Episode 76
FCG076 - The Cross Over Show (feat. Alex MacLean)
Color grading for dummies? Not really. On this special episode of The Grill, Alex MacLean, from digitalCINEMAcafe drops by the studio and we have a casual chat about Color grading practices, Alpha channels and the Tilde key, and we listen to YOUR voice mail messages that have been left for us on the digitalCINEMAcafe.com website.
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Featuring
- Chris Fenwick
- Alex MacLean - @alexm13
Transcription
00:00.001: I thought you hit this curry real quick.
00:00.001: But anyway, you just pop that thing in and you could uh pull your media.
00:00.001: As a matter of fact, I even go back to the era in the eighties where we used to have you ever heard the term super black, Alex?
00:00.080: Color comes from.
00:00.080: But that's not Pro Till's fault, that's your fault because you just I know, but the point is that am I going to take the time?
00:00.080: Sorry, is that proper terminology for a track in Final Cut II?
00:00.080: Also, the Adobe stuff, C um Similar 4, everything.
00:00.160: So, if he gets too annoying, I'll just pop that mic down.
00:00.160: You were standing up even at one point.
00:00.160: With the XMLs out of Premiere.
00:00.160: kind of like tape stock tape decks in the past and cameras, et cetera.
00:00.160: 'Cause what are the first two things you cut, you know, in post?
00:00.160: I don't know hardly anything about sound.
00:00.160: And we'll just talk color.
00:00.160: I thought it was really cool and really uh intuitive that he would throw uh proxies into the library and keep those on his actual computer so he could edit on the go and become portable really quickly.
00:00.160: Okay, so basically, Logan, I'm calling BS here.
00:00.160: But it's a great little way.
00:00.160: I don't know what the deal is with keyframing in Final Cut 10, but that seems to be a big issue.
00:00.160: and now she's the youngest professional entertainment reporter and she's probably done over six hundred interviews now.
00:00.160: I'm doing a another project right now where we've got some elements like that.
00:00.160: Because when we got this camera, the card, because we don't normally deal with that format, whatever it is, I can't even tell you.
00:00.160: I just didn't let it fully transcode or open up or rewrap or whatever it's doing with the media.
00:00.160: I mean, he's got like guys, and I didn't catch his name, but one of the guys, you know, the thing was basically a giant pie.
00:00.160: Well, thanks for the comments, Paul.
00:00.160: The workflow that you're doing is actually a very valid workflow.
00:00.160: She's like a hardcore, I love my food type person.
00:00.160: She's like, dude, I know all about Premium Beat.
00:00.160: Maybe I'll be able to find Doug Orr by then.
00:00.240: Final Cut Grill episode seven zero seven six, way up there, huh?
00:00.240: I'm eating because I'm hungry.
00:00.240: If you have any comments or questions that you have for the show, go to Digital Cinema Cafe and on the right-hand side is a little tab and you can click on that.
00:00.240: with Alex.
00:00.240: This is the first time tonight that I actually have picked one up.
00:00.240: And, you know, like we've all done it.
00:00.240: And you were actually really hoping you had heard about it.
00:00.240: Today.
00:00.240: But I think that a lot of people maybe don't realize that quite often when you're going to an external colorist, they are literally going to recreate your edit shot for shot by using an XML output or some sort of other
00:00.240: I'm not an expert in this department, but the interpretation of an XML file from every single application out there is different.
00:00.240: And it's very you've probably talked about this on the show before, but it's NLEs are very geographical.
00:00.240: And I don't totally get it.
00:00.240: That I just apply to my clips.
00:00.240: So, you know, time it accordingly for my response.
00:00.240: I come from the commercial side.
00:00.240: for commercials and feature films.
00:00.240: And for a lot of these people, it meant color correction in the NLE or the finishing system.
00:00.240: Boom, I literally had not thought of this.
00:00.240: But I think that how real time stuff is?
00:00.240: Unfortunately, I can't say who it was for a big tech company.
00:00.240: So, but the interesting thing is, you know, that project was shot on, I think, the the Canon C500 C300, sorry.
00:00.240: The problem is everybody gets so like gear geeky and it's like, oh, Resolve is the the hot thing.
00:00.240: Designed to be fully takes an SDHC card or something.
00:00.240: where his big hard drive was and all the the grown-up media, I'll call it.
00:00.240: on the latest uh podcast.
00:00.240: 0.
00:00.240: I want to say, and this is actually totally relevant to what we were talking about earlier with the new Sony camera, it's really, really important when you start working with a new camera.
00:00.240: X A V C L M N O P, yeah.
00:00.240: Know it inside and out just so you don't get bagged on something.
00:00.240: All right, that's where we're going.
00:00.240: call in on the on the audio tab and explain why pre-multiplied has to exist.
00:00.240: The default setting in After Effects is pre-multiplied.
00:00.240: Many years ago, I was making a template lower third thing for one of my clients.
00:00.240: That may have been a gigantic pre-multiplied rat hole, but it's something that's probably worth discussing with somebody smarter than me.
00:00.240: posts, I think, ago.
00:00.240: And it was really fun.
00:00.240: Alex Lindsay is an uber super nerd.
00:00.240: I'm Paul Antico.
00:00.240: And it worked out really, really well.
00:00.240: For editors looking to get into this, who actually work on the stuff professionally, let's keep up the good work.
00:00.240: at what used to be at seven point five IRE, and you could force your black on your tape machine to be zero IRE, and that delta between zero and seven five gave you enough
00:00.240: Range that you could actually do a luminance key of something.
00:00.240: is to do your cutouts.
00:00.240: Before actually, I think that's it.
00:00.240: And it's awesome to have people that are so involved in the industry to see something that we're doing, just a couple of idiots of microphones in a room late at night.
00:00.240: Rested from your road trip.
00:00.240: and want to support what we're doing.
00:00.240: And I was trying to explain to her about the podcast because she does this thing on Facebook.
00:00.240: as editors, we really like I really I get so much more inspired when I'm cutting to a piece of music that I actually like.
00:00.240: A7S.
00:00.240: It's a fun show.
00:00.240: I really suck at email.
00:00.240: Anyway, so thanks for listening.
00:00.240: Anyway, we'll see.
00:00.320: Powering some Indian food.
00:00.320: Snap food.
00:00.320: Oh, I think I was shooting you at you turned off all the lights and you ha you lit yourself with a fill from your MacBook Pro.
00:00.320: b you know, cover up the noise as much as possible.
00:00.320: You know, we hate premiere show because it's not really.
00:00.320: And as part of that, the color grade, we're actually recreating the edit.
00:00.320: I can rattle off two hundred and fifty problems with the Premier XML thing, but we're not going to go there.
00:00.320: I work in a couple markets.
00:00.320: And I think the thing, and I have said this for many years publicly, that my desire, my personal desire is I just want to work in my time line.
00:00.320: In our backgrounds, is you're a broadcaster, I'm a filmmaker.
00:00.320: My clients, most of my advertising clients are some of them very seldom, you know, very few of them now are shooting film, but they're used to a film-based telecine workflow.
00:00.320: And what that means is that, which is the same as the feature film people, in that environment, they're used to a real-time color correction suite where they can heavily manipulate the image.
00:00.320: You may be going to one place for offline editorial.
00:00.320: Which, you know, that avid symphony is now an avid, done in the avid, or this or that.
00:00.320: Not very often.
00:00.320: And they come into, you know, a real-time color suite and they're like fucking blown away.
00:00.320: A quick treatment versus a full-blown grade, where we really, you know, made this thing sing.
00:00.320: So question, if that's what he was expecting, why did he come to you in the first place?
00:00.320: I've got a lot of clients that previously were not they were cutting corners on things like color.
00:00.320: Your switch.
00:00.320: Sound mix, yeah.
00:00.320: That are emerging into this, whatever you want to call it.
00:00.320: The conversation in and of itself is enlightening.
00:00.320: That have come in through the little tab.
00:00.320: Had to abandon it, unfortunately.
00:00.320: Oh, is this the little it slides into the side of your MacBook?
00:00.320: Anyways, really, really love the show.
00:00.320: And Thomas Grove Carter on episode fifty five talked about how he was using the library structure and the proxies to be able to unplug from his main system with his laptop.
00:00.320: And then just there's a little tink switch and go tink, go back to the big big boy pants media, and now he's at full full res again.
00:00.320: Hey Chris, good morning.
00:00.320: And hopefully I'll learn some more stuff.
00:00.320: Working and I'd love to know what you're working on in the Silla Cortez.
00:00.320: Hey, Chris, this is Adam Feinsilver.
00:00.320: directory into Final Cut 10 with while leaving files in place.
00:00.320: Directory, then you can actually leave the files in place when importing into Final Cut 10.
00:00.320: Wanna be power user in After Effects.
00:00.320: Right, and that's so you're premultiplying that coming out of After Effects?
00:00.320: You want to take your card and you need to figure out how you're going to transfer it.
00:00.320: Your workflow, and I will say that I have on occasion thought I imported a card.
00:00.320: And I can hear people like, you know, turning down their volume as I start getting deeper into it.
00:00.320: Just today, I was working on a project where a graphic artist had built us templates for all the lower thirds.
00:00.320: Right.
00:00.320: Okay, so it has a full alpha channel, so it has transparency.
00:00.320: I mean, think of an example.
00:00.320: So, as a lark, real quickly, I just went into the sequence settings.
00:00.320: Okay, so in my canvas, I could see the lower third, I could see the banner, and I could see how transparent it was because it had orange behind it.
00:00.320: Well, what ended up happening on a couple of occasions is other editors used that template, rendered it as pre-multiplied.
00:00.320: Figured out a reason why I would ever want to pre-multiply.
00:00.320: And the lower third banner had a little bit of an orange tint to it.
00:00.320: He explained to you he was on Final Cut 10 and he had another editor that was thinking about switching.
00:00.320: So, anyway, he's talking about that's way back episode six, Anthony Mareshi.
00:00.320: Like this, you don't catch this on the air, but the craftsmanship of those slices of the pie in the center, it was like you know, Mayan temple accurate.
00:00.320: And somebody said, Hey, did you know it was going to go together like that?
00:00.320: and uh I I actually did everything and it colored and everything for a major metropolitan um transportation agency actually.
00:00.320: Save it as a PNG.
00:00.320: that will retain all of the levels of transparency that you've created by either drawing or creating a mat
00:00.320: Okay, so if you can see the checkerboard in Photoshop, that part will be transparent in your image.
00:00.320: He was in the T V industry in South Africa for the longest time and has recently moved to Australia.
00:00.320: Listen to their stuff.
00:00.320: But she was she was trying to she was telling me about her her Facebook page or whatever.
00:00.320: all we talked about was the A7S.
00:00.320: Exactly.
00:00.320: So those things get backed up, and we're wicked busy here and a lot of things going on.
00:00.320: Doug Orr, was it Doug?
00:00.320: All right, so that's it.
00:00.400: I barely ever I think one time I've played some of those sound files to the sh in p used them in the show on this show.
00:00.400: I believe I was at 32,000 ISO and I was getting clean.
00:00.400: in uh various production technique or type things.
00:00.400: For those of you that uh don't know me or don't listen to the other show, I work as a colorist.
00:00.400: I've been sort of trying to encourage you to do a whole white paper on the trials and tribulations of using Premiere XML because there's a lot of issues that you've covered across the X.
00:00.400: feel free to send me a public reply on Twitter at AlexM13, and we can work through these horrendous issues together.
00:00.400: Have been working on commercials for 25 years and they've been like used to come into Telecinni and they call it Telesyn.
00:00.400: But it's but it's the same effect where like it's this magical thing where in the client note in the when I say the client, I mean the actual client, XYZ tech company.
00:00.400: With this one.
00:00.400: And I like what you're doing.
00:00.400: That um I don't do a lot of keyframing in the timeline.
00:00.400: ProRes 4x4.
00:00.400: And it's like, really?
00:00.400: Straight versus pre-multiplied.
00:00.400: Keyable asset out of After Effects.
00:00.400: Hey Chris, this is Doug or you know Anthony Maresky.
00:00.400: The show.
00:00.400: like 18 minute training film as my first piece essentially with FCP X10, whatever you want to call it.
00:00.400: point one point two.
00:00.400: Yeah.
00:00.480: Basically, I got a bunch of them, and we're going to go through those today and talk about them.
00:00.480: And so as a colorist, I'm working with editors that are on all different systems, all different platforms, et cetera.
00:00.480: Form of XML, you could call it, or an XML file.
00:00.480: Until I met you and I started seeing the whole workflow thing.
00:00.480: ten users, it's a very comfortable ecosystem.
00:00.480: And in that pipeline, there could be a 20-stop shop when you're working on commercials or feature films.
00:00.480: We kind of cater to all, and we're doing color for everything.
00:00.480: Cross-pollination.
00:00.480: So that's kind of been interesting, where now that producer, so I did that job three weeks ago, he's already got like three other jobs on the books for the next couple of months.
00:00.480: Seeing that value added.
00:00.480: Yeah.
00:00.480: in Canonlog.
00:00.480: So I forgot why we went down that tangent, but Well, I'll tell you what, I think the point is that and this is really the case, and I talk about this all the time on this show, is that
00:00.480: you can use the tilde key as you slip the the clip and everything else stays in place.
00:00.480: So this guy's on a sailboat on a Final Cut 10 right now?
00:00.480: 06 or something like that.
00:00.480: And I've avoided it, Final Cut X, because of issues with moving graphics that I've picked up on through what I've found online.
00:00.480: When one of your podcasts, I got the impression that there was still an issue with it, but I decided to jump in and I'm running into some major problems that I haven't heard explicitly discussed on your show, especially with keyframing.
00:00.480: And then you're like, oh, okay, so then you work and you work, and then you quit the application at the end of that day, and you come back day three.
00:00.480: I think so.
00:00.480: Very good stuff, very good show, really a powerful resource for
00:00.480: or um something else.
00:00.480: I promise you the PNG will work.
00:00.560: At least you sound like you understand it.
00:00.560: Where people that are in a broadcaster's workflow or a video or a tape-based workflow, people are used to the term color correction.
00:00.560: you know, different projects entail.
00:00.560: They don't normally budget for, or they are used to, like, oh, can you just make it look a little better?
00:00.560: For these tech companies to be played at sales conferences, etc.
00:00.560: Having the conversation, it makes me think, like, yeah, there's a whole lot I don't understand.
00:00.560: So that's just an example.
00:00.560: called StorEdge, and it's either a sixty four gig or one hundred and twenty eight gigabyte SD card that fits just inside of a Retina MacBook Pro or an Air or whatever.
00:00.560: This is a a voice note from Bryce LeCar, I believe.
00:00.560: A shot that's on your primary storyline.
00:00.560: Let's see.
00:00.560: I think you left your email address.
00:00.560: Not the newer version.
00:00.560: Anyway, yeah.
00:00.640: It's really most people probably don't actually have lives anyway.
00:00.640: When I got the test, I'm going, Okay, so is that a you giving me an XML for so-and-so?
00:00.640: So as a result of that, we're interfacing with that quite a bit.
00:00.640: And it's also, correct me if I'm wrong, the functionality of comparing shot A with any other shot in the timeline and being able to do split screens and stuff, right?
00:00.640: But ultimately, there are a lot of issues with it.
00:00.640: what I think his expectation going into it was probably he'd get the same thing that he would as his editor doing something in Final Cut, right?
00:00.640: But anyway, if you want to slip, like let's say that has some sound on it and you're trying to adjust the the dialogue in it, but you want to leave your B-roll in exactly a certain spot.
00:00.640: One other problem that I just found a solution to that I've seen a lot of people mention online, but it hasn't been clarified, is importing files from an AVCHG
00:00.640: When you're choosing how to render out of After Effects, one of the pull-down menus in the Output Module settings is pre-multiplied or straight.
00:00.640: Which Alex so adeptly pointed out.
00:00.640: uh backgrounds that uh will be invisible is to key them in with a green screen.
00:00.640: And I was trying to explain to her what a premium beat ad was like, and I kind of like sort of launched into it, and she's like
00:00.640: So anyway, that's it for the Or if you're a colorist so you don't listen to sound at all.
00:00.640: right now.
00:00.720: No, we don't cut things out.
00:00.720: You said 20 stops.
00:00.720: Anyways, that's where you come from, where you're like, what?
00:00.720: Having my project on the screen without listening to it.
00:00.720: You know, just like if I'm going to mix my own sound, am I going to go into Pro Tools?
00:00.720: Hi, Chris.
00:00.720: To the director, real quick.
00:00.720: Transparency, alpha.
00:00.720: Made the move a couple years ago.
00:00.720: Where quite often you would put graphic elements on tape on a green background and you would use the chroma key functionality of your production switcher to key stuff over live video.
00:00.800: Oh man, am I on the grill?
00:00.800: Yeah, so if you tuned in a couple of weeks ago, we had Paul Snyder, Digital Cinema.
00:00.800: The same term, different practice.
00:00.800: I don't know how to get a hold of him or anything, but I wanted to share with him a product made by PNY.
00:00.800: Logan Hyland.
00:00.800: We are operating from a sailboat, and we're not editors per se, but we use Final Cut Pro X as part of our pipeline.
00:00.800: to slip a a clip without changing the connected clips attached to it.
00:00.800: Yeah.
00:00.800: And it's all built in After Effects.
00:00.800: background layer of the composition was orange, it pre-multiplied that orange into the transparency of the thing.
00:00.800: Labor Day, Smaber Day in Australia, right?
00:00.880: And the information that can be included in that file is different.
00:00.880: And then I have producers that come in that have been producing videos, like corporate videos for years.
00:00.880: Went to play it, seems like it's working, quit the application, launched the application again, and the media is showing that it's offline.
00:00.880: You know, you're like 14 feet from that microphone, right?
00:00.960: Can you describe can you explain the difference between the two?
00:00.960: So, anyway, I want to thank you guys.
00:01.040: I mean, you know, I'm believe me, I'm not trying to take your work away from you.
00:01.040: If you have it, it'd be great if you could post it.
00:01.040: Yeah, I'd like to ask you guys a question about alpha channels in Final Cut Pro 10.
00:01.040: Replaced the mat with a green screen and keyed them in that way.
00:01.040: Do you see us using that on something in the future maybe?
00:01.040: So anyway, it's all about the glass.
00:01.120: You would by hitting the the tilde key, when you do a slip and slide, your B roll up above stays.
00:01.120: Here is somebody who was having trouble with bad keyframes.
00:01.120: I'm going to go to a a quick one here.
00:01.120: I've listened to almost every episode.
00:01.200: Yeah, so when we were doing some uh some other related production stuff tonight and I was like, Dude, I'm gonna go do a show.
00:01.200: Can you elaborate on that a little bit?
00:01.200: Exactly.
00:01.200: And kind of hard to say no now.
00:01.200: that you can store files onto and actually work off of it.
00:01.200: That's cool.
00:01.200: Chris, good afternoon.
00:01.200: Did you catch it?
00:01.200: I'm a Final Cut trainer and editor from Melbourne, Australia, and I know a guy who I think would be great to have on the show.
00:01.280: So what's that sitting on the table in front of you there, dude?
00:01.280: But it is an interesting thing because you're you are running into premier projects all the time.
00:01.280: I mean, if you think about it, if you go back of just a few years, adding one hundred twenty eight gigs of or even sixty four gigs to a computer it was and maybe more than a few years.
00:01.280: It's a holiday weekend here in the States.
00:01.360: Color grading is more than just the knobs and the controls.
00:01.360: This is from, I gotta zoom in here.
00:01.360: That's pretty cool.
00:01.360: And if you want to learn more about the A7S, you should go listen a couple of episodes ago on Digital Cinema Cafe.
00:01.440: If I'm correct, it was last Thursday.
00:01.440: Bye.
00:01.440: It's fun.
00:01.520: You guys probably knew me.
00:01.520: When you set up an account, you can make your own favorites.
00:01.520: So I don't think Canon's too terribly clear.
00:01.600: We were talking about you were telling me about a production that you are peripherally involved in.
00:01.600: And you've been this is something now, this has been a bit of a discussion.
00:01.600: So, yeah, very similar in that sense.
00:01.600: My name is Logan.
00:01.600: Okay.
00:01.680: Very similar to Mix if you're going out for sound, an OMF file.
00:01.680: And we didn't really even plan on doing that.
00:01.680: And then I and then I open up the import window and I point it at the folder where the media is stored.
00:01.760: And, you know, XML is kind of an open standard, if that makes sense.
00:01.760: I was like, really?
00:01.760: Whatever.
00:01.760: This is Bruce LeCar from Cat3 Productions.
00:01.760: I can't remember exactly where.
00:01.760: And I think the major agency he didn't want to mention was the TSA, because Paul works for the TSA.
00:01.840: Like, you know, I get Resolve.
00:01.920: So, anyway, we've both had a really busy week.
00:01.920: Like, look me, you know, I got my iPhone next to my cheek.
00:01.920: Right.
00:01.920: I watched it.
00:01.920: So we're totally stoked about that.
00:01.920: You know how much I hate email.
00:02.000: Well, color grading and color correction, color timing, are all the same thing.
00:02.000: Yeah.
00:02.000: Yeah.
00:02.080: I can't tell if you're checking your mail or if you're reading about pre-multiplied over there.
00:02.080: Yeah.
00:02.080: I'll tell you with all these podcasts, I've I have not been been sort of neglecting my personal blog, but it's there and it was a blast.
00:02.080: Thanks for having me on the show.
00:02.160: Maybe you don't.
00:02.160: So in San Francisco primarily, the trend has been to move to Premier.
00:02.160: I mean, and I think that's the thing that I want to ask you about.
00:02.160: So that's, you know, or graphics or et cetera.
00:02.160: I'm making motions with my hands right now.
00:02.160: Effects a lot of times.
00:02.160: You directed me here from Twitter.
00:02.160: But try PNG.
00:02.160: I never said it wasn't.
00:02.240: When people see what you can bring to it, it's like it's really hard to justify, like, now I'm going to work with you.
00:02.240: And then when he'd go back, you know, because he's cutting on his laptop, he'd attach his big drive
00:02.240: That's totally dope.
00:02.240: Ah, this is really fun.
00:02.240: Okay?
00:02.320: That's fine.
00:02.320: Really appreciate what you're doing.
00:02.320: The wonderful show.
00:02.320: Doug Orr, please hit me up on Twitter because I would like to talk to you.
00:02.400: Up until only a few years ago, most of the stuff I was working on was shot on film.
00:02.400: 20 stops of latitude?
00:02.400: I'm an editor out of Arizona.
00:02.400: I seem to be having some difficulty getting it set up and working.
00:02.400: Need help.
00:02.400: I think he just did your read for you.
00:02.400: And then the next episode, almost all we talked about, was the GH the Panasonic GH four, which are the two like, you know, we're going to take you down Canon cameras.
00:02.480: Whatever.
00:02.480: Anyways, Cat 3 Productions there's two of us.
00:02.480: Let me explain what we're talking about.
00:02.480: Yes.
00:02.480: Oh, wait, did I delete it?
00:02.480: Yeah, it was a lot of fun.
00:02.480: And if you can see the checkerboard pattern that you want to be transparent in your image
00:02.560: And Logan, I'm only partially joking that maybe you work for storage, but hey, it got by.
00:02.560: I learned a lot.
00:02.560: Now here's the really sniggly nerd thing, and this is a conversation you barely ever get to have with anybody.
00:02.560: I was a neat creative podcast for a while until I couldn't stand podcasting anymore.
00:02.560: I will be back.
00:02.640: Anyway, so what I was going to do tonight, besides just some general chatting with Alex, is I actually have you know, you've heard me say this many times.
00:02.640: But what you're also, you're also probably not sending stuff out for a sound mix either, are you?
00:02.640: I think this is you're trying to get an ad in.
00:02.640: Plus a million colors plus.
00:02.640: Here's a guy.
00:02.720: So I have to be able to open up his After Effects file and I go in and I type in the new name and title and then I kick those out as a keyable element.
00:02.800: Courtesy of seamless.
00:02.800: So it's there's this whole it's kind of an interesting learning curve, too, with people that come from a broadcasting video background.
00:02.800: So let's go to a short one here.
00:02.800: Actually, got one more: Lee Herbert.
00:02.800: I buy their music all the time.
00:02.800: This will be a little short show, but we're looking forward to more stuff coming up next week.
00:02.880: And it was pretty clean.
00:02.880: I just finished listening to your episode with Thomas Grove Carter, where you guys talk about proxies.
00:02.880: It doesn't doesn't matter that much.
00:02.880: So I had to download this this little thing from Canon for all the machines in the office.
00:02.880: Yeah, so Anthony Mareschi.
00:02.880: If you save as a PNG, it automatically is going to make you an alpha channel.
00:02.960: This is the crossover.
00:02.960: So I don't know what what people have deemed as the acceptable, you know, ISO to go to for a clean image, but yeah.
00:02.960: It's like visual effects.
00:02.960: I can't okay, I'm gonna ju I'm gonna testify to the fact that half the time when I would walk into your suite when you're working, you're just listening to like Pandora or something.
00:02.960: I wish it starts with an A.
00:02.960: So the producers, you know, like, okay, great, now I've got it.
00:02.960: No is an acceptable answer because I tell you, I have yet in my career.
00:03.040: And you said, Oh, this sounds like it's going to be a perfect final cut project.
00:03.040: I still do a lot of animated stuff and I kick out.
00:03.040: Right.
00:03.040: I was really, really able to move quickly with it.
00:03.120: But, anyways, the point is that the client commented on it and they're like, This is beautiful.
00:03.120: So, did you know that little tilde trick?
00:03.120: So I have to think there's a reason for it.
00:03.200: So anyway, yeah, it's kind of fun.
00:03.200: So, you know Well, I'll tell you what, the reason I asked you to sit down and I like I said at the beginning, I got a bunch of voice notes.
00:03.200: So, anyway, thanks for coming in and being a part of this little pretend show.
00:03.200: Hey, no problem, and thanks for staying late.
00:03.280: And do you mind sitting through them and hearing what people have to say?
00:03.280: This is Gregory Bradley.
00:03.280: Well, uh, we'll have to do the grill again.
00:03.360: And it was like a three, it was a three-minute video.
00:03.360: And, you know, I don't want anybody to think that Alex is out there with a handsaw.
00:03.360: At any rate, I think what you're looking for here, Peter, is if you're bringing stuff out of Photoshop, you want us the easiest way to make an alpha channel, okay?
00:03.440: It's like, uh, we'll yeah, let's let's cut cut around this effects thing or whatever.
00:03.440: And I just finished a major
00:03.520: Oh, man.
00:03.520: I also want to thank everybody for sending in the sound files, and maybe I'll actually get more of them now that I've actually played them on the air.
00:03.520: All right.
00:03.600: Now, what's interesting with this whole digital cinema revolution is that we've there's been this merge.
00:03.600: And then I also want to say that um what he's referring to as episode fifty-five is quite a while ago.
00:03.600: The option coming up here was pretty good.
00:03.600: What's that?
00:03.600: I adopted FCPX primarily based on
00:03.600: Yeah, I don't like it.
00:03.680: But it is an interesting thing.
00:03.680: You saw this.
00:03.680: It was cool.
00:03.680: I gotta tell you, I I make some there's days I make a hundred PNGs a day.
00:03.680: Not that she eats the same kind of food that we eat, but anyway,
00:03.760: Some of the issues that Premiere has XMLing out
00:03.760: So that's kind of where what's interesting for me in what we do is that
00:03.760: I can't fathom.
00:03.760: And you have a piece of B-roll that is
00:03.760: I've been working in LA for about six point five years on a kids' podcast called Pipers Pix T V with my daughter.
00:03.760: That is the easiest way.
00:03.840: No, no, no, no.
00:03.840: Like, why do I need to do this part of the process?
00:03.840: Well, no, just because they're used to color correction as this thing that
00:03.840: Talk to you later, Chris.
00:03.840: Now let me tell you a place where it bagged me, okay?
00:03.840: This is a guy named Paul, I think, from Boston.
00:03.920: It's pretty maybe I picked it up, but been playing with the footage, been talking about it.
00:03.920: I found that if you move the files if you create a symlinks manually and put them a couple of folders above the AVCHG
00:03.920: When you go to create your alpha channel, you're going to do a millions plus
00:04.000: Like, everybody loves Resolve and stuff.
00:04.000: It seems to be a big issue.
00:04.000: I don't get it.
00:04.000: A couple weeks ago, yeah.
00:04.000: Yeah, so his name is Cedric Robinson.
00:04.000: Well, thanks for listening, and we'll be back later, later.
00:04.080: And actually, it'll be more fun discussing some of this stuff.
00:04.080: It doesn't really sound like a standard if it's different.
00:04.080: It's the pro it's the track one.
00:04.080: Peter, I'm sorry it took me so long to get back to you on this.
00:04.160: Did I finally get roped into this?
00:04.160: This is a Sony A7S.
00:04.160: How many do you want?
00:04.160: I don't know exactly what speed it is, but yeah, you can get like 20 or 32, 64.
00:04.160: And he could actually carry the proxy pants media.
00:04.160: And I was bringing them in ten and was curious.
00:04.160: Because that happened to me once and it was kind of a drag.
00:04.160: Let me see, the next one we're going to play is ah, here's one: Peter Hickerson.
00:04.160: I go, no, I know you do.
00:04.160: Who knows?
00:04.240: And I went down to 3,200.
00:04.240: Anyway, ultra low light uh for the effect.
00:04.240: And I think if I had said to you, Hey, just come in, I want to talk I want to do the color talk, you'd go, Yeah, you know, I'm not really ready.
00:04.240: I can't tell you how surprised I was to see my name on your information panel.
00:04.240: Yeah, this is fucking confusing.
00:04.240: Really appreciate it.
00:04.240: You can make a little selection of your favorite cuts because
00:04.320: com.
00:04.320: So, I think the interesting thing is that in.
00:04.320: Keep at it, and thank you very much.
00:04.320: If you're doing an animated
00:04.320: Take care.
00:04.320: Yeah, the that the that he's pointing to is the A7S.
00:04.400: I recently got back into Fonica Pro 10.
00:04.400: And the guy who built it was standing there and he goes, Yeah, I knew.
00:04.400: I don't think Canon really cares, to be honest with you.
00:04.480: Nanon Curry, that is.
00:04.480: And to recreate an edit, we're typically using either an EDL file, an edit decision list, we're using an AAF file, which is ABBIDS.
00:04.480: That's not this is not too terribly interesting, but we're not talking about Final Cut.
00:04.480: I was just curious, if he wasn't expecting that, what brought him to your office?
00:04.480: And you and I have been talking for a long time about, hey, dude, come be on the grill.
00:04.480: Doug, or contact me.
00:04.560: You're going to be going to a sound place.
00:04.560: It's kind of grounded in some of the old history that I used to live in.
00:04.560: As a matter of fact, it was really funny today.
00:04.640: It's a nice little place to work.
00:04.640: And lunch.
00:04.640: Yeah, but it's short, so it doesn't protrude from the side.
00:04.640: We're filmmakers.
00:04.640: Silla Cortez is actually the body of water just to the east of Baja California.
00:04.640: No, no, I actually do a straight key.
00:04.640: And I wanted to test what the transparency of the banner behind the text was going to look like.
00:04.640: This is uh Gregory Bradley.
00:04.640: I can tell you, that table they set up there was pretty slick.
00:04.640: Well, no, you know, we don't do reads.
00:04.640: Maybe Alex will.
00:04.720: To be fair, to be fair, that um the the computer was about five feet from me.
00:04.720: You know.
00:04.720: I don't know if you're like working for storage or whatever, but um, no, I'm kidding.
00:04.800: Sounds like sounds well, I don't know about right now.
00:04.800: And I can just even though it's coming out of After Effects, I can drop that in over I think everybody should know that.
00:04.800: Never mind.
00:04.800: This is David Orr.
00:04.880: I'm all illuminated.
00:04.880: Logan Hylan is his name.
00:04.880: I don't know if it's necessarily fast enough for 4K editing, but I thought it was a really cool little thing and might help him with that type of workflow.
00:04.880: Let's see what Bryce has to say.
00:04.880: Yeah, the tilde trick is really bitching.
00:04.880: This is Adam Feinsilver.
00:04.960: So a lot of people, and I think a lot of Final Cut
00:04.960: Bye bye.
00:04.960: So you're just you're saying you do straight?
00:04.960: Oh, that's it.
00:05.040: And uh no, it's AAF for primer.
00:05.040: And yeah, Doug, let's do it, man.
00:05.040: I know it's really late, and you're like, got to drive back across the bay, but thanks for chilling.
00:05.120: Yeah, now let me break something down here because this I I actually didn't really get this.
00:05.120: And I'm just genuinely asking you.
00:05.120: It looks like I'm about out of time, but I'd be happy to discuss it with you further.
00:05.200: I'm still uh you know kind of a
00:05.200: You don't want to get caught someplace where you don't have an internet connection, and all of a sudden it's like, oh, there's a plug-in I need or a driver or something.
00:05.200: Give me a shout.
00:05.200: Hey, I was listening to one of the podcasts and you mentioned that you would be on the Final Cut Pro user group, I believe with Alex Lindsay.
00:05.200: I don't I don't know the Facebook.
00:05.280: Ouch, ouch.
00:05.280: That's my my day job.
00:05.280: Yeah, no, I never had the sound on, no.
00:05.280: I always use straight.
00:05.280: He was on Final Cut Grill.
00:05.280: Yeah, exactly.
00:05.360: So, first of all, Adam, I wish I had more information about your bad keyframes.
00:05.360: And again, this is an After Effects story.
00:05.360: I just can't find, and I would love somebody to
00:05.440: We missed our episode of The Cafe this week.
00:05.440: And we've talked about this before, but I mean that in you come from a broadcast world, and many people do.
00:05.440: What I'm saying is, it's a much different model.
00:05.440: So now what's happened is with digital cinema, there's kind of this like
00:05.440: And so a lot of people are like, well, why do I have to do this color thing?
00:05.440: Thank you.
00:05.440: I missed it.
00:05.440: Mm-hmm.
00:05.520: You've actually, I think you're the one person I know who understands, or at least.
00:05.520: So, at any rate, you had been we and you and I had been talking about how
00:05.520: So that's just kind of like the type of projects or workflow that
00:05.520: Who was pushing him to you?
00:05.520: We're right now in the production in the Sea of Cortez.
00:05.520: It was supposed to be just a transparent black thing, but because the c the
00:05.520: We're going to move on.
00:05.520: And please, if you're listening to this, you should at least go to premiumbeat.
00:05.520: I'll be back on actually, Monday's the holiday.
00:05.600: And that voice you probably know is Alex McLean.
00:05.600: Affiliate.
00:05.600: And he booked a color session, and he thought that it was just going to be
00:05.600: Yeah, so Greg, I actually did post that on my blog, ChrisFenwick.
00:05.600: Almost the same amount that you hate it.
00:05.680: And actually, we were talking about various ways we could use that in
00:05.680: And I think a lot of people.
00:05.680: So there's color correction, and then there's color timing, color grading.
00:05.680: Right.
00:05.680: I think he'd be really interesting.
00:05.680: I'm just doing my ad by accident.
00:05.680: This has been fun.
00:05.760: Let's see.
00:05.760: Oh, I'm missing media again.
00:05.840: I could have gone much higher.
00:05.920: Anyways, I will continue to listen.
00:05.920: But the alpha channel doesn't seem to be working in the newer version.
00:05.920: Yeah, so we used to put things over super black because black
00:05.920: So it's really easy to have things slip through the cracks.
00:05.920: And I lost your email address.
00:05.920: I'll find somebody from Australia.
00:06.000: You got roped into the grill.
00:06.000: You know, yeah, now you were.
00:06.000: I don't want to talk about it for the whole hour, but frankly, I don't want this to be.
00:06.000: I just don't understand why Resolve can't be a plug-in.
00:06.000: No.
00:06.080: So how I look at it and where we differ
00:06.080: Bye.
00:06.080: And um yeah, I think he'd be a really interesting guy.
00:06.160: There's really a whole lot I don't understand.
00:06.160: Fuck no.
00:06.160: Yes, yeah.
00:06.160: And now I've found some assistant editors who can help me with it.
00:06.240: Ooh, is that yours?
00:06.240: You're going to go to an effects company.
00:06.240: But it's positive for them because it makes them look better and it brings more production value to the project as well.
00:06.240: I want to be on the grill.
00:06.240: You just listen to your Pandora.
00:06.320: It's what's used for sound and getting to Pro Tools or Logic or Ableton Live or whatever the cool kids are using nowadays.
00:06.320: So I'm working with people that
00:06.320: Yeah, Bryce, Brees, the first of all, Sea of Cortez.
00:06.320: She calls it, it's called the Meaty Vegan.
00:06.400: And I very much like it.
00:06.400: Very much like California, regionals, yeah, you know.
00:06.400: You don't even have to look for guests.
00:06.400: I think I may have accidentally deleted the email address.
00:06.400: Here we go.
00:06.400: Anyway, Lee, thanks, thank you for mentioning Premium Beat.
00:06.480: We've got some workarounds.
00:06.480: So, thanks for that tip.
00:06.480: Interesting, interesting.
00:06.480: I was looking for the link.
00:06.560: So yeah, Premiere is pretty big here in the Bay Area.
00:06.560: Just pure, like, technical stuff.
00:06.560: I avoided Final Cut Ten for a long time.
00:06.560: Are you.
00:06.640: Uh, not Adam Curry?
00:06.640: On Digital Cinema Cafe.
00:06.640: Totally.
00:06.640: And the producer, he produces all these big videos.
00:06.640: Cut that shit out.
00:06.720: Exactly.
00:06.720: I think this is an old sound file, but um
00:06.800: C300, C100.
00:06.800: Digital cinema, revolution, totally, whatever.
00:06.800: Anyway, Adam, it's interesting.
00:06.800: I was having a conversation with the producer I was working for.
00:06.800: But I was explaining how fun it is to, you know, see that, you know, people actually do download these shows and stuff.
00:06.880: I just started doing ProRes four by four files with the Carry and Alpha channel.
00:06.960: Little Elvis there.
00:06.960: Well, first of all, explain why you would ever do this in the first place.
00:06.960: Well, that guy switching was me, and I'm a big fan of Final Cut 10 now.
00:06.960: Yeah, y it's not bad, right?
00:07.040: Okay, you can cut that out.
00:07.040: I was just trying to.
00:07.040: And the stuff you're saying right now, it's like.
00:07.040: Yeah, color, yeah.
00:07.040: Yeah, he could carry his proxy media down to the set and just like show stuff to the
00:07.040: So, what he's talking about is if you're slipping and sliding
00:07.040: I do straight all the time.
00:07.040: And I will say it's problematic for me because
00:07.040: So here's the deal.
00:07.120: Sure.
00:07.120: Don't know what podcast number.
00:07.120: Yeah, also want to say that, like I said, really love the show.
00:07.200: Like, they don't know the difference.
00:07.200: I started using it when it first came out.
00:07.200: So welcome to the show.
00:07.200: Here we go.
00:07.200: Yeah.
00:07.200: Put me on the spot here.
00:07.200: It may very well be that you were trying to save it as a JPEG.
00:07.280: That's the problem.
00:07.280: I think anybody who makes the Switch is worth talking to.
00:07.280: Let's see.
00:07.280: Because everyone's still buying their lenses anyway.
00:07.360: So good morning, good afternoon, whatever time you're listening to this.
00:07.360: So
00:07.360: Just kidding.
00:07.360: And that's the way I feel with Premium Beat.
00:07.360: I'm out old, old times, old school.
00:07.440: Oh, okay, you guys are doing primer.
00:07.440: It's like, okay, so you've got to work through your
00:07.440: Hi, Chris.
00:07.520: Excuse my French.
00:07.520: Why do I need to go into Proof?
00:07.520: And it's a real, there's something going on.
00:07.520: And it helps you understand what it is doing.
00:07.520: This is some feedback about FCPX Grill.
00:07.520: I don't know how you guys managed to do it.
00:07.600: Oh, yeah, there's no affiliate.
00:07.600: And at the last minute.
00:07.600: Uh
00:07.600: Okay, let's see.
00:07.600: Yeah, it's a good little good little tip there.
00:07.600: Do you know much about what the premultiply even means?
00:07.600: Like, each person was sitting at one wedge of the pie.
00:07.600: So how's that?
00:07.600: I'll look up that Cedric Robinson guy.
00:07.680: I tell you what, I'm going to kill your mic while you're chewing.
00:07.680: And it goes, oh, yeah, that.
00:07.680: I'm trying to find an example.
00:07.680: And the only way I've been able to work with
00:07.760: No, it's yours, you fucker.
00:07.760: We had Paul Snyder and Jason Wingrobe on the show, and we talked all about the A7S.
00:07.760: If you have questions or comments or issues about it
00:07.760: Yeah.
00:07.760: We didn't stage any of this.
00:07.760: What do you mean by that?
00:07.760: You're going to go to a graphics company.
00:07.760: I went into the sequence settings and I just randomly picked a color and I said, just put orange behind it.
00:07.840: And let's see, I think I have everything potted up right.
00:07.840: Anyway, cool workflow.
00:07.840: So yeah, that's a really powerful trick.
00:07.840: So, real quick.
00:07.840: Later, later.
00:07.840: Anyway.
00:07.920: We've had to write some little tricks and things to deal with it.
00:07.920: Yeah, color.
00:07.920: And here's another one.
00:07.920: It was like, Awesome.
00:08.000: And
00:08.000: He's just started up his own certified Apple training center here in Melbourne, um teaching motion, final cut, logic,
00:08.080: So the interesting thing is, and that's the traditional high-end post-production model.
00:08.080: I was looking at the modes to see because we were doing the same thing, ProRes 444.
00:08.080: I couldn't find it, and I wasn't sure if it had been posted.
00:08.080: So I've taken all my um pictures that I've built in Photoshop and um
00:08.080: I played that one.
00:08.160: Why don't you come sit with me?
00:08.160: So um
00:08.160: Yeah, there's.
00:08.160: I mean, here, well, it you know, we work
00:08.160: Over the years, in NLE the finishing system became the NLE.
00:08.160: They walk in, they're like, Oh, I'm at the Telecinni session when they talk to their people on the phone, or whatever.
00:08.240: Well, you don't have to understand it.
00:08.320: It's also the tracking.
00:08.320: Right, 'cause you're just going
00:08.320: Anyway, so I always use straight and
00:08.320: So um
00:08.400: Like, oh, I have to do my color and resolve.
00:08.400: I don't really feel like I did anything.
00:08.400: Yeah.
00:08.480: He's my cohort on Digital Cinema Cafe.
00:08.480: Nope.
00:08.480: I personally have not shot a lot of film, but during this transition
00:08.480: What I mean by that is that
00:08.480: I mean, the sound's usually not mixed yet.
00:08.480: Yeah, this is not a good.
00:08.480: My name's Lee Herbert, first-time caller, long-time listener.
00:08.560: Yeah, I found out today it's premiere.
00:08.560: Am I going to be able to do anything myself in Pro Tools better than I can do in Final Cut?
00:08.560: I think I'm going to start with
00:08.640: Why can't I just have a Black Magic Resolve plug-in?
00:08.640: Right.
00:08.640: Anyway, it is important to work your workflow.
00:08.720: No, not Adam Curry.
00:08.720: Yeah, yeah, we're doing print.
00:08.720: That's a old voice note.
00:08.720: Don't know if you know about that one.
00:08.720: This was a major film
00:08.800: You're talking with your mouth full, dude.
00:08.880: A little bit of a scheduling.
00:08.880: I'm not really sure what you're talking about with the bad keyframing, but I will say.
00:08.880: Oh, I got that.
00:08.880: I don't know if I'm going to be able to pull off a show on Monday.
00:08.960: I was just
00:08.960: And this is too much work and blah blah blah.
00:08.960: It's a pretty cool camera.
00:09.040: This thing is awesome.
00:09.040: I've been intensely listening and going through your podcast after discovering it a couple of weeks ago.
00:09.040: I love somebody who will defend their workmanship like that.
00:09.120: And he's like, Ah, well, I gotta bring my my curry So I said, Yeah, fine, bring your food
00:09.120: And I did a piece about three weeks ago.
00:09.120: Well, I think the director.
00:09.120: Well, and the best comparison is mix, you know, because I.
00:09.120: No, I'm going to send it to a sound mixer if I can for that project.
00:09.200: Well
00:09.200: Here it is.
00:09.280: You're going to go to a
00:09.280: We do our own editing.
00:09.280: God bless you.
00:09.360: I think they even make a 128.
00:09.360: You guys should know that.
00:09.440: Anyway, that was fun.
00:09.520: And that was
00:09.520: He's also a Final Cut trainer and editor.
00:09.600: Okay, that's fine.
00:09.600: Uh have you seen this thing?
00:09.680: And what color correction typically meant
00:09.680: I mean, it's just a matter.
00:09.680: com.
00:09.680: You're bad at email, aren't you?
00:09.840: So.
00:09.840: Use this.
00:09.840: He's stealing my out.
00:09.920: Yeah.
00:09.920: It's a few
00:09.920: Premium Beats are awesome.
00:10.000: TCC.
00:10.000: It's effectively the same thing, but
00:10.000: And I think it was added, I want to say like ten
00:10.000: I don't know exactly what it is.
00:10.000: Yeah, you did.
00:10.080: You don't have to color your stuff in Resolve.
00:10.080: I haven't heard it on your show yet.
00:10.080: There you go.
00:10.160: Sorry, Logan.
00:10.160: We talked about this stuff.
00:10.160: Yes, they have been very generous to sponsor this show.
00:10.240: This is not a good.
00:10.240: It was fun.
00:10.320: I don't really feel like doing that.
00:10.320: com.
00:10.400: So tell about that test shot we did downstairs.
00:10.400: Ah, okay.
00:10.400: We created it in Florida knowing nobody in the industry and ended up out here.
00:10.400: You definitely want to walk through your entire pipeline.
00:10.480: This is a.
00:10.480: Oh, you just found that out today.
00:10.480: I'm going to eat some of my garlic naan while you ask me this question.
00:10.480: I don't want to listen to that temp shit.
00:10.480: You show up.
00:10.480: It was amazing, okay.
00:10.560: I will say that your import in place trick
00:10.560: You ate your curry and we talked a se
00:10.640: I think it did in the older version, but
00:10.640: Yeah, they don't do Labor Day.
00:10.720: Oh, wait a second.
00:10.720: Let's try this.
00:10.720: I'll tell you what I do.
00:10.880: I think the interesting thing is that.
00:10.880: I think
00:10.880: That little that little long skinny Yeah, you're back on.
00:10.880: So, I'm going to look you up.
00:10.880: I'd love to see it.
00:10.960: And the craftsmanship.
00:10.960: I love them for some of the projects I've worked on and keep up the good work.
00:11.040: Right.
00:11.040: This is a video demonstration.
00:11.120: The director did.
00:11.120: That's totally cool.
00:11.120: Or why you would use it?
00:11.120: And let's see.
00:11.200: Does that make sense?
00:11.280: I'm sure it's me.
00:11.360: And we've had a busy week, and he's actually
00:11.360: Wait, is this show explicit?
00:11.360: I suck at email, dude.
00:11.520: So I.
00:11.520: So I can drop it in over my primary storyline and it'll key.
00:11.680: Hey, dude, dude, dude.
00:11.760: I've always wanted to say that, and I think I said that wrong.
00:11.840: Yeah.
00:11.840: We've come across a lot of issues.
00:11.840: His name is Cedric Robinson.
00:11.920: No, but the point is is that you know
00:11.920: Next one, we're going to do.
00:12.000: So right then and there, it's like
00:12.000: It's like I cannot even fathom
00:12.080: No.
00:12.080: And I think what it is is that
00:12.160: Right.
00:12.240: But but
00:12.240: This guy's sitting on a sailboat or whatever.
00:12.240: And I was and I started to explain Premium Beat.
00:12.320: So, what's interesting is
00:12.400: The easiest way
00:12.480: You can color your stuff in Final Cut.
00:12.800: Yes, it is.
00:12.800: No, I mean.
00:13.120: Wrong show.
00:13.440: Okay, perfect.
00:13.600: Right.
00:13.760: No way.
00:14.080: But anyway, love the show.
00:14.400: Hope you're well.