Episode 73
FCG073 - FCPX in Features? (feat. Gergana Angelova)
What if 24 hours after wrap of principal photography you could have a rough “editors cut” completed of a major hollywod motion picture? Gergana Angelova was able to do just that with the help of FCPX and Shot Notes X. The film, Septembers of Shiraz, featured Adrian Brody and Selma Hayek and was shot at Millennium's Nu Boyana Studio in Bulgaria this summer. Her edit was an experiment to see how well it worked and how how much time the process would take. She Also talks about the process she went thru in cutting the Behind the Scenes DVD material for Expendables 3.
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00:00.001: Good morning and welcome to another episode of Final Cut Grill.
00:00.001: Now how is he how is he logging that?
00:00.001: So why don't you come on the show?
00:00.080: And stuff.
00:00.160: I can sort by just the ones that I have installed.
00:00.160: Okay, so he's luckily it doesn't happen.
00:00.160: You know, feature films.
00:00.160: Cut duration.
00:00.160: to prove the workflow, correct?
00:00.160: You know, Premiere is kind of like Final Cut 8, you know?
00:00.160: And I ask people all the time, when I look at the way they organize their files, I say, how did you come up with this system?
00:00.160: And that's really all we want, is for people to be able to join in the conversation.
00:00.240: She works at a studio there.
00:00.240: So she did uh a print interview.
00:00.240: uh edit this film at this studio in B Bulgaria and Sam Messman had gone out to visit her and train her and you know walk her through some of the um
00:00.240: some of the ins and outs of the application.
00:00.240: Sheffield Softworks.
00:00.240: And then you eyedropper the color that you do want to put in, and it basically tracks that blemish and replaces it with a different color.
00:00.240: So go support them.
00:00.240: Thank you for joining me and being part of the little show here.
00:00.240: You're also, unfortunately, the first woman I've had on the show.
00:00.240: I don't know if you ever crossed paths with him, but he spent a lot of time in Bulgaria, I believe, working on that film.
00:00.240: prove the point that Final Cut can edit a mo a whole movie 'cause, you know, people say it can't.
00:00.240: that were working on the I think what is the a what will end up being the actual credited cut of the film, correct?
00:00.240: Yeah, I gotta tell you, normally when I sit down and talk with people, I'm like totally just like, oh, tell me more, tell me more.
00:00.240: And I'm realizing I wish I hadn't read it because I'd rather not know these things and just sort of.
00:00.240: not the fallback, really.
00:00.240: Separate separate from the main script supervisor?
00:00.240: And from Final Cut, once I get my footage, I can export an XML for the event.
00:00.240: Scene take, notes, keywords, and like the camera angle or something like that.
00:00.240: And again, it's only one, two, three, four, five.
00:00.240: So he sits there and easy in, yeah, in my mind, I wasn't even thinking about Video Village.
00:00.240: No, they gave me the raw footage.
00:00.240: The the actual footage off the camera?
00:00.240: Here is my Final Cut project with all of these files, these new files that came in today.
00:00.240: There's a little bit of what I refer to as cha-cha-cha there, in-out, in-out, you know, export, import, import, export.
00:00.240: Right.
00:00.240: You did your cut of the film without the producers intervening.
00:00.240: There's always, you know, the back and forth, and let's try a few other things.
00:00.240: You know, it wasn't like a race.
00:00.240: Excuse me, I just did that for thirty minutes.
00:00.240: he is the manager of the studio.
00:00.240: you know, what you were going to cut in, how would you decide which tool to use at any given moment?
00:00.240: And even though in Final Cut we can make it work too, we don't want to touch the running system.
00:00.240: But you're doing the multicam in Premiere and not in Final Cut?
00:00.240: You know, I've had a lot of people and actually I have an interview later this week, I think, with it's going to be Austin Flack.
00:00.240: And he is a I think he does mostly reality T V.
00:00.240: He uses Final Cut 10 on personal projects, but his his day job is cutting in in Los Angeles and
00:00.240: And he responded back and he said, No, there's some real solid reasons why you want to use Avid for doing large scale television projects.
00:00.240: Okay, let's talk.
00:00.240: I don't know.
00:00.240: that was unbelievable.
00:00.240: At one point or another throughout the day, you have skimmed across something and you go, Oh yeah, there's that thing.
00:00.240: I already had a very solid rough cut.
00:00.240: what I'm doing in the way I think is right.
00:00.240: And nobody else will ever.
00:00.240: Good, good, good.
00:00.240: Probably had not kept up with the advancements in the hardware in the Apple world.
00:00.240: But I still think that Final Cut X is I have said this many times, Final Cut 10 solves problems that editors don't even know they have yet.
00:00.240: And everybody loves their rake until they see a leaf blower.
00:00.240: It's not quite so obvious to watch because there's a there's so much of what we do that's just
00:00.240: and being the big thinkers in the room that are say that can say, hey, I think there might be a leaf blower out there
00:00.240: slower than we would like it to.
00:00.240: of that process and be able to articulate why you do it.
00:00.240: What they care about is the fact that at the end of the day, I do 120 things and my competitors can do 100 things.
00:00.240: Credited as the editor of this movie.
00:00.240: Awesome.
00:00.240: But it's great to hear from them, and we're going to try and play those into the show.
00:00.320: And as is the case, I am just going to log on to FX Factory, the application, real quick.
00:00.320: Very cool and available on FX Factory.
00:00.320: she just finished the most amazing project slash experiment.
00:00.320: first narrative story to tell actually.
00:00.320: And I actually uh finished the whole thing a day after they erupt prod production.
00:00.320: Yes.
00:00.320: more than likely probably helped get you into this job?
00:00.320: which also got shot in Bulgaria.
00:00.320: I have worked with Premiere before Final Cut.
00:00.320: That's something that my it's a producer who is now the actual the actual manager of the studio in Bulgaria.
00:00.320: And it sounds like th that's what this pr producer is doing.
00:00.320: So um so and and excuse me, Your Honor, I'm leading the witness again.
00:00.320: So they had two DIT guys, a logger or a system editor really, and an editor, so four people.
00:00.320: I interviewed Philip Hodgettes.
00:00.320: Okay.
00:00.320: On the last episode of Funnel Cut Grill, I don't I'm if you if anybody missed it, you should really check it out because
00:00.320: 'Cause I feel stupid often, but yeah, go ahead.
00:00.320: So in the next column you have um you have to fill the scene number.
00:00.320: After that, you have another column for other notes, which I would use for putting information about the take if it's the one that the director liked.
00:00.320: Right.
00:00.320: So what I would tell my script supervisor was I wanted to know which characters are in there, which scene is that and which location is that.
00:00.320: So that makes it very easy afterwards in Final Cut.
00:00.320: Okay.
00:00.320: You're sitting in your edit suite waiting for stuff to come to you.
00:00.320: And so somehow he's getting those file names from the monitors from Pharaoh Village.
00:00.320: right into your bin structure or your keyword collections.
00:00.320: Sometimes we're processing data, you know, en masse, you know, in mass quantities at a time, like
00:00.320: Here's my Alexa files, must transcode through resolve.
00:00.320: you know which takes are circled, you know which takes are not good.
00:00.320: But this brings all of that information from the set, and that's really the easiest place to get that information, is at the set.
00:00.320: to me, I do pretty quickly.
00:00.320: So are they still.
00:00.320: I say to be safe half an hour.
00:00.320: And I managed to tell it, which is something I didn't believe I can do.
00:00.320: Done with it.
00:00.320: So they're still worth it.
00:00.320: I was ready with the full movie because I wasn't.
00:00.320: I mean, if something went wrong with the edit, it wouldn't be because of the software.
00:00.320: Yeah, everything they shot is there.
00:00.320: I do use Premiere for this stuff, which is mainly multicam thing.
00:00.320: but to organize different projects more than organizing the files in the project.
00:00.320: got to use at first.
00:00.320: I've used everything.
00:00.320: He uses Avid.
00:00.320: You know, I mean, if you go back to episode one of this show, I said I want to have an open, honest, and level-headed discussion about these things.
00:00.320: Scott Simmons, who is a great resource of knowledge because he knows Final Cut seven and ten very well.
00:00.320: I actually do quite well, but if I if I had to jump back and forth, it would not be good for me or my clients.
00:00.320: But I just know that I'm better off just focusing on one tool.
00:00.320: What other opportunities do you think will come to you because of this Final Cut X experiment?
00:00.320: So it's it's an actual service that our studio can offer now.
00:00.320: So how was what was it like having Sam come in and train you?
00:00.320: I mean, he knows everything about Final Cut.
00:00.320: I didn't know so many things about about editing at all.
00:00.320: It's so easy to get lost.
00:00.320: I had twelve hundred files in my final code project.
00:00.320: I I need an hour of cool to put on the DVD or whatever.
00:00.320: telling me what he wants.
00:00.320: It's a fun process because you know, typically you have, you know, camera people who
00:00.320: And just watching all those all those stars bullshitting around, it's fun.
00:00.320: Final Cut VII was really I don't know what the phrase means, but everybody always says long in the tooth.
00:00.320: And you walked out into your back yard, and there were leaves that had fallen off the trees, and they were all over your back yard, and you wanted to gather the leaves up so that you could dispose of them, you would use a rake.
00:00.320: But until you've seen the leaf blower, Rake is pretty good.
00:00.320: And we've been making movies, you know, we've been editing digitally with Avid for 24 years, I believe.
00:00.320: And so nobody's nobody seems to well, not nobody, but not enough people are complaining that the current workflow
00:00.320: Maybe twenty, something like that.
00:00.320: And then there's the people that say, Well, I could explain it to you, but it would take a while, and that's the person I really want to talk to, because they've obviously given it some thought.
00:00.320: Yeah, you have to you ha I would challenge everybody to take anything that they've always done a certain way and re-examine it and try to break it down to the base elements.
00:00.320: another job on another software.
00:00.320: And I think that's where the real value comes as an editor, because the producers that I work with, they don't care about the intricacies of my workflow.
00:00.320: Well, let me tell you, during this project, um d September Shiraz with Adrian Brody and Samo Hayak, this movie.
00:00.320: And it was shot over a guy's shoulder in his suite.
00:00.320: And, you know, it's like night and day, night and day, and there's a lot of times when he's sitting there waiting for the computer to do something, or he's eating his lunch while he's watching down a scene, or whatever.
00:00.320: standing in a way in a protective stance to protect themselves, don't realize that there's so much work out there.
00:00.320: You're and I haven't talked to Sam about this.
00:00.320: But I mean, it's a great story.
00:00.320: I'm very up for it.
00:00.320: So, um, very interesting.
00:00.320: Please go to the Digital Cinema Cafe website, and on the right-hand side, there's that little green tab.
00:00.320: Also, go to the iTunes, leave the comments and stars.
00:00.320: I know, 'cause we're better at it.
00:00.400: And I go check out fcp.
00:00.400: And it's the easiest, best way to manage your plugins.
00:00.400: Okay.
00:00.400: assembly of a feature film that got shot in Buiana, which is in Bulgaria.
00:00.400: What was your connection?
00:00.400: DVD series of yoga.
00:00.400: he was having you cut the film in Final Cut 10 as a proof of concept, so to speak.
00:00.400: Um the project I mean, not the whole movie apparently, but the rough cut.
00:00.400: there is always a battle to get the knowledge from the set to the edit suite.
00:00.400: logging information from the set into the edit.
00:00.400: In the next column, I don't know if I speak clear.
00:00.400: Copy in final cut automatically.
00:00.400: footage in the evening, I would set it up to transcode in Resolve overnight.
00:00.400: You know, 112.
00:00.400: with the rough cut.
00:00.400: Obviously, you've had some interaction with them.
00:00.400: he's trying to do this experiment for, to see if this workflow is working actually.
00:00.400: to watch.
00:00.400: it's it in it are starring um Adrian Brody and Salmo Hayek.
00:00.400: dramatic movie and it has this long actors' reactions, which I didn't cut out because you you never know what the director would like to say.
00:00.400: that uh how did I say it?
00:00.400: And so I'm not afraid.
00:00.400: Yeah.
00:00.400: before it starts.
00:00.400: His name is Yuriv Lerner.
00:00.400: Let's take the time and the money and the expense to hire you to do this so that we can show people.
00:00.400: Awesome, because you know, the first time he he was in Bulgaria around the expendables.
00:00.400: project, the behind the scenes project of expandables, was actually my first big thing to edit.
00:00.400: that you have to build a story from because there is not a story because it is a documentary type of thing
00:00.400: Sam was actually very good at preparing me for doing this and coaching me through it.
00:00.400: So 'cause anyway, I have so much footage that that I can't even watch all of it ever.
00:00.400: watching everything, I'll never be able to cut anything.
00:00.400: choose some good moments just from guessing what can be good.
00:00.400: You know, the assembly a day after shooting.
00:00.400: You know?
00:00.400: you know, you're not going to get it.
00:00.400: Video files, where do you put your animation projects?
00:00.400: And I think it's I th if you ever catch yourself in the situation of, ugh, I don't know, I've always done it this way.
00:00.400: I didn't overwork myself at all.
00:00.400: uh for thirty days, but I worked seven days for fourteen or sixteen hours and you know, I went crazy.
00:00.400: Of him cutting a half-hour show.
00:00.400: All right.
00:00.480: finished the whole assembly of the movie for thirty days, which is great because the shooting was thirty days.
00:00.480: In the same time with the expandables thing, I started learning final code.
00:00.480: For ten days.
00:00.480: And they were cutting in Funnel Cut 10.
00:00.480: So I had I had actually a script supervisor on my site that was also part from the script supervisor of
00:00.480: probably something else more, but I don't remember.
00:00.480: Of this day, and then import the XML again into the ShotNotes app.
00:00.480: is to match the file names from the XML and the file names from the CSV file.
00:00.480: The names of keywords, and sometimes it's trimming frames off of things.
00:00.480: I have on multiple occasions had people go, Hey, w would you consider cutting my film?
00:00.480: Because if you just had a day a day's worth of dailies to kind of sift through, you don't even know what you're looking at.
00:00.480: It would take a little bit less than we ex just than it just took to explain it.
00:00.480: Ah, that always it to me, anybody who knows those keyboard shortcuts, it's a huge level of relief for me because now I know I'm talking to a true professional.
00:00.480: I I was done um what is today?
00:00.480: We had talked about how you were sort of the test case, you know, in the background.
00:00.480: And I think he was amazed and pretty excited of the result.
00:00.480: He uh is not the actual produce producer of this movie.
00:00.480: You know.
00:00.480: We've been using it for three or four years already.
00:00.480: We had four cameramans shooting every day, everywhere.
00:00.480: And can you imagine how much footage this is?
00:00.480: By all kinds of keywords and names of the files and everything, so I could actually edit.
00:00.480: able to do anything like this.
00:00.480: my little image for how things have to be organized.
00:00.480: And I'm gonna kill somebody right now.
00:00.480: Yeah, to be able to find stuff quickly, it's great.
00:00.480: looking like going through the footage fast forwarding, you know, and being able to
00:00.480: So that's what I knew.
00:00.480: I think is cool, then show it to him and get his feedback probably once in a week or once in two weeks.
00:00.480: probably one of the most epic Ipique movies ever.
00:00.480: a very expensive one, and it looks like an expensive one because we had all those cameramans shooting everything at any time
00:00.480: And actually a part of it was shown in Cannes this year.
00:00.480: so much fun in it as the EPK the audiences are up for a good treat.
00:00.480: You know, they're all interested in the process of filmmaking, so there's going to be some great footage, you know.
00:00.480: there's a lot of the user interface and a lot of the workflow that is actually very much the same.
00:00.480: You know, you've you have proven here with the um Adrian Brody Selma Hayek movie that
00:00.480: It's almost intangible, you know?
00:00.480: Because this rake is not cutting the job right now.
00:00.480: Is bad because, well, I don't understand.
00:00.480: Is there a way to do this differently?
00:00.480: I don't want to do this.
00:00.480: And I think that there comes a time when you've got where you have to challenge the norm and you have to say, what can we do different?
00:00.560: Okay, so um I was hired to edit um full
00:00.560: You're my first guest from Bulgaria.
00:00.560: Okay.
00:00.560: Oh, yeah.
00:00.560: maybe trying it on the side, using it on the side, because they see the potential and
00:00.560: the other notes, I make my file searchable by keywords and by text.
00:00.560: So this file I can import in keynote in yes, not keynotes, short notes in this little app that generated the template.
00:00.560: Then it's mostly copying and pasting stuff.
00:00.560: And out comes a new XML that you import back into Final Cut, and it's going to merge all of those keywords and notes from the script supervisor
00:00.560: and other additional information that you require from this script supervisor.
00:00.560: At that point, all you have to do is filter down through your data.
00:00.560: Oh, um for me, cutting the movie is is the best thing ever 'cause it was it was a great story.
00:00.560: And the next thing would be that he sent it to the producers of the movie.
00:00.560: Yeah, it's not it's not the software.
00:00.560: It's um in our studio, every every time I get a job is the the like the day
00:00.560: Yeah, I think my mind did 'cause uh oh my god, that was
00:00.560: For I I would get him in the editing room for ten minutes, and in those ten minutes I had to see
00:00.560: So, yeah, it was a great experience, and I'm very proud of this project.
00:00.560: Premiere, and at the time it was CS5.
00:00.560: I can't remember what I did.
00:00.560: where it's good to step back, and it's good to re examine, and it's good to look at a problem from a new perspective with fresh eyes and say,
00:00.560: Uh I don't know.
00:00.560: Okay.
00:00.560: An episode of if I thought about it, I might be able to remember what it was.
00:00.560: And it it covers about a twenty day period, I believe, maybe of sixteen or eighteen days.
00:00.560: And so anyway, I I look forward to the day when you are traveling around the States doing your lecture tour.
00:00.640: Great music, great purchasing experience.
00:00.640: Um this is um my first feature film ever and it's my
00:00.640: He knows Sam from the States and he got him to set up a whole system, a whole hardware system in the studio and to teach me final code.
00:00.640: Tell me a little bit about how you and your script supervisor work together in terms of getting those notes from the set to the edit.
00:00.640: which generates a template for you, which has it looks like a spreadsheet
00:00.640: And then, of course, you enter there everything that you would like this file to be keyworded with.
00:00.640: and to export another XML and import it into the final cut and have all the information from the CASV file
00:00.640: proxies or whatever I want for the project and work with it.
00:00.640: I think with anything, and I've said this many times, is that editors are creatures of habit and process.
00:00.640: You know, I have been on multiple occasions, and ever since I sort of started getting involved in the digital cinema world of filmmakers
00:00.640: And so before I hit record, we were trying to set up some some Skype stuff.
00:00.640: Best part was that.
00:00.640: And he said he watched the whole thing, which was, let me tell you, three and a half hours.
00:00.640: Super expensive movie we are shooting.
00:00.640: I mean, this guy, he uh he was the producer of the EPK stuff.
00:00.640: That he likes what I'm doing and I'm in the right direction.
00:00.640: You know, and there's a lot of seems like there's a lot of freedom to be able to express yourself, and yet you're not completely left hung out to dry.
00:00.640: And um well at the end it end it it's actually a pretty cool EPK movie.
00:00.640: if it's too much information about this project and about me.
00:00.640: So you know how I have you used Premiere?
00:00.640: this part where you don't get stressed out and you don't get overworked is very important for proving the point because yeah, I could finish the movie
00:00.640: Of a guy, and I'm going to say this, and everybody tweets it.
00:00.720: I was given her name by our friend Sam Mestman, and he's like, Dude, you gotta talk to Gergana.
00:00.720: Wow.
00:00.720: Yes, there was another editor who was working with um everybody else, like the director and producers, and he's the actual editor of the movie.
00:00.720: Alexa?
00:00.720: Yeah, everything that saves time is is good.
00:00.720: And that's a valid answer, but it doesn't address the real issue.
00:00.720: With editing a movie.
00:00.720: Because I'm a little bit more efficient and I'm getting more done in a day, and I'm doing it maybe even less stressed than the other guy.
00:00.720: 'Cause probably you can do that with any other software.
00:00.720: Chuck is the TV programme.
00:00.720: Thank you so much for taking the time to chat.
00:00.800: He worked.
00:00.800: Um, he what do you mean?
00:00.800: how do I say this?
00:00.800: Yeah, I wouldn't imagine I can do something like this without him teaching me, not just anybody, but him teaching me.
00:00.800: Were you working with a producer who was helping you get through that?
00:00.800: But anyway, we will stop this line of questioning at this point.
00:00.800: So, it's a very well-entrenched workflow, and people expect it to take that long.
00:00.880: Maybe next month somebody will tell me, you know what?
00:00.880: Are there any things you you'd like to see changed?
00:00.880: Certainly, if you're not an editor, you're not going to understand it.
00:00.880: Well, you know, somebody showed me how to do it this way.
00:00.960: Neither have I.
00:00.960: It was me.
00:00.960: Notes like what location it's shot on, or what characters participate, or whatever you actually need as information
00:00.960: For this file, so you can search for it easily after it's in final cut.
00:00.960: CSV is a is like a that's like a an Excel or it's it's a spreadsheet formatted file.
00:00.960: In terms of your personal choice, if you had to sit down today between Premiere and Final Cut 10 and you got to decide
00:01.040: Amazing.
00:01.040: This is interesting because I think that what happens with Final Cut X a lot is that there are pockets of people in larger organizations that are
00:01.040: And at the end of the day, he sends me a CSV file.
00:01.040: Before we actually hit the record button here, we're doing this early in the morning so that Gergana can do this at the end of her day in Bulgaria.
00:01.040: Right, and you know, three and a half hours unless you're doing Dances with Wolves Director's Cut, that's probably not going to be the final
00:01.040: Yeah, um the thing is that there are people who uh also work in the in this project, except me, and they know only how to use Premiere.
00:01.040: And so yeah, it's good to talk to those people.
00:01.040: I mean, it's quite the experiment.
00:01.040: you can work at a pace that is kind of unheard of.
00:01.120: Some of Pianier.
00:01.120: So first of all, I hate to look at script script supervisors' reports because I don't get it.
00:01.120: It's oh my god, it's so much easier.
00:01.120: like um it has a few columns.
00:01.120: And a lot of people are like, oh, no, that's totally a 20-day job.
00:01.200: Oh, this movie has plenty of that.
00:01.200: The card comes to you, or the files come to you from the DIT.
00:01.200: You don't want them to hate me?
00:01.200: So I would say, uh I just did my cut.
00:01.200: They've actually thought through their workflow and they will be able to articulate why they do it some way instead of just, oh, I don't know, it's just I've always done it this way.
00:01.200: to say I want to do this as an experiment.
00:01.200: And there should be more female.
00:01.280: Um I've done very little of that.
00:01.280: Okay, I gotta say, that's pretty cool.
00:01.280: Okay, so it sounds like he's he's trying to think about it.
00:01.280: I now I know who to send them to you, to you.
00:01.280: But I'm also very interested to see how Gergana does on Funnel Cut X using ShotNotes X and the whole workflow, the Sam Messman workflow, if you will.
00:01.280: Because for example, for the yoga stuff that we're editing, because I work in this company that produces many, many yoga videos, there is a system that is already set up and it's working.
00:01.280: And I'd love to talk to you.
00:01.280: Four cameras just for the behind the scenes project.
00:01.280: Yeah, where if you have questions you can fall back on somebody.
00:01.280: And I think that, again, that's what we have budgeted.
00:01.360: what the experience they had was, but they said, oh, yeah, the customer support was great.
00:01.360: Like what?
00:01.360: and the enthusiasm of doing this kind of stuff, we also have the people who are actually capable to do it.
00:01.440: It's so much.
00:01.440: And I'm talking about mostly like at the finder level.
00:01.520: So the other team, that's a more traditional setup, obviously, and that's sort of the fallback or
00:01.520: Okay.
00:01.520: Yeah, that's very cool.
00:01.520: And it was really stressful for me at at first.
00:01.600: Oh, wow.
00:01.600: My script supervisor would write circles.
00:01.600: the producer who was doing the experiment.
00:01.600: And I had made a statement on the show a few months ago, I think, and I said, according to Austin, erroneously,
00:01.600: I don't get offered to do a job a month earlier, so I have time to consider it.
00:01.600: And there are interviews that you have to cover up with Bro stuff.
00:01.600: Maybe it was on this show.
00:01.680: And I don't know how that went 'cause the company is now releasing releasing the expendables, so so they have a lot to deal with.
00:01.680: So um if you could if you could get into um the back door at Apple, and you could go find the guys that are programming the software
00:01.760: So, makeup artists, here's how it works.
00:01.760: That is the had always been the intended workflow and path that the producer wanted to take.
00:01.760: Okay.
00:01.760: You did your cut of the film without the director intervening, correct?
00:01.840: Now let's talk a bit about how you got to there.
00:01.840: I I know because Sam has sent me some cheat sheets here.
00:01.840: And a rake is a pretty good tool.
00:01.920: Good morning, Gagana.
00:01.920: So so you're you're working with the actual uh a copy rather of the camera master files.
00:01.920: Your final cut, and then you take the CSV file.
00:01.920: Yeah, no, no.
00:01.920: Right, right, right.
00:02.000: So at this point, I want to go to the interview now.
00:02.000: the file that's from the camera.
00:02.000: Because I think Sam should be bringing you to NAB to talk about your
00:02.080: I had doesn't sound like a very fair fight.
00:02.080: So the data is coming off of the Alexa.
00:02.080: Have you had a chance to talk to the avid guys?
00:02.080: There's other factors that are determining that Premiere is why you want to do the yoga pieces in Premiere.
00:02.080: Well, yeah, yeah, yeah.
00:02.080: He was actually busy with many things on the production too, and he can't he he couldn't spend much time with me.
00:02.160: And if I was better at my job here, I would be able to tell you the name of the studio.
00:02.160: I was trying to get this information before, and when Sam actually introduced me to how FCP does it now
00:02.160: Is he jotting that down on a pad of paper, laptop, iPad?
00:02.160: for being able to cut as soon as possible, I would I would prefer Final Cut.
00:02.160: Because I'm going to say this for the tenth time, but the organizing I'm a very organized person.
00:02.160: Well, I would love to have 30 days to work on one thing like that or 20 days.
00:02.160: All right.
00:02.240: And Philip Hodgetts runs a company called Intelligent Assistance.
00:02.240: Whoever gets done cutting first, they get to have their cut in the middle.
00:02.240: I wouldn't bother them to learn something they didn't want to.
00:02.240: There's a video that was released um sometime in the last month, and I know you've been a little busy.
00:02.320: Right.
00:02.320: I'm really glad we got to talk with her.
00:02.400: Sounds like there's going to be some people very upset with you.
00:02.400: So I sort it by that.
00:02.400: Yeah, and to be fair, I mean mainly just because I've talked to people and I've, you know, I pay attention.
00:02.400: So he wants to bring post-production as a service in our studio.
00:02.400: Okay.
00:02.400: How do I say this?
00:02.480: And so anyway, we're going to hear all about that.
00:02.480: So so how how much did how much time does all of that CSV, XML, LMNOP stuff take you at the beginning of the day?
00:02.480: I said uh that it's ridiculous that people are still using Avid.
00:02.480: Maybe it was on the other show.
00:02.480: So sorry, Sam.
00:02.480: That was a full interview.
00:02.560: Ah, okay.
00:02.560: Okay, this is this is really fascinating.
00:02.560: It's just I've always done it.
00:02.640: I realize I'm not going to change an industry.
00:02.640: And I'm not sure he knew what he wants.
00:02.640: That's more than my age.
00:02.640: This was just an experiment to see how it worked.
00:02.720: We've always done it this way.
00:02.800: It's like six or eight, six or seven columns of data.
00:02.800: Right.
00:02.800: So it's I mean, I commend Yuri for having the the foresight to say
00:02.800: Right.
00:02.800: I talk to people all the time.
00:02.880: Uh we talked about a lot more stuff than than what is in the print interview.
00:02.880: You've never done any narrative, and by narrative you mean here's the script, this is what they're going to say, find the right parts, glue them together, right?
00:02.880: Yeah, I know.
00:02.880: Right, right.
00:02.880: See, and this is all on Twitter.
00:02.960: Correct.
00:03.040: No.
00:03.040: I'm not getting paid by Apple, so nobody's going to yell at me from Apple because I talk to somebody who uses Avid.
00:03.120: Yay.
00:03.120: And and that's the thing, like a rake is slow too.
00:03.120: Oh, okay.
00:03.200: That's very interesting.
00:03.200: I've known Sam for a couple of years now, and to be able to sit down and have Sam Messman teach you Final Cut 10
00:03.200: Are they still working on it?
00:03.200: And set up the workflow.
00:03.200: No, I can't.
00:03.200: And let's face it, for you know, we've been making movies now for over a hundred years.
00:03.200: Have a great day, and thanks a lot.
00:03.200: This has been very enjoyable.
00:03.280: But at least, like you said, the first assembly is done, and now we can start trimming it back.
00:03.280: Edited.
00:03.280: I don't know.
00:03.280: And Yeah, yeah, clearly.
00:03.280: Um so what would I do is just cut whatever
00:03.360: So check it out.
00:03.360: And that was my first thing to do in the studio.
00:03.360: I should probably know since I spent an hour talking to him.
00:03.360: I have very fast hands and brain in the moment I get something.
00:03.360: But it would usually take me fifteen minutes.
00:03.360: So I would get pretty good multitasking with
00:03.360: I think it's fascinating.
00:03.440: It's actually kind of a a dream job.
00:03.440: Yeah.
00:03.520: Thanks for having me.
00:03.520: They're out in the field shooting a bunch of data on their camera set.
00:03.520: Oh, okay.
00:03.520: Okay, so not much time.
00:03.520: Yeah.
00:03.520: So they are not ready with I am with what I am ready.
00:03.520: Very cool.
00:03.600: This is episode zero seven three with Gergana Angelova.
00:03.600: co and boom, she's on the cover of fcp.
00:03.600: I'd love to get ten days of training from Sam.
00:03.600: I haven't really had the interview yet, so I don't have all the details.
00:03.600: It's hours and hours every day.
00:03.680: It's very cool.
00:03.680: Um and then uh so how did w
00:03.680: So, anyway, that's wonderful.
00:03.680: Yes.
00:03.680: No, no, I got it.
00:03.680: I've I haven't spent much time on film sets.
00:03.680: I don't know.
00:03.680: And I'm not I'm not saying it because I made it.
00:03.680: And I ask them all the time, how did you come up with this system?
00:03.680: So I think
00:03.760: Okay.
00:03.760: Oh, Avid.
00:03.760: What is his?
00:03.760: And until you really get inside it and give it a fair shake, a fair shot, I think a lot of people.
00:03.840: What date is today?
00:03.840: But if you went back in time, say fifty years.
00:03.920: It's not like you walked in with the printed DVD package ready to put on the shelf.
00:03.920: It's not that Final Cut 10 couldn't do a yoga video.
00:03.920: Well, I think this is all part of the process.
00:03.920: And it's better that way.
00:04.000: Good evening, Chris.
00:04.000: No, but but but that has always been the daunting part of the process.
00:04.000: I, on the other hand, I'm not that advanced that I can bounce back and forth.
00:04.000: Well, that's the point.
00:04.000: I would leave earlier some days.
00:04.080: I've I've on our other show that we do, Digital Cinema Cafe, we had Chris Marino on the show.
00:04.080: Yeah.
00:04.080: We have to prove that it works and that we have not only the setup
00:04.080: Yeah.
00:04.080: Those things help the show rank better, and when the show ranks better, more people find out about it.
00:04.160: Okay, so first I got hired two years ago to start working on
00:04.160: So and with ha having the keynote the keywords and the
00:04.160: I look for the good takes, lay that out in the timeline, and then you actually just get to cut the scene.
00:04.160: This is your cut.
00:04.160: You'll be the credit editor for whatever super
00:04.160: So And and it's nowhere near all of my years.
00:04.160: Like where do you put your sound files?
00:04.160: I know that one.
00:04.160: Yeah, there should be.
00:04.240: Oh, wow.
00:04.240: Okay.
00:04.240: Right.
00:04.240: Then it was pretty much the same as Final Cut VII.
00:04.240: Nice little tool.
00:04.240: I've always done it this way.
00:04.240: And he's got his two monitors and he's got his laptop and there's a big screen on the wall where you can see his cut.
00:04.320: fx factory.
00:04.320: Wow.
00:04.320: Yes.
00:04.320: So so obviously you've had some interaction with
00:04.320: Well, we're doing the whole thing in Premiere because it's um
00:04.320: Yes, it's pretty good.
00:04.320: And to get this source of knowledge in in my editing room is
00:04.320: Um that's it.
00:04.400: It didn't happen too many times to me in this process, which was amazing.
00:04.400: I need those 20 days of work on my calendar this year.
00:04.400: If you have a question about something in particular or you just want to give us a bit of advice, we would love to play that into the show.
00:04.480: And number two, and this just happened to be this way, this is not why you're a guest.
00:04.480: So why don't you tell me briefly what it about the project you just finished?
00:04.480: Okay.
00:04.480: So here's the trick.
00:04.480: I got it.
00:04.480: And I'm like, obviously, we're not going to have this conversation 140 characters at a time.
00:04.480: Wow.
00:04.480: So um th uh the the the expendables behind the scenes
00:04.480: It's obviously.
00:04.480: Amazing.
00:04.480: That's it for this episode.
00:04.560: Here's one.
00:04.560: You have a little bit of blemish on somebody's face, you select the color that you don't like.
00:04.560: So, and then, how long have you been editing?
00:04.560: And in the first column you have uh the name of the file.
00:04.560: And I just want to be fair to the process.
00:04.560: Uh, let me think.
00:04.560: Yeah, and that's the bottom line is there are many things that determine a workflow.
00:04.560: So I have to find the balance between um between
00:04.560: One of my things is, like you, I'm very adamant about file organization and keeping my jobs organized and stuff.
00:04.640: Oh, no, it's a pleasure.
00:04.640: And sometimes it's little bits of XML, and sometimes it's down to
00:04.640: Right, right, right.
00:04.640: So So you're you have a workflow established, probably bringing in stuff from After Effects, et cetera, et cetera.
00:04.640: It's one thing to sit there and go, Look, I'm doing a little demo in a trade show booth.
00:04.640: Well, not really, because he was too busy to answer my question.
00:04.720: That's not my job.
00:04.720: I never know.
00:04.720: I just made you buy a ticket from Bulgaria to Las Vegas.
00:04.720: And congratulations.
00:04.800: Okay.
00:04.800: Okay, so so let me see if I got this.
00:04.800: Yes.
00:04.800: So, pretty much he would always say, Great job, and then give me some notes, and then I would continue doing.
00:04.800: It can be.
00:04.880: Well, I don't usually, but this is one of times I do.
00:04.880: So the only reason it's three and a half hours, you guys shot too much.
00:04.880: I think it's the first time in history of movies.
00:04.960: But what is great about it is that I did it on Final Cut and I managed to
00:04.960: So you did have a little help, and that's actually, I think, the most interesting thing.
00:04.960: So this was this guy's job, to enter this information while he's on set.
00:04.960: Like thirteenth, yeah.
00:04.960: The the other team?
00:04.960: Okay.
00:04.960: He just wanted something cool and probably funny and exciting.
00:04.960: It's good at, you know, scraping all the leaves up into a pile, then you can put them in a bag and dispose of them or whatever.
00:05.040: I was just talking to somebody the other day, and I don't know what the
00:05.040: And I have actually gotten multiple comments or complaints from people going, How come you never have any women on the show?
00:05.040: And I was like, You know what?
00:05.040: I'll tell you.
00:05.040: It's like, okay, so you're not even thinking about it.
00:05.040: And frankly, you know, I don't know if you know this, but historically, film editors were always women.
00:05.040: Duh.
00:05.120: I know that you had done some other stuff around the studio.
00:05.120: So I knew that.
00:05.120: So from Alexa, you always have to transcode, I believe.
00:05.120: Oh, hold on.
00:05.120: How do I say this?
00:05.120: I have used Premiere a little bit.
00:05.200: So you say you've never cut a feature before.
00:05.200: He's experimenting, so to speak.
00:05.200: So in this column, you put everything that got recorded on camera, the name of the file.
00:05.200: How's he doing that?
00:05.200: Meanwhile, the script supervisor is sitting there on his laptop, clickety, click, click, taking notes about all these different things.
00:05.200: Oh, that's clearly an awful feeling in an edit when
00:05.200: So it's um both
00:05.200: You've always done it that way.
00:05.280: And his solution is a utility called Lumberjack.
00:05.280: So then they
00:05.280: Right.
00:05.280: He is the first person to watch the movie after I did.
00:05.280: Oh, wow, cool.
00:05.280: Um, I would love oh, here's the thing.
00:05.280: Because chances are you'll be able to find a better way of doing it.
00:05.280: Yeah, and that'll be fun to see.
00:05.280: And congratulations.
00:05.360: It's called Makeup Artist.
00:05.360: com.
00:05.360: And I had to get up really early to have the time zones match up.
00:05.360: And obviously, you know, they're they're going to want to see it because that's how you decide what you keep, what you throw out.
00:05.360: I mean, I uh I think my head would explode.
00:05.360: Yeah.
00:05.360: Oh, dude, it's this.
00:05.440: Before we get to that, I want to mention our sponsors today.
00:05.440: Okay.
00:05.440: So, I mean, we all know that, you know, once an editor gets done with a scene or a film or whatever.
00:05.440: Yeah, no, but this is a rough cut.
00:05.520: And then I learned Final Cut last year for right before the expendables thing.
00:05.520: Um three weeks, I think, earlier.
00:05.520: Yeah.
00:05.520: He's a producer.
00:05.520: You can do it with Movie Maker probably.
00:05.520: Thank you, too.
00:05.600: You'll install an app on your machine.
00:05.600: Four men, grown up men, to one 22 years old girl.
00:05.600: I'm just an editor who sits there clicking on stuff all day.
00:05.600: It's very forward thinking of this guy.
00:05.680: And the last thing to believe is that I could do it one day after the erupt production to be
00:05.680: It would be because I'm unexperienced.
00:05.680: I mean, it's it's high profile.
00:05.680: But the one of the reviews was um if the actual Expendables movie has
00:05.680: Very interesting.
00:05.760: And the next thing was doing the EPK, the behind the scenes of the Expand Boost 3
00:05.760: I have notes.
00:05.760: And well, not actually only at first, but it's the amount the amount of footage
00:05.760: It is, it is, but it does it slowly
00:05.840: So on a laptop, it's I give him the template that's generated by the software, and he fills it up for every day of the show.
00:05.840: I am so everything that becomes automatic
00:05.840: So
00:05.840: So so for the experiment, you won't actually be credited on this.
00:05.840: There is some great footage.
00:05.920: Yeah, I thought that it would be great if you didn't know anything about it.
00:05.920: I gotta I gotta finish a few explosions.
00:05.920: So, um
00:05.920: And the shooting was sixty days.
00:05.920: Thanks a lot, and we'll see you at the end of the week with another episode of Final Cut Grill.
00:06.000: And he has multiple tools and gizmos to be able to get
00:06.000: You'll explain it after me.
00:06.000: So at any rate, the end result is that you have all your files organized by scene and take.
00:06.000: I don't I don't know how to do that.
00:06.000: A leaf blower is a lot quicker.
00:06.000: And I got to hand it to her boss.
00:06.000: I know some of you have sent in messages, and sometimes I don't get to 'em.
00:06.080: And I'm going to point out an application a plugin that I like.
00:06.080: Okay.
00:06.080: You pretty much know everything about these files with before you even look at them.
00:06.080: Are they excited about this?
00:06.080: You love it, and it's not there.
00:06.080: I would you know, I was actually handling another project.
00:06.080: I feel like a male chauvinist pig, but welcome.
00:06.160: Yes.
00:06.160: So obviously, that's a lot of
00:06.160: And so in an attempt to fi and it had been like three years since it had been upgraded and I I was just getting frustrated.
00:06.160: Hello?
00:06.240: Great.
00:06.240: So I'm a little a side note.
00:06.240: No, no.
00:06.240: Exactly.
00:06.240: And I think that in a lot of ways, Famil Katen is sort of like a leaf blower.
00:06.320: co.
00:06.320: But no, I know that he worked very close with a second unit doing like helicopter shots, like drone shots.
00:06.320: Sam got to Bulgaria to teach me.
00:06.320: Okay, we'll let the boys do their little avid cut over there.
00:06.320: I was just kind of surprised.
00:06.320: Like I would the the expandables
00:06.320: I just freak out that I don't have this shot, it got lost
00:06.320: So if I spend my day
00:06.320: Okay.
00:06.320: Where do you put your you know
00:06.400: So I don't know, maybe that a problem with their code.
00:06.400: I had this picture, this guy running around with his laptop, looking over the camera guy's shoulder.
00:06.400: I was just no, I was hiding in my room, not telling anyone what I'm doing.
00:06.400: I just want to be sure that you're saying that there's other factors in
00:06.400: Yeah, it's evolved quite a bit more beyond that.
00:06.480: And Sam did send me, I think it was an interview that you did for FCP Works.
00:06.480: So let's see how Gergana does over here.
00:06.480: So then you have a column for keywords.
00:06.480: And you said I said, Yeah, check the Skype preferences.
00:06.480: And in any project, I have to organize many, many, many things
00:06.480: A lot of people claim you know, we've talked about this on the show
00:06.480: And once you see a leaf blower, you look at the rake and it looks like, you know, a caveman tool by by comparison.
00:06.480: And I tell you, using the ShotNotes X seemed like it worked just fine.
00:06.480: That's it for this episode.
00:06.560: I got an email from our mutual friend Sam Mestman, and he said, You got to talk to Gargana.
00:06.560: So then at the end of the day, that
00:06.560: And you sort of pour that XML and the CSV file through ShotNotes X.
00:06.560: So it's um you know, it's a dramatic um
00:06.560: And it's the important thing there is to organize stuff.
00:06.560: Bye.
00:06.640: So the other team l talk let's talk about the other team of people.
00:06.640: And there's three answers that people give you.
00:06.720: She's twenty two years old.
00:06.720: But essentially what she was done is she was hired to
00:06.720: You're going to love it.
00:06.720: So, um
00:06.720: How did you swing that?
00:06.720: It was fun.
00:06.720: Oh, it was
00:06.720: And if it didn't come out in the interview, you know, Gergana is not going to be
00:06.800: How how has he w w what's his take on this?
00:06.800: And then after after all, I got to look through all of it.
00:06.800: I used it quite a bit back in 2010 before Final Fat 10 came out because
00:06.800: You should remember this.
00:06.880: So anyway, I was like, oh, very cool.
00:06.880: So I don't know, maybe there's That's fa yes, I think he was DIT or something.
00:06.880: Now, are they doing anything special with the files?
00:06.880: And so those files then become the files that you import into
00:06.880: And it's perfectly organized, renamed
00:06.880: Gotcha.
00:06.880: But he's going to come on the show and
00:06.880: Or was it just on you?
00:06.960: It's a new Buiana Film Studios.
00:06.960: There is one little app called ShotNotes X.
00:06.960: So some people will say
00:06.960: Girgana, thanks again.
00:07.040: Okay, I was done exactly one month ago.
00:07.040: It's not like
00:07.040: At the end, after cleaning from the shots that I'll never use
00:07.040: And one of the one of the reviews I don't know if that's
00:07.120: Okay.
00:07.120: Primarily the name
00:07.120: Yes.
00:07.120: You know, it's um it's just it was huge and it was very stressful, but
00:07.120: I don't know why they even say that.
00:07.200: And it is by the people at
00:07.200: So
00:07.200: How was the training that you got from him?
00:07.280: Right.
00:07.280: So he's sitting there in Vi Video Village.
00:07.280: So it's pretty impressive that he watched it and he didn't fall asleep.
00:07.280: So by habit, you have always done it a way.
00:07.280: That's what we've planned on.
00:07.280: Thank you.
00:07.360: It's got some softening and whatnot, and here and there.
00:07.360: I have no idea, to be honest.
00:07.360: And there comes a time.
00:07.440: You'll translate it in proper English.
00:07.440: You're not working with proxies.
00:07.440: Oh, first you import the files, and from there you export an XML that says
00:07.440: Hi, I'm done.
00:07.440: And um
00:07.440: It's just you know, and maybe that's a limitation on my end.
00:07.440: Then you have to change it, probably.
00:07.520: You have multiple distinctions here.
00:07.520: So
00:07.520: Yeah, I've done a few little behind the scenes things in the past, and it's a fun
00:07.520: You're just following, you know, you're like a lemming following the crowd.
00:07.600: You'll set up an account
00:07.600: This is the first editor's cut.
00:07.600: Let's just say it was great.
00:07.600: Yeah, you know, and I think that, and I think that, and I used this analogy recently.
00:07.600: And it's great that there are people like Sam out there and Yuri who are having these conversations.
00:07.600: I want to remind you a little bit of uh housekeeping here.
00:07.680: But as I finish the interview today,
00:07.680: And in the next column you have to fill the number of the take.
00:07.680: But yes, it sounds more complicated than it is actually, because it's just a few clicks.
00:07.680: So for some projects, I still use Premiere because I have
00:07.680: I've seen things that nobody else has.
00:07.680: Anyway, it was shot with a cheap camera.
00:07.760: Was that something that the studio set up?
00:07.760: So w now, were there other editors on this particular film that you just finished?
00:07.760: Or it's down to, well, let me scrub around and hopefully they put a slate in front of the shot on this on this tech.
00:07.760: So I think that's what
00:07.760: I think, didn't you you just said you use for the yoga things, you're still doing it in Premiere.
00:07.760: It can.
00:07.840: It's all politics in LA blah blah blah.
00:07.840: He knows Premier very well and he knows Avid very well.
00:07.840: But until you really get inside it and put it on and give it a go
00:07.920: I also want to thank our friends at Premium Beat.
00:07.920: And what it does
00:07.920: Easy peasy.
00:07.920: I'll be back after lunch.
00:07.920: And some of them I wish I never saw.
00:08.000: Our sponsors today are FX Factory.
00:08.000: So you're saying, okay, I'm working on scene
00:08.000: So what was what was the most enjoyable part of the process for you?
00:08.000: So the guy who hired me to do that
00:08.000: So at some point I stopped asking and just did what I wanted to do.
00:08.000: Anyway.
00:08.080: I mean, I I don't I don't do big narrative
00:08.160: I'm not saying that
00:08.160: So
00:08.160: Uh but it was um it was a behind the scenes it time lapse.
00:08.240: Credits, CGI and everything.
00:08.240: That's after the cleaning up.
00:08.320: And this is forever a problem.
00:08.320: Just like
00:08.320: But I think that the people that are
00:08.400: She lives in Bulgaria.
00:08.400: And in the morning, I'll I'll get the
00:08.400: What's next?
00:08.400: It's just a matter of what you
00:08.400: People don't expect you to finish
00:08.480: Like, is it really organized?
00:08.480: I just get the job, and if I want it, I take it.
00:08.480: It's ver it's fascinating and it's actually very um
00:08.480: And then you and then he's like, Oh, I need that shot and you start looking for it and you're like, Ah, I can't find it.
00:08.480: You have plenty of footage to deal with.
00:08.480: And it's going to go to the people that are the most efficient.
00:08.559: Like
00:08.560: That's what we do.
00:08.560: Well, it's it there is a lot of the
00:08.640: Now I want to tell you about Gergana
00:08.640: What was the film shot on?
00:08.640: Yeah.
00:08.640: And can we say his name?
00:08.640: I'm just I just think it's a very
00:08.640: Thank you so much.
00:08.720: And I'm like
00:08.720: I personally, I really sort of have to focus.
00:08.720: So that's sixty days for camera people.
00:08.720: But it was old and it wasn't using
00:08.800: But at any rate, it got solved right away.
00:08.800: So it
00:08.800: Um but um so
00:08.880: Correct.
00:08.880: And I want to learn about that.
00:08.880: No, no, you may not have to change it.
00:08.880: That's what people have come to expect.
00:08.960: Okay.
00:09.040: Yeah.
00:09.040: And I'll tell you, the unions protect their people.
00:09.120: Well, they did.
00:09.120: They either say
00:09.200: Okay, so how many people were on your team?
00:09.200: By the way, that was let me tell you.
00:09.200: And if it was if it wasn't Final Cut, I wouldn't ever be
00:09.200: I forgot to mention this to Sam.
00:09.280: You're not working with dailies that have been processed.
00:09.360: What was the thing that you had finished beforehand that
00:09.360: Okay, so this is A zero zero blah blah blah blah blah.
00:09.360: Right.
00:09.360: But I love hearing both sides of the story, and I think that
00:09.360: I just want to know.
00:09.360: Clearly, you should be doing this.
00:09.360: And so the experience in the edit suite is more enjoyable.
00:09.440: I should not write the question.
00:09.440: And then
00:09.440: The file name is on the monitor.
00:09.440: Are they
00:09.440: Awesome.
00:09.520: Number one
00:09.520: Okay, so how many people were on that team?
00:09.520: Yes.
00:09.600: What other platforms have you worked on or with?
00:09.600: Yeah.
00:09.680: Yes.
00:09.680: So maybe it's Final Cut 9 now.
00:09.760: And you go, Okay, well that Command Comma, and I'm like
00:09.760: And it was big because
00:09.760: It's
00:09.760: You are the first woman on the Final Cut Group.
00:09.840: Yes.
00:09.840: So what I mean that they are not ready is.
00:09.840: There's definitely going to be some input to
00:09.920: We process data.
00:09.920: And I think that
00:09.920: Because when you have so much footage
00:09.920: This has been a pleasure, and we'll have to talk again some day, okay?
00:10.000: But as an aside
00:10.000: Does he have a name?
00:10.000: Sam is a great teacher.
00:10.080: Okay.
00:10.080: I mean it's a very actorist movie.
00:10.080: Have you used the the multicam editor in Final Cut yet?
00:10.080: Wow.
00:10.160: This was the a side experiment.
00:10.240: Right, right.
00:10.240: So what I what I do is when I get the
00:10.320: But we're going to talk with Gergana and Jalova out there in Bulgaria.
00:10.320: Most of my stuff is very short, very fast turnaround.
00:10.480: Let me look at I'm just going to
00:10.480: But at any rate, um and there's like four different modules in it, so it's
00:10.480: Yeah.
00:10.480: I was teaching another person doing
00:10.640: And I've had conversations with, like,
00:10.720: They have been very generous to support what we're doing here.
00:10.720: I'm just um I was just there to
00:10.720: If something is out of
00:10.800: They're still premium beat fans.
00:10.800: I know that in the work that I do.
00:10.800: I am literally recording now.
00:10.800: And I think it never really is.
00:10.800: And you know, I was probably be being a bit of a blowhard about that.
00:10.800: Can I use his name?
00:10.880: And then any given week, he might cut on all three or four of those.
00:10.880: But this is much more than that.
00:10.880: So I had all that organized
00:10.960: Um
00:11.040: You're doing just fine.
00:11.040: Okay.
00:11.120: And he was doing
00:11.200: Later, later.
00:11.280: And once I focus, I
00:11.360: How many people were working with you to help you?
00:11.360: I feel stupid when I look at it.
00:11.440: Okay.
00:11.520: Never again will I prep for an interview.
00:11.520: They're busy right now, yeah.
00:11.600: I s I'm not entirely sure.
00:11.600: He's typing it in.
00:11.600: Right.
00:11.760: Yeah.
00:11.760: Right, right.
00:11.840: But.
00:11.840: Yay!
00:11.920: She's doing the most.
00:12.000: Yes.
00:12.000: The problem is, is it it's a little bit more
00:12.080: Right.
00:12.160: So, um
00:12.240: Okay, hold on, click, click, click, click.
00:12.320: And she finishes
00:12.320: And
00:12.400: Then you have a column for
00:12.400: So
00:12.400: You've actually done the whole thing.
00:12.400: I'm super happy about it.
00:12.480: Well
00:12.560: Actually, right
00:12.560: He liked it.
00:12.560: Right.
00:12.640: Click, click, click.
00:12.640: So um
00:12.640: But that's not the point.
00:12.880: Okay.
00:12.880: But
00:12.960: So I can import it there.
00:12.960: It's just
00:13.280: I think he I think
00:13.360: It's um
00:13.360: So
00:13.600: Okay.
00:13.600: So I went and I tried
00:13.839: But
00:13.840: Yeah.