Episode 72
FCG072 - Aviation Weekly (feat. Adam Peariso)
Internal video departments have their own very interesting problems. Adam Peariso is a director of photography with a photographic background who travels to locations that are destinations of West Jet airlines. Although the editors in the department mostly use Premiere Adam prefers FCPX in the projects he cuts himself and we talk about why. We also go into a rather lengthy discussion about growing up in a family of aviators.
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Featuring
- Chris Fenwick
- Adam Peariso - lifecapture.ca - @adamski
- Adam Peariso - @adamski
Transcription
00:00.320: Once again, we're back.
00:01.680: It is the Friday episode of Funnel Cut Grill.
00:04.400: This is episode 072 with Adam Pariso.
00:08.560: Now, um I mentioned Adam on the the Monday show, and um
00:14.519: He's got an interesting story.
00:16.279: So he comes from a family.
00:18.760: This is interesting.
00:19.640: He comes from a family of aviators and people involved in the aviation business.
00:24.439: He lives up in Canada.
00:26.220: and w you're going to hear all about it.
00:28.220: And I and I got to admit, I apologize.
00:30.140: I got totally sidetracked in this interview.
00:32.140: And I think for about eight or ten minutes I was just like, Oh, tell me more about airlines
00:37.320: So it's kind of interesting.
00:38.920: But Adam has an interesting story because although he works in a corporate media department where they do they are doing, I believe, most of their work in Premiere.
00:50.100: In his personal side work that he does, he's a Final Cut 10 fan.
00:55.620: And it's an interesting story.
00:57.300: I mean, we've talked about this in the past, that Final Cut 10 users kind of tend to be the outcast and the
01:03.260: the others, but more and more people are starting to see this.
01:06.140: And it dawned on me after I did this interview that I would actually like to talk to their head editor.
01:11.340: because I would like to know how they are managing all of their media for all of their various shoots.
01:18.220: Because if you have essentially one client
01:20.900: And if you work in a corporate environment, that's essentially what you have.
01:24.340: You work for one client.
01:26.660: So how do you keep track of all of the various things
01:30.720: that you can share among the different productions that you work on?
01:36.000: So I think that's an interesting question.
01:38.160: I know that we deal with that a little bit where I work because we have a couple of really large clients where we re we
01:44.740: recycle media quite often.
01:47.140: So that might be something, Adam, I'm interested in doing in the future.
01:52.900: But today, it's all about you and your family and the family of aviators.
01:57.520: Before we get going, I want to thank everybody for listening.
02:02.080: I want to also thank
02:05.300: FX Factory for helping to support what we're doing here.
02:11.060: I've talked about FX Factory in the past, and I love the ecosystem that they have created.
02:17.260: FX Factory really is the plug-in store for your Macintosh.
02:22.620: And yes, they have plenty of plug-ins and templates and stuff for actually he doesn't call them templates.
02:28.940: I won't call them templates.
02:30.020: Uh they're kind of templates.
02:31.940: I don't know.
02:32.340: I'll get that word later.
02:33.780: But they have plenty of plugins for Final Cut 10, but also for Motion and Funnel Cut 7 and Premiere and After Effects.
02:40.260: So, there's some amazing plugins on FX Factor.
02:43.060: I tell you what, I'm going to just call it up here real quick, and I'm going to open up the app, and I'm going to find just real quick a plug-in that I want to mention that I use.
02:53.240: Or have seen, I'll tell you, okay, here's what I use: Photo Montage.
02:59.480: Photo Montage is an amazing way to grab a bunch of photos
03:03.740: Throw them into basically in Francaten, you make what's called a generator.
03:08.620: You throw your photos into it, you have a little database, you can organize them, you can set up some standardized moves on them.
03:15.540: and then there's you pick the transition that you want to put between them, and you just hit go.
03:20.260: And Filecat 10 architecture is so powerful
03:23.660: that even though they do some pretty elaborate things, like think of basically everything you've seen in the Mac screensaver, like all the folds and the flips and the things, all that stuff basically plays in real time.
03:34.220: Anyway, that's available through FX Factory.
03:37.579: I use that plug-in.
03:39.019: I gotta tell you, it saved me a ton of time.
03:41.579: And you should at least go look at it.
03:44.060: You can download any plug-in you want and try it for free.
03:47.340: And then, if you like it, you can go back to the store and you can purchase it.
03:50.460: It has a little watermark while you're using it for free.
03:53.340: I also want to thank Premium Beat.
03:55.180: They also have decided that they want to support us.
03:57.740: Premium Beat Music is
03:59.640: Flexible, it's editable, it comes in loop packs, it comes with the different shorts.
04:04.920: If you know you only need a 60-second bit, boom, there you got it.
04:08.540: And the shorts have different intros and outros and stings than the original track.
04:12.940: So it's very flexible in terms of being able to edit together to create just the right bed of music for your production.
04:19.739: I use Premium Beat.
04:21.100: Please go check it out.
04:22.060: They've been very supportive of us.
04:24.700: So now let's go to the interview with Adam Pariso up there.
04:28.540: I believe he's in Calgary, and you're going to learn all about WestJet Airlines.
04:34.660: Hello, hello.
04:35.540: Adam, how are you doing?
04:36.900: Good, how are you?
04:37.620: Thanks for doing this.
04:38.420: I appreciate you taking the time to chat.
04:40.340: No problem.
04:41.940: When we were communicating on Twitter, you were saying that.
04:48.300: As an editor, you're much more of a shooter who has sort of been kind of corralled into doing more and more editorial type stuff.
04:55.820: Is that correct?
04:56.920: Speaker 2: Yes, more or less.
04:58.040: Speaker 2: When it comes to what I do at my job at Westjet Airlines, I do predominantly shooting, but will edit what I shoot sometimes or what someone else has shot.
05:07.480: Speaker 2: And then
05:08.139: Speaker 2: When it comes to what I do outside of my main nine to five job, is I again, I love to shoot on the side.
05:15.979: Speaker 2: So when I'm
05:16.940: Speaker 2: in charge of editing here at home.
05:18.460: Speaker 2: I use Final Cut for sure.
05:19.660: Speaker 2: And if I work with my good friend Greg Smith, who's an editor, he does his stuff in Premiere.
05:25.900: Interesting.
05:26.780: A little bit of a rivalry between the two of you?
05:29.420: Speaker 2: Not so much.
05:30.060: Speaker 2: No, we work well together.
05:31.260: Speaker 2: I see he's on a PC, so I didn't have the chance to use Final Cut at this time.
05:36.540: Speaker 2: But I also work with Grant Cooper at WestJet.
05:39.100: Speaker 2: He's
05:40.060: Speaker 2: He's doven into Final Cut a little bit and loves some of his features, but still does a predominant amount of his editing in Premiere.
05:49.820: Speaker 2: But we're cho we're
05:51.260: Speaker 2: Chiseling away at that and I think uh I think if he does a few jobs on it that he'd uh really come to love it like I have.
05:56.620: Yeah, you know, it's interesting.
05:57.980: I y
05:59.120: At some point, you just sort of, you know, you kind of give up and you go, well, you know what, whatever.
06:04.319: You're going to do what you want.
06:05.680: I think it's, it's a, I think that, and I think I've spoken about this on the show.
06:09.360: I'm somewhat privileged in that.
06:11.320: Where I work, I was actually given the opportunity to say, you know, by the owner, what should we do?
06:18.520: You know, and
06:20.240: And it wasn't, you know, it wasn't a hat.
06:22.000: It wasn't like I was pulling names out of a hat.
06:23.760: I mean, I obviously put a lot of time and thought into it.
06:27.040: And I think some people forget that, you know, I went down the premiere route.
06:31.440: quite extensively back in 2010.
06:33.600: And I realized 2014 is different than 2010.
06:37.120: And much of the things that a lot of the things that I complained about
06:42.020: have been resolved and refined and stuff like that.
06:44.580: But still, I'm convinced, you know, I have the better tool.
06:48.740: That's the way I see it.
06:50.980: Speaker 2: Well, for me, so I started when it comes to editing.
06:54.500: Speaker 2: I started in was around when I got hired on WestJet in 2008.
06:59.460: Speaker 2: It was around 2009 where I really started to try the editing side of things.
07:02.740: Speaker 2: And since
07:03.460: Speaker 2: where there was no Apple computers inside the office at the time, we were stuck with using Adobe.
07:10.099: Speaker 2: So I started with CS3 and Premiere.
07:12.660: Speaker 2: And I took it on pretty easily.
07:14.580: Speaker 2: I edited a few pieces together.
07:16.660: Speaker 2: And then Greg hadn't joined our team yet.
07:18.260: Speaker 2: He was in WestJet, but he was a separate team, and then joined ours.
07:21.300: Speaker 2: And then
07:22.139: Speaker 2: He took on the bulk of the editing, and since I already knew Premier, I was usually the one who was the assistant editor in terms of getting everything prepped for him.
07:29.419: Speaker 2: Because I shot it, it was super easy for me to organize the footage.
07:33.340: Speaker 2: find the best takes and just give it to him and let him go because he's also a master at After Effects, so he would use the two all the time and create some really, really good looking work.
07:41.980: Hmm.
07:42.700: Now is it is any of that stuff publicly viewable or is it internal things?
07:47.480: Speaker 2: It's both.
07:48.520: Speaker 2: If you were to go to WestJet's YouTube page, so youtube.
07:52.520: Speaker 2: com/slash WestJet, you see a lot of our stuff there.
07:56.120: Speaker 2: But then there's a ton of stuff that's internal as well because what I was
07:59.539: Speaker 2: Hired on for in the first place was for training-based stuff.
08:02.659: Speaker 2: So, right.
08:03.940: Speaker 2: Training media-wise, when I was hired, they had nothing, no professional photos, no real professional video.
08:10.220: Speaker 2: So that's why I was brought on in the first place.
08:12.300: Speaker 2: And since then, like, we've created a massive library of photos and video content over the last several years.
08:21.160: Interesting.
08:22.040: Yeah.
08:22.360: No, the in-house video department is a completely viable way of making a living in this business.
08:30.440: And there's so many different ways that you can
08:33.620: That you can apply yourself.
08:35.539: I'm just taking a look at your YouTube page here.
08:37.459: I'm slightly distracted.
08:38.820: That's okay.
08:40.740: What do you like here?
08:41.860: Where would you send me?
08:43.220: Speaker 2: Where'd I send you?
08:44.260: Speaker 2: Some of our latest videos that just got sent up were the WestJet Vacations videos that we just started taking on.
08:49.460: Speaker 2: We used to hire that out externally, but now we've brought it full internal.
08:53.380: Speaker 2: So there's the Chicago videos, the Aruba, Curaçao, Antigua, and Costa Rica.
09:00.660: Speaker 2: There's those videos and then
09:03.520: Speaker 2: Other stuff in there would be profit share videos.
09:06.960: Speaker 2: So twice a year, Westshed has a profit share party where we
09:12.160: Speaker 2: Depending on what the profit is, we the company shares that with all the employees for an X amount of dollars percentage.
09:19.440: Speaker 2: It's a real complicated mathematical thing.
09:21.120: Speaker 2: All I know is I twice a year I get a
09:22.640: Speaker 2: a nice bonus check.
09:24.400: Speaker 2: And but w at that party that happens, we create a video for it.
09:28.240: Speaker 2: So there's those videos as well.
09:29.920: Speaker 2: Depending on what the theme is that year or what's popular, we try and create some cultural so that's another thing we create is a lot of culture pieces for WestJet.
09:37.680: Yes, sort of promoting the idea of look at all these wonderful places, you should buy a plane ticket and go there.
09:46.259: Speaker 2: Yeah, so that's what those vacation ones are for sure.
09:48.740: Speaker 2: Interesting.
09:49.459: Yeah, it's very cool stuff.
09:50.660: So did you go to Aruba and shoot these things?
09:53.860: I did.
09:54.779: Very good.
09:55.339: That's a real job, dude.
09:57.100: Speaker 2: Yeah, no, what's funny is so I worked in aviation my whole life.
10:01.180: Speaker 2: My dad owned an airline company here in Calgary for 35 plus years that I worked for when I was 16 and older.
10:07.640: Speaker 2: And then I tried a couple of aviation related things, like I did pilot training, flight attendant, mechanical, all that sort of stuff.
10:14.280: Speaker 2: And then I got into photography.
10:17.040: Speaker 2: And that's what I really loved.
10:19.520: Speaker 2: So I kind of got into photography to get out of the family business, moved to Ottawa for a few years, went to the college there, got my diploma.
10:26.779: Speaker 2: I came back to Calgary after I graduated and worked at a camper store for a few months downtown.
10:32.860: Speaker 2: And then this job at WestJet opens up.
10:35.140: Speaker 2: And WestJet is, in my opinion, the the best airline in the world in terms of culture and treating our guests well.
10:43.640: Speaker 2: So it was just a natural fit for me to use all that aviation experience I had, now all the new media experience I had, and just bring it all together.
10:50.600: Speaker 2: So it was kind of a full circle sort of situation.
10:53.400: That's a great story.
10:55.000: That's really an awesome story.
10:57.360: I don't know if I've ever mentioned this, but you know, the my family has a family business that my dad started forty blah, blah, blah, some years ago.
11:05.720: And I have always been one of the there's a few of us that don't work there, but primarily, I think I was one of the premier sort of black sheep of the family where I didn't get involved in the family business and realizing
11:18.120: Your father's company was not West yet, but still the family industry.
11:23.959: That's a great story.
11:25.399: Speaker 2: Well, what's also kind of funny is so I'm the youngest.
11:27.880: Speaker 2: I got two older brothers.
11:30.040: Speaker 2: The eldest, he's actually now started his own airline company, a small, small company, in conjunction with my dad.
11:36.200: Speaker 2: And then the middle
11:39.040: Speaker 2: My next oldest brother, he is down in LA.
11:42.480: Speaker 2: He works, he's the CTO and one of the founders at Light Iron Digital.
11:47.600: Speaker 2: Oh, interesting.
11:48.640: Speaker 2: Yeah, that's why I was kind of mentioning to speak with Mike from there because I've met him, obviously.
11:54.560: I would absolutely love to talk to Mike.
11:56.640: That would be great.
11:57.360: Yeah, if you could hook that up.
11:59.120: I've tried to email him or contact him a couple times and I've just gotten crickets and radio silent.
12:04.259: Speaker 2: So, yeah, I know how absolutely busy they are right now.
12:08.100: Speaker 2: I know.
12:08.579: Speaker 2: And I mean, so one of these days it'll happen, but
12:11.700: Speaker 2: But yeah, so like we got me who works both in media and aviation, and then a brother who's strictly aviation and a brother who's strictly media.
12:18.900: Now when you say an airline company, it's not w what's an airline.
12:24.580: Oh, okay.
12:25.460: Wow.
12:26.420: Yep.
12:26.740: Good grief.
12:28.019: Last I checked, that's kind of hard to get into.
12:30.819: Speaker 2: I think the success rate for an airline company lasting more than
12:38.520: Speaker 2: three years is like seven percent.
12:41.000: Speaker 2: Like they're like some crazy number of like ninety seven percent of airlines that start up fail within like three or four years.
12:48.500: Speaker 2: Wow.
12:49.380: Speaker 2: Yeah, no, it's a crazy number that we all learned when we first got hired at when you first got hired at WestJet.
12:54.259: Speaker 2: But like I said, I've been in the business my whole life.
12:58.420: Speaker 2: My dad started it in
13:00.260: Speaker 2: Ontario worked for a guy and said, Why am I working for this guy?
13:04.260: Speaker 2: I know more than he does.
13:05.140: Speaker 2: I should be doing it myself.
13:06.100: Speaker 2: And then moved out west to Alberta, where good oil money is at, and started an airline and did.
13:12.459: Speaker 2: Fixed airplanes, sold them, then started charters, and then started a regular schedule.
13:15.980: Speaker 2: And it just looks like it's kind of going full circle there with my older brother.
13:19.980: Wow.
13:20.860: That's fascinating.
13:21.980: It's, you know, it really, I mean, it feels like, you know.
13:25.440: sort of Old West pioneer frontier sort of mentality, and yet it's kind of you know, we're here in the 21st century and you don't you don't think of somebody saying, Oh, yeah, I'm going to start an airline.
13:36.240: Really?
13:37.040: Seriously.
13:38.080: Not really, not nowadays.
13:40.079: Yeah.
13:40.639: Okay.
13:41.040: So guy, I'm getting totally sidetracked here.
13:43.680: I'm fascinated by so where all does WestJet fly?
13:47.759: Speaker 2: WestJet flies
13:49.940: Speaker 2: You know, it all started with only just a few cities back in 1996.
13:55.380: Speaker 2: And then it's grown to, I forget the number off the top of my head, but we fly all over
14:01.940: Speaker 2: Canada, the States, Caribbean, and now we just started flying to Dublin, Ireland.
14:07.540: Speaker 2: So now we've gone across the pond.
14:09.060: Speaker 2: So it was really just mo.
14:10.080: Speaker 2: Predominantly North America at one point, but now we're expanding for.
14:13.360: What's the closest city to North America in Europe?
14:17.280: Let's go to Dublin.
14:19.120: Speaker 2: Well, we've, if I'm flying from home, it took me 22 hours to get there.
14:23.940: Speaker 2: However, if you get to the edge of Canada, so where we fly out of is St.
14:27.380: Speaker 2: John's, Newfoundland, and it takes four hours, only four hour flight.
14:31.140: Yeah, but there's don't you can't let go of that out of their eighteen.
14:35.940: Okay, that's it.
14:36.500: Yeah, exactly.
14:37.140: Yeah, I'm fascinated by that.
14:38.339: Okay, I'm sorry.
14:39.060: I'm just I'm totally enthralled by this.
14:41.300: Speaker 2: Well, and in in regards to that Dublin trip, we since it was our Naggo flight there, I got to go along on it and we got to help produce a video related to it.
14:50.519: Speaker 2: Is that also on the it's not up yet, not that I know of.
14:54.040: Speaker 2: But it's it was not the vacation style with the host.
14:56.519: Speaker 2: It was more uh covering the event itself.
14:58.920: Speaker 2: So but I'm pretty sure that one of these days we'll probably go have to go back and create a
15:03.259: Speaker 2: create a more cultural piece of fly to Dublin.
15:06.139: Speaker 2: But I know that Dublin, like it it did, it sold itself.
15:09.019: Speaker 2: We didn't have to do much advertising.
15:10.620: Speaker 2: People just were hungry for it, and it's been really, really, really successful.
15:15.380: Yeah, you know, I tell you the thing like cameras or edit systems, people are very
15:23.020: they they grow very attached to their airline, you know?
15:26.220: Speaker 2: Yep.
15:27.020: It's very interesting.
15:28.060: And you know, like recently there was the merger of Southwest with AirTran.
15:33.720: And if you're an AirTrand fan, you are not necessarily a Southwest fan.
15:38.680: Yeah.
15:39.160: It's very interesting how that works.
15:42.120: Okay, so on this episode, if you're airline and you.
15:45.800: Yep.
15:47.120: Okay, so let's get back to let's get back to the order of business.
15:50.240: I apologize everybody for being so sidetracked and fascinated by the airline business.
15:55.920: So you're at this relatively recently.
15:59.360: What do you shoot with now?
16:01.040: And what did you start with in two thousand eight and nine?
16:04.540: Speaker 2: So when I started, we were shooting to mini DV tapes with the Sony PD170, so nothing HD at that time.
16:13.340: Speaker 2: Then we upgraded to the Canon XHA1 series, which was shooting HDV.
16:19.420: Speaker 2: Shot with those for a couple of years.
16:21.100: Speaker 2: Then once SLRs really kind of stepped up the video game.
16:27.220: Speaker 2: or the video side of things, we had the a couple of 7 Ds from Canon that we were producing.
16:34.420: Speaker 2: We loved how those were
16:36.140: Speaker 2: The images from that were turning out compared to the mini DVs and not having to capture the tapes anymore.
16:41.340: Speaker 2: Yeah, that's amazing.
16:42.300: Speaker 2: Labeling, all that sort of stuff.
16:45.500: Speaker 2: It was a big step forward.
16:47.180: Speaker 2: And then we went to the
16:49.680: Speaker 2: We got a 5D now, and now we got two Sony FS100s that we use predominantly at this moment.
16:57.060: Now, I'm drawing a blank.
16:58.180: I don't know if I know what an FS100 is.
17:00.260: What is that?
17:00.980: Speaker 2: Have you heard of the FS700 then?
17:02.740: Speaker 2: The one that shoots.
17:04.100: Speaker 2: Yes.
17:04.580: Speaker 2: Yeah, Ben Consoli has one.
17:06.500: Speaker 2: So it's the little brother of that, if you will.
17:08.720: Speaker 2: it doesn't shoot the same high frame rates that the FS700 does, but it still does a very good job for what we need.
17:16.400: Huh.
17:16.880: And why did you go for that over the
17:21.300: Like the 5D or the uh what made you go that direction?
17:26.339: Speaker 2: Um when we were well, we've we shot a couple of things.
17:29.620: Speaker 2: Um
17:31.179: Speaker 2: With the SLRs over the years, but some of the challenges we ran into obviously was usually audio and autofocus capabilities for event coverage and whatnot.
17:40.220: Speaker 2: Plus a lot of the stuff we do
17:42.419: Speaker 2: at least at the time, was very much one shooter doing everything.
17:45.460: Speaker 2: So there was no audio guy to help take care of that and no producer.
17:50.260: Speaker 2: Like I I was the one man band doing directing, producing, shooting, capture, audio, edit.
17:56.919: Speaker 2: and all that sort of stuff.
17:58.200: Speaker 2: So it was a great camera for cost and was able to be more versatile than an SLR at the time.
18:05.300: Yeah, and I don't I really don't think I've ever heard of this.
18:08.020: About $2,500 on a B and H.
18:11.220: Speaker 2: It's just went down in price.
18:12.820: Speaker 2: I'm pretty sure it's discontinued or something like that.
18:15.220: Speaker 2: But yeah, it was about $46, I think, back in the day.
18:19.600: Ah, okay.
18:21.600: So good good cost savings there.
18:22.880: Speaker 2: I mean it's a great camera.
18:23.919: Speaker 2: It's it does really good in low light and
18:27.519: Speaker 2: And again, it's just versatile and tough.
18:29.360: Speaker 2: And like it's gone with us on these trips, and it's gotten pretty banged up, but it's still going easily.
18:35.800: Very good.
18:36.520: All right.
18:36.920: So how did you what if you're already working in an environment with Adobe, what drew you to Final Cut 10?
18:44.960: Speaker 2: So like I said, at the beginning, we were a completely PC based company.
18:51.280: Speaker 2: And it wasn't until about three, three point five years ago that we finally got Apple computers into the WestJet world.
18:59.320: Speaker 2: to sync with our IT infrastructure.
19:03.559: Speaker 2: So when that happened is about when Final Cup Pro 10 came out.
19:07.840: Speaker 2: And there so the way it was at WestJet is there was like four or five creative islands within WestJet, but around three years ago we brought them all together into one team because it just made more sense.
19:22.860: Speaker 2: And there was only one Mac computer that was separate of the network that had Final Cut Classic on it, that had Final Cut Studio 3.
19:29.260: That poor lonely Mac sitting over in the corner that nobody will attach an Ethernet cable to.
19:35.120: Speaker 2: Exactly.
19:36.320: Speaker 2: Which was actually a good thing because I mean, as anyone knows, if you hook up a computer to a corporate infrastructure, you're going to get a lot of slowdown from all the checks and balances of antivirus software and stuff that has to go on.
19:47.700: Speaker 2: So that's a bit of a challenge there.
19:49.140: Speaker 2: But so it had Final Cut and was used a little bit.
19:52.660: Speaker 2: But like I said, once we got these new computers, we're like, oh, should we buy Final Cut Studio 3 some more copies of it?
19:59.160: Speaker 2: at what, $1,300 or whatever it was.
20:01.880: Speaker 2: So that question was raised, and I was questioning it myself because a lot of people at the beginning, Final Cut Pro 10 is the worst thing ever.
20:10.100: Speaker 2: Of course.
20:10.580: Speaker 2: And I had had a chance to look at it.
20:12.100: Speaker 2: And I don't think the thirty day trial existed at when it first came out.
20:15.380: Speaker 2: So there was no real way to test it that I know of.
20:18.760: Speaker 2: So I phoned my brother.
20:20.440: Speaker 2: He's Final Cut certified and again he's really immersed in this world, more so than I am, in post-production.
20:26.280: This would be your brother at Leidiron and not the brother who runs an airline.
20:30.440: Speaker 2: No, no.
20:31.000: Speaker 2: Yeah.
20:31.240: Speaker 2: So I called my brother Chris.
20:32.760: Speaker 2: I said, well, what should we do?
20:33.960: Speaker 2: What do you suggest?
20:34.679: Speaker 2: He said, well, think about it.
20:35.799: Speaker 2: I mean, for what we do, we're not doing broadcasts, we're not sending stuff to tape.
20:41.880: Speaker 2: And Final Cut Studio is a dead product, so it's not going to be serviced anymore.
20:47.080: Speaker 2: And if you have any issues, you're kind of
20:49.720: Speaker 2: You can only reach out to people and not really get the support you would require.
20:52.680: Speaker 2: And at 300 bucks, I mean, Final Cut Pro 10 was a good choice.
20:56.360: Speaker 2: So we still have the whole Adobe Suites, and we took on Final Cut Pro 10 at the same time.
21:03.580: Very cool.
21:05.419: So but but you're the only one who's really using it.
21:07.899: Is that what you're saying?
21:09.100: Speaker 2: Yes, so at the beginning when I first started to use it, at 10.
21:13.500: Speaker 2: 00.
21:16.179: Speaker 2: I liked it, but at the same time, I was confused by it because I was so used to track-based editing and to Premiere.
21:25.800: Speaker 2: Um actually what's funny is that I've never used uh the Final Cut seven or earlier.
21:30.920: Speaker 2: I've ol I've only ever opened it once.
21:33.519: Speaker 2: And this is after a little while of using Premiere.
21:35.840: Speaker 2: When I opened it the first time, I'm like, what the hell is this?
21:39.440: Speaker 2: Like, to me, it looked so archaic and it looked very.
21:42.639: Speaker 2: For some reason, what flashed through my mind was OS 9.
21:45.860: Speaker 2: I don't know why, but it just didn't look friendly.
21:48.660: It was written in an OS 9 era.
21:50.980: It was pretty hip in 1998 and 99.
21:54.740: Speaker 2: Yeah.
21:55.440: Speaker 2: So that's what kind of like scared me of at first.
21:57.679: Speaker 2: So I kind of dismissed it and didn't want to learn it because I knew it was dead.
22:01.919: Speaker 2: So we took on Final Cut, and it.
22:05.340: Speaker 2: Again, 1000.
22:06.620: Speaker 2: I tried it, but it was pretty clunky, especially on the IMAX we were using at the time.
22:10.539: Speaker 2: It was pretty slow and we had to get work done.
22:12.220: Speaker 2: So I just went back to Premiere, but went back to what I know.
22:15.220: Speaker 2: But when 10.
22:16.420: Speaker 2: 0.
22:16.980: Speaker 2: 3 came out and Apple had shown that or produced that Audi multicam commercial piece for it, the
22:25.640: Speaker 2: where when they first really started to introduce the multicam capabilities, I was like, oh, this is interesting because almost every shoot we do is multicam.
22:34.040: Right.
22:34.280: Speaker 2: So I'm like, okay, let me give it a try.
22:36.280: Speaker 2: So I shot the multicam piece.
22:38.280: Speaker 2: I watched a couple of tutorials on how to do multi-cam, but it just really wasn't complicated.
22:42.760: Speaker 2: And as soon as I tried it, I was like.
22:45.040: Speaker 2: Wow.
22:46.240: Speaker 2: This is so easy.
22:48.560: Yeah.
22:49.040: Speaker 2: And it has just really made the work go by so quick compared to how I, at least at the time, knew how to do it at Premiere, which I don't think
22:56.560: Speaker 2: Its multi-cam capabilities were really as good as they are today.
23:00.480: Speaker 2: So I used it a couple times.
23:01.920: Speaker 2: So then I got used to the magnetic timeline.
23:05.140: Speaker 2: And then I got used to the 'cause I I'm I usually do a lot of the color grading uh or color correction at the office right now.
23:13.380: Speaker 2: Um and so I got used to the color board.
23:15.140: Speaker 2: I got used to the color board right away.
23:16.500: Speaker 2: Actually I liked it right right off the bat compared to the
23:19.120: Speaker 2: to the three wheels.
23:22.080: Speaker 2: And I had actually at that time been studying Resolve a little bit after seeing like Robbie Carmen and Alexis Van Herkman talk at NEB in 2012.
23:31.380: Speaker 2: But so I tried it a couple times with a couple projects and only took a couple projects where I'm like, wow, this is a really powerful, fast
23:38.940: Speaker 2: Complete product.
23:40.460: Speaker 2: And so I started to use it a little bit more in projects that I was the shooter's then editor on that wasn't really collaborative.
23:47.820: Speaker 2: And I really started to like it.
23:51.680: Speaker 2: And I tried to use it as much as I could.
23:54.080: Speaker 2: But what ran into some challenges when there was a big project that had to be done.
23:59.200: Speaker 2: And I had already done the bulk of the editing, but a major edit.
24:02.220: Speaker 2: Came from the higher ups that had to be done, and I was sick.
24:06.060: Speaker 2: So when the other editor had to step in, who's never looked at it
24:10.799: Speaker 2: He was angry.
24:11.679: Speaker 2: He was yeah, he was confused and wasn't sure how to do it.
24:14.480: Speaker 2: So right away they had to purchase X to 7 to try and get it to Premiere, and not everything I had done had transferred over.
24:20.460: Speaker 2: Such as my titles didn't transfer over properly, and I'm pretty sure the color correction didn't do transfer either.
24:26.140: Speaker 2: I think it wouldn't.
24:27.500: Speaker 2: Yeah, so they had to kind of run it to that.
24:32.260: Speaker 2: I've been asked to maybe work on Premiere a little bit more.
24:36.500: Speaker 2: But the other editor on the team currently, he's used Final Cut a couple of times, loves its key capabilities.
24:44.040: Speaker 2: uses optical flow and uses it for something else.
24:48.680: Speaker 2: So he's getting used to it.
24:49.880: Speaker 2: So I think it'll take some time.
24:51.840: Speaker 2: But I don't see why we wouldn't be able to just use either or at any given time.
24:55.679: Speaker 2: And once the other editors get to know it a little bit, and I bring up stuff every once in a while, hey, check this out, and they think, oh, that's pretty cool.
25:02.240: Speaker 2: And then
25:02.660: Speaker 2: They just need to, like anybody with when it comes to this particular program, it seems, they just need to do a project or two in it to really get used to it.
25:10.740: Yeah, and I think that the I think that there is a
25:14.580: There's two hurdles that you sort of have to get over.
25:17.059: There's a mental hurdle of like, that's crap.
25:22.500: I don't want to deal with that.
25:24.620: And usually after a few demos, you can get people over the mental hurdle.
25:30.300: But then the next hurdle is just the physicality of, you kind of have to forget
25:34.840: some of the stuff you've done or the some of the stuff you knew to be true.
25:38.200: You know, it's kind of like Keanu Reeves taking the red pill.
25:41.720: You know, you have to sort of open your eyes and go, Okay, yeah, there's there's things
25:46.919: You know, at this last year's NAB, I was telling people, I said, you know, Final Cut 10 solves problems you don't know you have yet.
25:53.720: Speaker 2: Right.
25:54.679: And
25:56.360: You know, a great analogy, and I've been using this for other things lately.
26:02.600: It's kind of like, you know, if you went back like 40 or 50 years.
26:07.040: And your wife said, Hey, I need you to clean up the backyard.
26:14.160: Well, what you'd do is you'd go out to the shed and you'd get a rake and you'd rake up the leaves.
26:19.300: You know?
26:20.020: And a rake is a pretty good tool until you've seen a leaf blower.
26:25.460: And then you go, oh, I want one of those, you know.
26:30.460: And I think that to a lot of and but you don't know how limited your rake is until you've seen that leaf blower.
26:39.160: And I think to a certain degree, I don't know, I might be blowing hot air here, but there is a Final Cut 10 is a leaf blower, you know.
26:49.419: And it's solving problems that people don't know they have yet.
26:52.940: And, you know, just this we're recording this on Saturday afternoon.
26:57.900: This show will be Friday the 15th or whatever.
27:02.860: This last Monday, episode 71, I could say, I spoke at length with Philip Hodgetts from Intelligent Assistance, and we talked about a product that he makes called Lumberjack.
27:15.320: And I don't know if you've ever have you ever seen Lumberjack?
27:17.960: Speaker 2: I haven't seen it, but I've heard you talk about it in past episodes.
27:20.680: Oh man, it's crazy cool what it does.
27:23.000: I mean, it's an iPad app.
27:26.640: That uses time of day time code because your camera has time of day time code, and not only that, it has a clock on it.
27:35.280: So, as long as you have the clock set right on your camera.
27:39.340: it knows within a few seconds of where you are, but it's this real-time logging tool.
27:44.940: Now, granted, you're doing most of your stuff running around in the beat at the beach in Aruba.
27:49.840: So you're not going to be doing this.
27:51.120: But in an event where you're working with other people and you have somebody who has the ability to log, which, by the way, is a dying art form.
28:00.860: Philip quoted a statistic last week or earlier this week that something like two or three percent
28:10.019: of productions are actually using somebody to log while you're shooting.
28:16.500: And if you've ever worked with footage that was logged well, you will know
28:22.120: Just like what a huge asset that is.
28:25.160: But Lumberjack, get it, logging, logger.
28:27.960: Lumberjack is this tool that makes it really drop dead simple to log in real time just by clicking on
28:34.640: you know, buttons while you're rolling.
28:37.840: And those are the kind of problems that Final Cut Ten is solving that people don't even realize they have.
28:45.720: You know?
28:47.400: When you've actually sat down and cut something that was properly logged, oh my goodness, it's a huge benefit.
28:53.800: Speaker 2: Well, and actually that's well, even Final Cut itself, that's one of the things I really loved about it.
28:58.120: Speaker 2: So like I said in the beginning with the other editor, Greg, when he came on, I would make sure to organize the footage as best I can in the Finder level and then also in Premiere.
29:07.620: Speaker 2: Okay.
29:09.300: Speaker 2: So I was good at that, but when I looked at the keywording capabilities of Final Cut
29:17.120: Speaker 2: Because I was so passionate about making sure footage was well organized, I was absolutely in love with his capabilities to do that.
29:28.260: Speaker 2: So it sounded like adding something like these log capabilities like something else I could do while on set.
29:33.220: Speaker 2: Because even while I'm on set, I try to keep track of what I'm doing so that when I come back
29:36.940: Speaker 2: Later to organize everything, I kind of have my little notes that I have.
29:41.340: Speaker 2: But something like this sounds like it would be, maybe I can't take it to the beach, but I mean, like, I do lots of stuff, more stuff that I do in-house that I can probably use it there for sure.
29:50.840: Yes, Philip briefly talked about another module slash asset function of the tool that allows you to also use it for logging after the fact.
30:01.340: So that could be like, you know, the hotel room.
30:03.340: Like, oh, let's go over what did we do here?
30:05.260: Oh, this is, you know, Michelle on camera.
30:08.539: This is, you know, here's the stand-ups.
30:10.700: Here's the B-roll of the jet ski, whatever.
30:14.400: Speaker 2: Okay, that sounds actually quite interesting.
30:16.880: It is.
30:17.360: I mean, there are other ways to go about it, but again, now that's interesting.
30:22.720: You said you're organizing your footage at the finder level?
30:26.560: Speaker 2: Well, in terms of you know how well, yeah, I would usually put it as like my first folder would be the date and then like of which we shot something
30:40.300: Speaker 2: And then inside there we would put like the location, so you know, Sandy Times Beach
30:47.440: Speaker 2: And then in there I would also put the kind of activities we did so that when it was dragged into something like Premiere, it would kind of just be existing, so it would be really easy to tell.
30:55.519: Speaker 2: Okay, I need to work on the scene that was in relation to the sandy beach and then just be able to kind of find that footage a little bit more quickly than, you know, like
31:03.620: Speaker 2: Day one, camera one, all footage.
31:06.420: Speaker 2: So I try and like I try and put it as easy as possible.
31:10.900: Speaker 2: Yeah.
31:12.820: Day one, camera one, card one, all.
31:16.580: Speaker 2: Yeah.
31:17.140: Speaker 2: No, I I've I've tried to define I've tried we try different ways to see how to make it as organized as possible.
31:22.660: Speaker 2: And I try to find things online and talk to people on Twitter.
31:26.720: Speaker 2: Again, we work as a team.
31:28.720: Speaker 2: We try to work like if I do something that doesn't really help, then yeah, the editors will let me know.
31:34.480: Speaker 2: And if it does, then we just go forward with it.
31:37.120: Speaker 2: And I think I always like to
31:39.519: Speaker 2: organize my files so that if I was hit by a bus the next day, anyone would be able to step in and find what they need.
31:47.519: You know, there's a trick that we do on one of the jobs that we this is recurring client that we have.
31:54.000: Where when the camera guys will move from one scene to another, they put their hand in front of the lens
32:02.019: And then they roll and they say, you know, this is now Sandy Hook Beach, you know, on the south side of the island.
32:11.419: And then they stop.
32:13.020: And so when you're looking at the icons in the bin, you go, oh, here's a scene change.
32:17.419: Well, here's a C change.
32:18.860: Because it's pretty obvious when you see a hand in front of the lens, you know.
32:22.740: Speaker 2: Yeah, so it's like a cheap man's slate.
32:24.500: Speaker 2: Oh, totally.
32:25.700: Yeah, absolutely.
32:27.220: And the thing is, if you don't have the visual, the editor doesn't know to go, oh, I need to watch that clip.
32:33.060: What's he say there?
32:34.340: It looks like just a short shot of the beach.
32:36.260: And if you have the sound down, because it's just B-roll, you may never hear the audio slate.
32:41.539: Speaker 2: Yeah, no, that's actually a really good point.
32:43.299: Speaker 2: And that's what I liked about Final Cut at first as well, was its ability to really easily see the
32:48.160: Speaker 2: The footage when skimming.
32:49.760: Speaker 2: Yeah.
32:50.480: Speaker 2: Which Premiere is pretty much doing now.
32:52.880: Speaker 2: But that's an issue I had with Premiere: you kind of have to open up, you have to double-click to open up the file in the
32:58.280: Speaker 2: In the monitor, and then scrub through to kind of see what you're looking at.
33:00.920: Speaker 2: Whereas I got rid of that.
33:05.240: Speaker 2: And actually, as a shooter, sometimes I'll do that.
33:08.440: Speaker 2: I've done the hand in front of the lens trick.
33:11.040: Speaker 2: A couple of times, but for different reasons.
33:12.720: Speaker 2: I'd always had to keep track of why I did that.
33:14.240: Speaker 2: Like, oh, this was a shit shot, so don't even look at it.
33:16.960: Speaker 2: Or what I'll do is I'll sometimes, even myself, I'll just go on the camera and I'll, like, if there's audio involved, I'll just explain something.
33:23.760: Speaker 2: I'll say,
33:24.300: Speaker 2: Hey, Mr.
33:24.860: Speaker 2: Editor, remember that last shot you just looked at?
33:26.860: Speaker 2: Well, here's why we did it, and here's why we're doing it now.
33:28.940: Speaker 2: So it's kind of like the on-site notes as well, so that again, if I'm not there.
33:32.660: Speaker 2: Or the editor doesn't feel like reading through pages and pages of notes and they're going through the footage, it's a pretty easy way for them to figure out why we did what we did.
33:40.500: Yeah, Philip had said that the his earliest
33:44.840: Incarnation of metadata was a piece of paper that he put in a baggie with the tape when he sent it off to post.
33:52.280: That sounds about right.
33:53.320: Yeah, with all of his notes.
33:54.920: Yeah.
33:55.560: That's a good idea, too.
33:58.620: So you mentioned the magnetic time line.
34:04.060: How does that work for you in your editing?
34:08.060: Speaker 2: For what I do, like I like I mean, like I said, I don't do anything just at
34:11.920: Speaker 2: At West Shed, I definitely do it at home for the side jobs that I try and take on.
34:19.960: Speaker 2: It was just so once you really did wrap your head around it, which really doesn't take long if you do a project or two, it just seems like to make such sense that you can
34:29.580: Speaker 2: Move this one clip and it will move everything with it so that you don't again lose sync because I put my specific B-rolls over these specific spots for a specific reason.
34:39.400: Speaker 2: So again, I just like to be able to what I like about what I've learned from the magnetic timeline.
34:48.760: Speaker 2: If I have to transfer it over to Premiere
34:52.480: Speaker 2: Is again when you select clips and you can hit like plus 24 and then I'll move it 24 frames forward or minus and move it back.
34:59.440: Speaker 2: Right.
34:59.700: Speaker 2: I've kind of transferred that over in terms of when I have to work in Premiere and I select a couple clips and I want them to all move at the same time.
35:06.099: Speaker 2: That's kind of how I've had to do it.
35:09.060: Speaker 2: And then working in Final Cut as a whole.
35:11.660: Speaker 2: I think it's helped me make helped make me a better editor because it from the get-go showed me a lot of stuff that I didn't really even have to think about.
35:18.860: Speaker 2: And then as soon as I went back into Premiere, I'm like, why isn't it doing this?
35:22.059: Speaker 2: And I had to find ways to at least get it to act a little bit like Final Cut so I could be a lot just try and be as quick as I can as I am in Final Cut, because I find myself to be a much faster editor in Final Cut.
35:32.140: Yeah, I mean, even keep the flow going.
35:34.299: Absolutely.
35:34.859: And I think even very advanced editors would say that they tend to be faster in Final Cut.
35:40.779: We have a great story coming up in a few episodes that you're going to hear all about it.
35:45.760: I don't want to say too much, but yeah, I mean, clearly it is a it is indeed a fast tool.
35:53.120: You know, and I think I've said in the past that there's a lot of things you know, people complain about the
35:58.500: that magn how certain aspects of like the magnetic time line seem counterintuitive.
36:07.140: And yet they're really the same functionality that Final Cut VII had.
36:14.040: If you knew the advanced keyboard shortcuts.
36:17.320: Right.
36:17.800: Okay, like in Final Get 7, it was not the default state to do a ripple delete.
36:25.599: or a ripple cut and a ripple paste.
36:30.720: But you could do it if you knew the advanced keyboard shortcuts
36:35.680: And you know, I know that when I was editing in Final Cut 7, that type of functionality, to be able to do, like have 10 clips, grab clips three through four, you know, three, four, and five.
36:46.940: ripple delete those, move my cursor down three or four clips, ripple paste those and make the have the timeline make room for it
36:56.059: It's like, well, yeah, that I did stuff like that all the time.
36:59.579: And yet in Final Flat 10, it's the default setting and not the, oh, look at me, I know a million keyboard shortcuts setting.
37:07.120: Speaker 2: Well, and I think again, like when I first started using Final Cut, I didn't like anybody, you didn't you just don't know what the shortcut keys are at first.
37:15.360: Speaker 2: You have to learn them as you go along or read about them.
37:17.920: Speaker 2: When you need them.
37:19.120: Speaker 2: But for me, when I first started to use it, even if you're a mouse editor, which is not necessarily the best thing, but I just found that doing anything with the mouse in
37:31.180: Speaker 2: Final Cut, again, super quick and super intuitive, whereas I didn't necessarily have the same experience with Premiere.
37:37.660: Yeah, definitely.
37:41.320: Do you ever you mentioned that I believe it's Greg at work.
37:47.160: Now he you said he's a big Afterfix user as well.
37:51.020: Yes.
37:51.579: Do you ever have opportunity to integrate any of his After Effect stuff into now I realize there's a difference, you know, work versus your private your it's called lifecapture.
38:01.980: ca, right?
38:03.020: Yep.
38:05.220: Do you ever integrate After Effects stuff into your video work?
38:10.660: I haven't had to.
38:12.180: Speaker 2: And Greg has since moved on from WestJet.
38:14.819: Speaker 2: Now he's full freelance.
38:17.040: Speaker 2: And we still work together.
38:18.080: Speaker 2: I mean, I still we still he finds jobs for me and I find jobs for him and then we find jobs for each other to work on.
38:22.960: Speaker 2: So I haven't had to integrate his After Effects
38:26.720: Speaker 2: uh stuff into what I do because well a lot of the stuff that I do is pretty simple titling for for what I do and again like I think the
38:34.540: Speaker 2: titling capabilities in Final Cut I find a little bit easier to use than in Premiere with the window that comes up and has all those fonts you just won't use and whatnot.
38:46.740: Speaker 2: But I also, because I know he's such an After Effects editor guru, I did take the time to kind of look at your
38:56.320: Speaker 2: Well, I might forget what you call it, but you're your cheat dynamic link between
39:03.940: Speaker 2: Yeah, so I mean, I'm ready for it if it comes up, but but because he is the he's the better editor than I am, so a lot of the editing jobs go to him anyways.
39:14.600: Speaker 2: So, we haven't had the opportunity to necessarily kind of marry the two together.
39:19.960: Yeah, I don't know if you got a chance to listen to the episode that went live, I believe it was last Friday, I'll say.
39:26.900: Speaker 2: I'm too far behind right now.
39:33.620: Speaker 2: Well, it's motorcycle season, so that's why I've actually missed out on listening to it because I can't.
39:38.059: Speaker 2: On my usual commute to work is when I always listened to.
39:40.539: Speaker 2: I was listening to you, to Cinema, Digital Cinema Cafe, Ben Consoli's, Go Creative Show.
39:45.500: Speaker 2: I was listened to a lot because I had the time.
39:47.579: Speaker 2: But I mean, Canada has like
39:50.000: Speaker 2: 10 months of winter.
39:51.280: Speaker 2: So, you know, once the summer's done, I'll be good and right.
39:53.200: Speaker 2: I'll be catching up easily.
39:57.600: Summer, you pull that.
40:01.380: Yeah.
40:02.180: Yeah.
40:02.740: Funny.
40:04.740: But anyway, more and more I'm talking with people that are not primarily editors.
40:10.720: There are people that are forced into what Philip Hodgetts called, you know, the new literacy.
40:19.760: And it's almost to the point where you are expected to have a certain amount of chops or a certain amount of literacy, as Philip calls it, with some of these tools.
40:30.760: You know?
40:31.800: And that's kind of the position where you're at.
40:34.280: It's like, no, I'm not an editor, but yeah, I have to edit.
40:37.079: Of course I do.
40:37.960: Because it's 2014.
40:41.540: Speaker 2: Well, yeah, that's what's well, even further back to that, even right now, what's expected not necessarily of a shooter to be able to edit
40:50.940: Speaker 2: What's more expected nowadays is a photographer to also know video.
40:55.820: Speaker 2: And thus if that photographer has to know video, has to also know editing because
41:05.120: Speaker 2: So that's why, well, I love the fact that because I know what I know about shooting, that when I bring that into an editing environment
41:15.700: Speaker 2: I kind of have a great respect for what the editor needs for me to do.
41:21.060: Speaker 2: And then I have a great respect as from the editing stuff I know what I need to do when it comes to shooting.
41:27.820: Speaker 2: Right.
41:28.220: Speaker 2: So it's good to have all those, I mean, it's good to have all those talents as much as you can.
41:35.740: Speaker 2: I mean, it's like you said in.
41:37.340: Speaker 2: past episodes about just editing on itself.
41:39.740: Speaker 2: Like you shouldn't know just one editor 'cause you'll lose jobs.
41:42.860: Speaker 2: Well, I don't know just one necessarily talent.
41:44.780: Speaker 2: I like to be able to shoot, but I also like to be able to edit.
41:47.020: Speaker 2: If a job comes in my way that's strictly edit strictly editing, I think I can take that on.
41:51.859: Speaker 2: I don't have to be the one who shoots it, but I know enough about editing, then I could edit some pieces together at a professional level.
41:59.140: Yeah, there's a lot to be said about.
42:01.500: having that cross that cross pollination, if you will.
42:04.620: I mean, I know recently I um for one of our clients, they were having this
42:15.580: One of our clients was recently having kind of their annual corporate party event thing, and we had offered to
42:23.880: actually cover it.
42:25.000: There's a big client, we do a lot of work for them.
42:27.480: We offered to cover it sort of as a fun, happy faces kind of
42:34.020: sizzle thing for them.
42:36.260: And I offered to go and be one of the shooters on it.
42:40.579: And you know, I'm an editor.
42:41.859: I sit on my butt twelve hours a day.
42:44.860: And uh but once every couple of years, I do like to go out and sort of feel the pain and the grind and you know
42:53.580: Anybody who was there, anybody who's, you know, all you got to do is look at the footage that I shot, you realize, yeah, Fenwick
43:01.059: Fenwick faded at about eighty percent through the day because there's nothing on my camera for the end of the day, you know?
43:07.700: Yeah.
43:08.339: And uh that's I d I don't wanna
43:10.240: Make people think that that's the kind of thing we do on our normal jobs.
43:13.680: This is something we were doing as a favor, and that's why it was easy for me to offer to go help out.
43:19.280: But you know, you have a certain amount of
43:22.040: compassion or empathy or whatever you want to call it for the guys because it's a hard job out there.
43:28.360: And it's really easy as an editor to go, how come there's no good shot at the end of the day?
43:32.840: Yeah, he passed out.
43:35.040: Speaker 2: Well, yeah, I mean some of those trips I do in those sunny destinations, while yes, it's great to be able to go on those trips, but being out in the hot sun for
43:43.620: Speaker 2: you know, 18 hours or whatever, like, yeah, your footage is going to suffer towards the end of the day.
43:49.460: Speaker 2: And again, that's why I'm lucky to work with the guys I work with.
43:53.260: Speaker 2: I mentioned Grant, who's on our team at WestJet, and then there's also Sean Weygar, who's on our team.
43:57.820: Speaker 2: He's a shooter editor as well, very talented After Effects guy as well.
44:03.560: Speaker 2: So he understands that sometimes the footage is going to change from a long day's worth of shoot because he himself has had to do that.
44:13.480: Speaker 2: So it is that whole cross-pollinization really helps
44:16.280: Speaker 2: both sides understand the process to getting a product.
44:20.120: Speaker 2: So it's because of those long days that some of my footage did suffer.
44:23.960: Speaker 2: And we're learning to kind of maybe better organize those days and better
44:28.560: Speaker 2: plan things up front rather than kind of going down, shooting it, bringing it back to the editor and say, put something together and hope for the best.
44:36.080: Speaker 2: So we're definitely working more
44:37.859: Speaker 2: on the preproduction than we ever have in the past.
44:40.420: Yes.
44:40.820: And frankly, it's something that is happening more and more with budgets being cut tighter and tighter.
44:48.099: People are being asked to
44:51.400: Generate more, you get more scenes, more locations, more coverage in a single day.
44:57.080: And it's not always possible
44:58.960: Speaker 2: You don't need to do it.
44:59.440: Speaker 2: It's not.
45:00.400: Speaker 2: But people think it's easy because of the technologies out there.
45:02.640: Speaker 2: Well, I can go buy a $300 or sorry, $800 camera and shoot video.
45:06.400: Speaker 2: Why can't you do that with your $5,000 camera?
45:08.720: Knock yourself out.
45:09.840: Yeah, exactly.
45:13.740: You do that.
45:14.779: You give me a call when you're done.
45:16.779: Speaker 2: Well, so I started my career as a photographer, and that's and I started just as film was going away.
45:22.440: Speaker 2: And just as digital was really starting to pick up, and wedding photographers were suffering for a while there because the bride's, you know, Uncle Joe was able to go down to the camera store and buy a
45:32.740: Speaker 2: a T3I or a D90 and they think all of a sudden they're a pro.
45:36.980: Speaker 2: So I think wedding photographers suffered for a while, but now I think wedding photographers have caught up and the public has caught up to thinking
45:43.040: Speaker 2: oh wait, we can't do this just because we have the piece of gear.
45:45.680: Speaker 2: It actually takes the eye, the talent, the training, the creativity to create a good looking product.
45:51.120: So I think this is a story that has happened many times.
45:54.240: If you go back to the late 80s and the
45:57.120: the advent of desktop publishing and what it did to graphic designers and printers.
46:03.920: It's d it did the same thing in the music industry in the nineties when people thought, oh, all I got to do is buy buy me some Pro Tools and I'm a
46:11.020: You know, I'm going to be the next big-time music producer.
46:14.460: Well, not really.
46:15.900: And we're seeing it in
46:18.640: In photo you know, your observation about photography is a good is a really good one.
46:23.119: I hadn't thought of that.
46:24.480: But and yet I know people that got married in the late 90s where somebody said, Oh, yeah, I could shoot your wedding and
46:33.500: Worst, you know, it's the worst thing ever because not only do you get crap photos of your wedding, but now you have a, and I'm using giant air quotes here on my audio podcast, you have a friend.
46:46.900: Who completely let you down?
46:49.700: You know, how do you deal with that?
46:51.700: The last thing you want to do is ask a friend to do something that's important.
46:55.540: Speaker 2: Well, yeah.
46:56.580: Speaker 2: I mean, it's the way things go with any technology, whether it'd be back in the eighties with print and then when film to digital, all that sort of stuff, is things are becoming more accessible.
47:08.240: Speaker 2: And thus people are just trying to take on stuff that they think is just the technology will make them great at it.
47:13.840: Speaker 2: And I think that you might be seeing that in the editing world with Final Cup being the price it's at.
47:20.320: Speaker 2: With all sorts of people, and like, well, I was working in an iMovie, that means I could go to Final Cut Pro and my stuff will be better all of a sudden because I can afford this professional software, which Final Cut is.
47:32.540: Speaker 2: But if you've got, again, Uncle Joe, who doesn't really have a creative eye or the training, he's going to be editing stuff together that just is not going to look good, probably with the footage he shot.
47:42.620: Yeah, and I think the good news is, is that every one of these industries
47:47.520: Graphic design, audio, photography, and you know, yeah, you're right.
47:53.680: People are going to say, Oh, I don't need you.
47:55.760: I can go buy this.
47:56.640: Like, okay, yeah, you go do that.
47:58.460: But I think the good news is that it only takes a year or two before people start seeing the results of bad design, bad recording technology, bad photography.
48:12.220: and then, you know, bad editorial where they go, Uh, you know, maybe we should go to somebody who actually does this for a living.
48:20.460: Yep.
48:20.859: You know, I I can remember in the late
48:23.200: nineties and early two thousands dealing with people, producers who would call me about working with me back then.
48:31.320: And they'd say, S so you have your own office?
48:34.680: Yes, I do.
48:35.720: It it's not in your house, right?
48:38.120: No, it's not.
48:39.080: I actually have like a real office.
48:40.760: He's like
48:41.440: oh, good, 'cause the last guy I work with, his cat pissed in my briefcase, you know because he was working in a home office and you know, it doesn't take too long for people to realize the value of
48:57.160: I won't say I'll call I'm just going to say professionalism.
49:01.800: You know, there's a certain amount of stuff that somebody with experience is going to bring to any job.
49:08.200: Any job.
49:10.039: And I think that that is always going to win out.
49:14.359: It will.
49:15.880: What the technology will do is it gives the ability for people with less
49:22.780: Experience to get in and show themselves, but that's only going to get them the first job.
49:27.980: It won't get them the 10th and 20th job, you know?
49:31.880: And I think that with time, you develop clientele that trusts you.
49:37.160: And we have fabulous relationships with the people that we work with.
49:42.360: And it's because we've been able to prove ourselves over the years.
49:46.520: Speaker 2: What's great about it is it can help bring out.
49:50.420: Speaker 2: Talents in somebody who doesn't know that they have those talents.
49:53.940: Speaker 2: So, I mean, yes, we've said a couple of times that because it's so accessible that a lot of people who aren't good at it
50:00.920: Speaker 2: Come out of the woodworks and create some really bad-looking stuff.
50:04.120: Speaker 2: But I guess the other benefit is that someone who doesn't realize they have that talent
50:08.740: Speaker 2: they now have access to it, they try it, and they actually find out they're pretty good at it and they can make a living from it, starting in the home office and then moving into a more professional area.
50:18.100: Speaker 2: I mean it it's person by person.
50:20.260: Speaker 2: You can be a professional at anything if you have the attitude and you present yourself professionally.
50:27.480: Speaker 2: And again, hopefully these tools will help bring more of those people out.
50:30.760: Speaker 2: But yeah, you're going to run into people who just don't have that natural talent anyways and just don't have the eye.
50:38.299: Or, more importantly, they don't have the drive.
50:40.539: I think ultimately this is a passion.
50:42.700: Yeah, it's a difficult business to get into.
50:46.099: You know, you gotta really want it.
50:48.740: Speaker 2: Well, I think X will clap back to Final Cut.
50:50.980: Speaker 2: I think that's what I love about it.
50:52.500: Speaker 2: When I started to first use it.
50:54.160: Speaker 2: And I first get it, I was excited about it.
50:56.560: Speaker 2: I was like, wow, this editing is really fun.
50:59.040: Speaker 2: I don't know why.
50:59.680: Speaker 2: I don't know if this just has to do with the way the Final Cut moves all the stuff around and the way it actually looks.
51:04.640: Speaker 2: I mean, it could just simply be that.
51:06.000: Speaker 2: It got me interested in it.
51:07.900: Speaker 2: So I became fast in it.
51:09.260: Speaker 2: I really enjoyed editing in it.
51:11.020: Speaker 2: So thus I learned more.
51:12.779: Speaker 2: I enjoy it more, but also maybe a better editor in Premiere because I wanted to make sure that I was still producing a good product on time.
51:20.120: Speaker 2: And because of the excitement I got from Final Cut, I've learned more.
51:23.880: Speaker 2: I've read more.
51:24.920: Speaker 2: I reach out to more people to learn more about what they've experienced with.
51:29.780: Speaker 2: And because that program to me is so exciting, yeah, I hope to produce some good looking stuff and learn the pro stuff along the way.
51:40.800: Well, definitely.
51:41.760: Even people I know with you know, like myself, I've been doing this for thirty plus years.
51:46.640: I would totally agree.
51:47.840: Editing is more exciting and it there's there's a energizing factor that comes
51:55.200: From working with this software, that it's kind of a new experience to me.
52:00.240: I have thoroughly enjoyed the last couple of years of digging deep into this.
52:04.740: Speaker 2: Well, one thing that worried me a little bit about Final Cut at one point was so like I said, we bought it at 10.
52:10.180: Speaker 2: 0.
52:10.660: Speaker 2: 0 at work.
52:12.100: Speaker 2: So that's where I was able to do my training and my trial and errors and stuff like that.
52:15.559: Speaker 2: Now once I figure I got really good at it, I'm like, okay, I'm going to put down the $300 myself for when I get side jobs and want to do editing at home because I had done a couple of jobs at home in Premiere, and I was like, this isn't
52:25.840: Speaker 2: What I like.
52:26.400: Speaker 2: I'd rather work in Final Cut.
52:27.600: Speaker 2: So I bought it, but I bought it at 10.
52:29.360: Speaker 2: 0.
52:29.920: Speaker 2: 8.
52:31.200: Speaker 2: And I was really worried, and a lot of people were at the time when Apple came out with 10.
52:35.280: Speaker 2: 1.
52:36.780: Speaker 2: Does that mean it's going to be an upgrade charge or is it going to be another $300?
52:40.380: Speaker 2: Like, so I was really worried about did I buy this at the wrong time, but I was super excited.
52:45.559: Speaker 2: that Apple didn't charge for it.
52:46.760: Speaker 2: And I think that's the route they're going is trying to pay for software once and it's going to be free.
52:54.340: Speaker 2: So that's something that I really obviously enjoy about the program.
52:57.300: Speaker 2: Because if I was paying for Creative Cloud for what I need from an editing side of things, I think I would have paid for Final Cut twice essentially if I would have done it
53:08.340: Speaker 2: when Creative Cloud first came out?
53:10.660: Yes.
53:11.060: I mean, I got to say, I don't understand Apple's business model of create advanced software and then give it away, because that's essentially what they're kind of doing.
53:21.740: But I sure am reaping the benefits of it, both at the OS level and the all the Apple apps.
53:28.620: I think the only thing they charge for now is Final Cut and Logic.
53:34.260: Speaker 2: Yeah, and what's unfortunate though, which a lot of people are worried about, and I've heard, you know, I've gotten some people say this to me about
53:40.760: Speaker 2: Say this to me on Twitter: is you know, they don't trust Apple because do they care about the pro community?
53:46.359: Speaker 2: Because they're just gonna take it away at any moment.
53:48.680: Speaker 2: So, obviously, the
53:50.099: Speaker 2: example today is Aperture, which I've been using since day one.
53:54.740: Speaker 2: I got it the day it came out.
53:56.900: Speaker 2: I love it.
53:57.619: Speaker 2: I've used it.
53:58.420: Speaker 2: I still use it today, but it is upsetting that now it's gone, now they've decided to
54:03.040: Speaker 2: Cancel that program.
54:04.080: Speaker 2: They didn't do any upgrades for three years.
54:07.520: Speaker 2: So, I mean, it's a little bit worrying when you think about Apple products in that regards.
54:11.280: Speaker 2: I don't see Final Cut going that way.
54:12.800: Speaker 2: You never know.
54:15.480: Speaker 2: But that's one of the things that you got to keep in mind.
54:18.119: Speaker 2: I mean, people say that they won't use the program because they don't want to have to switch to something once Apple kills that program.
54:26.840: Speaker 2: which I understand.
54:28.040: Speaker 2: But at the same time, if I have to go to Lightroom or what I'm probably going to go towards is Capture One.
54:33.240: Speaker 2: I mean, I'll learn it again.
54:34.200: Speaker 2: I already have the foundation.
54:35.320: Speaker 2: It's just learning some new
54:36.760: Speaker 2: new tools.
54:37.400: Speaker 2: I may miss Aperture, but I mean, hey, it's what we're at, and I have to use what's out there, and I'll still be the professional.
54:43.720: Speaker 2: It's not like I'm like, oh, Aperture is gone, so I'm going to stop being a photographer.
54:48.940: Did you by any chance I know it's a it's a few weeks ago, so maybe you're maybe you've heard it did you ever catch the episode I did with Joseph Lanashki from Aperture Expert?
54:57.240: Speaker 2: No, I'm going to be listening to that soon.
54:59.400: Speaker 2: Let's see where I'm at.
55:00.200: Speaker 2: Because I just listened to what I'm like I said really far behind how pro is pro when you were speaking with Alex Gaultner.
55:07.480: Speaker 2: That's how far back I am back in like episode
55:10.340: Speaker 2: No, whatever that is.
55:11.300: Speaker 2: But I'm pretty far back.
55:12.420: Speaker 2: But I was going to specifically probably skip ahead to that particular one.
55:15.700: Yeah, you should listen to it because it's actually quite interesting.
55:18.340: Because I think, Ned, do you know, are you familiar with Joseph's website?
55:22.059: Yep, the aperture expert.
55:23.339: Right.
55:23.900: So you know, it's a very interesting parallel between the Final Cut 7 to Final Cut 10 transition and the Aperture to Photos transition.
55:33.520: Speaker 2: Yeah, so that's why I'm not jumping ship yet.
55:36.079: Speaker 2: That's why I'm not going to buy Lightroom or capture one.
55:38.880: I want to see what Photos is going to be like.
55:40.400: I think we're going to see something very similar.
55:42.960: An application that is much maligned by
55:46.660: some advanced users, some of them are going to realize that, mm, yeah, this is a really deceptively advanced tool.
55:56.779: I mean, like even from the demos where they showed the one I think on in the interview with Joseph, I I dubbed them the magic sliders, where you can slide one thing and under the hood it's doing four or five or six different things.
56:10.440: that you can then open the hood and readjust those things.
56:13.480: Yeah.
56:14.760: I you know, I think the aperture to photos transl transition is going to be very interesting.
56:21.420: Speaker 2: So do I.
56:22.300: Speaker 2: And again, from what I've seen, it does look like they're trying to hide things from the people who would be dangerous if they played with those tools, but also make it easy enough for someone who knows how to use those tools to find them and use them.
56:35.820: Speaker 2: Yep, exactly right.
56:37.980: Speaker 2: What I'm kind of excited about is because well, if Aperture is dead, that means obviously there's some developers within Apple who need to focus on some focus on some stuff, and maybe they're already working on the final cut.
56:50.020: Speaker 2: team.
56:51.060: Speaker 2: But you know how the most common you ask your final question of what would you like to see different and almost everybody says customizable UI?
56:58.260: Speaker 2: Yep.
56:59.120: Speaker 2: Well, what I loved about Aperture, Aperture was an all one window software.
57:03.920: Speaker 2: I think that's what Steve Jobs loved about software is making it just one window and not breaking it apart.
57:08.720: Speaker 2: But what you can do with almost anything in
57:11.540: Speaker 2: Aperture was you can bring up a heads-up display.
57:14.180: Speaker 2: You can have HUDs for anything.
57:16.340: Speaker 2: And I hope that maybe that's something to solve the issue with Final Cut: is if I want to look at multiple scopes, just make them heads-up displays.
57:24.640: It's a really good idea.
57:26.559: Please, Apple, heads up displays for the scopes.
57:30.079: Speaker 2: I have actually submitted that to the suggestions box for Final Cut.
57:34.640: Speaker 2: But but yeah, dude, you can make up heads heads like the it's already there if you click on
57:38.660: Speaker 2: I forget what that is.
57:39.380: Speaker 2: When you want to see what's transcoding or what's rendering or whatever, whatever that window is.
57:43.220: I mean, right, the prog process prog I think it's called the process window.
57:46.980: Speaker 2: Yeah, I mean, that's.
57:48.520: Speaker 2: Essentially, the architecture is there for those heads of displays to exist.
57:51.960: Speaker 2: So, I mean, just make other parts of the editing software.
57:55.400: Speaker 2: I'd like my color correcting
57:58.020: Speaker 2: Tools to be able to break apart and hold right over top of the video I'm working on, just so I could really closely see the color change but also the tools at the same time.
58:07.940: Yeah, that's an interesting idea.
58:09.140: Speaker 2: I think that would be a way to fix it.
58:10.640: Speaker 2: Very cool.
58:11.920: All right.
58:12.480: So Adam, thank you so much for taking the time to do this.
58:16.000: I appreciate this.
58:17.440: How do people find out more about you and follow you online?
58:20.340: Speaker 2: Alright, well, so if you go to my website, lifecapture.
58:23.620: Speaker 2: ca, that's one way to see my latest work.
58:26.900: Speaker 2: And of course on Twitter, at Adamski, A-D-A-M-S-K-I.
58:31.860: Speaker 2: Also a great way to find me.
58:33.060: Speaker 2: And I'm super interested interested to chat with people out there about Final Cut and about what I do at WestJet and about shooting or whatever.
58:41.140: Speaker 2: I mean, again, Twitter's been such a great
58:43.440: Speaker 2: tool to be able to meet all these professionals.
58:45.040: Speaker 2: That's why I loved it over stuff like Facebook or whatever, because it's just so much easier to connect with professionals.
58:51.520: Yeah, it's it's b I you know, you've heard me say it many times.
58:54.880: I'm a
58:55.540: Alex and I are very much Twitter people over Facebook people.
58:59.140: Speaker 2: Yeah.
58:59.620: Anyway, thanks a lot.
59:00.660: I appreciate the time.
59:02.020: Thank you.
59:03.380: So there you have it, Adam
59:04.980: Pariso, I gotta tell you, after Adam and I talked, he actually tweeted me.
59:09.220: He's like, oh dude, I don't think you ever said my last name it's and he wanted to remind me how to pronounce it.
59:14.099: I think I got it.
59:15.779: Anyway, that was a lot of fun.
59:17.619: And again, I did get s totally sidetracked into the product into the airline thing.
59:22.900: It's fascinating.
59:23.940: You know, there's so many ways that this business
59:27.799: of visual communicating manifests itself.
59:31.559: And it never it did not dawn on me that a company like that would have all that stuff in house
59:38.359: But then when I think about it, I go, you know what, all this stuff in the Bay Area where I live, you know, all these people have in-house departments.
59:44.599: So as we all know, there are plenty of ways, plenty of ways to make a living at this.
59:49.599: And it's just it's fascinating to hear how everybody else does it.
59:53.359: Um not all of us get to fly like Adam does.
59:56.240: Anyway, um that's it for this episode.
59:58.880: We'll be back next week with more episodes.
And I hope you caught the um 01:00:01.359 virtual user group that was on last night. 01:00:03.720 I was on episode two of the Funnel Content Virtual User Group at Pixelcore. 01:00:06.760 If you didn't see it live, I'm sure they're going to have it on the YouTube. 01:00:11.880 So go check that out. 01:00:16.039 I'm recording this beforehand, but I'm sure it was a lot of fun. 01:00:18.299 So check that out. 01:00:21.579 Those guys do a great job up there. 01:00:24.859 Alright, that's it. 01:00:27.020 We'll be back next time with more Funnel Cut Grill. 01:00:27.900 Later, later. 01:00:30.299