Episode 74
FCG074 - Avid in TV (feat. Austin Flack)
Why is Avid entrenched in reality television? In the interest of being fair and hearing both sides of every story, I invited Austin Flack to explain from the view point of a hollywood based reality TV editor why he thinks Avid will not soon be replaced as the editor of choice. We talk a lot about the role of an Assistant Editor and what he means to a television editor. Chris gets fired up about cutting music at the subframe level and w e go deep into the trim controls in Avid verses FCPX and Chris probably alienates a LOT of editors with one of his statements. This is a VERY interesting show but definitely checkout some of the links in the show notes.
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Featuring
- Chris Fenwick
- Austin Flack - telegramfilm.com - @austinflack
- Austin Flack - @austinflack
Transcription
00:00.001: How much is your loop on that?
00:00.001: You need an XSAN with metadata management and everything.
00:00.001: Thanks again, Premium Beat, for supporting what we're doing.
00:00.080: Full sweet.
00:00.080: The thing called scene one.
00:00.080: Three frames out of the same.
00:00.160: On Twitter he had tweeted something about, you know, final cut just sounds like a bunch of good stuff for the assistant editor, and I don't care, I'm an editor.
00:00.160: Oh, I like it.
00:00.160: But these Peace Prize winners thought it was glorifying violence.
00:00.160: Feature films, you might have to move to Louisiana or Canada.
00:00.160: they do have a lot of similarities after the first week and then you then I and I preferred I did prefer Final Cut 7 strongly.
00:00.160: And then I had my friend Steve Miller, who's a premier editor.
00:00.160: So by shared storage, what you mean is there's going to be a single ingest point.
00:00.160: Or hits ho that hits the home I don't know, that slams the basket.
00:00.160: C break, the first commercial break.
00:00.160: In the bin window, that shows it's red for locked instead of green.
00:00.160: a package that I need or if I'm doing like a flashback and I need like a bit of that that thing to flashback to, I can set an in and out, I can pick my tracks that I want.
00:00.160: Final Cut 7 assistant editor because it's like, oh, I got that down.
00:00.160: It's kind of a failure of the process if I have to string out a scene.
00:00.160: to the library structure.
00:00.160: gigabit Ethernet on a gigabit switch.
00:00.160: Mr.
00:00.160: you know, he had the the U.
00:00.160: Somebody else can at their desktop open up your project and watch it changing?
00:00.160: Which is great.
00:00.160: is I would say, Oh, you if I need you to work on the tail end of my time line.
00:00.160: Well this is a very complicated show on Final Connects, but it wouldn't be as I totally get what you're saying because if you go back to you know you were in high school, but like the the mid nineties in the Macintosh world
00:00.160: That's the stuff where you get into a real fluidity and it becomes relatively simple.
00:00.160: Forward and whatever, and I'm rippling.
00:00.160: When you're rippling a clip or you're rolling a clip, you get the four up, but you're still getting dynamic trimming.
00:00.160: On a Mac.
00:00.160: You're not playing, you're not watching the edit, you're looking at a still frame, and you're like, That still frame is where I won.
00:00.160: Script sync is a process that is magical and I don't really know how it works, where all of our interviews are transcribed and they get connected to the video in a way that I can click on a word in the script.
00:00.160: Script sync.
00:00.160: I can make people say virtually anything word for word, pick words.
00:00.160: But Phrase Find, I had an assistant guy who I would go like, Kaida, I need him to say this and he would phrase find and he would listen to uh listen to them and be like, Oh, that's
00:00.160: Phrase find is analyzing, again, magically, is analyzing the spoken.
00:00.160: That's kind of a disambiguate word.
00:00.160: Scriptsync or phrase find because they're working out the payment, but whatever.
00:00.160: For the kinds of stuff we do, it is literally it is we we spend more time in scriptsying sometimes than we spend editing.
00:00.160: That's the thing that really I've really wanted to do with this show.
00:00.160: And I'm not saying when, but there will be a day where we look back and go, oh my God, can you remember when we used to cut this stuff on Avid?
00:00.160: Final CutX or Adobe are great choices.
00:00.160: I did cut a T V pilot on it and I got very frustrated.
00:00.160: Time, he would have to hit the.
00:00.160: What I didn't want to do with Austin was get into the workarounds, because I think most of what he talked about, not everything.
00:00.160: I'm not talking to the people that do, and they don't want to listen to me.
00:00.160: Final Cut Pro Virtual Users Group that the Pixel Core folks, Alex Lindsay, and team up there in Petaluma put on.
00:00.160: And I got a lot of nice tweets afterwards saying, Hey, it's Fenwick, I feel like I know you.
00:00.240: And you'll hear more about that in a few moments.
00:00.240: And I think I maybe jabbed him back and he contacted me again and then I said, you know what, let's talk about this.
00:00.240: So I said, Austin, come on show.
00:00.240: At anyway, thank you, Premium Beat.
00:00.240: Audio watermark, premiumbeat.
00:00.240: At any rate, that's premium beat.
00:00.240: Hello?
00:00.240: on a treadmill.
00:00.240: We had an interview with Zach Arnold, who is doing the thing called Fitness and Post.
00:00.240: I like it.
00:00.240: what was it called?
00:00.240: it was too violent or something.
00:00.240: a big deal for MTV right now.
00:00.240: The paths do diverge in LA.
00:00.240: then we we worked on a reality show together as assistants and he's still assisting.
00:00.240: At the bottom of the ladders, the bases of those ladders are very close together.
00:00.240: Semicolons in like text graphics.
00:00.240: Since I got into T V it has primarily been avid.
00:00.240: I realized about a year or so into being in on Avid shows that I was more I was faster on Avid and I was more it was a more fluid process.
00:00.240: Start from the beginning.
00:00.240: I would say the primary reason that most editors and post people in LA working on big T V shows
00:00.240: It is not that dissimilar.
00:00.240: And I listened to the show to learn how to use it better.
00:00.240: People are clinging to Final Cut 7 or they're jumping to X or Adobe.
00:00.240: It just wasn't very common to work on even Final Cut 7.
00:00.240: takes it into the end zone.
00:00.240: And we will have the exact same project open.
00:00.240: can be adding the new footage from last night and graphics and new music.
00:00.240: And that is all happening in the exact same project because of the bin structure.
00:00.240: 10 changes to my timeline.
00:00.240: Yeah, we say yeah, Final Cut X with the timelines, naming them.
00:00.240: Or in Final Hat 10, us Final Hit 10 people would call it the library.
00:00.240: So you open it somehow magically in the Avid world, it locks that out.
00:00.240: or something and they'll lose, like, oh no, the bin was locked.
00:00.240: extra things and it was so awful.
00:00.240: And it's the new graphics and the new media, and story producers are making string outs for me so they can just yell down the hall or send me an email or an instant message or come into my bay and say
00:00.240: It makes it very simple to keep track of all this stuff because, weirdly, even though I have it's not exactly easy to use, it's a lot easier, especially for story producers and story editors who aren't so technically savvy.
00:00.240: It's a lot easier than anything in the Finder.
00:00.240: And I don't want this graphic or something, and then I can just lay that into my sequence.
00:00.240: And it'll be so clean, and everyone can work at the same time.
00:00.240: I was an avid assistant once, but these days, man, I could not do that job.
00:00.240: I don't know.
00:00.240: So I am just editing.
00:00.240: And so when I'm editing, I find Avid much easier, much faster.
00:00.240: And I've been talking for a while, but I do, I can tell you more.
00:00.240: But the fact of the matter is, it works actually quite well.
00:00.240: The editor in Edit three, for sake of the way things were organized, she was cutting on media that was in Edit Two's room on a Pegasus R six.
00:00.240: The Edit 2 editor was editing off of media that was in my room in Edit 1 just because that's where it happened to be.
00:00.240: was a perfectly legitimate shared storage system and that I used.
00:00.240: shared storage and lots of editors than Final Cut X is.
00:00.240: Not not exactly.
00:00.240: And then I'd say, you just work down there.
00:00.240: was very interesting because in nineteen ninety five or six, Windows ninety five came out.
00:00.240: Okay?
00:00.240: It's totally different.
00:00.240: On the large television level, Avid is the TiVo of the DVRs.
00:00.240: The second thing would be, and this is a little harder to explain, I think, but point two.
00:00.240: It's a sort of like there's a layer above the storage media that is a sort of a clearinghouse of sequences and media and projects and metadata and whatever, like that is
00:00.240: I don't know, like a good analogy, but that's it's the step, it's the level above that keeps everything for everyone, like available and up to date, and keeps track of versions so you don't overwrite someone's work.
00:00.240: This is, I said from the beginning, I want to hear, you know, clear, level-headed, and whatever discussion.
00:00.240: There's a lot of there are frustration points for sure, but when I'm editing and especially using dynamic trim, I am so happy.
00:00.240: But actually in Resolve 11, the editing, they did demo a pretty fantastic dynamic trimming that apparently you can do in Resolve 11, although I don't think I would prefer it to how Avid does it.
00:00.240: and I press space bar, the edit point has changed.
00:00.240: So I roll it forward with the L key and I'm just watching footage.
00:00.240: Edit point moves and it keeps looping 'cause it might not have been perfect.
00:00.240: Four frames to the left.
00:00.240: And one of the reasons is because I know I could put the music in the primary storyline and maybe I should do that.
00:00.240: Yeah, you you're gonna get a whole lot of pushback from me about editing music in Final Cut 10.
00:00.240: I think editing a subframe is really great, for sure.
00:00.240: I don't think there's any reason they can't have subframe and also have dynamic trimming.
00:00.240: In one, two, three, four, out.
00:00.240: But when I'm putting on but when I want to adjust the music edit, like it's not quite perfect.
00:00.240: Birthday cake with a chainsaw.
00:00.240: Probably like dynamic trimming.
00:00.240: When he got to Adobe, he's like, Oh, you guys got to get the trimming down and you got to, you know, and I've seen him talk about it and I and I watch it, and I kid you not.
00:00.240: Playing around in the audio only, are you doing it at the video frame level?
00:00.240: Like this is usually when I'm really getting into dynamic trimming, I'm in a Verite scene where I'm trying to stitch together.
00:00.240: terribly, that I'm trying to stitch together and make it seem like it's the most fluid thing in the world if I'm doing really good editing.
00:00.240: Timing in the sequence, but I'm you're changing the outgoing frame out point, the ingoing frame in point, but the beginning and end of those
00:00.240: Respective clips is staying the same in time.
00:00.240: So, a second and a half, that's three seconds of time times the number of times you audition that.
00:00.240: The little feature when I do the edit of it, um, because I actually own the software.
00:00.240: Dynamic trimming for it.
00:00.240: for this show.
00:00.240: And that it doesn't show you frame offsets.
00:00.240: Which brings me to the third, and probably it should have been the second, the best feature of that.
00:00.240: But usually, I'm like, I'm in charge.
00:00.240: Uh, dynamic trim and to be able to listen to it and be like, Oh, that sounds a little weird.
00:00.240: I know what I'm doing.
00:00.240: We are not making people say awful things about each other.
00:00.240: The biggest reason why Avid is not going anywhere anytime soon is because of script sync.
00:00.240: Five different versions of where he says the word and.
00:00.240: Oh my goodness.
00:00.240: And it takes me to that word in Avid, which is amazing.
00:00.240: Occasionally, we have to make people say things more catfish.
00:00.240: it would take you to it would actually open up your timeline and take you to that frame in the timeline.
00:00.240: You know, I think one of the things that's really interesting, um and we had a guy on the show, Julian Ferris, and he had
00:00.240: We are almost never working full res.
00:00.240: What he would do is he'd sit in his suite and he would take his iPhone.
00:00.240: I've had multiple very pleasant conversations with Stephen, and he's actually taken a lot of brunt of my wrath over the last few years as well.
00:00.240: Stephen came from Avid.
00:00.240: are really valid.
00:00.240: I think that there are unique things about 20 people working on one half-hour episode of TV.
00:00.240: And in this business, over the 30 plus years that I've been in it, I've seen some tectonic shifts in the way we work.
00:00.240: I I was I was uh trying to bite back my uh my comments when you said, you know, I don't do th I don't do that assistant stuff.
00:00.240: It is more expensive than Final Cut X because you don't own it, but it is a less it is more approachable now.
00:00.240: you need to know Avid at least for the next five years or six years.
00:00.240: I frankly though, I think Adobe is the real threat.
00:00.240: I mean, Final Cut Server didn't do anything.
00:00.240: you know, they just listen to marketing or that's just they just like that it's pretty.
00:00.240: Apple's survival does not depend necessarily on capturing the very high level pro professional T V market.
00:00.240: Yeah, so one thing I didn't mention is I do a fair amount of stuff on the side, and if you go to www.
00:00.240: nonprofits and side projects and a lot of documentary work.
00:00.240: So I think one of the things that I took away the most, that I took away from that interview, the thing that I thought was most interesting
00:00.240: Most of what he talked about was either stuff that I think is coming, like he talked about the phrase find.
00:00.320: And I said, you know what?
00:00.320: and misconceptions that people have about the software, and to have great conversations.
00:00.320: There are parts of this equation that are outside the control of even Final Cut Pro.
00:00.320: For stepping up and sponsoring the show and believing in what we're doing and what we're talking about.
00:00.320: And as you search, remember, you can search for genres and moods and even you can search by the artists if you get to learn some of the artists that are better.
00:00.320: 'Cause I always feel I just I really like it when I'm cutting to a piece of music that that I that I personally enjoy.
00:00.320: So um this is uh first of all, one thing.
00:00.320: you know, skeptical, like, oh, people who stand just don't have a good chair and that whole thing.
00:00.320: If you've ever sat in an edit and just felt foggy, health changes that.
00:00.320: You get a little fatigued at the end of the day, but I do think I feel better overall.
00:00.320: But um anyway, uh that is yesterday's okay, wh when is this so this episode will air next Friday.
00:00.320: And so, like in the middle of the interview, when he did start talking about stand-up desk, I said, That's it, I'm standing up for the interview.
00:00.320: the very act of standing is part of what motivates you to focus.
00:00.320: Kind of thing I'm doing, which have you heard of catfish?
00:00.320: It's a different it's not necessarily a different skill set, but it's definitely a different focus.
00:00.320: And then in high in college, so one slightly funny story is is USC, big film school, they had a big
00:00.320: And I went in for this one day like mandatory session and I just 'cause I was using Premiere now on my computer at home, my PC
00:00.320: And I would just try just try to click on the clips to drag them around and it didn't work.
00:00.320: And so I just kind of gave up on Avid because obviously you can click on clips.
00:00.320: Finally, my first paid editing job was for this nonprofit called Invisible Children.
00:00.320: And I, you know, basically bluffed and said, Yeah, yeah, I used to have it in college.
00:00.320: For several years, because I was just like, It's way more modern, which was true, and it's Apple, which I like, and all this stuff.
00:00.320: Okay, so that's basically what we want to talk about.
00:00.320: your problem from the outside and see if my tool of choice can actually do it well.
00:00.320: Even our supervising producers, they all have Avid.
00:00.320: So I've been on shows where probably there were you know, I've been on shows with 11, 12, like close to 15 editors.
00:00.320: Yeah.
00:00.320: But then they got they were furious and they got rid of it in like a year because they didn't see where Apple was headed.
00:00.320: Although we'll start a sh we'll start a show at the beginning with two or three editors and we'll kind of winnow down to one sort of editor who kind of takes it
00:00.320: Basically, we are constantly jumping all over the place.
00:00.320: Literally had me touching five different projects of his in one day.
00:00.320: I would say that my the big first pitch I would say is that we imagine we have an episode right now I'm counting episode 105, the fifth episode of this show.
00:00.320: Yeah.
00:00.320: Okay, so we cannot work on the same time lines.
00:00.320: all of the subfolders in there will show are on the finder.
00:00.320: it becomes a little file on the if you were to go into the finder and go into the server and find the folder, there's a folder for episode 105 and you open it.
00:00.320: If when I had a prod uh bin open, no one could even look at it.
00:00.320: And they were doing a sneaker net thing, you know, where and and because you can't share projects even, they're like pulling they're walking around with little hard drives, with little projects, or little
00:00.320: You know, in Final Cut 7, I actually did work on a show called Brew Dogs.
00:00.320: And all I do is if I save my project, which is sort of a refresh, all of a sudden these bins pop up in my project and everyone else's project.
00:00.320: As soon as I do something, someone else has access to it.
00:00.320: People don't understand how that works, or version control can be a huge issue.
00:00.320: Sequences into the source window from somebody who's working on a project, but I want to steal some stuff from their timeline.
00:00.320: There's a weird way in where you can switch your timeline from what you're currently working on, which would be the record window, to the source window.
00:00.320: On the other side, you can pick out some stuff that you want to take and then you can just overlay it into your project.
00:00.320: to even I have an avid at home and I cut an avid at home, but I'm a little bit iffy on the best way to get media in and the best way to like render out.
00:00.320: which is great with metadata and t and uh keywords and all these wonderful things that you can do
00:00.320: Like, yeah, I think that Final Cut X, I think there's some really beautiful tools there, but that virtually that's not ever what I'm doing.
00:00.320: Just by the simple pro like the real, like when I'm in a timeline doing a cut, that's when I think Avid is much more fluid.
00:00.320: it's certainly partially a function of the hardware configuration that you have.
00:00.320: And then I was down in edit two and I was actually cutting stuff that was local to me.
00:00.320: Yeah, yeah.
00:00.320: It really isn't.
00:00.320: Thousand times better than a Comcast DVR, and yet if you go down it feature for feature, bullet for bullet, it's the same thing.
00:00.320: There's a lot of weird mojo going on behind the scenes 'cause it's all this version control and it's this database.
00:00.320: Because we can all have the same project open, because the bins can be updated, my project can be updated while I'm working, everything sort of live.
00:00.320: Story people are wonderful.
00:00.320: If people know how wonderful dynamic trimming is.
00:00.320: It's a lot about not taking your hands off the keyboard.
00:00.320: Now this is more of a preference, but as an editor, when I'm just editing, when I'm not looking like trying to do what I would consider more of an assistant editor job.
00:00.320: But in Avid, I can play the edit as I'm changing it, and I change the edit with the JK and L keys.
00:00.320: Watching, and you can do the thing where you're like, where does it feel right?
00:00.320: Well, I don't really know, but I don't see any reason why Final Cut X doesn't realize that dynamic trimming is a beautiful thing.
00:00.320: Dude, you gotta.
00:00.320: For that outburst there.
00:00.320: My judgment is that it you there is an there is an art, man.
00:00.320: Minus 10 frames.
00:00.320: And so if I want to roll the let's say I want to roll a clip, I'm like that clip, the timing's fine, but that clip I come in too late.
00:00.320: It just seems like there's an abstraction level.
00:00.320: Play, you might look at the frame and be like, That's the frame.
00:00.320: If you go onto the Internet, there is a thi there's an application called Screenflow.
00:00.320: And I would love to have you demo for me, you know, with with an awkward L cut, J cut, and show me and you can narrate into your Mac
00:00.320: virtually all like probably 80% of what I'm doing often seems at least like I'm breaking audio sync in in Avid on purpose.
00:00.320: Constantly breaking audio sync on purpose and have it virtually every moment of my life.
00:00.320: It's just so much cheating.
00:00.320: Yeah, and it's and so the what actually happened is virtually never what I want, or what the actual way it looks.
00:00.320: But that can involve chopping almost and often sometimes word for word to try to make them make this say this fast, sexy, snappy sentence.
00:00.320: It is amazing because you can read the transcripts of the interviews and you can say, I just need them to say, I mean, on my current show, it's a lot of like, I just need them to say,
00:00.320: Like stupid bitch, or something.
00:00.320: So phrase find is analyzing the audio and is finding sort of guesses.
00:00.320: In Premiere, there was the feature where you could upload a file, people could comment on it, and when you got the comments back as the editor, if you clicked on their comment,
00:00.320: footage?
00:00.320: And I think I've been fair.
00:00.320: Yeah, now and I also I kind of have to wrap up.
00:00.320: Unbeknownst to me, I had seen a demo of his and I didn't even put two and two together.
00:00.320: And I've seen the way this guy works, and he is not making iMovie Pro.
00:00.320: You know, clear, level-headed, open conversation where I've been trying to just say to people, I understand where you are because I was there.
00:00.320: and say, I can't believe I didn't like that app in the beginning.
00:00.320: So things always change.
00:00.320: They absolutely have to do that.
00:00.320: Yeah, everything's gonna change.
00:00.320: The pe Hollywood, it wants to use the best tool.
00:00.320: Was what he was talking about having multiple people reaching into we're gonna say a project, and this is where it gets really interesting because
00:00.320: But the ability to have multiple people be kind of rooting around in the bin structure and say, oh, I want to watch the timeline that the editor is working on down the hall.
00:00.320: But very interesting.
00:00.320: Anyway, that's it for this episode.
00:00.400: Uh yeah, well I'm a T V reality T V editor.
00:00.400: in high school on this terrible program Avid.
00:00.400: The things in television.
00:00.400: doesn't think that Final Cut X is ready or really frankly premiere is ready
00:00.400: is because of shared storage and multi-seat edits and complicated lots of people.
00:00.400: Basically, at this point for a big environment, and here's the thing: we're not just talking about editors, we're talking about story producers, story assistants, assistant editors.
00:00.400: The big thing.
00:00.400: The issue, even Final Cut 7.
00:00.400: And people can watch my cuts, unfortunately, sometimes, as I'm cutting them because they can open it read-only.
00:00.400: Basically, a lot of people in Hollywood love Adobe, they love Final CutX.
00:00.400: Yes, let me explain.
00:00.400: I think that it's interesting when you say, well, shared storage.
00:00.400: If you leave it outside of the library structure and keep the library structure small, and I've talked about this on multiple
00:00.400: But I thought it was great.
00:00.400: was a frustration.
00:00.400: So that it's not that it doesn't work and it's not that you couldn't if you wanted to If you if you really wanted to you could
00:00.400: interesting, bizarre from the outside, but robust database that can manage these enormous projects and keep the versions in control and make sure that everything stays linked and
00:00.400: You know, either one thing I love that frust one thing that really frustrates me in X is that the in and out points only work
00:00.400: And I don't have to click and drag.
00:00.400: Only reference the primary storyline unless you click on the secondary storyline.
00:00.400: Because I have my track selected and I have it, if I'm in music mode and I want to get rid of the middle of a song, I can play, and then when the section is happening and I'm doing and I'm counting the beat, I'm going one, two, three, four.
00:00.400: No, no, look, what I do, like my added value to television is my judgment.
00:00.400: Everything in television.
00:00.400: like Script Sync and for reality television, it's obviously huge.
00:00.400: I didn't know they don't have it anymore.
00:00.400: I mean, that so weirdly, Avid doesn't own Script Sync.
00:00.400: It's pretty obvious when you start looking at all the pieces of the puzzle that Apple does have and you go, yeah, that's going to happen.
00:00.400: And yet here we have people stomping their feet and say, No, no, no, don't take away my AVID.
00:00.400: For big time TV work, Avid is still virtually the only game in town.
00:00.480: the companies that he works for ways.
00:00.480: Again, in a few months.
00:00.480: 899.
00:00.480: Crammed with all these books.
00:00.480: Well, it was when you were in high school.
00:00.480: And I didn't start it.
00:00.480: because of the shared project structure.
00:00.480: Whole world is a thing that essentially what it becomes is the editor becomes a little bit of an idiot.
00:00.480: Tasks at work that would be considered an assistant editor task.
00:00.480: Episodes now in the last month where you can divert your media and your cache outside of the library.
00:00.480: Zellen, it's not the best way to work.
00:00.480: And it just the process becomes not a real pain in the butt.
00:00.480: And I let's say the audio for now is fine, but I'm trying to adjust the video to get it so that she kind of looks over at him and then we cut to him, or I'm trying to track eyelines or get rid of a blink or something.
00:00.480: I guess I could do a crossfade.
00:00.480: When I'm trying to do when I'm doing music at any avid, all I'm doing is I'm listening to the music and I'm playing it, and then I
00:00.480: Was a Final Cut 7 partisan.
00:00.480: And I, in complicated television environments and the kind of counting I'm doing, am just way faster because I'm because there's a sort of an in a in
00:00.480: Your Max microphone, just say, This is what I'm doing, and see this, and just talk me through it.
00:00.480: Sound smarter and sound like they could talk in a complete sentence and not have lots of us and ahs.
00:00.480: 99% sure I've read it on the Internet, and I happen to know this, and I want to be respectful for things I know that I don't know.
00:00.480: For sharing.
00:00.480: I don't know about any day, but someday.
00:00.560: And he and I said to him, I go, you know what?
00:00.560: Some uh some kind of bigger shows.
00:00.560: A couple days before.
00:00.560: If you think you want to edit television shows, you should you know you might you might need to move to LA if if you want to edit uh
00:00.560: And there we had some deal that USC was always going to have the latest and greatest Avid stuff.
00:00.560: similar thing where I really had to cram because it was a real change of pace.
00:00.560: I wanted this to be a fair and balanced conversation.
00:00.560: And then the individual edit stations, whether they're you know cubicles with headphones or
00:00.560: So that and that comes in later.
00:00.560: It's not like bereft of user error.
00:00.560: The new storyline the new string out is in.
00:00.560: It takes about two buttons to log into the servers.
00:00.560: Got it.
00:00.560: But that's a little big brother.
00:00.560: technical a lot of what makes Avid special, and I would imagine that they spend a lot of their money in R D on is you mean like short bus special?
00:00.560: And it becomes so simple because instead of clicking, and what I think is in Final Cut 7 and Final Cut X, when I'm adjusting edit point with the mouse, I
00:00.560: wonderful because especially a simple version is in a music edit.
00:00.560: 40 second long music bits.
00:00.560: That's the most ridiculous workflow I've ever seen.
00:00.560: And on a show like Catfish, so Catfish has no interviews.
00:00.560: Even though it's real, we have to make things play a little better.
00:00.560: Then that Google Doc would automatically update on his desktop.
00:00.560: He has said on multiple occasions, and I still want to dig into that, that Final Cut 10 is like a drop a pull-down menu away from being what Final Cut Server is.
00:00.560: And look at the things that actually do make financial sense for Apple.
00:00.560: But yeah, I do enjoy the show and it's fun, and I look forward to more episodes.
00:00.640: Good morning.
00:00.640: I think my first show I was an editor on was a Nickelodeon game show that was really simple.
00:00.640: Reality television episodic.
00:00.640: Everybody has access to the same media.
00:00.640: The thing is that Avid's software layer so I know from a previous story that you used to own an Avid.
00:00.640: That graphic and that sound effect, like a package.
00:00.640: Take care of this.
00:00.640: I could select the edit and do like a like move a frame to the left, move a frame to the right, or plus ten or something.
00:00.640: Like powerful but sort of clunky.
00:00.640: is virtually everything, and we use it constantly.
00:00.640: And what he had been doing was taking, and he would sit in his suite.
00:00.640: You know, $1,500 and need dedicated hardware.
00:00.640: It's something I hear a lot with like Apple versus Android or something where people are like those people using iPhones are just brainwashed.
00:00.640: All right.
00:00.640: share workloads with people.
00:00.640: The terminology that Avid uses and the terminology that Apple uses is different.
00:00.720: It's interesting, I think you're gonna like it.
00:00.720: What kind of background did you have prior to like six years ago?
00:00.720: partnership with Avid.
00:00.720: For the type of stuff you're doing, you wanted to kind of state the case that Avid was better.
00:00.720: it never really like unseated there was a it I think it was gonna be adopted by or it was adopted for like a year by Boon and Murray, a big company.
00:00.720: And the other editors are touching my episodes, and it's a bit chaotic.
00:00.720: That's my cut.
00:00.720: Essentially, it just doesn't feel as precise to me, and it doesn't feel as like as kind of simple as it could be.
00:00.720: I do get that.
00:00.720: When you break the link between video and audio, when you really break it, you can't put it back together, which is maddening to me.
00:00.800: I started off as an assistant, worked on some shows and then made the jump pretty quick.
00:00.800: It was called Stars and Stripes for NBC, which was a show that like eight former Nobel Peace Prize winners protested because
00:00.800: Okay, so it's interesting.
00:00.800: Conversation.
00:00.800: It's just Avid is fantastic at huge post-production projects.
00:00.800: So to answer your first question, I am usually not just assigned a episode.
00:00.800: And no one can change it while I have it open.
00:00.800: It's just, it's a lovely world.
00:00.800: So there's always an online editor.
00:00.880: Austin Flack.
00:00.880: So, we don't have the furniture to do an edit, but I'm going to try this at least.
00:00.880: I actually sometimes do a standing desk if the company I'm working for will kind of get their act together and give me one.
00:00.880: You had said, no, no, hold on, man.
00:00.880: Okay.
00:00.880: And they have told you okay, so Austin, you're working on the the first scene, the you know, the first
00:00.880: We share media all the time because we don't put it it's not dedicated to a library like it used to be.
00:00.880: So, but I'm but Final Cut 7 wasn't good enough.
00:00.880: It is sort of a black box from the outside, but it works.
00:00.880: You're not cutting music.
00:00.880: So I get it.
00:00.880: producers say that looks out of sync and I look at them I go trust me it's not well sure but it could if it had a frame offset Avid will tell you it's
00:00.880: Because of dynamic trimming, it's easy to adjust.
00:00.880: And let's just keep in mind that I promise you there will be a day
00:00.880: FCPX Virtual User Group.
00:00.960: And today I'm talking with Austin Flack.
00:00.960: I actually like making my favorites, and a lot of times in s when I have spare time, I'll just go listen to some premium beat while I'm doing other stuff.
00:00.960: Cutting a repeating television show, let's say like that.
00:00.960: Its shared media is great, and the sharing with tons of editors is great.
00:00.960: So yes, you can say it does this, this, and this.
00:00.960: But the user experience is different.
00:00.960: And I can do that, unfortunately.
00:00.960: I don't think Apple has any interest in probably doing that.
00:01.040: I think that Avid is more fluid.
00:01.040: There's a fluidity and a simplicity and kind of an elegance to just be able to use your JK and L keys and just roll it and just watch it.
00:01.040: You're a pretty young guy.
00:01.120: like two tracks of Audio Max, but it was like the cheapest new nonlinear editing system.
00:01.120: Sort of a mythbusters about beer.
00:01.120: I was listening to that when I heard you mention my tweet, and I didn't feel like you had gotten the secret of it, yes.
00:01.120: Okay, so Screenflow is you can download it for free.
00:01.120: Yeah, yeah.
00:01.200: And Lumberjack sounds really fine.
00:01.200: I do think that in a lot of ways, Avid is a dinosaur that is ready to be disrupted.
00:01.200: I really appreciate you taking the time.
00:01.280: You know, another 10 story assists and story producers, some other producers, some assistant, probably like three or four or five.
00:01.280: It's a it's a window into like a slice of time.
00:01.280: I'm going to play it forward.
00:01.280: Fair enough.
00:01.280: No, it's too much.
00:01.280: I think we're going to see something like phrase find or script sync or whatever.
00:01.360: So if you listen to this show and you don't listen to the Digital Cinema Cafe, I'm not trying to cross-promote, but that's the way my life is.
00:01.360: It was a reality show.
00:01.360: How does a, do you, like, are you assigned one episode to cut or how does it work?
00:01.360: That is a that we do not like that.
00:01.360: And and we can all work in the exact we can work at the same time in the same projects.
00:01.360: So Austin, were you the person who tweeted me once recently that said, you know, I've been listening to Final Cut Grill and everything you guys talk about helps the assistant editor?
00:01.360: Yeah, and seven used to do the same thing.
00:01.440: Good morning.
00:01.440: This is called Real Pool Cleaners.
00:01.440: But then when I got my first T V assistant job, it I reality T V.
00:01.440: How much before and after roll do you have?
00:01.440: I'm a professional.
00:01.520: When you say, and I get it, I get it.
00:01.520: No, but it's a feel thing.
00:01.520: I think it is so wonderful to just watch it and to and to it gives you a second to think about it, and then you're like, I think it needs to, I'm going to add five frames.
00:01.520: How'd you do that?
00:01.520: Thanks a lot, Austin.
00:01.520: I think Austin said something about refreshing the timeline so you can see the latest timeline.
00:01.600: I want to hear why.
00:01.600: It's actually very popular in the news right now.
00:01.600: So in most projects, say an assistant editor is trying to get me new music or new graphics or new media.
00:01.600: I realize that you have a mouse and Windows and you have a copy and a paste, and what you're doing is you're marketing at what I call the bullet point level.
00:01.600: Another great example in our current culture now is a Comcast DVR versus a TiVo.
00:01.600: All right, I can try to do that.
00:01.680: S.
00:01.680: That's not the word, but these that word sounds good, that word sounds good.
00:01.680: Don't be so sure about that.
00:01.760: And so, I mean, I don't know.
00:01.760: But usually that's a sports analogy.
00:01.760: Okay.
00:01.760: Which do sound better.
00:01.760: And I think where it breaks down, it's like the sheer number of people that are sharing it.
00:01.760: Apple has sold a million copies of even just Final Cut 10.
00:01.760: The whole time it's doing this play around the edit loop.
00:01.760: And clearly, this is one of those TiVo Comcast things.
00:01.760: I've given you the form.
00:01.840: How you doing, man?
00:01.840: I was doing a night AE job, which wasn't all that demanding, and the other guy kind of taught me what to do.
00:01.840: I don't really know how to do it.
00:01.840: government Department of Statistic Analysis.
00:01.840: A simple version of it is if I've got an A side and a B side of an edit, and two people are talking to each other.
00:01.840: I think you're going to find that you are in the minority there.
00:01.840: Avid has a lot of ridiculous qualities that are from the 80s, but there are but the thing I think I would stress is that like we're not
00:01.840: And there are some giant power user group user things that are like that.
00:01.840: Thanks again for another week of listening.
00:01.920: Go to premiumbeat.
00:01.920: Okay.
00:01.920: I'm not trying to trash them, but they're not editors and they're often not terribly technically savvy.
00:01.920: I've watched people do, it wasn't dynamic trimming, but it was something like that, I think, in Premiere.
00:02.000: Tell me, I will give you, I'll give you the hour.
00:02.000: Wow.
00:02.000: Like, you know, Final Cut, I worked on shows that had Ex-Ans, so everyone had shared media, and it worked pretty well.
00:02.000: Yeah, so how it works is, and what's interesting is this is all happening actually on the finder level.
00:02.000: Like that's I am I am not even usually I'm not even making s the string out.
00:02.000: To defend reality television, usually we're just doing it to make people sound more
00:02.000: Script sync is everything.
00:02.080: Okay, I forgot to do set my mic up the right way.
00:02.080: And we had this beautiful, big, brand new basically computer lab full of Avids.
00:02.080: And so the assistant editor can instantly have it and instantly can start posting it.
00:02.080: There is so much footage in reality television.
00:02.160: I don't have to just be rolling in the edit, obviously, for timing.
00:02.160: It's constant cheating.
00:02.240: And you start clicking.
00:02.240: So what I was saying is, though, that I don't do virtually any at this point.
00:02.240: Right.
00:02.240: And then when you were done, I would open up your project next to mine, go and copy that from the tail end and bring it over.
00:02.240: No, I mean, if I'm if I'm editing something tricky, if I'm editing a scene that was shot
00:02.240: I said, yeah, it's called editing.
00:02.320: Hi, Chris.
00:02.320: Right now, I'm editing a not very interesting show.
00:02.320: But no, no, no, no, no.
00:02.320: You know what?
00:02.320: One thing I did want to say is that it is about the level.
00:02.400: I don't care.
00:02.400: And it's kind of a phenomenon.
00:02.400: I I think it's it's a little bit interesting that you that you title yourself a reality television editor, not just a television editor.
00:02.400: What do you call it?
00:02.400: You're cutting video that actually happens to have some video some audio attached to it.
00:02.400: I was all about it, and I preferred it even in television as a young man, and I'm still a relative young man, and I preferred the mouse, and I preferred clicking and dragging.
00:02.400: So you don't see how much out of sync it is.
00:02.400: I'm the editor.
00:02.400: I want to break sync right now.
00:02.480: We are sharing the project.
00:02.480: I couldn't do it with the the material at work.
00:02.480: Sometimes it's like a blessing and a curse because you can do anything, they want you to do everything.
00:02.480: Apparently, Premiere has been pulling features.
00:02.480: And I hope that they do it, but I think that Adobe might get there first.
00:02.480: I appreciate your time.
00:02.480: And some of the stuff we've talked about, and some of the stuff we use all the time here at our office at Slice Editorial.
00:02.560: At any rate, we'll get into that.
00:02.560: Thanks for getting up early.
00:02.560: And I'm like, bring it on.
00:02.560: Now, I almost said episodic television, but really, I don't know that you would call
00:02.560: I might be mixing terms there.
00:02.560: See, the thing is that I think is funny: when I listen to the show, and I enjoy the show, and I think Final Cut X is not terrible, and I think, and I've cut with it, and there's things I like about it.
00:02.560: They both sound better.
00:02.560: And I know that the Bobzellins of the world would slap me down if they knew the things and the way we work.
00:02.560: Yes, it will cut it, but you're going to make a mess.
00:02.560: Just to get move the scene along.
00:02.560: It's way too much.
00:02.640: You know, and I'm not trying to change his ways, and I'm not here to even change.
00:02.640: Let's now go to Los Angeles with Austin Flack, and we're going to hear why he believes that Avid will never be dethroned in reality television.
00:02.640: I just okay, so I can't even wrap my head around that.
00:02.640: I've done a lot of top chef.
00:02.640: It's really nice for stuff where it's like, if I just needed a graphic, I would just go get the graphic or something.
00:02.640: I'm going to change the edit point all the way to there.
00:02.640: I'm getting toward the end here.
00:02.720: And I can't remember what it was, but I tweeted something or said something on a show, and I think you responded to something.
00:02.720: For the last week, we there's been as a matter of fact, this was really funny.
00:02.720: So I get it.
00:02.720: There's a little bit of verte, and then there's usually a bite, and the music will sting out near the end of the bite for like a little joke or something.
00:02.720: Another that the L cutting brings up another thing that really frustrates me about X, which is that
00:02.720: And I think that in and again, you're working at a different level.
00:02.720: So it doesn't matter.
00:02.800: com.
00:02.800: That's what you mean by shared storage, correct?
00:02.800: When I close it, it unlocks, and someone else could open it and change it.
00:02.800: So I could in Final Cut X, obviously, I could click on that edit and kind of roll it back and forth.
00:02.800: You actually can do it in a secondary storyline.
00:02.800: Yeah.
00:02.800: We are just trying to get them to explain the recipe in ten seconds as opposed to a minute and a half and try to make it sound a little interesting.
00:02.800: It didn't even come out.
00:02.880: Other people are working on different things in it.
00:02.880: If you take your cursor and scrub it down to scene two, will you see the changes as I'm making them?
00:02.880: That's very helpful for assistant editors, especially.
00:02.880: Avid is not easy, like technically speaking.
00:02.880: And that was and that and I think Final Cut 7 was Intel recently with Final Cut X's new update much better at
00:02.880: Yeah, and so I'll roll it forward and I'm just watching it.
00:02.880: I am.
00:02.960: As soon as they do something, I have access to it.
00:02.960: Anything when you're working in the Finder and emailing or and servers, if you had to like log on to a server and upload it, like people
00:02.960: But it actually for at the level that we work, it was working great.
00:03.040: I don't care one way or another.
00:03.040: How are you doing?
00:03.040: Was it a cooking show?
00:03.040: Catfish is the internet phenomenon where you stalk people online.
00:03.040: It was so bad.
00:03.040: Like if you have a semicolon or something like that, it was like every literally everything got deleted.
00:03.040: I did a a few Final Cut VII shows early on that were mostly pretty simple, like s game shows that had like a
00:03.040: You just press a button and it all does it.
00:03.040: Set in and out.
00:03.040: See, he closes his eyes, but then you play the edit, and you're like, Oh, that no, that doesn't work for whatever reason.
00:03.040: If you get into an avid situation, which I think is the only one that really allows you to just sort of control these things on the keyboard, JKL, like you're not even clicking on stuff.
00:03.040: And we will be back next week with a couple more grills.
00:03.120: com.
00:03.120: Well, I know nobody likes it, but everybody's edited that way.
00:03.120: They just they're in their second season right now.
00:03.120: But what I was saying is basically the second part of how I would defend Avid.
00:03.120: What was really interesting about that?
00:03.120: It's cheating.
00:03.120: I don't need it.
00:03.120: And I look for it.
00:03.120: I don't think I would invest in Avid if I was working on a small thing.
00:03.200: You know, Final Cut's okay, but you know, I actually edit television and for
00:03.200: I was a little bit older than you.
00:03.200: Final Cut X, I really understand it.
00:03.200: Avid is, in a lot of ways, antiquated, and there are things about it that I'm like, come on.
00:03.200: But the thing is that for my work, for our work and this kind of stuff, it's.
00:03.200: Because why would you?
00:03.200: But yeah, I mean, it's there's just so much footage.
00:03.200: Oh, yeah, yeah, I forgot about that.
00:03.200: And different ways of working with the libraries.
00:03.280: This is a conversation I would like to have.
00:03.280: It was a line cut from the stage or whatever.
00:03.280: Now Final Cut X seems like it's re basically reached parity with where Final Cut 7 was.
00:03.280: And I find it so terrible in Final Cut X that it's mousing, that you're mousing.
00:03.280: Thanks, Chris.
00:03.360: So today I'm talking with Welcome.
00:03.360: I had I don't know if you heard the episode with Scott Simmons where I gave him a whole episode to talk about the things he didn't like.
00:03.360: That is the most ridiculous workflow.
00:03.360: It's the standard, I think, is like uh second and a half or two seconds or something.
00:03.360: We make people say things that they don't say.
00:03.360: It's less expensive.
00:03.360: And I get it.
00:03.360: What you're looking for is episode two.
00:03.440: But Final Cut VII was w on the show I often hear that, you know
00:03.440: That's what I'm trying to say.
00:03.440: It's valid.
00:03.440: I get that.
00:03.440: Yep, I totally get that.
00:03.440: It's like another company, and there was a problem like Avid, the new subscription model of Avid, I guess, shipped without.
00:03.440: I think they're better at software than Avid.
00:03.520: And then when you want to swap it out, there's actually, I actually have a tutorial on premiumbeat.
00:03.520: I'm trying something a little new.
00:03.520: To get into narrative, narratives there's a lot less work and you have to apprentice for a long time.
00:03.520: So Final Cut VII wasn't the incumbent.
00:03.520: Let's get into it.
00:03.520: I got to move the and a frame back, I got to move this a frame forward.
00:03.600: Avid sucks.
00:03.600: Come on, let's talk.
00:03.600: Yeah.
00:03.600: Another sports analogy that refers to a marriage of kin bask uh baseball.
00:03.600: Now a guy I'm in the suite next to you, probably not, but I'm in the suite next to you, and they've told me to work on scene two.
00:03.600: Number one, I don't actually think that it's exactly true.
00:03.600: So every time I save and they refresh, it's new.
00:03.600: Oh, I don't know.
00:03.600: I'm looking at the waveform in my Adobe Audition, and there's a total lot of you and a lot less of me.
00:03.680: Now, Austin found me on Twitter, and he had made a comment, which I had actually referred to in a past episode.
00:03.680: Okay.
00:03.680: No, no, this is absolutely great.
00:03.680: It feels like I'm in Microsoft Word and the paperclip's trying to tell me what to do.
00:03.760: And what's happening is the wonderful thing is everything's happening at once.
00:03.760: I should be Final Connect X's target market.
00:03.840: I have a question about that.
00:03.840: I got to tell you, they're fantastic because when you said that, it's like, yep.
00:03.840: So I'm watching it again, I'm watching the edit and I'm like, you know what, a couple of frames to the to the left would be better.
00:03.840: I press X, it goes, it ripples away, and the music edit is usually almost perfect.
00:03.920: Pretty good.
00:03.920: But sometimes I'm like, I think he made the right choice 'cause he's uh he's working on narrative stuff.
00:03.920: Yeah, they might want to change the name.
00:03.920: But Final Cut VII was not really a big threat to Avid in Hollywood.
00:03.920: Yes, Mr.
00:03.920: I select that edit, I play it, I'm just listening to music, and I'm just maybe clicking around in like my with my frame back and my frame
00:03.920: When you're clicking and dragging, you're not exactly seeing what frame you drag that out to, and you're not seeing that frame.
00:03.920: I'm going to put a little marker here in case I can't find it.
00:03.920: And right now, Avid is the best tool for these things.
00:03.920: Have a good day.
00:04.000: But I mean, who knows where that's gonna be?
00:04.000: So sometimes people can be working on something and they didn't realize the bin was locked and they weren't paying attention and then they didn't pay attention when they tried to save and it said you can't save.
00:04.000: But that but the trade off is worth it because what's happening is
00:04.000: Cheating is the job.
00:04.000: Now, again, it's on the frame level.
00:04.000: Don't make me like work hard at it.
00:04.000: Yeah.
00:04.000: Avid needs to figure that out.
00:04.000: It's just the interviews.
00:04.000: At any rate, I think that especially with the current bin structure in 10.
00:04.080: And if I have a cut that needs to go out at the end of the day, I don't need to tell anybody about anything because it's in current cuts.
00:04.080: But I would rather the in-and-out points were master in-and-out points.
00:04.080: That's what I think is so weird.
00:04.080: And I don't clearly, since it's a third party, I don't see any reason why it wouldn't be possible for Adobe or Apple to contract with them.
00:04.160: No, no, I get it.
00:04.160: So I'd save my time line, I'd quit momentarily.
00:04.160: The last thing that I want to say that I think is really interesting, and I don't know that this is public knowledge, but I'm
00:04.240: Before we go any further, I just wanna thank the people at Premium Beat
00:04.240: So they just got picked up for season four.
00:04.240: So I, on my current show, I am touching, you know, virtually every episode.
00:04.240: I was working yesterday.
00:04.240: For if there's an error or if to
00:04.240: Just because I may be able to do a few things, what you're saying is that at
00:04.240: What is dynamic trimming?
00:04.240: It's like it makes it so simple.
00:04.240: You can record your screen for free.
00:04.320: No, I'm totally kidding.
00:04.320: I don't know.
00:04.320: No, no, no.
00:04.320: Yeah, well, you know, regardless of Final Cut 10, I just think it's important to make that so in the bin structure of the project.
00:04.320: Because obviously there are bad out of syncs and there are good out of syncs.
00:04.320: It's a waste of space, it's a waste of your bandwidth.
00:04.320: But uh but I yeah, I think what I'd say is if you if you if you're a editor, if you're in an owner operated place or you're a small small production company, I think
00:04.320: Anyway, um go check that out.
00:04.400: But a television series, and I think that might be part of your discussion.
00:04.400: And, you know, Phillips much more precise and exact than I am.
00:04.400: It feels right here, spacebar.
00:04.400: I have been able to do some great audio edits in Final Cut and X because you have the subframe.
00:04.400: I think that's true.
00:04.400: So if people aren't familiar with what Scriptsync and PhraseFund, we have two tools in Avid are
00:04.400: Or they'll say, yeah, remember back when we used to edit on Funnel Cut 10?
00:04.400: It's not more expensive than Creative Cloud.
00:04.400: And I'm like, people generally respond to incentives and are smart and like
00:04.480: Thank you.
00:04.480: They just can open it as read-only.
00:04.480: I think the fact that a story editor and an assistant editor and a producer and the fact that you said
00:04.480: But the fact that we couldn't have the same project open at the same time
00:04.480: I have a favor to ask of you.
00:04.480: And I do that all the time at a much different level where I will say, I'll turn the producer over my shoulder and I say, I need him I need
00:04.480: So you search for a word and it will find you things that sound like that word, which is not as good as ScriptSync, but it's for the verites, so it's not transcribed.
00:04.480: He'd copy it out of there and paste it into a keyword, not a keyword, rather, a marker on the soundbite.
00:04.480: I just don't know if they feel like that's worth it.
00:04.560: Try out some music.
00:04.560: I've been doing it for probably for um six or seven years pr um you know, full time.
00:04.560: Because in Avid, if an assistant editor can just email me or ping me and say the graphics are in
00:04.560: But Avit's taking care of all that.
00:04.560: The whole time it is looping it, and you can adjust the edit with the JKNL keys.
00:04.560: I actually do that all the time.
00:04.640: I don't make another penny either way.
00:04.640: I did a season of master chef, um, a show called um
00:04.640: One of the families from New Jersey got their own show.
00:04.640: Okay, so same project does not mean the same time line.
00:04.640: Now, with all this, there are potential problems.
00:04.640: And so I press save and all this stuff pops up.
00:04.640: And the great thing is it loops.
00:04.640: I can search for it.
00:04.640: It's been great.
00:04.720: So, anyway, that's a disclaimer.
00:04.720: We had a movie, a a twenty minute movie that we were editing with my friends that crashed repeatedly because it turned out you couldn't use
00:04.720: And you know, I learned stuff from everybody.
00:04.720: Yes.
00:04.720: Sure.
00:04.720: But the bi the major takeaway I would say that most people, you know
00:04.720: Because we do a lot of L-cutting.
00:04.720: Um, I will turn on the little feature that shows all the keyboard, the keystrokes that you are hitting.
00:04.720: That's helpful.
00:04.720: And you would give them to me, and I would punch them in.
00:04.720: Yeah, I heard this.
00:04.800: And I gotta say, there were some very interesting things.
00:04.800: And then to log into the project, and you're up and running.
00:04.800: gov, dot com, whatever, numbers that according to the U.
00:04.800: Orwell.
00:04.800: No one was happy with that.
00:04.800: And I've actually blown people away.
00:04.800: That's and doesn't sound right, that's right.
00:04.800: And Catfish, I would like to clarify, is a very real show.
00:04.800: Like you're going to be cutting an Avid and you should know that.
00:04.800: You can find it on the YouTube.
00:04.880: One of the things that Zach said that I had never thought of is he said,
00:04.880: Yeah, I'm familiar.
00:04.880: I just wasn't in the right segment mode or whatever, but I just didn't get it.
00:04.880: And so I can be editing Act One, and the editor down the hall can be editing Act II.
00:04.880: And I'm like, and I'm thinking about the latest upgrades to the
00:04.880: Sometimes it takes me to the three words ahead of it or something.
00:04.880: I mean, this is episode 74, good grief.
00:04.960: It was like Dean Kane.
00:04.960: Because they're paying me a fair amount more than they're paying the story producers to edit.
00:04.960: And all of the PC people said, oh, look, my PC is just as good as your Mac.
00:04.960: I really dislike editing music in Final Cut X.
00:04.960: You know, you're editing at a subframe level.
00:04.960: I know that there have been many times when I have
00:04.960: And on other shows we don't transcribe the verite.
00:04.960: So things totally change.
00:05.040: Thank you for having me.
00:05.040: It was like a Avid it was like iMovie Avid.
00:05.040: So there's a server, the Avid's branded version is called the Isis.
00:05.040: Sorry, I was working yesterday, and the producer I was working for
00:05.040: I think I had done three.
00:05.040: But basically, what's happening is when you open a bin, if I'm the first person to open a bin, it locks to me.
00:05.040: But you know, it was the whole the I realize again.
00:05.120: And then that was actually on Final Cut 7, but those weren't very common.
00:05.120: Yeah, I mean I would probably prefer to be a television editor than a reality television editor, but they are well you can say I tell you what you you can just say television editor.
00:05.120: The first season I cut with them, it was a Final Cut 7 house, which was weird because it had been years since I've been on Final Cut 7.
00:05.120: I'm a pretty tech-savvy guy.
00:05.120: And I think that you should think about it not just that we have access to that media, but
00:05.120: Yeah, yeah, yeah.
00:05.120: Yeah, I get that.
00:05.120: He's just not.
00:05.120: So if people want to find out about your work and the stuff you do, how do they find you online?
00:05.200: You say that Avid will never be dethroned in not broadcast television, but reality television.
00:05.200: Uh last night Alex McLean and I on Digital Cinema Cafe
00:05.200: We're not lying.
00:05.200: I hope they already did because they should pay stories, Script Sync, whatever amount of it.
00:05.280: But we can all, we can break it up by act, we can break it up by scene, whatever.
00:05.280: And when you make a bin, you make a little file that goes into this folder.
00:05.280: And now anybody else who opens it is I'm assuming they're going to get a prompt that says this is a read-only bin.
00:05.280: Is that what you're saying?
00:05.280: All right.
00:05.280: I'm rippling and I'm just playing it, and I'm changing frames a little bit, and it keeps looping.
00:05.280: Disagree.
00:05.280: They're a bigger company.
00:05.360: Here we go.
00:05.360: It's ultimately I mean, really, for me, it's about having great conversations with really smart people
00:05.360: They've been very generous, and I'm going to ask you to please go check out their music at premiumbeat.
00:05.360: Please know Fox News references.
00:05.360: It refers to American football.
00:05.360: I'm not going to drag them through the dirt.
00:05.360: I'm watching over your shoulder.
00:05.360: So I'm watching what the previous frame is, what the first frame is, what the last frame is, whatever.
00:05.360: I'm like, that's when he opens the door.
00:05.360: It is far and away the b oh wait, are you editing on a Mac or a PC?
00:05.360: But yeah, just audio sync.
00:05.440: And like in the first three minutes of the interview, he said something that just absolutely floored me, and he said
00:05.440: My buttons on my user interface are too small.
00:05.440: I totally wanted to hear this.
00:05.440: Because what I'm doing in m if I'm doing a music edit and I need to put a sting on the end of a you know on my current on my current show, we do like thirty
00:05.440: Yeah, no, I had a producer say to me once, if you're not cheating, you're not editing.
00:05.440: Yeah, so much, just endless.
00:05.520: I know that's not right, but on Avid and why you like it better.
00:05.520: I don't really know how to do it.
00:05.520: Even again, for we
00:05.600: Yeah, a library.
00:05.600: But if you add a bunch of editors to a project, you're like, that's an avid project because it will be so easy.
00:05.600: Oh, yeah, yeah.
00:05.600: No, no, no, no, no.
00:05.600: As a matter of fact, Apple's even different than old Apple, Funkhead 7, and we've talked about that at Nausea.
00:05.680: Remember, you can download anything with a.
00:05.680: Yeah.
00:05.680: And then I've done a couple seasons.
00:05.680: And so I was in film school and I was supposed you know, I was taking classes and I was supposed to learn how to use Avid.
00:05.680: There's just, that's beneath me.
00:05.680: I find it.
00:05.680: It was a weird situation.
00:05.680: I see the things you're saying.
00:05.680: Well, there you have it: reality television and the avid.
00:05.760: I'm all over it.
00:05.760: I'm just watching the A side of the cut.
00:05.760: And I agree, subframe would be better.
00:05.760: Apparently they have removed that feature a couple of versions ago, and I don't pay enough attention, obviously.
00:05.760: He'd hold it up to the speaker.
00:05.760: Oh, yeah, because I had invited him to be on the show for a totally different reason.
00:05.760: But I don't know if I would invest in Avid if it was like a small production company.
00:05.840: But uh once you get through that first week and no producer notices that you're you know an idiot, you kind of then you kind of it's you know, there's a hump and then they're all
00:05.840: No, I get that.
00:05.840: So this is a little hard to explain, especially in a great radio holder.
00:05.840: If it takes you five times to find the edit.
00:05.840: So, that is a way to do it.
00:05.840: I think that Adobe had this at one point.
00:05.920: And I was like, this is lame.
00:05.920: Avid has never let go of the throne.
00:05.920: Number two is the actual editing.
00:05.920: You know, I think Siri's going to be able to do that any day now.
00:06.000: All the media for every episode is going to go on one shared server.
00:06.000: It loops forever until I unselect the edit.
00:06.000: I could do something at home.
00:06.000: I think we're going to find something like that.
00:06.000: That would be great.
00:06.000: And then my resume and stuff is up there as well.
00:06.080: Oh, absolutely.
00:06.080: Okay, so I gotta say, I went into the interview kind of, you know, uh.
00:06.080: They can still open it.
00:06.080: But when you actually sit down at the user interface level and actually experience it
00:06.080: We constantly.
00:06.080: So, on the show like Top Chef, Top Chef is not a fake show, Top Chef is real.
00:06.080: I made a reference, I just want a disclaimer here a little bit.
00:06.080: When I edit stuff at home, I often use Final Cut X if it's relatively simple and it doesn't bother me.
00:06.080: And again, I didn't want to it wasn't like I was trying to convince Austin to change the Final Carten, because it's not his call anyway.
00:06.160: Yes, so I went to USC Film School.
00:06.160: Um, at any rate, any place where somebody might sit to work on an episode or a scene or a sequence.
00:06.160: And story producers can be making string outs for Act Three.
00:06.160: On a show like this, I do think actually it's better.
00:06.160: I know that in our office, we just have a half a dozen machines all Etherneted together.
00:06.240: Yeah, that's right.
00:06.240: It's not that dissimilar from like an Exan.
00:06.240: I had touched four of them by 10:30 in the morning.
00:06.240: And so it is interesting that, you know, when
00:06.240: I think if you got into a show, and it can be tricky, like dynamic trimming didn't come to me quickly, and the way it works in Resolve looks.
00:06.240: And I will even turn on
00:06.240: And two things.
00:06.240: I would love to have something more accurate like that.
00:06.320: So, I pushed my chair away and I adjusted, you know, pop my bunch, adjusted my mic.
00:06.320: And we did, it was Final Cut, and that's where I kind of dived into Final Cut.
00:06.320: I'm all over it.
00:06.320: And I'm always interested in the conversation.
00:06.320: And maybe and I'm not trying to change your mind, but I just want to hear about it.
00:06.320: And we're all in the same place.
00:06.320: Well, not if they keep refreshing it, they will keep getting a new version.
00:06.320: So that would be the first thing.
00:06.320: And this may not be possible given the content that you are cutting.
00:06.320: It comes to reality television.
00:06.320: Now, granted, talk about what did you call it?
00:06.320: And if you're an editor, a younger editor who aspires to big time TV work
00:06.320: telegramfilm.
00:06.400: So you're going to sit down at your desk and you're going to open up episode 105.
00:06.400: And you could do it at this point.
00:06.400: It's like I need him saying the word, you know, the or whatever.
00:06.400: I double-click on it.
00:06.400: I don't understand why scriptsy d do you guys not um transcribe all of the catfish
00:06.400: Everything you're talking about, he's intimately aware of.
00:06.480: And that's a whole other topic.
00:06.480: And so when I need something, I call the assistant and I'm like, oh, can you please?
00:06.480: So, here's some of my takeaways as the Final Cut 10 kid in the room.
00:06.480: It keeps it very small, blah, blah, blah.
00:06.480: Disagree.
00:06.480: By the way, I totally know I'm going to get major flack for that.
00:06.480: That I never get back in my life.
00:06.480: I search for other ands, I go through, and phrase find does that for Verite.
00:06.480: So script sync is
00:06.480: They were very nice to invite me to come along and play.
00:06.560: I'm sorry.
00:06.560: But but that was the that was a big story because
00:06.560: So I open a library.
00:06.560: DaVinci Resolve, you know, After Effects.
00:06.560: No, no, no, it's fine.
00:06.560: But to have somebody be able to scrub around and see what you're doing, I think what he said was, Yeah, sometimes that's not so good.
00:06.640: And we just share a project, and anyone
00:06.640: You won't be able to edit it, but I will give you a Dropbox location.
00:06.640: Not necessarily.
00:06.640: It's less expensive now with the subscription model, but
00:06.640: And there are a lot of things that they've been really slow to embrace.
00:06.720: So anyway, Austin is a television editor.
00:06.720: But it's been virtually all Avid.
00:06.720: And I think some of the things that you're pointing out here
00:06.720: And thanks for having me.
00:06.800: Story producers are giving me string outs.
00:06.800: At the finder level, we'd duplicate the project.
00:06.800: They have a really
00:06.800: The second thing would be.
00:06.880: So if you haven't heard, and I'm going to mention this in the show, this is the first Funnel Cut Grill that I'm doing all standing up.
00:06.880: And you're in LA, right?
00:06.880: Because you're thinking, you know, he says he says, I won't lie, standing all day or even he does half of his day or as much as he can.
00:06.880: It's pretty familiar.
00:06.880: If I was doing all of the work that you describe a lot of times in Final Cut X stuff,
00:06.880: And I used to do a lot of shared edits in Final Cut 7, and it was a bit of a cha-cha-cha.
00:06.880: This isn't simple stuff.
00:06.880: On a show like Catfish, I can see that people are skeptical.
00:06.880: I don't think they're going to sell.
00:06.880: I hope you got to check out the what was it called?
00:06.960: And I think that
00:06.960: Yeah, yeah.
00:06.960: Ah, okay, that's very interesting.
00:06.960: The disconnect, I think, would be the shared storage.
00:06.960: But it's relatively easy for them to get in there, watch media, make string outs, and give them to me.
00:06.960: Their survival depends on it.
00:06.960: This has been great.
00:07.040: So that's what I'm hoping.
00:07.040: But
00:07.040: But you're only overlaying like
00:07.040: Right.
00:07.040: I know, I know, I know.
00:07.040: Maybe it's not.
00:07.040: Always, always we do.
00:07.040: Stephen Bayes is the product manager for Final Cut 10.
00:07.040: And I think that
00:07.040: Yeah, I don't remember.
00:07.120: There I was up for a welcome.
00:07.120: On catfish, that is sort of how we work.
00:07.120: It's not
00:07.120: If it takes you five times to find the edit, you gotta get your chops up.
00:07.120: Everything we do is L-cutting.
00:07.120: Spacebar, it's done.
00:07.200: I mean, I do it all the time where I cut to stuff I don't care about, but you know, when you get a chance.
00:07.200: If I do this, it might be because I accidentally walked too far away from the microphone.
00:07.200: You mean it was television?
00:07.200: I think that is totally true, but I don't see any reason why
00:07.200: I'm like, I want to move that there.
00:07.200: Later, later.
00:07.280: So anyway, tell me, Austin, tell me a little bit about your life and your work and the type of stuff that you do.
00:07.280: Yeah, so this gets into.
00:07.280: But if someone's made like a
00:07.280: But the biggest
00:07.280: I don't even know what the URL is.
00:07.360: But as you go up the ladder, it's very difficult to change ladders.
00:07.360: So the three main edit suites, edit one, two, and three in our little office.
00:07.360: But
00:07.360: So you know, we actually do that all the time.
00:07.360: I'm like, and I want to cut now.
00:07.360: And the other thing is, is and
00:07.360: Well, you know what?
00:07.360: Yeah, see so when I have watched people do that, all I can think about is
00:07.360: But the thing is, I don't like that it's trying so hard to keep the audio in sync because that is usually not what I want.
00:07.360: It would Siri would capture it.
00:07.440: Yeah.
00:07.440: Fair and balanced conversa and level-headed
00:07.440: It wouldn't be any help if.
00:07.440: And any producer can go in and check on it.
00:07.440: And I'm like, well, that that that's been negated because really, in the way that we work in even in our little office,
00:07.440: Now did you happen to listen to the episode with just recently with Philip Hodgetts?
00:07.440: Okay, that would be I would love to do that.
00:07.520: I don't think I'm breaking any news here to say they got picked up and so that'll start up.
00:07.520: Number one is
00:07.520: But often I want multiple layers of music like trailing in and out and I can't do that in the primary storyline, can I?
00:07.520: So, there you go.
00:07.520: And
00:07.520: It loads in my source.
00:07.520: Okay.
00:07.520: There was a day when people said, There's no way I would edit on that avid toy box over there in the corner.
00:07.520: So there you go.
00:07.600: Yes.
00:07.600: And
00:07.600: Another great thing is that there's a source record window.
00:07.600: Now, here's the thing: that may be a function of the AVID.
00:07.600: You're making a mess.
00:07.600: And
00:07.600: I don't know that they want to release a a software like Final Cut.
00:07.680: My whole point and I think people know this about doing this show is dispel is to dispel the rumors
00:07.680: It was basically a fear factor, but with like military type stuff.
00:07.680: So weirdly, this is MTV's number one show.
00:07.680: Screw this.
00:07.680: I didn't get what was happening.
00:07.680: But
00:07.680: Basically, you open the sequence
00:07.680: And when I start editing in Final Cut X, I get really frustrated.
00:07.680: I'm
00:07.680: I select that and I roll it.
00:07.680: I know that I could break sync.
00:07.680: I don't know what happened to it.
00:07.680: But the thing is, the phrase that people say, the only constant thing is change.
00:07.680: And frankly, I hope Apple does listen to these things and weigh them carefully.
00:07.760: I have no idea what it was called.
00:07.760: Okay, go ahead.
00:07.760: Right.
00:07.760: Yeah, and I think, look, I don't know exactly technically what's happening, but Avid is a lot of their
00:07.760: But it is nice to
00:07.760: That was a joke.
00:07.840: You open the very same library.
00:07.840: Like I am still, I could still be a great.
00:07.840: Scott had mentioned something about that.
00:07.840: Like, we're not talking about like cut to B-roll, cut back.
00:07.840: Maybe when you, yeah, yeah, I got you, you know, and there's all kinds of little subtleties, I get that.
00:07.840: Yeah, I will totally agree with you on that.
00:07.920: So, um so when did you start using Avid?
00:07.920: But um
00:07.920: And I know Scott Simmons tried to explain dynamic trimming to you, and I don't know
00:07.920: You know, and with audio, it can be a.
00:07.920: And ever, almost.
00:08.000: Oh, wonderful.
00:08.000: With dynamic trimming, you are just
00:08.000: Okay, so the third thing.
00:08.000: If you're doing multi-clips, it's a way like it's just too taxing and it's not, it's not essential at all.
00:08.000: You know, my friend Alex McLean, that I do Digital Cinema Cafe with.
00:08.000: It was unexpected.
00:08.080: And it's live.
00:08.080: I made it to edit it.
00:08.080: Yeah, and that brings that will bring me in a second to Frankenbiting, which is also a
00:08.080: Most people, a lot of people, worry that it's fake.
00:08.080: Maybe they don't think they'll sell enough, or they just that they've.
00:08.080: com, you can see I've done a lot of documentaries for
00:08.160: And I just, you know, like.
00:08.160: I really want to understand.
00:08.160: So that's
00:08.160: We don't have a centralized shared storage, but all storage is shared.
00:08.160: So if I select an edit and I press L, the edit rolls plays forward in real time.
00:08.160: Number one, X makes it sort of cumbersome to break audio sync, and the fact that you can't reconnect
00:08.160: But I'll also say this.
00:08.240: That's okay.
00:08.240: It's a great show.
00:08.240: Why do you say that?
00:08.240: Yeah, okay.
00:08.320: I've always said that in this business, you know, uh, as in any business, you climb ladders.
00:08.320: It was avid.
00:08.320: It's kind of a
00:08.320: If you've never used a TiVo, you don't know what a DVR is supposed to feel like.
00:08.320: Austin, thank you so much.
00:08.400: It's a real housewife spin-off.
00:08.400: And Stephen, I apologize for that because I know you listen.
00:08.400: Go check that out.
00:08.480: Yeah, Boon and Murray was using it and you know, there's a there's your reality television benchmark.
00:08.480: That's very simple.
00:08.480: I load it in the source window.
00:08.480: So I will admit that
00:08.480: 74 hours of
00:08.480: And I will probably, you know, have to learn.
00:08.560: And let the battle begin.
00:08.560: It was television, yes.
00:08.560: But
00:08.560: We have to make things, we have to make the people
00:08.560: But if I can find it on the Internet, I'm going to share it.
00:08.560: And there will be a day where people look back.
00:08.560: I know, I'm privileged and I'm not sure.
00:08.640: That episode will
00:08.640: I don't know what Avid was like back then.
00:08.640: And I am available to do more interesting work than reality television if you want me.
00:08.640: I'll try and put it in the show notes.
00:08.720: Anyway, welcome to the next episode of Final Cut Grill.
00:08.720: com on exactly how to swap that out.
00:08.720: I have a good friend who's still an assistant six years later.
00:08.720: There you go.
00:08.720: I set it in and out.
00:08.720: Yeah, they did have it.
00:08.720: I think Script Sync is a $1,300 option.
00:08.720: This is my first ever podcast.
00:08.800: That's what we need.
00:08.800: It probably is virtually the same thing, but.
00:08.800: So in a project, an avid project, when you make a bin,
00:08.800: I press the spacebar.
00:08.880: He edits a lot of real uh reality television in Los Angeles and he works on an Avid.
00:08.880: And I was like, no, thank you.
00:08.880: Like, it is, it's not.
00:08.880: And so we always work offline.
00:08.880: And he goes, Oh, yeah, dude, that was my demo.
00:08.960: It's on Esquire.
00:09.040: Okay.
00:09.040: You know, I think in episode one of this show, I said that.
00:09.040: S.
00:09.040: I was like, you know what?
00:09.040: So I I think
00:09.040: If you're cutting music at the frame level,
00:09.040: How much did it?
00:09.040: So frankenbiting, are you familiar with the term frankenbiting?
00:09.040: Franken sinking.
00:09.040: 1.
00:09.120: When was that out?
00:09.120: I'd label one you and one me.
00:09.120: I promise you that there are some people that there have got to be a few people inside Apple that
00:09.120: The whole play around Kevin Monaghan, my good friend at Adobe.
00:09.120: Like it's just, that's what's going to happen.
00:09.200: government, there are 25,500 television editors in the country.
00:09.200: Right, right, right.
00:09.200: If I wanted to lift something, I could lift everything or whatever.
00:09.200: Everything.
00:09.280: It was awful.
00:09.280: Avid is a better thing for an assistant editor.
00:09.280: It's totally substandard.
00:09.280: I know that I could screw up a sequence.
00:09.280: Just let me do it.
00:09.280: I made a reference a few episodes ago to the fact that
00:09.360: And you work up from kind of
00:09.360: A couple of frames to the left, it keeps looping.
00:09.360: And when you're doing like
00:09.360: I made the edit.
00:09.440: And if I get that from you, I'll put it on the Digital Cinema Cafe website for this.
00:09.440: Then he would paste it into a Google Doc.
00:09.440: And that would be beautiful.
00:09.520: Yeah.
00:09.520: That's another reason that that's another thing about Avid Strength is that um
00:09.520: 2, there are many ways that we can
00:09.600: I like that song.
00:09.600: Yeah, I did hear that.
00:09.600: And an assistant editor
00:09.600: And so
00:09.600: Oh, no.
00:09.680: Hopefully, that'll be over soon.
00:09.680: So you rewind it.
00:09.680: I put it in my sequence.
00:09.760: That is true.
00:09.760: It probably isn't, but I'm going to ask anyway.
00:09.840: The first job I had that was an editor on Avid.
00:09.840: It's about beer.
00:09.840: It's read-only still for them.
00:09.840: So that was fun.
00:09.840: But basically, if you Google
00:09.920: And then I've done a few seasons of Catfish.
00:09.920: I don't remember.
00:09.920: Right.
00:09.920: And it's, yeah, it's like a central hub.
00:09.920: But Avids.
00:09.920: There's just some things that aren't on a that are kind of old and kind of weird to use.
00:09.920: And then we go into the next queue.
00:10.000: I've been trying to do it.
00:10.000: When you're doing that.
00:10.080: Yes, here we go.
00:10.080: Every one of those people has access to the media.
00:10.080: It's Act One, it's got my name on it.
00:10.080: I I peer over editors' shoulders all the time by just using uh Apple screen sharing.
00:10.160: I think actually I s I did uh start editing
00:10.160: I can't even remember now.
00:10.160: And so.
00:10.160: Frankenbiting.
00:10.240: And so, anyway, this is the first full interview I'm trying standing up.
00:10.240: And then the other thing I want to do is I want to just kind of look at
00:10.240: Maybe I don't want their music.
00:10.240: I kid you not, Austin.
00:10.240: Like, I'm in charge here.
00:10.240: See, it is so.
00:10.240: They're like, what are you doing?
00:10.320: This is like
00:10.320: Right.
00:10.320: I'm going to
00:10.320: And I would love to have you demo.
00:10.320: I don't know if everyone knows that, but we're never working
00:10.320: I hope I acquitted myself well.
00:10.400: Boom.
00:10.400: That was in I was in high school, so this is in like ninety
00:10.400: Yeah.
00:10.400: Yeah.
00:10.400: There's just a little lock.
00:10.400: Again, Fonica 7 has had XAN, and that.
00:10.480: And then I made the jump to some.
00:10.480: You could have one track of video.
00:10.480: And then
00:10.480: It's like a.
00:10.480: It's like cutting a
00:10.480: Is that the right term?
00:10.480: It's not.
00:10.480: And I do think it probably phrase find I think will probably happen.
00:10.560: But I want to hear the things about
00:10.560: I open up a project called Scene 1 or Scene 2 and you've already opened up.
00:10.640: It's not like they're just opening a window into your room.
00:10.640: It was great to be a part of that.
00:10.720: I realize there is a it is a
00:10.720: So I did premiere and then.
00:10.720: Okay?
00:10.720: That's ridiculous.
00:10.800: What they need is a Final Cut server thing.
00:10.800: I probably shouldn't learn Adobe.
00:10.880: Because you said you started the stuff on Final Cut 7.
00:10.880: Frankenbiting.
00:10.960: But so back to sharing.
00:10.960: So we have to hop around a lot, but the big
00:10.960: I say, That sounds great, done.
00:11.040: So
00:11.040: It's tiring for sure.
00:11.040: I'm telling you, I.
00:11.040: I'm constantly
00:11.040: I go, just find it.
00:11.120: So anyway
00:11.120: We'd each open it up again over gigabit.
00:11.120: However,
00:11.200: So I tell kids all the time.
00:11.200: So I open that up and I make
00:11.280: There were some shows cutting on it because it was a lot cheaper.
00:11.360: com.
00:11.360: You have a source window and a record window.
00:11.360: The main takeaway I would say is that
00:11.360: I know that, and sometimes I do, rarely.
00:11.360: But I think that you need a central server.
00:11.360: Now, he can't actually watch it in real time.
00:11.440: You're like, no, no, no, bad idea.
00:11.440: I'm not changing its
00:11.520: I'm not saying it is or is not.
00:11.520: I mean, what we would do
00:11.520: I'm like.
00:11.520: And but
00:11.600: I think that's about right.
00:11.600: Okay, yeah.
00:11.680: This is episode 07.
00:11.680: And I can switch over.
00:11.680: No, I'm not.
00:11.680: Now, usually.
00:11.840: You're trying to do it.
00:11.920: That's my latest.
00:11.920: So it's my bin.
00:12.000: Anyway.
00:12.000: And
00:12.080: You know?
00:12.160: Worth it.
00:12.160: So this is even worse than that.
00:12.240: And write it hold on, I'm going to
00:12.320: It was a
00:12.320: I'm sorry.
00:12.400: Yeah, ninety nine percent of the people that call themselves editors.
00:12.400: I hope it wasn't too painful.
00:12.560: So we find the word and they're like,
00:12.640: Oh, I'm climbing the corporate ladder or whatever.
00:12.720: I want to edit there, spacebar.
00:12.720: But when I'm in the music,
00:12.800: Like you get a little.
00:12.960: Okay.
00:13.120: All right, I'm a television editor.
00:13.120: It is a
00:13.280: So frankenbiting is.
00:13.360: You can load
00:13.360: Worth it every time.
00:13.440: Uh, you know what?
00:13.440: I don't know about scriptsy.
00:13.520: And if that's going to cost
00:13.600: Basically,
00:13.680: Or actually
00:13.680: Right.
00:13.840: So.
00:14.079: Another
00:14.160: But
00:14.479: And