty small.
37:15.760: Speaker 1: Yours is a little bigger.
37:17.520: Speaker 1: But when you're talking about bigger establishments
37:21.700: Speaker 1: Who are using Premiere, a lot of them are saying kind of privately, sort of behind closed doors, well, yeah, there's a few workarounds we have to do to get the XML to work.
37:32.620: Yeah, no we uh we use uh the resolve and the resolve relationship between final cut and resolve is
37:40.140: Wonderful.
37:40.859: That's great.
37:41.420: Speaker 1: Yes.
37:42.059: Speaker 1: I think that's probably the most reliable and complete XML implementation basically in the industry right now.
37:49.120: But the one thing that we had a problem with was when we're sharing stuff, so we'd have editor A working on a on
37:57.960: On a project, our project project, not a timeline project.
38:02.680: And he'd be done with something, and I would need
38:06.640: him to jump on graphics for another project so hey go past go past this client a project to somebody else and he would
38:14.599: And it it doesn't it's not too big of a deal moving libraries back and forth.
38:19.400: But once they both kind of have that library, it's just we really just need to send out XMLs of the timeline.
38:25.960: And we had a
38:28.840: A corporate gig we were doing, and it was about a 25-minute or 23-minute video.
38:34.920: And so one editor was working on half the timeline, the other editor was working on the second half.
38:39.280: They were both so two editors simultaneously working on the video and it was time to merge them to send out a rough cut so we can the client could see it.
38:48.000: So I told brought a freelance editor and I said, send your time line, send your XML your time line to
38:53.240: to edit edit A, and then they'll merge it and make sure the audio is good and send it out.
38:57.560: So he sends out an XML.
38:59.000: And this guy has never worked on
39:01.260: Fanocut, my freelance editor.
39:02.860: And he was it's only been like his second day working on it, and he was streaming along pretty well actually.
39:08.620: So he sends that his XML out, and it's just it we keep getting an error message, it will not import into Finocut.
39:14.500: it just would not n it wouldn't even open up.
39:17.300: And we tried it on another machine and it actually was crashing Final Cut.
39:21.300: So we kept trying to delve into it.
39:23.060: What could it be?
39:23.860: What could it be?
39:24.740: And we singled it out, you know, got to make sure we got rid of all third party
39:28.520: plug ins and ev all sorts of stuff, it was still crashing.
39:32.359: And so it came down to opening up a new library, new project, take that media, all the different tricks of deducing what it could be.
39:39.480: And it came down to the color
39:41.520: we had a bunch of color corrections on there with masks, and which we learned that the XML doesn't support masks.
39:51.920: Speaker 1: That's the problem with an XML workflow.
39:55.720: Speaker 1: At the level that you're dealing with.
39:57.799: Speaker 1: So, and this is one of the things that I learned from John, because I was literally right in the same boat with you.
40:03.480: Speaker 1: And he says, no, no, no, Rongo Bongo, here's the problem.
40:07.240: Speaker 1: So a couple of things that aren't
40:09.880: Speaker 1: Supported in XML is a lot of times your
40:17.620: Speaker 1: like if you're doing your text and lower thirds and full page graphics and things like that, the formatting of the text will not carry through the XML.
40:29.160: Speaker 1: And I think the other thing that doesn't get carried in XML is I think he said, and I probably have this wrong, so I apologize, but it was something big like
40:42.380: Generators don't work for us either.
40:44.700: Speaker 1: Interesting.
40:45.500: Speaker 1: That actually that kind of makes sense.
40:48.059: Speaker 1: And then the but the other one is like positioning, like if you've repositioned a shot.
40:53.820: Speaker 1: Really?
40:55.420: Speaker 1: I could be wrong about that.
40:56.540: Speaker 1: I could be wrong about that.
40:57.740: Speaker 1: But I remember thinking, oh, yeah, that's kind of a deal breaker.
41:01.900: Speaker 1: And so you kind of have to be careful.
41:03.500: Speaker 1: You can't an XML is not
41:07.060: Speaker 1: as complete as your library data would be.
41:14.420: Speaker 1: And I think that's what pushed me over the edge to say
41:18.820: Speaker 1: Yeah, good point.
41:20.100: Speaker 1: I'm going to do again, I'll call it the trimmed library method, which I don't know if there's a way to
41:30.600: Speaker 1: to put your proxy so proxy media the proxy media is contained within what's called the cache file.
41:39.720: Speaker 1: And I think what you could do
41:45.620: Speaker 1: is put your proxy media on your local drive also.
41:51.860: Yeah, that's what we would do.
41:54.040: Speaker 1: and still be able to push just the trim down library file over to your A editor, if you will, then say
42:04.340: Speaker 1: Open this, the render files won't be there, fine, the proxy files aren't there, fine, and now merge my two libraries together.
42:12.480: Okay.
42:12.960: Yeah, we we've been using the transfer library.
42:15.600: And since they both both have the same proxy, it's just grab the transfer library, grab the
42:22.480: the right project and then transfer it into their library and then close the other one down.
42:26.880: I'm really curious to see how this workflow works out in 10.
42:31.360: 1.
42:32.080: 2 because
42:33.360: I think for us, we would still keep our proxy inside our I mean, I don't know.
42:38.000: We're going to we got to experiment with it.
42:39.760: Speaker 1: Yes.
42:40.080: Speaker 1: I think what you're saying though is very valid, that when you have fast network capability,
42:47.700: Speaker 1: The idea of pushing large files around is not the end of the world.
42:53.940: Speaker 1: And that is true.
42:56.460: Speaker 1: Although I will also say at some point, you get to the point where you say, oh, which one of these is the most current?
43:04.220: Speaker 1: So once you move it, you kind of have to label the old one as like, don't use this one because I'm currently working
43:10.440: Speaker 1: someplace else or what not, you know?
43:12.920: Yeah, and and that's another thing that's key to to our environment is like we're not we're not
43:18.240: Four separate rooms, you know, we're all kind of in a semi-open area.
43:22.480: So it's okay, so Edada, you're working on master
43:26.339: we have if there's three, four videos or whatever for this client, okay, you're working on these two and then Edit B, you've got these two and who has the main one?
43:34.740: And once they're done
43:36.120: will take them to MacCentral, and the guy at Mac Central will grab both of those, and then he'll combine it into his own new library and then name those time lines.
43:46.200: This is
43:47.280: whatever project, this project, that, and then they're mastered.
43:50.560: And then so that excuse me, that open floor plan, if you will, that is yeah, that we couldn't do it otherwise.
43:58.360: Speaker 1: Tony, I'm getting the impression you're running like a sweatshop there.
44:01.160: Speaker 1: It makes me feel like you got four guys huddled around a folding table in the middle of a warehouse.
44:06.600: How did you know, Chris?
44:08.200: How did you know?
44:09.880: Yeah, no, I mean, it's like, you know, it's an open there's two guys in one area and then two guys in another area, but we can yell at each other, throw things at each other.
44:16.360: Speaker 1: You don't have to defend yourself to me.
44:20.340: They only work twenty-three hours out of the day.
44:22.500: I mean, seriously.
44:23.460: Just give them an hour in the yard.
44:26.100: We give them an hour outside.
44:27.860: They can get some sun.
44:29.480: And we we're legally we're okay.
44:32.120: Speaker 1: Okay, so so let's recap here.
44:33.800: Speaker 1: The um the bad i you said there was good, bad and ugly.
44:37.320: Speaker 1: The bad was the R eight going wonky.
44:40.740: Speaker 1: The ugly is the hold on, where's the rest of my why can't I get this XML?
44:48.260: Speaker 1: So what's the good in our three prongs scenario here?
44:52.260: Well, the good is that it's changed our workflow.
44:55.060: I mean, this everything this has completely changed our workflow.
44:57.940: And we're we even though we talked about these bumps in the road and these
45:04.320: showstoppers, and it does sound bad, and it is bad.
45:06.960: If you don't have a backup of your media, then you are screwed.
45:11.840: But the good is that it still has changed our workflow.
45:14.880: It still has made us faster.
45:16.240: We move quicker.
45:17.599: Um I had uh where we've just moved over to Final Cut 10 one of the editors uh left
45:25.240: my other partners was was directing a movie, so he left with him and he was gone for like about a couple of months and he just got back and he uh
45:34.620: he was like, so uh he didn't he wasn't there for that corporate video that we did those twenty minutes and and he everybody's been dogging him about we switched to Final Cut 10.
45:43.180: And so he's like, so how is it uh can Final Cut handle long form work?
45:47.180: I mean, is it capable?
45:49.020: And I'm like, well, you were here.
45:50.220: We just started the project.
45:51.420: I mean, you know.
45:51.980: And he's like, yeah, I know.
45:53.260: And like, we did a twenty five minute piece.
45:55.820: And really?
45:56.300: I'm like, there are other people doing long form work in Final Cut.
45:59.720: And he just texted me last week and he said, yeah, I realize how clunky Final Cut seven is.
46:06.520: Man, I miss Final Cut 10.
46:08.780: Yeah.
46:09.340: Okay, I told you.
46:10.380: Speaker 1: Yeah, wi I basically everybody in our office is is gotten to the point.
46:15.420: Speaker 1: I'll say like the regular the regular freelancers
46:20.099: Speaker 1: have gotten to the point where they realize like, oh, yeah, I had to open an old Final Cut 7 project today.
46:24.820: Speaker 1: It was awful.
46:26.339: Speaker 1: You know?
46:27.300: Yeah, I uh
46:29.220: I became a baby in a prima donna when I had to go back to a Final Cut 7 project for a client from last year, and I had to export something.
46:37.059: I'm like, are you serious?
46:38.260: I have to make these many clicks just I had to go to compressor
46:41.760: I have to do this.
46:42.640: It's just the export directly from Binocut and straight to the web and you're still working.
46:48.240: But the workflow has
46:49.920: that has been the huge thing.
46:52.240: I wouldn't change it.
46:53.280: We do have the the bumps in the road, but we kind of have our spider sense about when how
46:58.760: how the Thunderbolt's working or not working.
47:02.120: But just Final Cut itself, the sharing, even with the transfer libraries, it works great.
47:07.800: We brought in this freelance editor to cover for the guy that left.
47:10.720: And he's never worked for Fonica.
47:12.319: He he gave me the look.
47:13.440: He gave me the look like, oh, oh, you're going to be, oh, okay.
47:19.059: And I'm like, listen, this is what we have here.
47:20.900: We do have Premiere, but we're not going to use Premiere.
47:23.299: Speaker 1: Right.
47:23.619: And nothing wrong with Premiere.
47:24.980: It's just, you know, I don't know.
47:25.859: Speaker 1: Oh, no, there's plenty of stuff that's wrong with Premiere, but that's a topic of another show.
47:30.740: So, you know what, we got him in and we sat him down and I said, This is okay, this part of the interface is where you find your media.
47:37.620: This is where you do this, this is where you do that.
47:39.540: And if you have any questions, give me a call.
47:44.000: You know, throughout the day, he would say, Hey, I need to, how do I do this in the timeline?
47:47.680: And how do I want to be able to do this?
47:48.960: And I'd show him.
47:50.320: And within the next couple days, man, he was chomping away.
47:54.160: And he didn't have any problems.
47:55.520: You know, I'd say, I need this.
47:57.660: Let's adjust this, change this, add more time here, or whatever.
48:00.300: And he would just bang him out pretty quick.
48:03.740: Speaker 1: How long was he working with you for?
48:06.220: He was working with us for about
48:08.220: three weeks and actually he's going to come back with us now again starting next week.
48:14.700: That stuff that we were pinging each other last week.
48:17.900: Speaker 1: Right.
48:18.859: With the Panda head.
48:20.220: The panda.
48:21.020: The panda, yeah.
48:22.700: He was missing his body.
48:23.819: But yeah, the panda, he's uh he's gonna be I'm bringing him on for that to work on that stuff.
48:28.619: Um so he has no problem working with uh
48:33.480: With Final Cut Now.
48:35.240: Speaker 1: In the sort of transformational stage, there's always the person
48:41.820: Speaker 1: Who likes looks at you, like you said, like, really?
48:44.940: Speaker 1: You want me to use this?
48:47.580: Speaker 1: How far along the way is he?
48:49.420: Speaker 1: Does he like get it now?
48:50.700: Speaker 1: Is he kind of excited to work in it, or is he still giving you the look?
48:55.540: He doesn't give the look.
48:57.060: He's a pretty easygoing guy, and I need to talk to him about that.
49:01.940: But he hasn't given any problem like, oh, this is horrible.
49:06.760: If he's got a roadblock, he'll he'll ping me or one of the other guys and we'll show him, Oh, this is how you do this.
49:11.720: But the real one was was uh you know, even for us on set, you know, I tell the guys
49:16.520: we get a lot of guys in from Austin and what are you guys working on?
49:19.560: What final cut?
49:20.280: And they just kind of stop.
49:22.760: And it's like, hey, I'm not I don't have leprosy here.
49:25.160: What's going on?
49:28.900: But the big one was when one of our guys left and he came back last week and texted me and said, Yeah, I just I can't believe it's just so much better.
49:37.300: It's so much faster.
49:38.500: Speaker 1: When he left, what was he working on?
49:40.540: Well, he just started working.
49:41.980: We just we're doing a project for Goodwill, and it was a bunch of talking heads.
49:49.040: So he started working on that project, and that was pretty much it.
49:51.920: Then he left and was gone for a couple of months.
49:54.320: So he didn't get to see too much long form.
49:56.720: I think those videos were about two minutes, three minutes long each.
50:01.720: So he didn't really experience Final Cut X in a in a deep fashion that way.
50:07.000: But he came back and he's like, Yeah, yeah, it's bad.
50:10.280: The other stuff, this is good
50:12.740: Speaker 1: Yeah, you know, I mean, we've done some long stuff.
50:14.980: Speaker 1: I mentioned the the one hour multicam with a you know, with a slide deck essentially.
50:21.220: Speaker 1: Actually, I will say about this, it was
50:24.220: Speaker 1: From a content standpoint, I think I mentioned this on a show a couple episodes ago.
50:28.859: Speaker 1: It was the most fascinating discussion I've ever heard.
50:33.420: Speaker 1: It was a guy talking about
50:35.320: Speaker 1: The origins of innovation, of what makes people innovative, and how to be more innovative, and how to
50:44.400: Speaker 1: explore various things and questions to ask yourself to sort of stretch your mind in terms of how we can be more creative about
50:56.360: Speaker 1: Solving this problem.
50:57.800: Speaker 1: And that was an hour long.
51:00.600: Speaker 1: And that was the one that I was actually working on a couple of weeks ago when I tweeted just sort of out of the blue, oh my goodness, I love the multicam editor in Final Contemp.
51:10.500: Speaker 1: You know, and uh and it was just it was butter, you know, it was r worked really, really well.
51:17.220: Speaker 1: It's also the one that almost bagged me with the uh color grade that apparently wasn't pasting attributes.
51:24.180: And I've been hearing that you've been getting off the string out and going with the keywords.
51:29.380: Speaker 1: You know, I will say that, yeah.
51:34.400: Speaker 1: And I have said this on the show: that you don't need to go full-on commando ripple training to get into Final Cut 10.
51:43.280: Speaker 1: You don't have to say, okay, I'm going to go lock myself in a room.
51:46.660: Speaker 1: I'm going to take my Steve Martin and Mark Spencer tutorials, then I'm going to back that up with a round of Larry Jordan tutorials.
51:55.260: Speaker 1: and then I'm going to delve into Izzy video for a couple of weeks, and then at the end of all of that, I'm going to be a Final Content editor.
52:02.140: Speaker 1: I mean, you really don't need to do that
52:03.940: Speaker 1: There's a few things you got to learn in the beginning.
52:06.099: Speaker 1: There's a little bit of that learning wall if you're in a company like JEH, where you can, you know
52:12.640: Speaker 1: Look across the folding table in the sweatshop and go, hey, how's this thing work?
52:18.799: Speaker 1: What's this button do?
52:20.620: Speaker 1: You know, I mean that I mean that that's really great that you have resources like that available, but you can learn
52:29.980: Speaker 1: There's so much in the app for you to learn if you choose to delve into it.
52:37.020: Speaker 1: And I was commenting to somebody the other day, and it may have been on the show, I apologize.
52:41.460: Speaker 1: that when you look at the Apple.
52:43.060: Speaker 1: com website, you have to look really, really, really long and hard just to see a screenshot
52:52.280: Speaker 1: Where the inspector is even open.
52:55.160: Speaker 1: Like they're always photographing or they're always capturing the screens in the most trimmed down
53:03.200: Speaker 1: Mode, timeline, no effects open, viewer, no inspector open, library, done.
53:12.480: Speaker 1: No Timeline Inspector, no EQ floating windows.
53:16.800: Speaker 1: I mean, just it's the most stripped down version of it.
53:19.680: Speaker 1: And it's no wonder people call it iMovie Pro because all the photos they look of it
53:23.840: Speaker 1: They look at it, uh sentence, words.
53:27.520: Speaker 1: All the photos they see of it look like the trimmed back, scaled back, simplified user interface.
53:35.520: Speaker 1: Because Apple's not showing you all the depth of the interface.
53:38.240: Speaker 1: I think that's a mistake.
53:39.200: Speaker 1: I think we need to and that's kind of why I like doing the show.
53:43.760: Speaker 1: I mean, you get to talk to really smart people that are doing really great things with the
53:47.840: Speaker 1: With the software.
53:48.720: Yeah, that's actually how I like to edit: is just the viewer and the timeline.
53:53.760: If I need the other windows, I jump, you know, I remodified.
53:57.040: You can close them.
53:58.420: what's the library view in the browser.
54:01.540: I make a modify key for that and just open and close that when need to.
54:05.220: And just it's just
54:06.620: as much screen real estate of that of the viewer and the time line as possible.
54:10.940: But it's great because you can just hit keyboard shortcut and it pops right up and you get what you need, what file you need to get.
54:17.040: Do your inspector and boom.
54:18.880: Speaker 1: What monitors are you using on your Mac Pros?
54:22.080: I have a the old 30-inch
54:25.260: thirty inch.
54:25.900: And then the other guys have uh two twenty inches.
54:28.460: So they have two monitors and I have one monitor.
54:31.020: Speaker 1: Twenties?
54:31.820: Speaker 1: Wow, you are running a sweatshop.
54:35.600: Speaker 1: Have you seen did you see the images of that John Davidson was tweeting of that super wide that LG monitor?
54:43.360: I did.
54:43.920: I wanted to reach across and grab it.
54:47.400: Speaker 1: Apparently, they're pretty cheap.
54:48.680: Speaker 1: They're only a thousand bucks.
54:50.200: Speaker 1: Oh, that's it?
54:50.920: Oh, yeah.
54:52.280: Speaker 1: And it's Thunderbolt 2, I think.
54:54.200: Oh, really?
54:55.240: Yeah.
54:56.480: Really?
54:57.280: Speaker 1: Yeah.
54:58.240: Speaker 1: Oh boy, the sweatshop gets the upgrade.
55:01.120: Oh, that sounds good.
55:02.080: Yeah, we're we have our monitors are like super, super old.
55:05.520: They uh they got to be uh
55:07.440: upgraded here pretty soon.
55:08.800: Speaker 1: Are they the Apple cinema displays that were twenty inches?
55:11.760: We uh on Edit A there's the two cinema displays.
55:15.040: I have a thirty inch cinema display and then the other guys have uh Dells.
55:19.520: They have some Dells.
55:20.320: I forget what what model number they are.
55:22.140: Yeah.
55:22.859: They have a two twenty inch Dells on their on their machines.
55:25.740: Speaker 1: Yeah, I'm very curious about that LG.
55:27.900: Speaker 1: I I I haven't put in to buy one yet, but I'm giving it some thought.
55:33.420: Speaker 1: Seems seems like an interesting box.
55:37.079: Speaker 1: So I don't know if I asked you this.
55:38.520: Speaker 1: I don't think I did, but I've sort of I don't know if you've been listening, but there's a new question I've been asking everybody.
55:44.840: Speaker 1: if you could sneak into Apple, find the programmers and get them to make you any feature that you need, regardless of what marketing says is the next thing to be done or
55:57.039: Speaker 1: What would you have the programmers create for you?
56:02.720: Two things, or I'll try to keep it to one, but it would be a little more collaboration.
56:06.960: I mean, like it seems like 10.
56:08.240: 1, they're kind of doing that.
56:09.720: But it'd be nice to have a little more collaboration.
56:13.319: Speaker 1: Without all the hoops that you're currently jumping through.
56:15.720: Right, yeah.
56:16.440: I mean, that would be nice.
56:18.200: The other thing is I would love to be able to keyframe color correction.
56:22.920: The all the little colour, you know, contrast and whatnot, and to be able to name them
56:30.020: Speaker 1: Oh, totally.
56:31.220: Speaker 1: Yeah, I've said multiple times, I don't want corrector one, two, three, four.
56:34.820: Speaker 1: I want sky, uh, vignette, uh, face pop.
56:40.579: Speaker 1: Yes.
56:42.140: Speaker 1: Totally agree.
56:43.260: Speaker 1: And while we're at it, why don't we have some some yes, I guess you can't I thought you could color keyframe the color, you can't.
56:52.220: You can keyframe the masks.
56:53.740: You can't keyframe the color c
56:55.820: Speaker 1: Oh yeah, look at that.
56:56.940: Speaker 1: So you could manually track something across somebody's face.
57:00.540: So yeah, if we're not going to resolve, we're just doing a corporate piece, then we heavily rely on the color corrector and final cut.
57:07.020: So it'd be nice to be able to just
57:09.120: Use the board, you know, sometimes you just need to adjust the contrast or just do something and you want to do it over time.
57:16.920: And then even the keyframes inside of the I know how they kind of try to consolidate.
57:21.640: We can open up the different levels inside the time line in keyframe, but that's still a little wanky.
57:27.080: It'd be nice to kind of
57:28.740: Get that a little bit.
57:30.500: Speaker 1: Here's a little tip that most people probably don't run.
57:33.620: Speaker 1: Well, I don't know, maybe everybody knows, and I'm just an idiot, and I finally figured it out.
57:37.860: Speaker 1: But if you do a
57:40.580: Speaker 1: A color mask on a color corrector.
57:45.300: Speaker 1: If you, so you can go in and do your inside, outside, whatever.
57:49.460: Speaker 1: You can then, in addition to the color mask,
57:53.940: Speaker 1: You can then shape mask it.
57:58.500: You mean adjust the oval or square?
58:01.540: Speaker 1: Yes.
58:02.680: Speaker 1: So, like, for example, let me think.
58:05.640: Speaker 1: I'm going to go like this: put this in a compound clip.
58:10.920: Speaker 1: Here's a shot.
58:13.079: Speaker 1: I'm going to
58:16.940: Speaker 1: Select this.
58:18.140: Speaker 1: This makes compelling radio to listen to somebody.
58:21.900: I'm following along.
58:22.859: I can see.
58:23.980: Speaker 1: Listening to somebody.
58:26.360: Speaker 1: Let me say I'm going to go color mask and I'll grab the pool.
58:31.400: Speaker 1: Then I'll go like that and I'll maybe
58:35.280: Speaker 1: Jack up the saturation, and then I'll step back out here, and then you add also the shape mask.
58:46.960: Speaker 1: And yes, I can shape mask my color mask.
58:54.580: Yeah, no, I I love doing that for just for skin, you know, just pop a little skin or something.
59:01.540: Speaker 1: But there might be some some paneling in the background that's also a little bit like the skin.
59:06.640: Right, and you can just go with it, like you said, with the mask tool and just write on top of that.
59:11.760: And that's pretty powerful.
59:13.760: It'd be nice if they just
59:15.260: I'm not sure it's really interesting you have Resolve and Final Cut, and they're very similar.
59:21.660: The editor in Resolve has a lot of it looks it has a lot of features that are like Final Cut.
59:26.220: So it's really interesting to see or to
59:29.120: I would like to know how much back and forth there are.
59:32.560: Speaker 1: I think the program I'm just going to say right now, I think the programmers at Apple and the programmers at
59:38.140: Speaker 1: Black Magic are having lunch together once a week.
59:41.339: Speaker 1: That's what I'm guessing.
59:42.619: Which is great.
59:44.460: But I'm just wondering, like, are is there some s
59:47.140: packed that they have that they won't uh do anything else to the colorboard and the powercast anymore until a certain time or something.
59:55.140: Speaker 1: That is a possibility.
59:56.420: Speaker 1: I think that there I mean, all you got to do is look at the the upgrade cycles.
Speaker 1: And you realize it's like, oh, there's a new resolve. 01:00:01.620 Speaker 1: Any day now, there's going to be a new final cut. 01:00:04.980 Speaker 1: I honestly think that there is some sort of collaboration. 01:00:08.020 Speaker 1: I I don't know what it is. 01:00:14.440 Speaker 1: Nobody's talking to me. 01:00:17.000 Speaker 1: I'm just sitting here in a room talking on this stupid microphone. 01:00:19.079 Speaker 1: But it but in my own sweatshop. 01:00:22.900 Speaker 1: No, man, we have we actually have walls. 01:00:26.100 Speaker 1: But I will say it's good for it's good for us. 01:00:28.980 Speaker 1: Absolutely. 01:00:32.140 Speaker 1: It's definitely good for us because if you choose Resolve, and let's face it, a lot of people are. 01:00:32.859 Speaker 1: Yep. 01:00:39.579 Speaker 1: Final Cut 10 is clearly, I don't know about clearly, but it is a 01:00:40.299 Speaker 1: Uh many people say it is the best XML implementation between an editor and a and a color grading. 01:00:45.820 It it's uh I'm telling you, the between Final Cut just in its own efficiencies and and learning how it operates and giving into giving up to it and giving into it. 01:00:53.700 And once you do, you realize the the fluidity that it has and what it brings. 01:01:03.940 And yes, there are some things that would be nice to bring in from the old ways. 01:01:08.260 But with that combined with Resolve and the tightness that it has, I mean, the conforming that you used to have to do, the manual conforming, has diminished immensely. 01:01:12.340 I mean, it's just so amazing to be able to cut proxy footage, two K, two point five K footage on a machine, reconnect to the original media at five K. 01:01:23.260 send it to Resolve, and all the cuts are there. 01:01:33.240 And you can check it with a reference file. 01:01:35.800 And for the most part, 99% of the time, even your moves are there. 01:01:39.960 That's pretty powerful. 01:01:45.240 Speaker 1: It's very powerful. 01:01:46.440 Speaker 1: It's amazing. 01:01:47.320 Speaker 1: All right, Tony, thanks for taking the time on this Sunday morning to chat. 01:01:49.000 Speaker 1: Really appreciate it. 01:01:52.200 Speaker 1: How do people find out about JEH and follow you on Twitter? 01:01:53.080 JEH is JEH Productions. 01:01:57.039 com. 01:01:59.279 I think Twitter, it's at JEH Pro. 01:02:00.000 And then I'm actually thanks to you, I'm actually on Twitter. 01:02:03.039 Every once in a while I'll get on there. 01:02:07.940 So thanks a lot. 01:02:10.339 No, it's good. 01:02:11.539 I I like it, but it's at Tomedia too. 01:02:12.180 Speaker 1: I tell you, man, I love Twitter. 01:02:15.059 Speaker 1: It is my favorite social media. 01:02:16.660 Speaker 1: It is my favorite news source. 01:02:18.980 Speaker 1: If you don't like what's on Twitter, you're following the wrong people. 01:02:21.420 Speaker 1: That's what I say. 01:02:24.220 Yeah, no, it's been good. 01:02:25.500 I'll monitor, I'll stalk everybody, and then every once in a while I'll 01:02:27.340 I'll say something. 01:02:30.960 Cool. 01:02:32.080 But thanks a lot. 01:02:32.960 And yeah, man, it's the good, the bad, the ugly. 01:02:34.080 But we're not going to change. 01:02:36.160 We're going to keep going this way. 01:02:37.600 Speaker 1: Very good. 01:02:38.880 Speaker 1: All right, Tony. 01:02:39.440 Speaker 1: Thanks. 01:02:40.080 Speaker 1: We'll talk more later. 01:02:40.320 Thanks, Chris. 01:02:41.360 Take care. 01:02:41.920 Audios. 01:02:42.320 Speaker 1: Bye. 01:02:43.120 Speaker 1: All right, so that's Tony Gilardo. 01:02:46.260 Speaker 1: You know, I appreciate the fact that he's very open with the things that are working and the things that aren't working. 01:02:49.940 Speaker 1: I also want to say, in regard to networking, 01:02:56.260 Speaker 1: I'm not an expert. 01:03:00.500 Speaker 1: I am in no way am I an expert. 01:03:02.260 Speaker 1: And I mentioned very briefly Bob Zellen, who can be found on Creative Cow. 01:03:05.140 Speaker 1: And Bob is a 01:03:09.859 Speaker 1: I've never spoken with Bob, but from what I understand, Bob is a very passionate guy when it comes to the right and the wrong way to build a network and to implement your hardware. 01:03:11.780 Speaker 1: And I don't know, maybe we should get him on the show. 01:03:23.240 Speaker 1: Maybe he'd be an interesting guy to talk to. 01:03:25.320 Speaker 1: So there are times when guys like me will do stuff that is 01:03:27.560 Speaker 1: Off the beaten path when it comes to the proper way of doing it. 01:03:33.859 Speaker 1: But I will also say that 01:03:38.579 Speaker 1: I've had a lot of success doing the things that I do. 01:03:41.420 Speaker 1: So I don't want to recommend that you use my workflow and then 01:03:44.700 Speaker 1: Have a giant job die on you and then have you come after me because that would be awkward. 01:03:50.640 Speaker 1: But um 01:03:57.440 Speaker 1: But I share my own personal work experiences because they have worked for me. 01:03:58.640 Speaker 1: They've worked quite well for me. 01:04:04.079 Speaker 1: And you might want to try to do what I'm doing. 01:04:06.400 Speaker 1: That being said, you know, I have problems too. 01:04:10.240 Speaker 1: I I'll tell you this. 01:04:12.320 Speaker 1: I can't get my Macs to network machine to machine using the shared 01:04:14.000 Speaker 1: The shared tab in the Finder. 01:04:23.780 Speaker 1: For some reason, and I don't know what's happened, I have to go into the Finder, hit Command-K. 01:04:27.220 Speaker 1: call up the connect to server window and then go find the machine that I need to connect to on the network there. 01:04:32.940 Speaker 1: And that's the only way I can get them to connect. 01:04:39.820 Speaker 1: I don't you know, and again, I don't know what's going on. 01:04:41.500 Speaker 1: Maybe I do need to hire the likes of Bob and get him to fix that for me. 01:04:44.620 Speaker 1: At anyway, that's another episode. 01:04:50.460 Speaker 1: Of the show. 01:04:52.740 Speaker 1: This is our last episode for the month of July. 01:04:53.300 Speaker 1: Coming up in August, we have another sponsor that we're going to be talking with. 01:04:56.500 Speaker 1: I think I mentioned it. 01:05:01.860 Speaker 1: But a little freebie for them. 01:05:03.220 Speaker 1: I want to thank FX Factory for deciding that they want to get involved. 01:05:06.020 Speaker 1: And so you guys know, I don't want the show to be a whole bunch of commercials. 01:05:10.660 Speaker 1: I've listened to other podcasts that's just, you know, it's like, oh, he's got to read another line. 01:05:16.160 Speaker 1: I'm not going to do that. 01:05:22.000 Speaker 1: I'm not going to just read a bunch of stuff. 01:05:23.680 Speaker 1: And when I talked with. 01:05:25.440 Speaker 1: Nicholas from Premium Beat, I said, my recommendation is just let me just pay me to tell people how much I love your product because I do. 01:05:27.920 Speaker 1: And I will say that again, that you'll never get 01:05:37.200 Speaker 1: There will never be an advertiser. 01:05:43.080 Speaker 1: How about if I say it like that? 01:05:45.720 Speaker 1: I'm never going to accept advertising. 01:05:47.080 Speaker 1: But what I will do is I will allow 01:05:50.120 Speaker 1: Certain products to be endorsed by me. 01:05:54.400 Speaker 1: I endorse everything that I talk about. 01:05:56.400 Speaker 1: If I don't like it, they're not going to get 01:05:58.960 Speaker 1: They're not going to get a chance to give me money. 01:06:02.280 Speaker 1: So that's, I'm going to, I'm going to just put it that way. 01:06:04.200 Speaker 1: These are endorsements. 01:06:06.600 Speaker 1: They're not advertisements. 01:06:07.880 Speaker 1: Oh, actually, I don't know. 01:06:09.800 Speaker 1: Maybe endorsement implies that there's no money involved. 01:06:10.760 Speaker 1: They are paying me. 01:06:13.880 Speaker 1: I don't know how that works. 01:06:15.520 Speaker 1: Anyway, thanks for joining me for this production meeting for the Final Cut Grill. 01:06:17.440 Speaker 1: And we'll be back at the end of the week with another episode. 01:06:25.520 Speaker 1: Later, later. 01:06:30.440 That's not the stop button. 01:06:34.839 One of these is. 01:06:36.440 No, that one. 01:06:37.400