Episode 75
FCG075 - Bizarro World (feat. Richard Taylor)
On this “special” episode of The Grill, Richard Taylor of FCPX.tv takes over the hosting duties to talk with Chris at length. You’ll hear about Chris’ work and some workflow strategies as well as some advanced tips previously shared on the Pixel Corp Virtual User Group. Chris talks at length about audio theory and how it relates to all video editors, not just FCPX users.
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Featuring
- Chris Fenwick
- Guest Name - @twitter
Transcription
00:00.001: I'm ready when you are.
00:00.001: And he goes, Oh, well, that shouldn't affect that.
00:00.080: Frankly, Fanca 10 does b pretty much most of that stuff.
00:00.080: Funnel Cut Pro for backup uh fun uh backups for Funnel Cut Pro, you can actually set that interval and you have more control over where it saves and stuff.
00:00.080: But it's subframe is one twenty four hundredths of a second, sample is one forty four thousand forty eight thousandths of a second.
00:00.080: Fonica Pro V, I believe.
00:00.160: it's more than just a handful of cards.
00:00.160: same day edit, fast turnaround, look at us, we're having a great time thing.
00:00.160: Anyway, it's this PC based thing and there's a guy with a big brain bucket in back and he like, you know, me, meek, me, me, me, programs that whole thing.
00:00.160: I knew it was six projectors.
00:00.160: Hope that works out for you.
00:00.160: Oh no, number two thing was the ability to share timelines and stuff and the whole bin structure and how you can kinda I'm gonna I'll spoil it, kinda sorta
00:00.160: And I and I listened to his description, I was like, yeah, but frankly and I wasn't trying to convince him, but
00:00.160: Oh yeah.
00:00.160: And it's like, oh, that's cool.
00:00.160: for the human voice to sit in, because the human voice has this little tiny spectrum, but your music is this big, huge, you know, low frequencies and high frequencies.
00:00.160: And even though it might feel like it's loud, if you just listen, you'll realize, oh, I can totally understand everything the guy's saying.
00:00.160: So I thought, well, maybe in the export command I can tell role number one, the dialogue role, say, just play off the left speaker.
00:00.160: and now you can pan this stuff left to right.
00:00.160: Clearly, there's going to be a day when we lose something and it's going to suck.
00:00.160: is that when the media comes in out of the out of the field, we immediately create two copies of it.
00:00.160: What you'll have is you'll have a folder full of stuff, and the first thing is going to be called index.
00:00.160: and you move it from one hard drive to another, first time you open that, everything is lost.
00:00.160: But there's many times when I'll just be working through the day and just something happens and I'm like, I'm going to reboot everything.
00:00.160: Oh, that's interesting.
00:00.160: Cabling and stuff, it doesn't matter that much.
00:00.160: Frames per second is what you're saying.
00:00.160: There's a few of them that we've actually had meetings around the office.
00:00.160: They really don't pay as much attention to the audio typically.
00:00.160: and you'll have all your music ducts will will happen at this at the appropriate time, because the music ducts are done to the compound clip, not to the file within it.
00:00.160: It's your customized version, not the stock version.
00:00.160: If, like I said, what happens a lot with me is I'll be working on a title in the timeline, then I realize, well, I just customize this.
00:00.160: and then break apart clip item so it goes back to the original generator, not a compound clip inside of a generator.
00:00.160: So Chris Fenwick, thanks for being on your show.
00:00.160: Help me, Richard.
00:00.160: It's like that old joke with the prisoners in jail.
00:00.240: things you've said about your workflow.
00:00.240: A bulletproof.
00:00.240: everybody travels with their laptop, and it's there's always somebody that will do it.
00:00.240: a whole bunch of four by three.
00:00.240: 33 pixels by 720.
00:00.240: He got to the point where he said, Yeah, that's cool.
00:00.240: I can say it's it was the BMW i3 i8 launch in Las Vegas earlier this year.
00:00.240: by twenty five feet tall or something like that.
00:00.240: I have no idea what all of it is, but I think the key software was called um I think it's called Watch Out or Play Out or something like that.
00:00.240: And then I spread them up vertically.
00:00.240: Across the window, the big giant screens, probably do four or five of them.
00:00.240: clips in it, and I hit play and it played.
00:00.240: And I had a lot of footage to draw from because we had cameras, camera guys on site shooting the events, but they also had all kinds of assets like
00:00.240: And so I had, you know, a couple thousand photos and all this GoPro stuff and all the other footage and even a few sound bites from stage.
00:00.240: rendering in idle I I don't like to say background rendering 'cause it's not really background rendering.
00:00.240: Can you get me a burger?
00:00.240: I kicked out the full resolution movie.
00:00.240: And so I know, because I've tested it, that the output of those six smaller comps will stitch together eventually when I give them to the watch out guys.
00:00.240: At any rate, I k I carry that and an older twenty inch cinema display for bins and stuff.
00:00.240: And frankly, some of the people that we had had used quite extensively not
00:00.240: No, he's just uh hi his background was avid initially, and then kind of reluctantly went to Final Cut Seven back about
00:00.240: They do.
00:00.240: It's really interesting because that's exactly what he said.
00:00.240: But it it was also kind of interesting because there was times when I would just like give him the rope and let him run with it and he got to the point where he would even say
00:00.240: But he sent me a short screen flow document where he demos the dynamic trimming because he went into it in great detail.
00:00.240: Because he's convinced that that is like, you know, the holy grail of why avid well, that and the other things.
00:00.240: So, anyway, I learned it from him many years ago, and when I realized I could do it in a digital realm as easily as I did.
00:00.240: Two-inch guy from old days.
00:00.240: track one, which was the flat EQ and track two, which was the affected EQ.
00:00.240: I was like, oh, that's killer.
00:00.240: Pull it down, you know, 10-12 dB, and then select it and hit Command-T, and you'll have a dissolve at the beginning and end.
00:00.240: So the beauty of doing your music dips like that is when it comes time to str lengthen it or shorten it, as it seems to always do.
00:00.240: And it's a great parametric EQ, and you can just dig a.
00:00.240: quite often when we dip the music, we just pull it o not quite often, ninety nine percent of the time, people just pull all the audio down across the entire spectrum.
00:00.240: And so by doing the the audio EQ, your music stays much more forward in the mix.
00:00.240: Not the music.
00:00.240: And then apply it to the music track and do the inverse of that frequency and just pull that frequency down.
00:00.240: I just did a thing yesterday where, and I think this is about what you're talking about, where I had what I have, I had six different deliverables.
00:00.240: And you can just sort of pull it around and go, yep, yep, yep, right there.
00:00.240: but on the same computer I'm cutting on, I have iTunes playing.
00:00.240: The audio tip, so I'm assuming you were watching the virtual user group.
00:00.240: Yeah, no, it just highlights them to see them.
00:00.240: a terabyte of data for one job.
00:00.240: while the other copy goes immediately into service on one of the R sixes.
00:00.240: Oh, yeah.
00:00.240: And then you'll have folders.
00:00.240: which tells the interweb to go out one folder and then look for a folder called design.
00:00.240: Final Cuts 10.
00:00.240: I have had people say, Oh man, you're an idiot.
00:00.240: very rarely have people access well, no, no, we have had people accessing the same media, but they're not modifying the media, they're just playing the media.
00:00.240: Release notes, it fixed problems with the previous versions of the backup because there were problems with it.
00:00.240: And then I would open it.
00:00.240: And the other thing is with backups for Fauna Cut Pro or Pro Versioner from Digital Rebellion is you can
00:00.240: There's so many times when you're when you're you're you're moving along in an edit and you just get that spidey sense and you're like, Ah, yeah, I don't like the way this is going
00:00.240: Do the Apple S, not physically, but I mean, you can just hit a button, boom, it's saved.
00:00.240: I come back and I start it all up.
00:00.240: one, two, and now ten, one, three, it appears.
00:00.240: I don't know what they did, but somebody went home early one day down there.
00:00.240: So maybe it has to do with a very common plug in or whatever.
00:00.240: or something else in the operating system, but my RAM constantly goes down to next to nothing and I have twenty-four gigabytes in my iMac.
00:00.240: And I save that text document in the job folder so that there's a record of all the things that have been done.
00:00.240: And then I'll typically, as I step through the notes, I'll select them and strike through them to say that I've done it.
00:00.240: Yeah, they're trying to sandbox things and keep it from breaking other things and it just breaks the whole computer instead.
00:00.240: But it's not happening in the background while you're doing foreground stuff, which is what background you think it would meant.
00:00.240: Okay, well, this process got it first, so I'll wait for that one.
00:00.240: making judgment calls about what to prioritize.
00:00.240: Talks about it.
00:00.240: That's a very good question.
00:00.240: Okay.
00:00.240: Well, there's problems with if you use those libraries from Dropbox, there's problems with sharing and some other issues where they won't share.
00:00.240: Yeah.
00:00.240: Digital Cinema Cafe.
00:00.240: which I won't spoil the name, but we Alex and I have been talking about it for a long time.
00:00.240: But you find interesting people.
00:00.240: not a coherent, you know, one one dedicated podcast.
00:00.240: Yeah.
00:00.240: Right.
00:00.240: after doing a couple of hours of audio editing and I'm like doing audition shortcuts.
00:00.240: Command option L, and now I can type in minus six dB, plus five dB, whatever.
00:00.240: No, I understand.
00:00.240: Well, send me a tweet.
00:00.240: I tried it as I go tonight.
00:00.240: But one of them that I did, it's actually on their site that you could go check out is it's a workflow, really, more than anything else that allows that makes it
00:00.240: put it in its sub storyline in case I need to edit it.
00:00.240: and make it into a compound clip, it's now saved in your browser.
00:00.240: Yeah, yeah, yeah, no, I got that.
00:00.240: It's just for me, it's a way that I work.
00:00.240: I'm also curious to hear from people who don't use Dropbox at all.
00:00.240: and I did it every five minutes or manually hit the button instead of doing Apple S, hit the button, hit the button, hit the button, it makes a new version each time.
00:00.240: Oh, yeah, of course.
00:00.240: You're welcome.
00:00.240: it has become this great forecaster, if you will, because the people at Apple really, really watch his site.
00:00.240: The ideas that you have are really good ones.
00:00.240: So we just throw out the number and everybody knows the joke, so they laugh.
00:00.240: Your numbering or your list of things is a great resource, and it's very entertaining, and it makes you think, really makes you think about the tool that you're using.
00:00.240: And don't miss Digital Cinema Cafe this Wednesday.
00:00.320: and also to manage all of your Fonica Pro 10 plugins.
00:00.320: Premium Beat is a great resource because they offer video editors, full songs, and loop packs.
00:00.320: And on top of that, they have Final Cut Pro 10 tutorials on their website, PremiumBeat.
00:00.320: customer testimonials.
00:00.320: Yeah, quite often they will.
00:00.320: earlier this year that was nearly ten to one aspect ratio.
00:00.320: And hey, in the morning, catch that.
00:00.320: But even sixteen by nine looks like, you know, it's uh literally a square when you put it into a s you know.
00:00.320: barely video production.
00:00.320: Right.
00:00.320: RAID Zero.
00:00.320: And so everything I threw at this timeline, it just played.
00:00.320: Here's a whole bunch of GoPro footage that happened at this thing, and I was able to draw from that.
00:00.320: And then that thing is precut into six other subcomps that are actually sixteen by nine, so they're twelve eighty six seven twenties.
00:00.320: perfect for the the stage playback.
00:00.320: Right.
00:00.320: Now, did you do this in the field or did you do this back in your studios?
00:00.320: And it was a real testament to the software and its robustness and just its ability to play anything I threw at it.
00:00.320: Literally, but almost sort of just opted out.
00:00.320: And when I decided that I wanted to go toward Final Ka 10, it really became a psychological battle because I had to get the other editors on board.
00:00.320: I'll say eight or nine years ago.
00:00.320: It was to me that was really, you know, not like it met, you know, not like I'm making any money off people buying Final Cut 10 or anything, but it was really kind of heartwarming, if you will, for me because
00:00.320: But he got it, and he's like, Yeah, this is a great tool.
00:00.320: And there was a whole lot of fist pounding and you could you could hear him down the hall.
00:00.320: Because for reality television, quite often where they are crafting a story and put kind of putting words into people's mouths, if not at least shortening and condensing their narrative so it's more palatable for television.
00:00.320: Right.
00:00.320: What he calls, I guess Avid calls it, I'm sure Austin didn't name it, but it's the dynamic trimming.
00:00.320: Absolutely, I use that all the time.
00:00.320: you know, uh, spatial conform fill instead of fit.
00:00.320: I hit play and basically on the beats I was going option tail, option tail, or right bracket.
00:00.320: And when that when the song was done, the video was ninety percent cut.
00:00.320: And then he would program his you know, w what was it called back in the old days when you when the edit controller could control the audio mixer?
00:00.320: And I ask that because your EQ your the tip that you offered about EQ dipping under a clip is really an advanced audio technique for a video editor.
00:00.320: couple uh, last week, two weeks ago now, on the virtual user group, we were doing the round table discussion and I said, Hey, you want to see a cool audio trick?
00:00.320: And essentially, what I'll do is I'll take my music bed, and instead of doing the little dot, dot, dot, dot, and then pull the rubber band down.
00:00.320: which I find infuriating and ridiculously slow.
00:00.320: And now it's in its own substoryline.
00:00.320: And at the very simplest incarnation of this effect, you can just take that intermediate bladed zone region instance.
00:00.320: But the added benefit of doing that EQ trick the separate instance of the same audio file is you can now EQ it separately.
00:00.320: So not only are you dipping the music, but you're also taking the portion of the music that fights with the human voice, which I find to be around somewhere between 1K and 2K.
00:00.320: Plug that in, hit that analyze button, and the spectrograph will come up to show you the frequency that are actually in the audio.
00:00.320: You know, the Falcha timeline is all of that stuff can be adjusted in real time while you're playing it.
00:00.320: Which, by the way, also I ho I had hoped that I could select the role
00:00.320: one at a time and then and then in the in the audio inspector below the gain control there's a little knob a little pull down that says pan selector or something and it's usually set to none so you have to pull it to stereo.
00:00.320: But it was uh it's just uh it's a natural clown coming out of me.
00:00.320: That would just be, it would be like having an insert, you know, and dropping an EQ, a master compressor on all your dialogue or something.
00:00.320: Um these are relatively small.
00:00.320: And then looped off the R6 is a Le C big disc, not the little big disc I mentioned earlier, but the big disc.
00:00.320: And so what we do is we typically work off the R six and the little or excuse me, the big disc is sort of a I call it a caveman backup.
00:00.320: And so when you're working on a project, at the end of the day, just take that folder, drag it to the backup drive.
00:00.320: You can give an absolute address or what's called a relative address.
00:00.320: So from the index file, if I want to go if I want to click on design, I don't go to chrisvenerick.
00:00.320: If I were to go to chrisfenerick.
00:00.320: And so that's an absolute address.
00:00.320: Or do you do do it some other way?
00:00.320: That it's going to do it unless you turn it off.
00:00.320: Pay attention to the spidey set.
00:00.320: Yeah, in a typical day when I hit my app switcher command tab, I will have let's see, I'll have Final Cut running, I'll have After Effects running, I'll have Photoshop running, I'll have
00:00.320: Whole bunch of things to try and be a little bit more efficient.
00:00.320: And I got to say, it's a monster, but if you open up the activity monitor and watch the cores, there's very few things that you do where they're really optimized.
00:00.320: and always be rendering something in the timeline.
00:00.320: And then send it to somebody else who also has the same media.
00:00.320: probably Dropbox is changing permissions of some sort.
00:00.320: No, no, dude, it was working, and then I shut it down, and then this morning it stopped working.
00:00.320: Funnel cut would do a great job at this because of the subframe audio capability.
00:00.320: He was talking about how he cuts his audio in Avid.
00:00.320: And he goes, Yeah, no, you know, you can finesse it and you just have to be like, No, no, no.
00:00.320: You said 1 24th of a second?
00:00.320: of customizing, one of the things that is difficult for me is in our office there are one, two, three, four, five, six, seven different machines that I could be editing on on any given day.
00:00.320: it may not be me at that machine.
00:00.320: And I've actually taken Final Cut Pro keyboard shortcuts and taken them over Logic Pro, like JKL, which it didn't have.
00:00.320: Purchased Logic Pro twice now, nine and ten.
00:00.320: I would love to sit down sometime and have somebody walk me through it at the basic, most basic level.
00:00.320: So do you have any other tips that you've learned besides the EQ duck under the clip?
00:00.320: You know, I posted a the Premium Beat people asked me to produce some tutorials for them, and I'm very much behind in that project.
00:00.320: And then I go to town on that compound clip.
00:00.320: I go and I purchase the full resolution file.
00:00.320: But I know it's different.
00:00.320: You can actually put multiple songs in that compound clip and then mute various ones, go back to your main timeline, and hit play.
00:00.320: So it's kind of a cool little workflow, and it's so frustrating when I open a timeline and somebody has gone through some really heroic
00:00.320: Measures of cutting down a piece of music so the sting happens right at the end of the video, but they've done it to a temp file and they've done it
00:00.320: And inside that event are four folders.
00:00.320: the Richard Taylor project, not okay, the Richard Taylor job, and I put it onto the l event that is in that job.
00:00.320: And it is now just an empty, bare, naked library.
00:00.320: Yep, and so I take that one event, or I actually take those four folders from that event, and I drag them into
00:00.320: They said to use it whenever Chris says premium beat.
00:00.320: And thanks for letting me join your show.
00:00.320: You know, sometimes you're labeled as the super geek, but you know, the super geek also ends up learning.
00:00.320: And if you want to find out more about Richard, he's at Richard Taylor on the Twitter.
00:00.320: Right.
00:00.320: Yeah, but you messed it up in the delivery.
00:00.320: So, anyway, that's it for this episode.
00:00.400: although they are all typical, the the range of things that I do makes them seem very untypical.
00:00.400: very large screen like sh corporate show openers.
00:00.400: another video to load into Watch Out?
00:00.400: She's like, okay, that'd be cool.
00:00.400: Okay.
00:00.400: And so basically, when I was done with my edit, I just took it into After Effects, poured it through my rig, and out come my six pieces that are
00:00.400: To try it.
00:00.400: The rest of the people that we bring in are freelancers, and it's kind of my responsibility I don't know.
00:00.400: He was a very interesting psychological battle because he came at it with a lot of heavy metal angst.
00:00.400: part of it compared to Fonica Pro ten.
00:00.400: You mean w they did it with MIDI and SIMTI?
00:00.400: a lot of the clarification is in the upper registers, 4, 5, 6 K.
00:00.400: And then go to the audio inspector control panel, and everything would be selected.
00:00.400: Wouldn't it be great great if we could actually I played it off like you could do it where I was dragging an EQ.
00:00.400: It's very manageable, very easy to back up, very easy to give to somebody.
00:00.400: Is a file called the most important job, a folder called my most important job ever, and in there is a folder called media, and in there is a folder called 5D Mark3, and in there is a file called The
00:00.400: It actually works quite well.
00:00.400: Marched forward down the wrong path.
00:00.400: backups for FCP libraries, but there's there's a problem with that apparently.
00:00.400: What's that?
00:00.400: So, uh yeah, you know, I I I find the people and then uh you know we he yeah I mean, I don't know the
00:00.400: And I and it it all had to do with learning what a multi-track timeline was.
00:00.400: And I started it and I was like, I didn't really learn it.
00:00.400: Sound file making destructive edits.
00:00.400: The waveform tab is to the multi-track tab in Adobe Audition.
00:00.400: It has a keyboard editor very similar to the the Premiere.
00:00.400: And she's like, okay.
00:00.400: I use single keyboard shortcuts as much as possible for things that I use more often, like for example, zooming.
00:00.400: That has the audio watermark.
00:00.400: Right.
00:00.400: Oh, okay.
00:00.400: It's such a waste of time.
00:00.400: And you can drag it from any project that you want to reuse it.
00:00.400: Exactly.
00:00.400: And the old guy says, Ah, yeah, you know, we've been we've all been here for years and years and it gets ti you know, it gets tiring telling the same old jokes all the time.
00:00.480: And so that's that's like one type of of project.
00:00.480: And it was really amazing.
00:00.480: So, um, so anyway, I knew I had the parts to do it, and I will say that it is a real gas to stand in a room where something you cut is 215 feet wide and floor to ceiling.
00:00.480: Ability as well to put it all together.
00:00.480: Right.
00:00.480: Right.
00:00.480: But um but he made in this just in the last like three months or so, he's really made a change, uh a switchover where he gets it now.
00:00.480: He totally got it.
00:00.480: And it was interesting.
00:00.480: But so while your playhead is playing, if you hold down the option key and then hit that right-hand bracket, it will lop off the end of that clip and then immediately start playing the next one.
00:00.480: Yeah, um, I've been doing audio stuff for many, many years.
00:00.480: control over the stereo mix that Final Cut Pro has with audio.
00:00.480: The same thing with the music.
00:00.480: In the inspector, there's no audio tab.
00:00.480: Well, just how about just selecting when you select the role, how about if they're selected in the timeline?
00:00.480: Do you run a the raid a raid with those, that media?
00:00.480: And you just, and it just, it copies the whole thing over.
00:00.480: So that's where Final Cut puts stuff.
00:00.480: And find all that media.
00:00.480: The workflow actually worked much better.
00:00.480: Was just as corrupted as the screwed up file.
00:00.480: seventeen or whatever.
00:00.480: Well, I don't sleep much.
00:00.480: I'd say the first about five or six episodes, I was doing it totally wrong and the workflow was completely bass awkwards.
00:00.480: You can now you're you're basically doing it's uh quick time is to Final Cut Pro.
00:00.480: I'm not saying it's not a good app.
00:00.480: Yeah.
00:00.480: drop dead simple to swap out temp music with full resolution music.
00:00.480: Outside of that workflow, because now I'm like, ah, I got to go re-edit this whole file.
00:00.480: So I agree.
00:00.480: and you suppose you customize a title or you customize a generator or you customize an effect.
00:00.480: For reuse.
00:00.480: with FCP backup, because I would on an important project, I would make it go every five minutes, just like the old Fonicard Pro 7, you could modify it.
00:00.480: And at Chrisfenrick.
00:00.480: Rather than worry about the media management part as a
00:00.480: So to be able to talk for most of the hour.
00:00.480: 17 Silence in the room, and the old guy he says turns to the old guy.
00:00.560: And I have a question.
00:00.560: Um and then those will have some B roll, but a lot of times there's not a whole lot of B roll.
00:00.560: But I was going to do I was I had been hired to do a 16 by 9 on site, okay?
00:00.560: Was when I got there at like, you know, four o'clock in the afternoon, and this particular video had to play at eight o'clock the next morning.
00:00.560: So anyway, that was really a gas.
00:00.560: Not really the editor.
00:00.560: One of my best friends in the world, Jeff Dykaus, who lives down in Southern California, he's been on the show also, and he's 24 track.
00:00.560: And he would patch it into two channels of his mixer.
00:00.560: Roughly about 1K, and you adjust, I believe it's called the Q, which is the width of the hole that you're digging.
00:00.560: Yeah, like a master fader.
00:00.560: To a folder that is at the same root level as the library that we call we've been calling it FCPX created.
00:00.560: And it makes it to be about 10 megabytes, maybe 30 at the most or something.
00:00.560: Now back to the tiny library method, because it is an absolute address, if I reach across my network
00:00.560: and open up and dra I have to drag that library file across the network and I drop it on my local desktop.
00:00.560: Principle.
00:00.560: flash plug-in instances.
00:00.560: But I know that Apple hat makes it a very high priority to make the editing experience very fluid.
00:00.560: Everything affects everything, or at least potentially can.
00:00.560: Absolutely.
00:00.560: Kind of sometimes that you can do it just at the file level, like you can
00:00.560: Sometimes it doesn't work.
00:00.560: All my music ducks happen at the same place.
00:00.560: My generators, okay.
00:00.560: And now I have my workflow is all set up.
00:00.560: Whenever I make a library, it's the whatever the master project name is, I make two events.
00:00.560: So yeah.
00:00.560: And there is some interesting additional stuff that's not covered in the show.
00:00.560: You know, bursts into laughter.
00:00.640: Let me think.
00:00.640: That's all sh captured to the CF cards.
00:00.640: the finder.
00:00.640: For an hour on Final Cut Grill.
00:00.640: And if you want to see what the human voice is, use that same plug-in and click the analyze button.
00:00.640: Said, oh, we want everything discrete.
00:00.640: And so I'm thinking, you know, this music sounds really cool.
00:00.640: But unfortunately, that was not an option.
00:00.640: Because all of the references to media, and this is a little bit confusing, and it helps if you have a little bit of a web background, but there are two ways to reference a file.
00:00.640: There are some definite pros and cons to both.
00:00.640: and actually done tutorials, I think, on my site about the way I used to launch old Funnel Cut.
00:00.640: Was before at the beginning of the day, I would find that project file, I would duplicate it, I would time and date stamp it.
00:00.640: There is always times where you're doing something and I don't know, maybe it comes with age, but
00:00.640: Are interesting.
00:00.640: There's plenty of resources to figure out how to do it that are probably much better than I'm going to describe it.
00:00.640: There is functionality that is only available through the keyboard editor.
00:00.640: Right.
00:00.640: you know, there's some kind of tricky redirect stuff.
00:00.640: You could try totally different versions inside the compound clip, and all of your music ducks are still happening at the same place.
00:00.640: So if there is a corruption, I'm only losing five minutes, hopefully.
00:00.640: Well, they sent me the new plug-in when they found out that I was going to host your show.
00:00.640: It's at Chris Fenwick on the Twitter.
00:00.640: In the fall to do the fall season, but plenty of stuff happening around Digital Cinema Cafe and the Grill and upcoming shows.
00:00.720: They're typi they're pretty big projects.
00:00.720: Share the same timeline, but not really.
00:00.720: go into next to where you currently are is a folder called design.
00:00.720: Cyberduck for uploading.
00:00.720: He likes it.
00:00.720: media on your raids.
00:00.720: It was working yesterday, and he goes, Yeah, I don't know, man.
00:00.720: Yeah um I I agree and I think that's one of the beauties of
00:00.720: Yeah, the whole idea of smart collections kind of blows my mind.
00:00.720: And so, and the thing, the thing that I got to say that is the most amazing about Richard, and if you've listened to the show, you've heard me say this, is his list of the top 100 things he would like to see added to Final Cut.
00:00.800: And let them go on for a few minutes about why they use Product X.
00:00.800: That's just too cool.
00:00.800: But since I'd already built the rig for the potential of vent of doing the open
00:00.800: I mean, they bring it up as strong points.
00:00.800: What I ended up doing, and I wrestled with this for a long time, and I wish there was a way to do it.
00:00.800: So in the library the the brand new library inspector, we point the media and the cache
00:00.800: copy one of the tiny libraries, as I like to call them, to another computer and work remotely within our office.
00:00.800: But um no, we we're pretty self-contained in terms of working with other people.
00:00.800: Yeah, well, it's audio.
00:00.800: Oh, that is huge, Richard.
00:00.800: And I only make edits in the edit event.
00:00.800: Even in an interview where I'm being interviewed, Richard blows me away with what was the tip now?
00:00.800: Richard came came up with this idea a couple of weeks ago, and we finally got the time to do it.
00:00.880: The director ended up taking on a lot of that responsibility himself.
00:00.880: Will it upset your workflow if for this video that I have to deliver, if I brought it to you in six parts instead of just a single 16 by nine?
00:00.880: So I made this giant canvas.
00:00.880: And I was the hard drive I was using was a was a La C, it's called a Little Big Disc.
00:00.880: Interval that it does it.
00:00.880: Maybe they do.
00:00.880: And so I find that the subframe not sample, but subframe capabilities in Final Cut Pro is fantastic.
00:00.880: I think the the the two that I subscribe to the most are the one is uh toggling color correction.
00:00.880: But quite often, like another editor will go, Hey, how do I do this thing?
00:00.880: But that's going to be a thing that's in a compound clip.
00:00.880: Generators and even customize transitions and effects if you save the clip that they're applied to in a compound clip.
00:00.880: And what do you gain from that?
00:00.880: Pause.
00:00.880: That's good.
00:00.960: And what were you playing that off of?
00:00.960: Just speaking to it, you can see different frequencies.
00:00.960: and what they're dealing with.
00:00.960: And as long as I align them both up against the left wall, which is the easiest way to sync them up, all my audio edits remain clean.
00:00.960: I know you're still on the line here.
00:01.040: And actually, I had delivered my After Effects rig to the director.
00:01.040: you can just grab the the actual dissolve icon and doing a roll edit, you can stretch it out or pull it in tighter.
00:01.040: You have to put it on the sound file with the guy's voice.
00:01.040: What I think it seems, it's not background.
00:01.040: It's a little bit of a pain to try and keep customized shortcuts synchronized and
00:01.040: But what I'm actually doing is I'm doing it to the compound clip.
00:01.040: How do you use, if you do, multiple events in a single library?
00:01.040: And more to come.
00:01.120: Good point.
00:01.120: When FileCut launches and it goes to look for a job a file, rather, it's going to say, go to my computer.
00:01.120: Snapshots.
00:01.120: And not only that, if you're at a point in a piece where you're auditioning different styles or different cuts.
00:01.120: But that I until this very moment, I did not know how to do that.
00:01.120: And when you start a new job, I make a new library and I call it, you know, the Richard Taylor Project.
00:01.120: They're not going to change my media.
00:01.200: So the big wide screen.
00:01.200: How do I call this?
00:01.200: So how many editors do you have in your company?
00:01.200: You talk about what Farvocat can do, and there's great things it can do, and then you look at what the rest of the world actually wants.
00:01.200: Control option L to pull up the relative audio dialogue
00:01.200: I have about maybe six or seven that I customize.
00:01.200: Yeah, definitely on iTunes.
00:01.280: I know your screen specs because I had actually been literally on the verge of starting this opening video.
00:01.280: I understand.
00:01.280: They use their whole script sync and phrase find stuff like crazy.
00:01.280: I can help you.
00:01.360: So it's a option left bracket and right bracket where you can actually trim stuff in real time.
00:01.360: But a lot of times, well, not a lot of times, I've had it happen to me on occasion where the backup
00:01.360: you get a sense for how things should happen.
00:01.360: You you know.
00:01.360: Oh, he goes, Oh, yeah, that's really slippery.
00:01.360: And I'm like, okay, so I'm looking at his menu bar and right up in the upper right hand corner, there's this new little chiclet icon.
00:01.360: And actually, it was your idea to do this.
00:01.360: See what I'm saying?
00:01.440: Not much.
00:01.440: Ye uh RAID fast, yes.
00:01.440: You know, it's rendering, you know, because I set that thing to like a second.
00:01.440: Yes, there's some parts of it I really don't like.
00:01.440: So I heard him talk about it.
00:01.440: Well, to answer that question, I have I have the pro version of Dropbox and it's almost filled up one hundred gigabytes.
00:01.520: Welcome to the Final Cut Pro Grill.
00:01.520: One folder will be put my graphics here, and the other one will be put my scripts here, or put my, you know, maybe I have a subfolder called, you know, design.
00:01.520: And that's just, I'm stealing a keyboard shortcut from Final Cut 7.
00:01.520: You come up with workflows that save that time.
00:01.520: Hey, Chris, one thing.
00:01.600: So what brings you here?
00:01.600: And basically what he was doing, if you think about it back in the olden times, what he would do is he would take a track and he would split it.
00:01.600: I would like to be able to say, take this role and send it to a speaker.
00:01.600: I did the exact same thing.
00:01.600: You read Twitter and you go, Oh, that's interesting.
00:01.600: And you can drag it from name it what you want, drag it from one project to the other.
00:01.680: I knew how to slice the image across the sl six projectors.
00:01.680: Yes.
00:01.680: So we need a force relink command.
00:01.680: Pause this Richard Taylor takes over the Grill experiment.
00:01.680: I went and started it.
00:01.760: 1.
00:01.760: Yes, I think the term transfer library is it's kind of a hacky sort of term.
00:01.760: So you map it to something, and now all of a sudden, you know, you're smarter and faster.
00:01.760: You know, I don't know.
00:01.760: Okay, so this is where we would do the little sound effect.
00:01.840: How do you manage your plugins in Final Code Pro 10?
00:01.840: We're not really fancy.
00:01.840: It's really more of a giant multimedia thing with a lot of full motion video in it.
00:01.840: But it hasn't changed since two.
00:01.840: And I think when you get older, like we are, you get to a point where you go, Yeah, I am not going to spend my career re-editing that music file.
00:01.920: So we will send crews all over the country to find users of the products.
00:01.920: You know, I duplicated it five times.
00:01.920: But but the main guy that's here a lot, his name is Steve Navrat.
00:01.920: Yeah, it's really amazing.
00:01.920: You can take that frequency and duck it using a parametric EQ.
00:01.920: Yeah, again, typical.
00:01.920: So do you ever do any kind of transfer libraries over like the Internet to anybody?
00:01.920: And he goes, Oh, it's this game I installed last night.
00:01.920: I'm going to figure out how to, and I just, 45 minutes later, I'm throwing my hands up, going, yeah, I'm done.
00:01.920: But I was like I said, I was using it to store versions of Final Cut Pro libraries, or not libraries, but events.
00:01.920: So did you get the um uh premium beat new plug in that they have?
00:02.000: He's like, Yeah, it took me a while.
00:02.000: Yeah, they're not just one, it's multiple ones, I think, one for each page or something you have open, each tab.
00:02.000: They do.
00:02.000: But I use one computer to Skype and then I record on a second computer and a little audio mixer and the little mix minus and that kind of stuff.
00:02.000: If you're doing, and that's a massive thing, you know, in the episode I did with Austin Flack last Friday.
00:02.000: I just can't figure it out.
00:02.080: This is an interesting turn of events here.
00:02.080: If it's only a couple of interviews, they might just come back and hand me a pile of cards.
00:02.080: So, anyway, what I ended up doing, and it was kind of an experiment, and it was only a short time after the 10.
00:02.080: And I don't know I I can't imagine not using it.
00:02.080: That would be a good start.
00:02.080: And that's why when you take a Funnel Cut job folder, because that's how we organize things in a folder for everything that needs to happen for that job.
00:02.080: Like here it was at ten o'clock, here it is at eleven o'clock, and here it is at noon.
00:02.080: Yeah, yeah, yeah.
00:02.080: Okay, Chris, let's wrap this up.
00:02.160: But just start at the beginning.
00:02.160: Right.
00:02.160: I can't, I don't want to repeat an image on that.
00:02.160: I'm going to give you a full-width video.
00:02.160: I think it's fifteen or thirty minutes or something like that.
00:02.160: If a clip is one frame longer or shorter than its temp file, you can't swap that out.
00:02.160: Just let me do it.
00:02.160: This has gone on way too long.
00:02.240: So, I have one comp that's full size that I put my final product into.
00:02.240: com/slash design, inside there it will have its own.
00:02.240: 2 and 3 now use what's called an absolute address.
00:02.240: And although the hardcore networking people in the world say that you're crazy for trying to do that across Gigabit
00:02.240: I'm a little leery of any sort of automatic backup system.
00:02.240: It is the problem.
00:02.240: So why don't you tell us about how you do the podcast, just briefly?
00:02.240: Yeah, I would, I should really learn it.
00:02.320: Because a lot of times when they go on the road, they'll be gone for several days and they might do mult a multiple city tour.
00:02.320: So it was based on the mathematics of 720p projection, but it was just really big.
00:02.320: Uh between probably fifty was the smallest and maybe three hundred was the largest.
00:02.320: I mean, I just wanna I don't wanna go, oh, gee, am I opening the right one today?
00:02.320: And although I can change keyboard sets, easy, not that hard to do.
00:02.400: And when you first did sixteen by nine, you're like, oh, look at it, it's so cinematic.
00:02.400: I have another one coming up in the next couple of months, and that will actually get a lot more than just a night of cutting.
00:02.400: They're peripheral things like the ISIS and the media management and stuff.
00:02.400: I'm like a good mid-level logic editor.
00:02.400: I found it, you know, because I do the transfer library.
00:02.480: I got this.
00:02.480: Media management is a strong point, but that's not really the editor.
00:02.480: All we did was talk about Avid.
00:02.480: I'll have text text editor open because I always have my producer notes always come to me via email, but the first thing I do is I copy them out of the email into a text document.
00:02.480: Okay.
00:02.480: I go, Okay, you never get to use the word shouldn't when you're talking about computers.
00:02.480: I was going to ask you why you didn't use auditions for that, but that makes more sense, right?
00:02.480: And it's funny, so many times in conversation with Richard, you'll be talking about something, and he'll go, Yep, that's number 73.
00:02.480: Then somebody else will go, 25.
00:02.560: I would say that there are multiple types of things that I do.
00:02.560: But I mean, do you use a laptop then?
00:02.560: It was 7033 by 720.
00:02.560: And then when I started put pushing ten in front of him, he just looked at me like he wanted to kill me, you know
00:02.560: And so I was doing a bunch of these, you know, some of them were kind of testimonial things.
00:02.560: Yeah, you're totally th uh that that girl blah, blah, blah, blah, blah.
00:02.560: I mean, there's everything that happens.
00:02.560: And I'm not saying I had to do it, but I just got that feeling, you know?
00:02.560: 1 24 thousandths of a second hundredth of a second.
00:02.640: So I got on site and what I was supposed to do was kind of cut together a little Candid's reel or a faces show, you know, the typical kind of
00:02.640: And anyway, that's another thing that I not typical.
00:02.720: What was the thing?
00:02.800: Oh, good question.
00:02.800: And at that point, I took it into After Effects because I had already prebuilt what I call a rig.
00:02.800: Yes, I totally agree.
00:02.800: Well, I do have the what's it called backups for Final Cut 10.
00:02.800: So a transfer library would be the ability to take that library file.
00:02.800: It just stopped working.
00:02.800: So anyway, thanks for listening.
00:02.800: Yes.
00:02.880: Yeah, they would do it with Simpti.
00:02.880: I mean, I've done I've been for the last couple of weeks, I've been doing five different projects for this one producer
00:02.880: And then I do a uh option G and I put it in a compound clip.
00:02.960: So, anyway, that's an inside joke between Richard and I.
00:02.960: I mean, we literally just, you know, load card, load hard drive, copy contents over.
00:02.960: So you set that up custom in Fauna Cut Pro?
00:02.960: And then I duplicated that clip vertically up five times and then spread them out across the screen and hit play and it played.
00:02.960: His number one thing was ISIS.
00:02.960: And so I picked up a lot from him.
00:02.960: Yes.
00:02.960: Well, I can transfer the edit event around without worried about if somebody else is working on it, for example.
00:03.040: I'm going to do it myself.
00:03.040: And actually, he has I I haven't posted it as of right now.
00:03.040: And knock on wood.
00:03.040: I would open the one that was not time and date stamp.
00:03.040: People, you know, video editors have a you know, even though everybody says audio is just as important as video or more important
00:03.040: And I made a black frame and a white frame, and I dragged them into a bin that I cut that I said that I called it stuff I use all the time.
00:03.040: But did other people contribute as well?
00:03.120: So what brings you here?
00:03.120: And he says, no, I can no, not a problem.
00:03.120: Like everything I threw at this timeline, it just played it.
00:03.120: That's where I want to put it for this person's voice, because everybody's is going to be a little different.
00:03.120: Yes, I I definitely there's there's some things that I think we could see a bit more advanced in the audio world.
00:03.120: The big whale in the room when it comes to podcasting.
00:03.200: I thought about it later, and I probably could have done the same thing with the large comp and some compound clips in Final Cut 10 and never left Final Cut.
00:03.200: Well, that's part of the creative process.
00:03.200: Master Fader would be cool.
00:03.200: You know, I mean, Apple doesn't want to talk about it, but we can't.
00:03.200: So this has been kind of fun.
00:03.200: And inside those folders are a bunch of pre-built smart collections and sample keyword collections.
00:03.280: Quite often the camera crew will compile that onto a hard drive, and eventually a hard drive will come back to me in the office.
00:03.280: And then what I'll do is at the point where I want the music to dip, I blade that cut of music.
00:03.280: So in that case, it's background.
00:03.280: Well, one of the things that we do around the office is every machine has a library on it called template.
00:03.360: And then Thunderbolt into the computer.
00:03.360: I mean, that's you know, software didn't do it by itself.
00:03.360: I could make it mono, but I couldn't say just play it in the left speaker.
00:03.360: All right, we're gonna put toggle color on this.
00:03.360: You ever heard that one?
00:03.440: So I basically, you know, I started filling out the timeline.
00:03.440: I get it.
00:03.440: And I'll tell you another way that you can use it.
00:03.440: I mean, I started mixing bands in college and, you know, lugging gear around.
00:03.440: So that's basically what we do with the library.
00:03.440: Interesting.
00:03.440: What's that?
00:03.440: Right.
00:03.520: On F last Friday's episode, I I did a whole interview with Austin Flack, and he's a reality television editor in LA.
00:03.520: Oh, very cool.
00:03.520: So, as you know, by discrete, what they mean is, I want all the voices on the left track and I want all the music on the right track.
00:03.520: I think you can turn it off, but I don't know why you would.
00:03.520: I don't like depending on one library file, just a single library file that contains all of the database of edits and everything.
00:03.520: And clearly, if you only edit one day a week or something, you're probably not going to pick up on these little subtleties that your computer does.
00:03.520: There's a lot to it.
00:03.520: Well, thank you.
00:03.600: Tell me about the types of video projects you edit and how you start, how many cameras you use, a typical one if there is such a thing.
00:03.600: Well, you did have time to test it, right?
00:03.600: Then you can get kind of a snapshot, if you will.
00:03.600: And they're not necessarily really long jobs.
00:03.600: It seems like that would be possible.
00:03.600: We're doing two of these.
00:03.600: But when you learn how to use the multi-track feature, even if you only have one file in it
00:03.600: I'll lengthen it, I'll shorten it, I'll EQ it, you know, whatever.
00:03.600: Thanks for being here.
00:03.600: And he goes, Can I try one?
00:03.680: Today we have a very special guest, but first let me talk about PremiumBeat.
00:03.680: Oh, no, no, no.
00:03.680: Yeah, it's definitely dated, but but the main thing that that he liked and actually I guess his number two thing was the um
00:03.680: Essentially, what you're doing is you're digging a little hole in the audio spectrum
00:03.680: What else do I have open?
00:03.680: There's two speakers and one screen people do the math.
00:03.680: And I don't usually keep compound clips as compound clips.
00:03.760: When you start getting into do you ever use the topping and tailing?
00:03.760: And the thing that they're putting at the top of that heap is a fluid as my friend Kevin Monaghan at Apple excuse me, at Adobe calls it, a slippery time line.
00:03.760: Yeah, I can see that coming from Adobe, especially.
00:03.760: com.
00:03.840: Like, yep, you know what?
00:03.840: And then I think his main thing was all of the stuff the script sync and phrase find.
00:03.840: html, or whatever it is in the Web 2.
00:03.840: I put it into the sub into that compound clip and I just mute the temp file.
00:03.840: Compound clip.
00:03.920: This premium beat music sounds really cool in stereo, but you're going to sum it down to mono.
00:03.920: I I had not heard that at all.
00:03.920: Exactly.
00:04.000: But anyway, if you could drag an EQ or a compressor or some audio effect and drop it onto the roll itself
00:04.000: But the other thing that we do, and this is actually very important that we're I'm pretty stringent about.
00:04.000: No, that's correct.
00:04.000: Or just as one before that one.
00:04.000: But um Yeah, I've s I've seen it, but I'm not sure if it's Fonica Pro
00:04.000: I go, Well, what have you done?
00:04.000: All my EQ changes happen at the same place.
00:04.000: Right.
00:04.000: Don't send me Facebook messages because I hate Facebook.
00:04.080: What I'll do is I'll take that music bed and I'll put it in a storyline.
00:04.080: I, as a sort of a joke, I showed how
00:04.080: It's a great app.
00:04.160: I'm like, Hmm, okay, go for it.
00:04.160: I didn't realize that was on that plug-in.
00:04.160: I can remember a friend of mine once several years ago, he brought me his laptop and he's like, Yeah, this this isn't working.
00:04.160: Yeah, I would like to have a pro relink pro or something.
00:04.160: And then when the music gets approved, it's like, okay, cool.
00:04.160: The first thing I do is I open that template library, and in it is one event.
00:04.160: And also, this show is available at the Digital Cinema Cafe
00:04.160: So you may want to go look at that.
00:04.240: When I hear people talk about Avid, some of the main things they bring up are
00:04.240: Well, I'm interested.
00:04.240: Right.
00:04.240: Right.
00:04.240: The new guy gets to jail and he goes to the cafeteria and people are sitting in the cafeteria and they'll and they they'll blurt out a number Forty two Boom
00:04.320: So the clari the clarity is up in that range.
00:04.320: Thanks for listening.
00:04.400: That's crazy.
00:04.400: Now the piece was only going to be about three minutes long.
00:04.400: I was doing it in the hotel room upstairs.
00:04.400: Right.
00:04.400: They pop up everywhere.
00:04.400: What it is is a dual foreground processing.
00:04.400: I go, Okay, well, there you go.
00:04.400: And you contact people and you look into it a little bit and you're like, Okay, there's a conversation I want to have.
00:04.400: And yes, I could change them, but I just haven't gotten around to doing that.
00:04.400: Right.
00:04.400: Once it's in the timeline, there's no direct way.
00:04.400: Not fifteen minutes or some arbitrary number that Final Cut decides to back it up.
00:04.480: Oh, yeah.
00:04.480: And you know, these guys have like these end of the world video matrix switcher package deals back there.
00:04.480: She's like, what?
00:04.480: I was playing off of one of the relatively new, I think there's newer ones now, but the first generation of the Thin IMAX.
00:04.480: Well, I work at a place called Slice Editorial.
00:04.560: Right.
00:04.560: And a lot of times you don't realize the innocuousness.
00:04.560: Anyway, I just want this is me.
00:04.640: There's plenty of names for them.
00:04.640: A master mute.
00:04.640: It's supposed to be fifteen, but if you notice in the 10.
00:04.640: Because I used to do all my audio mixing like that.
00:04.720: So I'm curious.
00:04.720: So if I could just like hit, you know, command option M to mute or something like that, that would be kind of cool.
00:04.720: We're doing Digital Cinema Cafe and in September, probably October, we're rolling out another show, too.
00:04.720: Richard, thanks for doing this.
00:04.800: Well, I think that's what I'm talking about, is the actual editor without the ISIS, without the script sync, just the actual physical editing.
00:04.800: And we don't always do that.
00:04.800: Cyberduck?
00:04.800: And I just store the thing on Dropbox.
00:04.800: Like I said, I've purchased it, but I just like
00:04.800: Right.
00:04.800: It will be I believe it's going to be the last episode of our summer season.
00:04.880: Yeah, exactly.
00:04.880: If you have 16 tracks, it mixes it down to stereo, but you have no control over that.
00:04.880: Yes.
00:04.880: And what that does for you is it can take a library that can easily be 100 gigabytes or more.
00:04.880: The media event stays strictly for media.
00:04.880: Oh, yeah, yeah, yeah, yeah.
00:04.880: For example, Alex 4D has contributed like three or four recently.
00:04.960: And these are quite often these insane aspect ratios.
00:04.960: All the typical speed bumps, you know, that you run into.
00:04.960: It's like, Yep, that's Steve editing.
00:04.960: It's called the Chris Fenwick DSer.
00:04.960: Yeah, yeah.
00:05.040: So, anyway, um, and it and when it came time to kick it out, what I ended up doing is
00:05.040: Absolutely.
00:05.040: Now that's the media.
00:05.040: So what we've been doing is we've been doing what I call the tiny library trick.
00:05.040: Right.
00:05.040: So here's a little tip.
00:05.040: This doesn't preclude me from being on the grill.
00:05.120: I'm like, Yeah, dude, you're cutting like twenty nine nine seven frames per second when you're doing that.
00:05.120: Right.
00:05.120: So how do people contact you that want to contact you on the web?
00:05.200: Yeah, I'm not sure why you can't be doing this show, but.
00:05.200: Uh another thing that I kind of specialize in is um
00:05.200: Oh, yeah.
00:05.200: And th that's you know, doing those kind of projects, it's
00:05.200: That's a neat way to do that.
00:05.200: Go into it.
00:05.200: But I think we have one of the twelve core new trash can Mac Pros.
00:05.200: I don't sleep much.
00:05.200: And what's really funny is if you go back to Digital Cinema Cafe, the first
00:05.200: So you'll find a feature and it's like, hey, how come that's it's like literally not even in the menu.
00:05.200: It's much more mature than Final Cut Pro 10 is.
00:05.200: Now, inside the compound clip is the premimby.
00:05.200: It's there.
00:05.200: We'll be back at the end of the week with something else.
00:05.280: I'm like, cool.
00:05.280: As a matter of fact, that's a big part of the creative process.
00:05.280: So in our office, what we have done is on every computer we have a Pegasus R six.
00:05.280: It's like, Well, okay, okay, okay.
00:05.280: I want to say that this was your idea to do this little experiment, and it was fun.
00:05.360: Yes, it's really interesting.
00:05.360: So I just I find it kind of ridiculous that you have My Great Project version one through
00:05.360: What I do is I bring my temp music in to a timeline, and the very first thing I do is I Command G.
00:05.440: And then there was also an on-site photographer who's really fabulous, is this guy out of LA that does these things.
00:05.440: Oh, just for certain places.
00:05.440: That's um yeah.
00:05.440: And there are some bits of functionality, just like in Final Cut, in the Final Cut keyboard editor.
00:05.440: But you know, with Final Cut X draconian file relinking methodology
00:05.440: Yeah, yeah, yeah.
00:05.520: So now let's go to the interview with Chris Fenwick.
00:05.520: I use FX Factory.
00:05.520: So I went backstage and I talked to the projectionist and I said
00:05.520: That turned out to be the only thing I really helped him with.
00:05.520: Oh, I will say it's a great episode.
00:05.520: So it's a great interview.
00:05.520: Yeah.
00:05.520: Can you show me?
00:05.520: And I can't get my head around it.
00:05.600: And I said, yeah, I just I can't stand in this room, look at that screen and not want to paint on it.
00:05.600: It's what I'm saying.
00:05.600: So, once you cut
00:05.600: I mean, it's like two or three or four, and each one's hundreds of megabytes.
00:05.600: If I'm curious to hear how people use Dropbox or
00:05.680: We got one of those too.
00:05.680: No, the software didn't do it by itself.
00:05.680: You guys are on your own.
00:05.680: And he would EQ one channel with the cut in it.
00:05.680: But I kind of like it.
00:05.680: Right, but the compound clip goes back to your browser.
00:05.680: I used to do it over Dropbox, which I'm not going to do anymore.
00:05.760: Sometimes the producer will manage it for the shooter, sometimes the shooter does it themselves.
00:05.760: But when you select a role in the audio
00:05.760: I haven't actually lost anything.
00:05.760: I'm like, Okay, but you've done something He goes, No, no, I haven't done anything
00:05.760: You know, basically it's I I spend a lot of time on Twitter just because I prefer it to Facebook.
00:05.760: Basically, I was doing all my editing on the
00:05.760: Yeah, maybe we should do a Google Hangout and talk through it, and we could invite people along who want to learn some logic.
00:05.760: Okay, so in olden times, back when Laura Ingalls was editing in Funnel Cut Seven in the Prairie, um, I would take
00:05.760: They're not going to be messing with that.
00:05.760: We both, I know we have to go.
00:05.760: Compound clip pushing it back into the library.
00:05.840: So, do they actually transfer the footage in the field?
00:05.840: But basically he would program crossfades between.
00:05.840: Exactly.
00:05.840: Yes, instead of the same.
00:05.840: There was a horrible Ram leak in ten one one.
00:05.840: So you're actually taking something from the timeline and putting it back into the browser.
00:05.840: And digitalcinema cafe.
00:05.920: Their new electric battery cars.
00:05.920: We call them faces tapes.
00:05.920: And the first thing I did is I, you know, laid a color generator in it.
00:05.920: And then I um I laid a music bed underneath it
00:05.920: That particular trick I didn't get from him.
00:05.920: Yeah, I use that all the time just for that alone.
00:05.920: So, you know, it ended up being a whole lot of, you know, manual going through and selecting things.
00:05.920: And what you end up with is with a file that's very much like the old Final Cut 7 project file.
00:05.920: Because there's nothing worse than opening the wrong version an old version of something and putting a bunch of work into it and realizing you just
00:05.920: Like you go to open up a file and it takes a little longer and you're like, I don't like that.
00:05.920: Yeah, yeah, yeah, yeah.
00:05.920: And apparently, it didn't affect everybody, but most people, I think, felt it.
00:05.920: I don't have to read those words again.
00:05.920: But then I can.
00:05.920: So I could take a
00:06.000: Yeah, that was you were very funny on that show.
00:06.000: And one copy gets our archived away in a closet that's not permanently attached.
00:06.000: What about the libraries?
00:06.000: And a relative address is very good when you're designing a website because
00:06.000: There you go.
00:06.000: You got it.
00:06.000: This was cool.
00:06.000: The room bursts into laughter.
00:06.080: com.
00:06.080: Um, but h hopefully there is.
00:06.080: Well actually, you know, that is a fascinating project.
00:06.080: Yeah, I had about twenty minutes.
00:06.080: Yeah, it's interesting.
00:06.080: His number two thing was, now I can't remember, but his number three thing was his ability.
00:06.080: What I ended up having to do is very kind of old school.
00:06.080: So when we talked about earlier about background processing
00:06.080: So we don't do a lot of that out of house.
00:06.080: It's customized.
00:06.080: That makes perfect sense.
00:06.080: And so it's been a lot of fun.
00:06.080: So I guess he goes, What's a good one?
00:06.160: I did a thing, it was like a slideshow.
00:06.160: You go, okay, he's about 1200.
00:06.160: So do you your media typically on one of your projects is it how many gigabytes would a project be?
00:06.160: There you go.
00:06.160: I'm back.
00:06.240: And they were just going to picture and picture it
00:06.240: So you brought your iMac with you?
00:06.240: It doesn't mean that.
00:06.240: And you get.
00:06.320: Oh, very clever.
00:06.320: Oh, good, good, good.
00:06.320: Versioning, yeah.
00:06.320: Maybe not.
00:06.320: Let's try Country Western.
00:06.320: Very good.
00:06.400: Gotcha.
00:06.400: But because all of the
00:06.400: So that's a relative address.
00:06.400: But anyway, all those, anything inside that folder structure is what's called a relative link.
00:06.400: Yes, do it.
00:06.400: If you're in your timeline,
00:06.480: If you just depend on Final Cut Pro, the pro is
00:06.480: The con is it does it whenever it wants to, and it's a pretty wide
00:06.560: It may be by the time people hear this.
00:06.560: But what you're talking about is the it would
00:06.560: They're just very poorly managed.
00:06.560: 0, 3.
00:06.560: Oh, yeah, definitely Safari is open.
00:06.560: Yeah, because people hear bits and pieces of you, but not a
00:06.560: I don't know if you can call it sample-based editing.
00:06.560: I don't have to generate a bunch of like put all my multicams here and that kind of stuff.
00:06.640: So I went to the producer and I said
00:06.640: I was given the task of choosing where the company would go technically, and I'm kind of in charge of that stuff.
00:06.640: That they like those things or don't?
00:06.640: So speaking of that, do you have a a background working with audio?
00:06.640: It has much more presence.
00:06.640: But what I tried to do is I made roles for all the dialogue and all the music.
00:06.640: Yeah, I do too.
00:06.640: It you know the the one thing that I tell people all the time when it comes to dealing with computers, all the time, is that
00:06.640: And he goes, Right.
00:06.640: I'm a narcissist.
00:06.720: It's like, really?
00:06.720: Yeah, that's what they need, more me.
00:06.720: Oh yeah, that's a lot smaller.
00:06.720: 2400th.
00:06.720: I'm back to host mode here.
00:06.800: So I knew how to create the files that he needed.
00:06.800: So it's an okay drive, not not the you know, nothing to write home about, but not, you know, a USB three drive or something like that.
00:06.800: Yes.
00:06.800: You just change all the volume to EQ them all together.
00:06.800: Okay.
00:06.800: Apple had a a tech note out about it yesterday.
00:06.800: When I say, What have you done different?
00:06.800: But
00:06.880: So what do they use to do the transfer in the field?
00:06.880: And so when you tell your computer
00:06.960: And they offer these songs and loop packs at a great price.
00:06.960: But what ended up happening
00:06.960: But the ho but the dynamic trimming, he says nothing touches it.
00:06.960: Yeah, just for certain for sound under, you know, music under breath.
00:06.960: It means it's just
00:06.960: So I have them at work and I have them at home.
00:06.960: You know?
00:07.040: You know, it's just this big wide screen.
00:07.040: But on site, I was still slated to be on site for that show.
00:07.040: The body is, like you said, down in the 1K, 2K range.
00:07.040: So do you depend on the Final Cut Pro backup process to back up your libraries?
00:07.040: Yeah, yeah, sometimes.
00:07.040: You just don't.
00:07.040: I'd select a clip or a span of clips or a series of clips.
00:07.040: Oh, I'm sure I do.
00:07.040: Or premium beats.
00:07.040: And help me out.
00:07.120: I've heard some of the
00:07.120: And because of conflicting schedules,
00:07.120: Thank you.
00:07.120: And I time and date stamp that, today's date, edit notes.
00:07.120: Maybe it's more less maybe it's less about the cores and more about the throughput of the hard drive.
00:07.120: Well, that's true.
00:07.120: I have yet to find an occasion where I really needed multiple events.
00:07.120: Thanks, Chris Fenwick.
00:07.200: Yeah.
00:07.200: I know that there's all kinds of the shop put pros and what's the new one that Red Giant has?
00:07.200: And basically, the clips, the images, were just being lopped off right on the beat of the thing.
00:07.200: 0 world.
00:07.200: As long as that hard drive is still mounted, if I open that library, it will sort it all out across my network.
00:07.200: And the analogy I use, I said, it's like cutting a birthday cake with a chainsaw.
00:07.200: Right.
00:07.200: It's like literally swapping out the file takes ten seconds.
00:07.200: You're just going to be messing with the actual edits.
00:07.200: No.
00:07.200: But it was fun, and I think it's fun just because of my narcissistic nature, and I love hearing my voice, and I love it when people don't interrupt me.
00:07.280: And every time I hit play, the damn thing just played.
00:07.280: Right.
00:07.280: I adjust the length of it to match the actual video.
00:07.280: I'm kind of the lead editor, whatever that means.
00:07.280: So um we don't really deal with that that much.
00:07.280: I like the customization of the keyboard.
00:07.280: I have a media event and an edit event.
00:07.280: And I've actually just taken it off my phone in the morning.
00:07.360: Um I would say a lot of what what we do here are um kind of high end
00:07.360: I think the the one I did, it was it was a relatively small pixel count, all things considering, but it was seven thousand
00:07.360: Quite often you're doing like motion graphick-y stuff, and I don't want to hear it.
00:07.360: And you can that way you can save your customized titles, customize
00:07.360: Absolutely.
00:07.360: He goes, Hey, I thought you said that was a good one.
00:07.360: So anyway, yeah, you're you're
00:07.440: I do a handful of those a year.
00:07.440: All your media is red icons.
00:07.440: But but we're not a giant house.
00:07.440: And that's really nice because
00:07.440: There you go.
00:07.440: However, if you select the title, the generator, the effect
00:07.440: How in the heck do I save it?
00:07.520: Tape.
00:07.520: And no.
00:07.520: But I'll just say that in
00:07.520: Okay.
00:07.520: A lot of the keyboard shortcuts are wrong and different, and so many times I sit down at Final Cut.
00:07.600: They have a great ecosystem to try before you buy.
00:07.600: And because Final Cut is constantly
00:07.600: Twenty minutes.
00:07.600: So basically, at the beginning of an interview, if you put that EQ on the interview.
00:07.600: Exactly.
00:07.600: Oh, okay.
00:07.600: And it's versioning by virtue of what time it was saved.
00:07.600: I haven't done anything.
00:07.600: And then you do you edit the audio at all in Final Cut?
00:07.600: What
00:07.600: Oh, you can change them in audition?
00:07.600: And we have just gotten into this very comfortable thing where we essentially leave the keyboard shortcuts alone.
00:07.600: It's it's
00:07.680: So it's a little it's got hard drive platters, but they're seven twenties and they're rated together.
00:07.680: Okay.
00:07.680: Yeah, but most people wouldn't do that upstairs from the ballroom where they're announcing a brand new car.
00:07.680: And also the human voices, you know, it was.
00:07.680: Although both of these systems do
00:07.680: And so we do have like a slice set, if you will.
00:07.760: We'll typically do a two camera 5D Mark III interview.
00:07.760: For so long, I mean, you and I are old enough to have done
00:07.760: Yeah.
00:07.760: Take that out of your vocabulary.
00:07.760: com supports both of our shows right now, The Cafe and The Grill.
00:07.760: And the new guy is sitting next to an older guy, and he goes, Hey, help me out, man.
00:07.760: Not sure who that's going to be yet.
00:07.840: It was just I threw a bunch of images in, I selected them all, I said
00:07.840: And there's something about starting with the RAM fresh and everything.
00:07.840: And it just depends on whether which one of the foreground processes gets started first.
00:07.840: I have zoom in and out on the time line to single keys rather than Apple Plus and Apple minus, which is very awkward to me.
00:07.840: What is this you speak of?
00:07.920: Yeah, faces real.
00:07.920: So I knew the screen spec.
00:07.920: He goes, you know, like a couple of days before the event, can you send me that rig?
00:07.920: It was another guy I knew nearly thirty years ago.
00:07.920: Seriously.
00:07.920: Yeah.
00:07.920: Because you're doing so many a week.
00:07.920: And there are ways to do it
00:07.920: And you can make a smart collection for compound clips.
00:07.920: I got it constantly well, I have the uh pack pack rat option, which means you can delete anything and it's never deleted.
00:08.000: What are loop packs?
00:08.000: Yeah, I travel with it all the time.
00:08.000: I think the real thing was that there was just enough crazy involved
00:08.000: On today's episode, we're recording this on Friday.
00:08.000: So I hit Command G.
00:08.000: You know?
00:08.000: I don't know that Apple really
00:08.000: And I'm like
00:08.000: Yeah, I thought that was crazy.
00:08.080: Was he a premier editor?
00:08.080: If you missed it, go back and listen to it.
00:08.080: And the tailing a shot in real time is really pretty spectacular.
00:08.080: Sure.
00:08.080: com slash design slash whatever.
00:08.080: Or if you're inside a folder and you need to go out of folder in web parlance, it would be a dot dot slash.
00:08.080: Right.
00:08.080: But it is interesting and you forget some of the things that you do.
00:08.080: So I think that's what's powerful about these type of conversations.
00:08.160: And afterwards I said, Hey, why don't you do a little demo and send it to me?
00:08.160: If I'm having a problem with their frequency, I'll
00:08.160: If you go into the effects tab, search for channel, and you'll get an EQ called channel EQ.
00:08.160: Then you can turn that EQ off.
00:08.160: That was mentioned on the Virtual User Group.
00:08.160: And back to our regular programming.
00:08.240: Really?
00:08.240: So but it's more than it's more than
00:08.240: That's the joke.
00:08.320: Now, don't you wish you had.
00:08.320: Yeah.
00:08.320: And then the and then the con so that's the pro and con of doing it internally.
00:08.320: Yes, no.
00:08.320: Very cool.
00:08.320: Is it fcpx.
00:08.320: And frankly,
00:08.400: com.
00:08.400: Then you can just drag it left to right.
00:08.400: And really, that's what this show is just this.
00:08.400: No, of course not.
00:08.480: I've done a lot of live audio.
00:08.480: And then
00:08.480: 1.
00:08.480: Right.
00:08.480: There you go.
00:08.480: I always break them apart.
00:08.480: He goes, Seventeen's r a surefire winner.
00:08.560: I mean, I think the screen was 215 feet wide.
00:08.560: It'll go, Hey, dude, you did this yesterday.
00:08.560: So do you when you pass you talked about storing the
00:08.560: Nope, I want to go New Age.
00:08.560: We're going to do that.
00:08.560: No problem, Richard.
00:08.640: I did one
00:08.640: He's been a guest on the show.
00:08.640: Brick wall.
00:08.640: And I'm running Final Cut maybe in maybe Safari or something.
00:08.640: There's obviously a stumbling block that I just don't figure it out.
00:08.640: Yep, that's 89.
00:08.720: 1 release where we got the ability to create custom canvases in Final Cut 10.
00:08.720: I duplicated my timeline.
00:08.720: There is a file called my cool projects, and in there is a
00:08.720: That counts.
00:08.720: Okay.
00:08.720: And the event is called sample, I think it's called.
00:08.800: So um although I had originally been slated to do the show opener for that,
00:08.800: Okay.
00:08.800: Great, wonderful.
00:08.800: Okay.
00:08.800: I go, You've done something.
00:08.800: I mean, just because it is actually version 10.
00:08.800: mister Golner, yep.
00:08.880: But now you're going, you know, you might be going back further.
00:08.880: Just a whole bunch of
00:08.960: Loop packs are eight to twelve Lego blocks.
00:08.960: But they.
00:08.960: So I was supposed to do a sixteen by nine, but I got there and I looked at that screen and I'm like
00:08.960: And they had music and they had voice.
00:08.960: That's a good point.
00:08.960: Right.
00:08.960: He goes
00:08.960: I have a few things in the works.
00:09.040: And you're you're, you know.
00:09.040: Yeah, you can visually see on a spectrograph.
00:09.040: And I take everything down and I shut the computer off.
00:09.040: It's not sample-based editing.
00:09.040: And I just drag the edit version of the event.
00:09.120: It's ten point one point two world now.
00:09.120: 3
00:09.120: You think something is completely innocuous, but in actuality,
00:09.200: Austin is clearly a knowledgeable person.
00:09.200: It's not like we have a hundred editors doing this.
00:09.200: Yeah, so it's 100 times more accurate than doing 24.
00:09.200: So we just have a nu we have a numbering system, very much like Richard Taylor's website.
00:09.280: Um and that's one kind of thing.
00:09.280: I mean, typically in today's day and age.
00:09.280: Well
00:09.280: So it's probably a permissions thing.
00:09.280: You're doing two of these and you're doing.
00:09.280: Yeah.
00:09.360: It doesn't really select them.
00:09.360: And I also I se I use Logic Pro.
00:09.360: I have a question for you.
00:09.360: Yeah.
00:09.360: Thank you so much.
00:09.440: Absolutely.
00:09.440: Let me think.
00:09.440: This is, what is this, episode 75?
00:09.520: Make it a compound clip, it goes to your browser.
00:09.600: I use this Tenba case to travel with.
00:09.600: Because it's looking for the absolute address and not the relative address.
00:09.600: And so I think that there I think that they're probably
00:09.600: Well wait explain it to me.
00:09.600: com mp3 file.
00:09.600: How do you save that?
00:09.600: tv is your website?
00:09.680: And then at the point where I want the music to go full again, I blade it again.
00:09.680: You know what?
00:09.680: You can't say it because you have no idea what's going to affect what.
00:09.680: No, I'm just saying.
00:09.760: And ba it's not like a motion rig, but basically what it does is I have a source
00:09.760: Oh, yeah, it's really vital.
00:09.760: You win.
00:09.760: So if you haven't found me yet.
00:09.840: Hey Chris, what's up?
00:09.840: Right.
00:09.840: So if I use it in another project, I'll drag it to the timeline.
00:09.840: Well, it's improvements.
00:09.840: So thanks for listening.
00:09.920: Of course, that all scales out.
00:09.920: Yes.
00:09.920: Yeah, I'm virtually certain.
00:10.000: And then the other thing, if you you mentioned the
00:10.000: If not, five or six or seven speakers, yeah.
00:10.000: Too many podcasts to produce.
00:10.000: Absolutely.
00:10.080: Right.
00:10.080: It is.
00:10.080: Yep, that's 24.
00:10.080: So the cafe will take a week off or a month off rather and come back.
00:10.160: So anytime I turn around and ask my producer a quiet
00:10.160: And it's it's
00:10.160: It was like uh I can't remember what it was called.
00:10.160: I had to go through and meticulously select everything.
00:10.160: I had been using Dropbox to store my
00:10.240: And he was like, Yeah, no, cool, that's fine.
00:10.240: Okay.
00:10.240: That's right.
00:10.240: And I would love it if you could just say, take these four cores.
00:10.240: Nope, I want to go heavy metal.
00:10.320: And
00:10.320: And three hundred's a good size project, but I've I've done a few that were, you know
00:10.320: Which I think helps the
00:10.320: Safari is definitely a Ram hog, especially when you have all those
00:10.320: We do transfer libraries in so much as we will.
00:10.400: You're not actually doing anything.
00:10.400: And you're like, Yeah, yeah, yeah, I know.
00:10.400: And then the other one I mentioned it almost in passing is I have mapped
00:10.480: Good friend of the show.
00:10.560: Yep.
00:10.560: What have you done?
00:10.560: I'm so glad you said subframe.
00:10.560: Yes, fcpx.
00:10.640: That being said, I actually do the podcast in Adobe Audition.
00:10.640: But it's it's pretty close to the s the straight um standard keyboard.
00:10.720: So I said to him
00:10.720: It just says go
00:10.800: You know?
00:10.800: And I went, Hm So then I dropped three more clips in
00:10.800: And the production company that's doing the live event
00:10.800: And so
00:10.880: And I'll put it on the website.
00:10.880: And I go,
00:10.960: And this was for
00:10.960: And that's good.
00:11.040: So that'll just be a multicam cut, some B roll covering some edits.
00:11.040: Yeah.
00:11.040: It's these conversations with people that.
00:11.040: Yes, you're going to cut it, but you're also going to make a mess out of it.
00:11.040: It went from 9 to 10, not from 7 to 10.
00:11.040: I'll tell you what I do.
00:11.120: Okay.
00:11.120: So, um
00:11.200: There's a frequency slider.
00:11.280: And, you know, thankfully, I mean, both tend
00:11.280: We'll be back.
00:11.360: And I dropped a couple of
00:11.360: I I I kind of do it by feel and the beauty of
00:11.360: No, actually, I I will say
00:11.360: I have other things I need to do.
00:11.440: She's like, are you sure you can do that?
00:11.520: I get a soda.
00:11.520: tv.
00:11.600: I like to have them duplicates.
00:11.600: Do you use
00:11.600: And so it's like a.
00:11.600: So the new guy says
00:11.600: I've been doing it since.
00:11.680: And he's like, Oh, yeah, check this out
00:11.680: It's a couple of people and we we've
00:11.680: Oh, you do?
00:11.680: Yes, I know you can because
00:11.760: The greatest shot ever made.
00:11.840: Good grief.
00:11.920: I need to cut my video up.
00:11.920: I got to tell you, I have
00:11.920: I'm new here.
00:12.000: I said, You don't mind getting
00:12.000: I have done
00:12.000: Richard Taylor TV on Twitter.
00:12.240: And on iTunes.
00:12.320: We'll talk later.
00:12.400: What are they doing?
00:12.800: Okay.
00:12.800: And all we did was talk about Avid.
00:12.800: Right.
00:12.960: And I just got to say that
00:13.120: The other one will wait.
00:13.440: And
00:13.440: Later, later.
00:13.520: I said, absolutely.
00:14.160: And