Episode 77
FCG077 - Baby Steps to the Elevator (feat. Doug Orr)
Not sure how to set up YOUR system. Wondering how to fine tune your workflow? Doug Orr of Tulsa Oklahoma isn’t either but thats OK, (see what I did there?). There are many ways to organize and store your data and your media and FCPX in a post 10.1.2 era can work in many different ways that allow you to choose how to store you files. Doug talks about using Keywords & Smart Collections, Events, Libraries and even the Finder. This episode goes thru all the various scenarios of organization.
Download
Featuring
Transcription
00:00.001: And it and it took me a while to figure out kind of how to play around I played around with it for a couple of weeks before I kind of f and I still haven't figured out my complete workflow yet.
00:00.001: So your drive's getting kind of full, yeah?
00:00.001: So anyway, that's it.
00:00.080: Hey, good morning and welcome to Falcon Grill episode 77.
00:00.080: First show, and I was like, Okay, great, thanks.
00:00.080: Is I learn something every day I open Final Cut 10.
00:00.160: It's easy to edit.
00:00.160: So, yeah, I mean, I mean, a lot of people felt that they were like heavily invested in Final Cut.
00:00.160: What's with this Final Cut 10 crap?
00:00.160: And just happened to be listening to it and heard his interview.
00:00.160: It was the guy that did the other fishing show for NBC Sports.
00:00.160: and then it has the person's name and then you know some of the guests I've had on a couple of times, so I'll put like Tony Gilardo too, you know, like the return of the Gilardo.
00:00.160: You know, you don't know if the camera recorded on audio two or audio one.
00:00.160: I want to be able to shoot the best score, and I don't care what tool I use to do that.
00:00.160: Like have it be invitation only, you know?
00:00.160: And I won't ask you about that, but that sounds like a great story.
00:00.160: I mean, it's really quick, a lot of split screen, a lot of stuff like that.
00:00.160: So it's it's kind of a crazy show.
00:00.160: Highlight Mickey Mouse's head, so I'd do one circle for his head and one for each ear, you know.
00:00.160: And I haven't quite figured out my exact um play yet, but uh I'm getting there.
00:00.160: You know, the keywords for that type of thing.
00:00.160: I am on it right now, and I've got a Thunderbolt monitor.
00:00.160: So, like a toilet term?
00:00.160: I'm not a smart man, Jenny.
00:00.160: is we've created a folder in our job folder and that's it we we still organize everything in a folder a job or a episode is a folder okay
00:00.160: It's a.
00:00.160: Definitely some media management to do there.
00:00.160: Not pre-popular.
00:00.160: and I I have to change stuff in the credits because their disclaimer information is different for every episode.
00:00.160: And that's weird for me because I that's what's weird to put everything in the library because I'm always diligent about how I organize my folders.
00:00.160: Rake versus the leaf blower.
00:00.160: is that there are many ways that you can set up your workflow with Final Cut X.
00:00.160: And we have multiple machines and multiple drives and people reaching across our network doing things.
00:00.160: Digital Cinema Cafe, and on the right-hand side is a little sound tab.
00:00.240: Hey, so today we're going to be talking with Doug Orr.
00:00.240: We'll hit the big record button.
00:00.240: didn't give in grief about that.
00:00.240: Yeah, yeah, yeah.
00:00.240: I want to thank the people at Premium Beat for supporting what we're doing here.
00:00.240: Doug, not David Orr.
00:00.240: Through a production company, kind of hires him and me, or him and I, to do the kind of the fishing show for NBC Sports.
00:00.240: Yeah, swooping my gig.
00:00.240: Met him through that and then we just kind of earlier was that earlier this year or that was that was that was probably
00:00.240: Mm-hmm.
00:00.240: And then went to Premiere and stayed in Premiere and was pimping Premier for a long time.
00:00.240: They were on Final Cut, so they said, Can you learn Final Cut?
00:00.240: So Anthony, and to if anybody recognized that name, Anthony was on episode six a long time ago.
00:00.240: Right, right.
00:00.240: Graphic package, it's all a look, it's a network look.
00:00.240: Right.
00:00.240: you know, wipe in the PNG and then dissolve it or what I mean, there's other things you can do.
00:00.240: I heard that.
00:00.240: And I started figuring out, you know, oh, they're cutting leverage on it, they're cutting this stuff on it.
00:00.240: And I had done it in Premiere and he was doing it in Final Cut 10.
00:00.240: It's got to have some legs.
00:00.240: I have a folder and it has a folder for each show.
00:00.240: But not really until I said, okay, I'm going to do this 21, 30 minute episode on NBC Sports and I'm diving in full board on Final Cut 10.
00:00.240: Pre-10.
00:00.240: I don't give a shit where it goes after that.
00:00.240: And then I do all my separate.
00:00.240: And for the last like, you know, year and a half or two, it's been more about learning how to take advantage of the tools that are there.
00:00.240: You know, I just started messing with roles, and I think I've said this on the show before, that it took me about six months to get to the point where I felt like I could do what I need to be able to do.
00:00.240: pull the music down three dB.
00:00.240: I keep I I hate it when I run into a production machine somewhere, you know, like you're backstage at something and it's like, What do you mean you don't have QuickTime seven?
00:00.240: The whole world can't hear the phase thing.
00:00.240: I kind of relate it to golf.
00:00.240: So anyway, yeah, that's the one I the interview that I did with um uh Sam Woodhall.
00:00.240: Which I was FX Factory way back when I first came to Premiere because who the fuck wants to pay for Sapphire?
00:00.240: Download the plugins.
00:00.240: Purchase it.
00:00.240: Today I'm in the mood.
00:00.240: you know, not see the the watermarks pop up.
00:00.240: You know what I mean?
00:00.240: Right.
00:00.240: On one clip, on one color corrector.
00:00.240: And I've kind of, you know, I've gone everything in the library, everything, external media, everything, you know, I've made events for each scene within an episode.
00:00.240: One, two, three, four, super job.
00:00.240: or various ways of sorting and looking for it.
00:00.240: So right now I'm kind of at the point where, all right, I need to do something.
00:00.240: I've got like two of those OWCs, I forget what they're called, quad, whatever, and I've got those rated as zero, and I I get good speed from them with a I've got a
00:00.240: dual or a USB three ESATA card from CalDigit put in there.
00:00.240: Oh, but I love it.
00:00.240: I also think we're pretty much due for 4K displays from Apple, one way or another, whether it's IMAX or Thunderbolt 4K machines displays.
00:00.240: So, I mean, it really does make a difference when you start adding more drives to it.
00:00.240: So the two ways primarily is you keep your media in the draw in the library or not.
00:00.240: kind of catch-up mouse thing and it's kind of it gets kind of I haven't quite figured it out yet, but um well so it seems this is a good this is a good discussion.
00:00.240: And you say media location, and you can point that stuff someplace else.
00:00.240: So that media stays there.
00:00.240: And you actually have to go through the media folder because the finder doesn't recognize a file that it can actually play.
00:00.240: And so I just spent all day long today cutting two pieces that were in the room next door.
00:00.240: Took it down to my machine downstairs, launched it, it reached across the network, slorped in all the media from whereverville.
00:00.240: And I worked all day.
00:00.240: my big tower at home and I've got a separate office where I work on my laptop.
00:00.240: But even if you go back to the beginning of this show, I think we were all saying, I think it's going to be a much bit different world in six to eight or ten months.
00:00.240: Gotcha.
00:00.240: When I was doing the big library, which was is now I have that's 16 terabytes.
00:00.240: Single libraries, I was like, okay, now I'm going to play with this Thunderbolt and see about a single library kind of thing with external media with an episode per library.
00:00.240: Projects, nightmares, I call it.
00:00.240: It's like, you know, so-and-so review or whatever, you know, whatever the name of the episode is.
00:00.240: Show, you know.
00:00.240: And actually they're not empty.
00:00.240: That has the music, that has a sample of the open, how the timing is supposed to be, it has the sting music at the end, it has the credits at the end, and then it has a big blank slug where the show goes.
00:00.240: and the drawings and he said, you know, all job folders will be organized like this.
00:00.240: About organizing my job folders in a digital world, very much so like my dad had.
00:00.240: You know, it's kind of like I'm just trying to find that right way to do it.
00:00.240: And be done.
00:00.240: Color correction.
00:00.240: Doug, thanks so much for doing this, and thanks for all the hassle of trying to find the slot of time.
00:00.240: I probably use the Four Corners of the Ham once a week.
00:00.240: Plan for the future and figure out a way that you want to work that allows your company to grow and expand and take on more work and more people.
00:00.240: So that's it for this episode.
00:00.320: pieces.
00:00.320: It's interesting.
00:00.320: Oh, there I am.
00:00.320: And yet, he's still kind of still trying to, he's still feeling it out.
00:00.320: I was, you know, I s I sent that voice a couple of weeks ago and then I was like I downloaded it, you know, I downloaded it when I travel and I was listening to it and all of a sudden it was like
00:00.320: Yeah, here I'll just I'll I'll backtrack a little bit.
00:00.320: Did that and then worked on that for a while and then jumped to premiere when Final Cut 10 came out.
00:00.320: No, you had been doing the fishing show.
00:00.320: Okay.
00:00.320: Yeah.
00:00.320: Like, here's my lower third template.
00:00.320: Correct.
00:00.320: And I always say, you know, I have a lot of keyframes invested.
00:00.320: Because he also this production company would do a show on New England Sports Network.
00:00.320: So I basically said, you know what, I've got like three months to play around with this.
00:00.320: Just coming upon your podcast, I heard two people's names that I recognized.
00:00.320: Very much so.
00:00.320: That was January of this year, yes.
00:00.320: Eight channels of you know, their audio configuration is eight channels.
00:00.320: Yes.
00:00.320: And I've gotten to the point where I've started to kick out my Texas Masters in roles in case there's a quick little like, hey, can we can we just
00:00.320: With everything separated.
00:00.320: Yeah, I didn't even realize you could do that.
00:00.320: Right.
00:00.320: Right.
00:00.320: And I can't tell you how many times you listen to stuff and you go, Good grief, you can't use both tracks.
00:00.320: And so then you can just swipe all your interview things, select them, kill the Love Track and be done with it.
00:00.320: I don't think people are aware of and again, this goes back to Final Cut 10 solves problems you don't even realize you have yet, you know
00:00.320: Yeah.
00:00.320: You know, Final Cut, Premiere, I mean, they all do the same thing.
00:00.320: And it is a whole bunch of great old stories.
00:00.320: Typically, we shoot about eight scenes per episode, and then we just kind of intercut it, but it's a very fast paced show.
00:00.320: And um so I I found Effects Factory back then and and loved it and then it worked into Final Cut 10 and um
00:00.320: Gosh, what do I use?
00:00.320: Exactly.
00:00.320: it became more efficient on my end, I noticed.
00:00.320: Well, it was kind of baby steps to the elevator.
00:00.320: Raid that you kind of you kind of mentioned last time the the the big disc it's called yes yeah yes got the big blue eye on it
00:00.320: Yes.
00:00.320: My mid-2012 MacBook Pro Retina runs circles around it.
00:00.320: And you know, it's like, well, I'm going to repatch it.
00:00.320: The one with the built-in Thunderbolt cable.
00:00.320: Oh, that's funny.
00:00.320: Chris, I go back and forth with trying to do the whole external media on my hard drive and then my library on my SSD, on my laptop.
00:00.320: So, what would be the advantage of keeping the media outside the library as a one-man ban?
00:00.320: The the library, once you st it with 10.
00:00.320: Oh, on the red.
00:00.320: But now the library or library location, it's not the exact syntax of what it says, but basically it will put it wherever I have told it to put it.
00:00.320: So we do leave in place because when we bring in our camera cards, we put them in the media folder, which is yet another folder in there, and we just say leave that stuff there.
00:00.320: I think the biggest advantage to keeping stuff outside of the library is if you want to reference it from something else.
00:00.320: And I can just drag it over across the network to another machine, double-click it, and go.
00:00.320: And there was a lot of reason to hate it, you know.
00:00.320: And then once we figured out all the workarounds, they kind of recanted and went, ah, yeah, fine, here's a library file.
00:00.320: Raymond.
00:00.320: My poor this poor laptop.
00:00.320: Yeah, so I got it now.
00:00.320: He did it, but it seemed to me he maybe sent us Final Pack Grill 026 is the episode.
00:00.320: It's its own animal.
00:00.320: And I drop it into a brand new fresh library that has pre-populated or
00:00.320: Right.
00:00.320: And so each one has an event in the library called Templates.
00:00.320: And I think it's good to I think back to when my father started his contracting business forty two years ago.
00:00.320: And so my dad, not coming home every night, obviously, he would sit in a loft above the office in the warehouse.
00:00.320: And he would organize his job folders, paper job folders, mind you.
00:00.320: Yeah.
00:00.320: My color board and just be able to go down to one thing and go into color correction mode, color correct one 21-minute timeline
00:00.320: And it is hide libraries, which is command command shift one.
00:00.320: If you could sneak in the back door at Apple and ask the guys to make one feature for you, what would it be?
00:00.320: Agreed.
00:00.320: Yeah, analogy once a week.
00:00.400: I did a thing a while ago and I mentioned somebody else and I used the wrong name and I was like I've been forever giving
00:00.400: Just like PNG still you know, stills, and then I go into title tool, blah, blah, blah.
00:00.400: So explain to me the process as you were laying out the little pieces and bits and bobs in front of you.
00:00.400: Always, I'm one of those guys that's like.
00:00.400: And how is it that you're okay with the embedded audio?
00:00.400: 7-8 was sound effects.
00:00.400: You know, be you know, organized as possible about doing that.
00:00.400: You know, you just kind of keep peeling back this onion, and you go, Oh, this is cool.
00:00.400: I think one of the things that people need to be sort of reminded of when it comes to dealing with audio is the fact that you can do an awful lot
00:00.400: Of your audio work with the raw clips by just selecting them in the browser and then going to the audio inspector.
00:00.400: You know, the typical sit-down interview with a boom and a love.
00:00.400: FCP Editors in Sync?
00:00.400: Fishing show celebrity.
00:00.400: So we do a lot of effects and transitions and slides and pushes and moves with videos coming in and split screens and three screens on at once.
00:00.400: I'm trying to think.
00:00.400: Haiku or something like that?
00:00.400: Even if you have other things stacked up, like other lower thirds or something like that, when you put that magnifying glass call out,
00:00.400: CharlieMoore.
00:00.400: So, I mean so the first couple of episodes weren't wicked fast, but they're getting faster.
00:00.400: Is a folder called FCPXCreated.
00:00.400: you know, cha cha cha to do deal with that.
00:00.400: From another project, you know?
00:00.400: And I was actually down on the ground floor in Edit One, and I was reaching across the gigabit network
00:00.400: Yeah.
00:00.400: And I think it's kind of interesting, and this is a discussion that gets had quite often.
00:00.400: Six terabytes.
00:00.400: Actually, let me ask you a question.
00:00.400: Is on that particular machine, I have a a library full of templates.
00:00.400: And then we have one called Washington update.
00:00.400: Great show, big fan.
00:00.480: And you were okay with Premiere at the time?
00:00.480: You know, as kind of a one-man band that works for different production companies, I want someone to be able to go, Hey, I got a Final Cut 10 project, I can do it.
00:00.480: Uh what got your attention?
00:00.480: The what I call the embedded audio.
00:00.480: you know, what's it called?
00:00.480: In two thousand eight.
00:00.480: Exactly so.
00:00.480: Of just behind-the-scenes stories that you thought you'd never tell anybody, and then completely
00:00.480: Right before the Oklahoma City thing.
00:00.480: they do a thing on Friday on Sunday afternoons this afternoon, and it's a it's a um it's just a Google Hangout.
00:00.480: So tell me more about the type of show, the fishing show that you're doing.
00:00.480: We took him fishing.
00:00.480: Another thing that's cool about, and again, I don't mean this to be a one-hour commercial, but another thing that's cool about call-outs is when you put that call-outs work by using what's called an adjustment layer.
00:00.480: So did Charlie and the production company did they could they tell that you had changed applications and did it matter?
00:00.480: Okay.
00:00.480: Multiple events in the typical thing that I cut, you know?
00:00.480: One for my all my sequences or various ways of sorting and looking for them.
00:00.480: Five grand.
00:00.480: Um but I think that you know getting into those faster drives is you know speed is good.
00:00.480: Is that what you're talking about?
00:00.480: you know, at home, if I just bring the library home and work from that, or put it on Dropbox and then bring it over, would that be easier?
00:00.480: The other day, or actually this morning, and it said, Yeah, there's no more room.
00:00.480: I think this probably goes without saying, but you know, you should keep a minimum of 10% of your drive empty.
00:00.480: Distant sharing, he sent me a little video on how to how he swapped out his stuff.
00:00.480: Episode of a show.
00:00.480: After my father passed away back in 2006, that I had been very diligent and militant, if you will.
00:00.480: Yes, I totally agree.
00:00.480: It helps us, you know, helps more people find the show.
00:00.560: Actually, PNG was one of the questions about on the last show.
00:00.560: He was doing nine or whatever.
00:00.560: But yeah, yeah, there was the other fishing show.
00:00.560: Hey Tony, how are you doing?
00:00.560: I have to admit that.
00:00.560: And I agree, and I think you've said it several times where it's like when people first look at Final Cut 10, on the surface, it looks pretty basic.
00:00.560: So that their Avid was actually parked at your place falling out, whatever.
00:00.560: Yeah, I think the important thing, and again, this will be the end of our commercial here, but the important thing that's cool about FX Factory is you can download
00:00.560: Which we've all done.
00:00.560: I had a library, Charlie Moore No Offence, Season four, and then I had an event for every episode.
00:00.560: But it just it just seemed to kind of bog down once I got like episode six.
00:00.560: The Freddie Mercury playback engine.
00:00.560: what I what I try to do was seeing if I could keep that library if I got any benefit from keeping it on my local SSD and getting speed from that library with the external media.
00:00.560: In the Final Cut Preferences on your Import tab, you can select Leave In Place.
00:00.560: If you now actually where does that folder live?
00:00.560: However, you want it to work, it can work that way.
00:00.560: Yeah, he did the video about how to swap out your motion templates and stuff, which was crazy cool.
00:00.560: Okay, because that client has about six different recurring shows that I do, you know, one a month or something.
00:00.560: Template library that has the specific stuff for that show and it has a timeline in it
00:00.560: So it's just like you've got your donut hole.
00:00.560: It might just crank away.
00:00.560: And I can't remember what it is now.
00:00.560: Layout.
00:00.560: If you have the time, please go to iTunes, rate Final Cut Grill, FCPX Grill, if you're searching for it.
00:00.640: mention of FX Factory in the middle of the interview because it was very germane to what we were talking about.
00:00.640: Wow.
00:00.640: And as long as we delivered to the network, I will say that's one advantage of delivering on tape.
00:00.640: And you know, it's twelve lower thirds in a twenty minute show.
00:00.640: And that was January of this year.
00:00.640: Lay it out and then I was just having a discussion today about the embedded audio, and I think that's a good term for it.
00:00.640: Audio one was voiceover, two and three was SOTs, five and six was Nats.
00:00.640: That I maybe wasn't really taking advantage of.
00:00.640: Um, I I didn't own it, but I had it here at my house here in Tulsa.
00:00.640: Yeah, we'll have to figure that out.
00:00.640: It will magnify everything that's underneath it, which is pretty cool.
00:00.640: And I do know that in the when I do speed tests on like the we have the Promise Pegasus drives versus the the big disks, the the the Pegasus is faster.
00:00.640: What was wrong with your machine?
00:00.640: Or, and the leave in place now has a phrase, leave in pl uh or no, in so leave in place is the lower selection, the upper selection is
00:00.640: I'm doing like one a month.
00:00.640: Keep in mind, even as a one-man shop, I think it's really smart when people, you know, they work in today, but they plan for the future.
00:00.720: If you this is episode let me let me look at the numbers here.
00:00.720: And that part of it.
00:00.720: At some point it doesn't really rema it doesn't really matter what you are working on as long as you're delivering that file or tape or whatever.
00:00.720: and and we would put interviews in place of that voiceover for his Nessin show and replace the graphics.
00:00.720: Relieved of a whole lot of headaches by dealing with it heavier in 10-1 than 10.
00:00.720: In the discussion I was having earlier, the topic of the stringent militant layout that a lot of people deal with when they're in a track based system
00:00.720: And I do that as a back time or an archive for me anyway, because if I ever have to go back to a QuickTime, I do your big Texas master that you call it.
00:00.720: Yes.
00:00.720: the being able to create the split screens, you know, buying not to do a plug here, but with the FX Factory, being able to buy some plugins
00:00.720: And you know, spend the same amount of money and get a l you know, uh G-Tech raid.
00:00.720: That I use for my tower and then I use the Thunderbolt drives for and I tell you what I do love, I love that Western Digital little Thunderbolt Pro
00:00.720: Because I'm a one-man band and it was easy just to move stuff.
00:00.720: I thought that was pretty cool.
00:00.720: Libraries and browser.
00:00.800: Doing some work for them, and they were a Final Cut house.
00:00.800: And like you said, doing corporate work and doing call outs and being able to put stuff and actually, you know, going to highlights, you know, highlight a fishing rod that falls out.
00:00.800: you know, 'cause you could you could you could buy the Mac Pro for sixty five hundred bucks, or you could buy an iMac and get a some nice RAID stuff for
00:00.800: And in that folder is a library, and in that folder, among many other things,
00:00.800: mov.
00:00.800: Like I said, I'm still trying to find my exact workflow that I'm trying to do.
00:00.800: Patch rename footage.
00:00.880: It's weird.
00:00.880: Until you start peeling stuff, like you said, peeling those onions back and realizing this this fucking thing can do a lot of this thing can do a lot of stuff.
00:00.880: Being able to zoom in with the magnified.
00:00.880: Being able to organize stuff, the music and stuff with smart collections, because I kind of work and you know, I kind of mentioned earlier about I'm still trying to figure out my workflow.
00:00.880: one of our laptops and one of the towers.
00:00.880: And it was easy to hate because there was a lot of stuff that just felt like it was half-baked or incomplete or not well thought out.
00:00.880: Because I think organizing an episode, I think one of the things that I deal with with, because I don't deal, I'm not dealing with a TV show, but I have clients that have recurring, you know.
00:00.880: I have an event in in I have a bunch of events in there that match each show that I do.
00:00.880: Market snapshot, I think it's called.
00:00.960: Interesting.
00:00.960: Yeah.
00:00.960: Is there some of your stuff, like is it some of it available like on YouTube or something that you can give me some links?
00:00.960: Well, I've got a 2009 tower with like an Nvidia 4000 card for Premiere.
00:00.960: And I had taken a copy of the library file, which was now only like 10 megabytes or whatever.
00:00.960: Okay.
00:00.960: You know, and the library stays trim and they don't get bogged down with a whole bunch of stuff.
00:01.040: This is a guy who's using Final Cut 10 and is loving it.
00:01.040: And I worked with that production company a while back, kind of had a falling out, then we got back together.
00:01.040: I don't know.
00:01.040: Being able just to and obviously the organizational, the metadata of it, and being able to just go through and mark favorites.
00:01.040: Or I can just go grab something, and you know, so it's just easy for me, and that's just kind of that broadcast way of how we do things.
00:01.040: And frankly, the stuff is very cost effective and plenty of choices there.
00:01.040: I don't think they did, which is kind of the sign of a beautiful thing, I think.
00:01.040: At that point, I decided to start a new library for the next episode, episode seven, roughly.
00:01.040: Moved to library location, it now says.
00:01.040: You know, and then that way, you know, I get the advantage of the organization, but I don't have to weigh down one giant library.
00:01.040: Some kind of audio kind of mixer.
00:01.040: Point them our way.
00:01.120: No, middle of 2013.
00:01.120: Okay.
00:01.120: And then if it if I wanted to animate it or whatever, you know, I'd do it in After Effects.
00:01.120: Yes.
00:01.120: Okay, so um magnetic timeline, audio and rolls.
00:01.120: I need this.
00:01.120: Like how in the ocean?
00:01.120: This is, yeah, I mean, I would love that.
00:01.200: So definitely check out Premium Beat and also FX Factory.
00:01.200: I played a bunch of sound files and he was one of the guys who said, Hey man, I want to be on the grill and he works with a guy named Anthony Mareschi, who is on episode like six or seven, something like that.
00:01.200: Very much so.
00:01.200: 1, but it was just minuscule when I was on the road kind of playing.
00:01.200: That the embedded audio gets them all freaked out.
00:01.200: Actually, a slight advertisement here.
00:01.200: Okay, so I will point out, and I'm actually launching the software because I've got to figure out what the there's two keyboard shortcuts, and if you do them in rapid succession, it is almost like what you're saying.
00:01.280: Well, it was, you know, I was just going through stuff I needed to I wanted to do on the show, and I was like, oh man, I got a bunch of these voice messages.
00:01.280: So so whatever you have on track one will be on channel one?
00:01.280: Yeah.
00:01.280: It felt like that the external media worked better.
00:01.280: That's an event?
00:01.360: The sad thing is that the place I heard it, they were going, Oh, yeah, that's the oldest joke in the book.
00:01.360: That's yet another way.
00:01.360: And now we have like all these different ways of dealing with it.
00:01.360: So that's kind of where I was playing around with it.
00:01.440: Okay.
00:01.440: So, if I ever needed to bring it back in, I could do it really easily.
00:01.440: Okay.
00:01.440: When did you drive through Tall?
00:01.440: And if you get tired of that, there is a way that you can go in and disable them so they don't appear in your effects browser if you would rather.
00:01.440: There's your title, folks.
00:01.440: For hardware.
00:01.440: Yeah.
00:01.440: Never noticed a problem, never noticed a hitch.
00:01.440: We'll be back at the end of the week with another episode of The Grill.
00:01.520: Okay.
00:01.520: You can play with them.
00:01.520: com.
00:01.520: And so to me, that's the advantage of keeping your media outside because now that library file is very tiny.
00:01.520: Well, there you go.
00:01.520: They have the pre-populated keywords and smart collections.
00:01.520: We'll be back Friday with another great, awesome episode of the Grill.
00:01.600: Let's jump back in and play around with it.
00:01.600: The viewer in the list view with roles.
00:01.600: It's great.
00:01.600: Yes.
00:01.600: And then we point the media and the cache file to that folder.
00:01.680: Yeah, long time.
00:01.680: That's what I liked about it.
00:01.680: So he he yeah, it was it's kind of a weird setup.
00:01.680: You know what I mean?
00:01.680: It's a separate job, it's a separate library, it's a separate job folder, and it gets archived separately.
00:01.680: It's its own animal.
00:01.760: Hello, hello, hello.
00:01.760: And then I got involved and met Anthony and didn't really know what he was cutting on or anything.
00:01.760: But I like the organizational of it.
00:01.760: So that's and that's kind of how it started.
00:01.760: I'm right now I'm on like a Thunderbolt kind of that I think that Lesie kind of
00:01.840: I do music as a role, sound effects as a role, SOT as a role, VO is a role, so that if I need to go back and grab something, I can go grab something that just has NATs on it.
00:01.840: Yes.
00:01.840: So, I guess I can just say this.
00:01.920: Yeah.
00:01.920: I don't really care what clubs I use.
00:01.920: So which plugins are you using on FX Factory?
00:01.920: I don't know.
00:01.920: Ah.
00:02.000: They have all kinds of parts, you know, the loop packs and the shorts.
00:02.000: Because I know you don't believe in that, and you do folks who are not a guy.
00:02.000: Hartman?
00:02.000: We went and hung out in his restaurant.
00:02.000: There may be some stuff up there.
00:02.000: On the same promise, yeah, on the promise, inside the job folder, okay?
00:02.000: I don't have to mess around with it.
00:02.080: Here we go.
00:02.080: So how did you know Anthony Moreschi?
00:02.080: Come on.
00:02.080: And then I've been realizing I probably need to put like the name of the episode because that'll spark.
00:02.080: But anyway, so you can go through that and you can go, okay, on this interview, yeah, this is this is this the boom actually sounds better, or it's a quiet room or whatever.
00:02.080: I use all sorts of them.
00:02.080: Purchasing the new Mac Pro, the new Mac Pro versus the new Mac or what do I want to do?
00:02.080: Now, that being said, we are currently dealing primarily with HDSLR footage, H.
00:02.080: And I don't know if something like that would work for you, because in that way, you could noodle around at home.
00:02.080: Oh, boy, I just started Screenflow.
00:02.080: Hide it's m hide browser.
00:02.160: So so you had a little extra time, and you're like, ah, fine, I'll give it a chance because it might help me in the long run.
00:02.160: Cool.
00:02.160: When you enable a track and then you say lay it into this track and make just a whole bunch of A1 is lined up with there and
00:02.160: Well, there's one that Tokyo has a thing called Split Animator.
00:02.160: Yeah, I mean, and I use some of their color correct ones too with the white balance.
00:02.160: Well, no, okay.
00:02.160: I'm thinking I'm doing the math in my head.
00:02.160: I'm waiting for the big two-hander to come out in a couple of weeks.
00:02.160: I can't remember who told that story, but I think it was Sam Messman.
00:02.240: Isn't that cool?
00:02.240: You know, because you can open that up in QuickTime seven and actually do that.
00:02.240: Go play around with it.
00:02.240: What happens when the cable goes bad, though?
00:02.240: A Thunderbolt drive.
00:02.240: And you use so in ten one two, we got the ability to they've added the library inspector.
00:02.240: You're talking about an event.
00:02.240: Agreed, agreed.
00:02.320: But I was, I downloaded Final Cut 10 the day it came out.
00:02.320: I'm sorry, did you tell me?
00:02.320: And there's another thing.
00:02.320: And it's a combination of keywords and smart collections.
00:02.320: I just looked it up again.
00:02.320: Like this week this week I'll go to one client and I'll do one show again.
00:02.320: Oh, yeah.
00:02.400: So that's in the 10.
00:02.400: 2010.
00:02.400: And then I just copy that job name, make an event, and paste the same thing in there.
00:02.400: Yeah, I think going forward, I'm very excited about Thunderbolt 2.
00:02.400: You said at about six episodes it was getting kind of slow.
00:02.480: So was it a trip?
00:02.480: No, opposite.
00:02.480: Cool.
00:02.480: Yes, the Freddy Mercury playback engine, very much.
00:02.560: Migrating a project from one place to another, it's no big deal.
00:02.560: This is a premiere show.
00:02.560: I just jiggled the handle.
00:02.560: On an external.
00:02.560: So, anyway, there you go.
00:02.560: And also, remember, you can always go to Digital Cinema Cafe where both the grill and the cafe are hosted.
00:02.640: Have you seen that one?
00:02.640: Yeah, yeah, yeah.
00:02.640: Mm, okay.
00:02.720: I was avid from 95 to 2008.
00:02.720: And then in 2008, a production company kind of hired me to do some stuff and
00:02.720: Oh, the stories I could tell.
00:02.720: There's your episode title.
00:02.720: This poor laptop is down to like 5%.
00:02.800: I was like, Yeah, of course I can.
00:02.800: What grabbed your attention?
00:02.800: That's interesting.
00:02.800: That's what I like about it.
00:02.800: Although, I really want to get that LG the super wide one?
00:02.800: I got my big giant 28 minute donut hole.
00:02.800: This is my vignette.
00:02.800: That would be funny.
00:02.880: And I did that with Premiere too.
00:02.880: They're fully functional except for the watermark.
00:02.880: And then we have one called Bond Update or something like that.
00:02.880: Well, plenty of flexibility available.
00:02.880: That's been a real passion of mine lately.
00:02.960: Because of where my family lived, he started the business like 300 miles from where we lived, and it took us like almost a year before we found a house that we could move into.
00:03.040: Yeah.
00:03.040: I don't remember who it was.
00:03.040: Yeah.
00:03.040: Appreciate that.
00:03.040: Summer 2010.
00:03.040: I have one for all my graphics and one for all my noise and sound and stuff.
00:03.040: I think what we're starting to see primarily is just that there's a ton of flexibility.
00:03.040: And I was one of those people.
00:03.040: That being said, though, I'm not doing four a month like you are, or eight, or I don't know what your production schedule is.
00:03.120: Happy Labor Day if you're here in the United States.
00:03.120: Okay.
00:03.120: And then you have to go in like the media encoder and make the audio uncompressed in order to do the multi-channels.
00:03.200: Have you used that?
00:03.200: 1.
00:03.200: It doesn't matter.
00:03.280: No, because it was all like, you know, coming from a broadcast, NBC Sports sends their
00:03.280: It's hard to walk away from that.
00:03.280: I don't know.
00:03.280: I don't really know what it's called, but where it's within one clip, where there's no tracks.
00:03.280: I listened to that podcast today on the way home.
00:03.280: Go, oh, yeah, that's what I need.
00:03.280: So, what did you find?
00:03.360: One of the things we always have a separate job for each
00:03.360: No, no, no, no.
00:03.440: Hello.
00:03.440: And the Final Cut 8 aspect.
00:03.440: Well, it's kind of weird.
00:03.440: What the hell?
00:03.440: And inside that folder has all the bits and bobs and stuff.
00:03.440: 1 era, which is much better.
00:03.440: And, like, oh, I bet.
00:03.440: You know what I mean?
00:03.440: Click on that thing, leave me a message, ask a question.
00:03.520: Okay.
00:03.520: It would have to be invitation only.
00:03.520: Oh, it's a great story.
00:03.520: Yeah.
00:03.520: 2, once you strip everything out, including the cache file.
00:03.520: It's not like the AVC.
00:03.520: Right, right, right.
00:03.520: It only took me like what, five minutes, and we're making an edit.
00:03.520: Then I start a new library, blank.
00:03.520: Because sometimes I bring a bunch of stuff in and I don't know where the hell it came from.
00:03.600: Have you ever ran into this?
00:03.600: That's like your mom ironing your name tags in your T-shirts before you go to summer camp.
00:03.600: Now that's what we've been calling it.
00:03.600: On the promise?
00:03.600: All right.
00:03.600: All right.
00:03.600: Even my son loves listening to it and he's 13.
00:03.680: Did Anthony send you the link to his interview on this show?
00:03.680: And they mentioned a guy that I n used to work with.
00:03.680: So yeah, 10-1 was a was you were probably very much re
00:03.680: Yes, it's awesome.
00:03.680: Um there's some transition ones I use
00:03.680: I bought a split screen one and kind of made my own.
00:03.680: Yeah.
00:03.680: I'm going to reboot.
00:03.680: I think that this fall we're probably going to see I'm thinking we're going to see IMAX with Thunderbolt 2, of course.
00:03.680: Oh, you know what?
00:03.760: You said that you were listening to the show and you're like, hey, that's my voice.
00:03.760: To where I could just pull down a go to color correction and see all the scopes and the clip and the timeline and
00:03.840: Oh, wow.
00:03.840: I mean, you can do, I mean, you still have to be a storyteller.
00:03.840: It's kind of like we rolled into that part of Florida and just kind of took it over.
00:03.920: So I don't know if you're familiar with a Facebook group called
00:03.920: That was the next question I wanted to ask you.
00:03.920: What was wrong with the computer?
00:03.920: But we're putting but though once it unpacks those things, it's putting it in the FCPX created folder.
00:03.920: And then Command seven gives you your scopes.
00:04.000: I did.
00:04.000: I'm writing it down right now.
00:04.000: And now it's like, okay, do you spend some money on an iMac?
00:04.000: I gotcha.
00:04.000: This is my base.
00:04.000: Later, later.
00:04.080: Good.
00:04.080: But it it is kind of good because it inspires you.
00:04.080: Exactly.
00:04.080: If I want to move stuff on the road, I'd just drop it over and take it out and hammer it on the road and then put my project back over there and
00:04.080: So, we do these shows for Charles Schwab, and one is called Market Update.
00:04.080: And I would love to go to the window pull down and find some kind of color correction
00:04.160: It was kind of like the small world in the Flash Hat 10 community.
00:04.160: Sure.
00:04.160: I could guess what you found.
00:04.160: Um, the six terabyte retract.
00:04.160: So here's the deal: I have a library on the machine that says templates.
00:04.160: Because it's not like.
00:04.160: Tulsa, Oklahoma, Doug Orr.
00:04.240: Hey, I'm a rock star.
00:04.240: Well, I pretty much and it depends on I do I do several shows for Golf Channel as well, and Golf Channel requires
00:04.240: Yeah.
00:04.240: And, you know, producers they just do it because somebody told them to do that.
00:04.240: So, Doug, speaking of the the best tool, what made you move to Final Cut?
00:04.240: Did you own your own Avid system?
00:04.240: And so it's that's the type of show it is.
00:04.240: Oh, yeah.
00:04.240: I mean, it was kind of, you know, obviously the first episode.
00:04.240: It's like, I mean, there's something I was like, oh shit, I didn't know I could do that.
00:04.240: Well, that's going to approach that situation when it comes.
00:04.240: It lives in the same job folder as the library file.
00:04.240: I was very vocal against it, very vocal.
00:04.320: Not David Orr, but Doug Orr.
00:04.320: Okay.
00:04.320: So he could edit on whatever he wa platform he wanted, and I could edit on whatever platform I wanted.
00:04.320: So I'd try and send him an XML and do all that stuff and it got kind of just all sorts of messed up and
00:04.320: Sound effects are music.
00:04.320: So they said, Can you learn Final Cut?
00:04.320: So, like, you know, I can't I can't think of an example why I would want to do it right now, but right, I could let's say I wanted to
00:04.400: Please check out PremiumBeat.
00:04.400: I like the being able to just kind of slap everything out.
00:04.400: Um, NBC Sports is four channels.
00:04.400: No, I did not tell you.
00:04.400: And I would love to be able to rename stuff when you're importing footage.
00:04.400: And take the time and tell your friends.
00:04.480: Yeah, because so are you exporting then with roles as separate tracks?
00:04.480: Now, with Final Cut 10, I can organize it in the
00:04.480: Remember that gigantic rainstorm that washed away Oklahoma City in July?
00:04.480: And I spend 39 bucks and download it, and I've got it in five minutes.
00:04.480: Oh, interesting.
00:04.480: Oh, absolutely.
00:04.480: Correct.
00:04.480: Just took me a while.
00:04.560: He's still trying to figure out the best workflow for him.
00:04.560: Doug Orr, how you doing?
00:04.560: I can learn Final Cut.
00:04.560: There's 13 episodes a season, and he would do three or four of them, and I would do the rest of them.
00:04.560: Okay, so that's very interesting.
00:04.560: And you lost it.
00:04.560: And I was like, I know that guy.
00:04.560: He did the other, he did a fishing show for a month.
00:04.560: Right.
00:04.560: Yeah, it's the old, hey, do you know this?
00:04.560: We did a show with Hulk Hogan where we went down to Florida and shot some stuff, working out scenes.
00:04.560: I just saw that in the Apple store just the other day.
00:04.560: Gotcha.
00:04.640: Probably summer 2013.
00:04.640: The guy was asking about how to do transparency.
00:04.640: I'm going to jump in and start swimming.
00:04.640: And it seems to come a lot more handy.
00:04.640: Okay.
00:04.640: Yeah.
00:04.640: Yeah.
00:04.720: Um what got my attention was the magnetic timeline.
00:04.720: So, the last question I have for you, Doug, not Dave, is.
00:04.800: So and I just got your email that morning of listening to that show, so it was kind of funny.
00:04.800: You'll be episode 77.
00:04.800: And I just got into rolls just in the last couple of months.
00:04.800: You say, I don't know.
00:04.800: You know, we just got the Sony A7S and it's got the funky XAVCHD elemental P, whatever it's called.
00:04.880: But I'll jump in.
00:04.880: Anyway, neither here nor there.
00:04.880: And because I got to say, it kind of bugged me at first.
00:04.880: So, okay, so you started with a library for the season and an event for each episode.
00:04.880: Yeah.
00:04.960: And it's like, you know, I don't even know how to describe it, but it's like
00:04.960: It's just a you know, it's just a pain in the ass.
00:04.960: Yeah, did you listen to the episode with Thomas Grove Carter talking about dealing with y keeping proxies in the library?
00:05.040: You know what I mean?
00:05.040: Just get me to what I can shoot the best score.
00:05.040: Which, by the way, being a Monday episode, they sponsor the Monday episode.
00:05.040: Oh, that's great.
00:05.040: And that's another thing.
00:05.040: So, what we've been doing in our office, you may have heard me say,
00:05.040: Yeah, exactly.
00:05.040: It's all crafted by the lawyers.
00:05.120: Yeah.
00:05.120: It's really fun.
00:05.120: That's the website of the host.
00:05.120: So you're cutting it all on your.
00:05.120: I don't know.
00:05.120: And I've got like two of the old to my 2009 tower.
00:05.120: I think it's good to know what you were saying about
00:05.120: Exactly.
00:05.120: I know you were traveling today, so you literally got off a plane and jumped right into this.
00:05.120: Yeah, I like that.
00:05.200: We're going to mention that in the interview as a very kind of organic
00:05.200: So you started Premier the summer of 2011 after you realized Final Cut 10 was was not what you were expecting?
00:05.200: But again, that's just me.
00:05.200: Started looking at, you know, FCP Co.
00:05.200: It sounds like you lost that battle.
00:05.200: I mean, I but I just I always made a masterfield archives.
00:05.200: Right, right, yeah.
00:05.200: I don't know that that's the best name for it, but that's what we're using.
00:05.200: So the library location used to, or the library used to only be the library inside the library file, which is why the library
00:05.200: Yeah, I mean, it's pretty much you can deal with it however your workflow wants to deal with it.
00:05.280: Gotcha.
00:05.280: And it would be nice to be able to rename your color corrections.
00:05.360: You had used it, what, eight to eleven?
00:05.360: Uh, was that oh god, I'm feeling bad now.
00:05.360: Yeah, very much.
00:05.440: Yeah, I'm laboring.
00:05.440: I what I liked about Premiere is being a one man band, I liked no transcoding, no dealing with anything.
00:05.440: It's not like it's a ton of graphics.
00:05.440: 0.
00:05.440: What's going on in the hotel?
00:05.520: So, so humor me in Premiere, does it kick out a track to a channel?
00:05.520: You gotta pick one, you know?
00:05.520: It would have to be invitation only.
00:05.520: So fast cut, split screens, a lot of action.
00:05.520: I jiggled the handle and it started working.
00:05.520: And it's a bigger deal when you have multiple systems, okay?
00:05.520: Okay.
00:05.600: Yeah.
00:05.600: This is my mask.
00:05.680: It's awesome.
00:05.680: Because we shoot it probably about a terabyte an episode.
00:05.680: Yeah, but I don't think it would work better because
00:05.680: Well, another reason I tried external as opposed to inside the library was because I've got
00:05.680: You said you're working on a LACI big disc.
00:05.680: And so it does pay, even as a one-man band, to plan ahead for the future.
00:05.760: Yeah, yeah.
00:05.760: And I've and I've always said, you know, that if it's a static thing, I'll make a PNG.
00:05.760: And then, you know, then music was on the other ones.
00:05.760: For another show, another episode two, or the next episode.
00:05.760: It's not like, here's most of the functionality.
00:05.760: My phone.
00:05.760: Okay?
00:05.760: Isn't that a great story?
00:05.840: Oh, it's got some cool effects.
00:05.840: It's a podcast now?
00:05.840: And it is invitation only.
00:05.840: Yep.
00:05.840: So I thought, oh, if you know, I've got my you know, Thunderbolt here and I want to go home and I've got the same media cloned.
00:05.920: I had a uh I kinda had a falling out with the company that I was using Avid with.
00:05.920: I'm in the process of figuring out where I want my next step to go.
00:05.920: And I think that's the key phrase in your discussion as a one-man ban.
00:05.920: And I understand that's not the smartest way to do it over gigabit, but it works fine.
00:06.000: What are those files that they sent you?
00:06.000: And so what he would do, he would kind of replace the voiceover
00:06.000: Yeah.
00:06.000: There you go.
00:06.000: I will tell you this, and I think we should probably wrap it up with this.
00:06.080: Right.
00:06.080: So they're labeled, you know, FCG.
00:06.080: That I I bought that drive.
00:06.080: I drag it in and I'm and then I start.
00:06.160: Oh, that's the Hiawaki ones.
00:06.160: Mercury playback engine.
00:06.160: Right.
00:06.160: I'm like, Yeah, that's a new one to me.
00:06.160: And I take that and I drag elements out of that library.
00:06.160: So, hey, man, it's been great.
00:06.240: Yeah, everybody did.
00:06.240: Right.
00:06.240: So you're okay with the fact that yeah, it's it's actually uh it's sort of liberating that you don't have to like
00:06.240: No, it's not that.
00:06.240: And then, and then in that event, I have four folders.
00:06.240: But it just seems like right now my
00:06.240: I just jiggled the handle and it started working.
00:06.240: And then there's one more level of complexity, if you will, because
00:06.240: Hey, Doug, thanks for doing that.
00:06.320: And where we kind of had troubles, Anthony and I, was when
00:06.320: You could kind of pseudo-layer it up, yeah, exactly, all on one color corrector.
00:06.320: Yeah, I'm having a hard time I and I think I've said this before, I'm having a hard time understanding why I would want
00:06.320: And and uh I I think I think it
00:06.320: And then I open up the
00:06.320: It works.
00:06.400: com.
00:06.400: You know, I've been using After Effects almost since the beginning.
00:06.400: It's like I mean, my longest shots may be three seconds.
00:06.400: You're like, oh, I did not know I could do that.
00:06.400: It was Dustin Hoy.
00:06.480: And Doug found me, if you remember, if you were listening to the last episode, the one that I did with Alex McLean.
00:06.480: Yes, not David.
00:06.480: And so if you're listening to the last episode, you heard a string a bunch of voicemails and
00:06.480: So at any rate, we're going to get to the interview now.
00:06.480: And there was actually another episode that I knew.
00:06.480: What was your workflow when it came to audio with Premiere or Avid on the shows that you were cutting?
00:06.480: That's Mark Spencer's Ripple Training Callouts is really a great little tool.
00:06.480: I heard a good one today.
00:06.480: You know, people look back at Final Cut 10.
00:06.480: Well, you said it it was about a terabyte an episode.
00:06.480: Much of what I do, as you know, is based on the fact that we have a small to medium sized workgroup
00:06.560: It's Sunday night.
00:06.560: Now, I did mess around a little bit with some stuff.
00:06.560: Ye if you if you set up your timeline correct, yes.
00:06.560: I have no problems with Tulsa.
00:06.560: They didn't notice.
00:06.560: Yeah, I have the same one.
00:06.560: Yes.
00:06.560: It's always good.
00:06.560: When I started doing the
00:06.560: And what I do to deal with that
00:06.560: So now when I come in to do a show this week, it'll be Market Update.
00:06.560: I have a template library that has my empty folders in it, drag those in.
00:06.560: Right.
00:06.640: Learned Final Cut seven, I
00:06.640: Right.
00:06.640: I have one for all of my media.
00:06.640: Doug is a one-man band today, and I think you caught at the end there that my admonition to him was
00:06.640: And once again, if you.
00:06.720: So you're using a PNG still, and you're actually using the title tool in Final Cut 7 or Premiere?
00:06.720: Go to the hotel.
00:06.720: So it's split track
00:06.720: Exactly.
00:06.720: And Final Cut made it nice with
00:06.720: How did the application change the amount of time you were putting into
00:06.720: And just being what I liked is being able to organize everything with keywords.
00:06.720: And see, I started off doing, I did Charlie Moore, No Offense.
00:06.720: What was your determination?
00:06.720: Anyway, I thought he sent me something about how he organized.
00:06.800: Yeah, we've talked about that a lot.
00:06.800: I remember.
00:06.800: The only people that get to subscribe to it are ones that have actually been guests on the show.
00:06.800: If you wanted to call out a typo in a lower third or something.
00:06.800: And y they would open up and on the left side he'd have the purchase order and the shipping receipts and on the right side he'd have the contracts and the
00:06.800: It's hide
00:06.800: This is my base.
00:06.800: The most important thing is when you know people that you think could benefit from the discussions that are being had here.
00:06.880: Yeah, a lot of people do, and I get it.
00:06.880: So it was funny, like within two days.
00:06.880: That I get some pretty good, you know, six hundred, seven hundred speeds in there.
00:06.880: Absolutely.
00:06.880: You know, I'm like, what?
00:06.880: And my son loves the
00:06.960: I met Anthony
00:06.960: And then
00:06.960: Very, very cool.
00:06.960: I bought one I bought the little four terabyte and used that on the road and love it.
00:06.960: I was like, Oh, okay.
00:06.960: Well, I think I I probably think my best bet is just to keep everything 'cause I'm a one man shop, just keep everything in the library.
00:07.040: No, I didn't lose.
00:07.040: And then once I organize it there.
00:07.040: Sure, I know this.
00:07.040: I'm sorry.
00:07.040: Maybe haiku.
00:07.040: So definitely go check out Effects Factor.
00:07.040: Ah, gotcha, gotcha.
00:07.040: That John Davidson has been pimping.
00:07.040: Um
00:07.040: And then in the middle I put the show.
00:07.120: I think they call them the shorts, whatever, the 15s, 30, and 60 second
00:07.120: I heard that.
00:07.120: Right.
00:07.120: You still have to be able to push the buttons and all that stuff.
00:07.120: They came and took their machine.
00:07.120: I could I I not right now, but I could send you some stuff, I'm sure.
00:07.120: And then
00:07.120: I tried to take a picture.
00:07.120: I would want some kind of roll mixer.
00:07.200: And then I never heard from them again, never heard from again, never heard from again.
00:07.200: So, and it's not that you can't have an invitation, you just have to ask.
00:07.200: So blah, blah, blah.
00:07.200: And that was kind of frustrating.
00:07.280: Like everybody did.
00:07.280: I would think that if you were doing most of the shows, you could put your Bigfoot down and go, hey.
00:07.280: I remember.
00:07.280: Okay.
00:07.280: Oh, I didn't know I could do that.
00:07.280: Okay?
00:07.280: And it and it didn't dawn on me till
00:07.360: So summer 2013, I think we were just getting into Creative Cloud.
00:07.360: And that's where Anthony came in when I was kind of out of the scene.
00:07.360: I don't have to worry about A1, A2, you know, A1, A2, A3, A4, A5, you know, all my track layers.
00:07.360: It was, you know, the first episode was here.
00:07.360: Yeah, absolutely.
00:07.360: So yeah, I can't remember exactly how
00:07.360: And so
00:07.440: It's 10:30 and I'm putting together an episode for you because that's how much we care here at the DCC Network.
00:07.440: Right.
00:07.440: Oh, look, here's the colorboard.
00:07.440: Hey, this hotel is boring.
00:07.440: I'm going to use that.
00:07.440: So what did you see as the advantages of keeping the media in the library?
00:07.440: Right.
00:07.440: Yes.
00:07.520: and saying, okay, there's some people doing stuff.
00:07.520: Right.
00:07.520: But you're playing around and you're like, oh, yeah, this plugin looks great.
00:07.600: His amount of time he's spending on shows is dropping.
00:07.600: And so it's an interesting discussion.
00:07.600: Doug.
00:07.600: It's my favorite place to get music.
00:07.600: So you were doing three shows.
00:07.600: I actually did not know he was on it.
00:07.600: You know, and I think that and I hope that I'm hoping that QuickTime ten will get to the point where it has that functionality because
00:07.600: I listened to your podcast.
00:07.600: It was just.
00:07.600: Very cool.
00:07.680: Okay.
00:07.680: And then in those folders is where I put all of the
00:07.680: Give it some stars.
00:07.680: Go listen to the last episode.
00:07.760: And there's advantages.
00:07.760: Yeah.
00:07.760: I'm actually we are talking on it right now.
00:07.840: I got a Premiere project, I can do it.
00:07.840: What
00:07.840: And the audio guys are like, yeah, fine, I'll put both on.
00:07.840: You know what I mean?
00:07.840: I can't remember.
00:07.840: I really appreciate it.
00:07.920: So anyway.
00:07.920: Oh, I guess that's like five years.
00:07.920: But what it what it was is all of a sudden when Anthony he had Anthony to do that show
00:07.920: Uh so, you know, I became, you know, I just made a militant, you know
00:07.920: You know, and people it's like
00:07.920: Okay.
00:07.920: So you have scopes, viewer, thing.
00:08.000: And at this point, I was in premiere.
00:08.000: Okay.
00:08.000: You know when you're trying to troubleshoot something?
00:08.000: So now it's like
00:08.080: Yeah, I can't remember who it was now.
00:08.080: And just being able to just lay it in and then go in and uh
00:08.080: It's kind of a lifestyle show.
00:08.080: Yeah, that that's the way it's.
00:08.080: To me, I have a job name, you know.
00:08.080: Sorry, Dustin, I apologize.
00:08.160: Did I know?
00:08.160: Yeah, yeah, this is gonna be great.
00:08.160: I'm just one of those guys that.
00:08.160: Okay.
00:08.160: Is there like a high
00:08.160: There's probably a bunch of stuff up there.
00:08.160: So as you bring in stuff
00:08.160: And
00:08.160: I tried to take a picture on my phone.
00:08.160: Take care.
00:08.240: Was that Scott?
00:08.240: I'll cross that bridge.
00:08.240: Um, the six terabyte.
00:08.320: Correct.
00:08.320: You know, everybody wants to pay $1,200 for glow dissolves.
00:08.320: It's like, I don't want Bobby to misplace his cable.
00:08.320: 264.
00:08.320: I I used the OWC drives.
00:08.400: So so and at that point, that was this year
00:08.400: So so yeah, then what so if you and again, this is
00:08.400: Shipped it back.
00:08.400: So it's going to have to do a bunch of
00:08.400: Yeah, I've never, I've never done that.
00:08.480: This is a a little bit of a long interview, not too bad, with Doug Orr from Tulsa, Oklahoma.
00:08.480: I've been realizing that I have a folder.
00:08.480: And I love
00:08.480: I don't know that it's ever really discussed that much, but um
00:08.480: Yeah, I gotta know.
00:08.480: It's fabulous.
00:08.560: Now, were you delivering on tape?
00:08.560: Yours will be FCG007.
00:08.560: I'm going to go on the bus.
00:08.560: And it's like there's little things like that that I don't think
00:08.640: So Anthony had been doing the fishing show.
00:08.640: And I don't care about anything.
00:08.640: I don't know if you saw my tweets today, but I accidentally realized I could put multiple shape masks.
00:08.640: And so, but each show has a distinctive look.
00:08.720: So when you.
00:08.720: And I just tried to deliberate.
00:08.720: I thought it was by like.
00:08.720: You can totally use it and you can say, yep, I totally dig it.
00:08.720: It helps other people find the show, and that's just good for us all around.
00:08.800: But still kind of interesting that there was never was there ever any discussion between you guys to share assets?
00:08.800: I mean, believe me, I understand.
00:08.800: Oh, Tulsa.
00:08.880: Yes, six of seven, I don't know what it was at that time, but
00:08.880: Hmm.
00:08.880: So I have a folder called.
00:08.880: So and that's what I dig about Final Cut 10.
00:08.960: Good.
00:08.960: Right.
00:08.960: Yes.
00:08.960: And I have to update the opening title sequence because it's time and date.
00:09.040: Oh, I can do just kind of find you know, finding my way around.
00:09.040: No, that's not it.
00:09.120: I think that was.
00:09.200: What the hell?
00:09.200: Yeah.
00:09.200: Yeah, that is worth 39 bucks.
00:09.280: Yeah, a multi-channel, a multi-track, split track.
00:09.280: Yeah, that's the color correct.
00:09.280: Right.
00:09.280: So you select the library in the left window, and then you go to the inspector window on the right.
00:09.360: That's not that's that's a fair amount of time.
00:09.360: I'm always kind of looking for that, you know, next best thing.
00:09.360: Okay.
00:09.360: Shipped it back.
00:09.360: Oh, talking about it.
00:09.360: And very interesting.
00:09.440: I think you're going to enjoy it.
00:09.440: Yeah, that's smart.
00:09.440: So where I'm at.
00:09.520: Like, for example, you know, one of the things I deal with all the time is
00:09.520: And I just yeah, I just like being able to go, okay.
00:09.520: Right.
00:09.520: 0, you know, summer of 2011.
00:09.600: One of these days, it would be great to produce a podcast.
00:09.600: And like I said, it's kind of like what you said earlier.
00:09.600: Yeah, he loves that thing.
00:09.600: Right.
00:09.600: You'll hear some of the questions that had come in.
00:09.680: And frankly, you had already mentioned you're kind of a one-man band, so if you're not.
00:09.680: Okay, so
00:09.680: And then when you go back to the office where the big drives and all your output is.
00:09.760: I've said it many times.
00:09.760: Okay.
00:09.760: But, I mean, they all kind of do the same thing, but it's.
00:09.760: I've made keywords for each scene within the episode.
00:09.760: He told me stories about how he would sit there
00:09.760: And I will tell you this, just you can edit it where you want, but
00:09.840: And I feel bad.
00:09.840: So very cool.
00:09.840: Although we don't have any Thunderbolt 2 drives, we have a couple of machines with it.
00:09.920: Okay.
00:09.920: In June?
00:09.920: Jot it down and run with it.
00:09.920: Kind of you know, I'm playing this
00:10.000: Okay.
00:10.000: And it is.
00:10.000: So thanks for doing it, man.
00:10.080: There's advantages.
00:10.080: Yeah.
00:10.080: I'll burn that bridge when I cross it.
00:10.160: So that's, and I always wanted to learn it.
00:10.160: They said, Oh, yeah, by the way, now you've got a week to learn Final Cut and ship your
00:10.160: Okay.
00:10.160: Mhm.
00:10.160: The Mad Fisherman.
00:10.160: Okay.
00:10.160: And it took us a while to figure out the workarounds.
00:10.240: Yeah, exactly.
00:10.240: Yeah, exactly.
00:10.240: Okay, so.
00:10.240: What's the capacity of that?
00:10.240: But I think he'd be an interesting guy to talk to.
00:10.240: Right.
00:10.320: That's how you have to do it.
00:10.320: I don't care if I'm using all hybrids or whatever.
00:10.320: I know that there's a few.
00:10.320: Yeah, auto-grade, and they have another one called color.
00:10.320: It may not do with television, but I use the Four Corners of the Ham.
00:10.400: So
00:10.480: It'd be June?
00:10.480: I'm doing nothing in my head.
00:10.560: Talking about it, yeah.
00:10.560: Okay.
00:10.560: Yeah, I was going to ask you about that.
00:10.640: No.
00:10.640: Where does that live?
00:10.640: I have one more question for you.
00:10.720: I might have to cut this out because I feel like a dork.
00:10.720: Thank you, Nicholas, for supporting the show.
00:10.720: And it seemed to run a little smoother.
00:10.720: Oh, I have.
00:10.800: It's music that's easy to cut to.
00:10.880: You know, I did a.
00:10.880: I've I've been I've driven through Tulsa.
00:10.880: Yeah, somebody somebody did a keyboard shortcut the other day.
00:10.960: And then you hover over it and you're like, oh, I don't own this one yet.
00:10.960: Or you could maybe go to charliemoore.
00:10.960: So, anyway, right, right.
00:10.960: That's pretty fast.
00:10.960: I mean, it's a much different world than it was back in December.
00:10.960: I think that the takeaway that I got from this interview.
00:11.040: You can.
00:11.120: And so I thought, Yeah, that'd be fun.
00:11.120: Well, we they uh master on XD Cam.
00:11.120: I mean, it can do a lot.
00:11.120: So you lay it on top of your stuff.
00:11.120: Interesting.
00:11.120: At six episodes, it got too big.
00:11.200: So
00:11.200: There's many ways to set it up.
00:11.280: What the fuck?
00:11.280: Far that gigantic
00:11.360: What kind of hard drive are you on?
00:11.440: I was there then.
00:11.440: Yeah.
00:11.520: So he's swooping your gig.
00:11.520: Yeah, I mean, I guess that makes sense.
00:11.520: I realize I don't do it all the time, but hey, I'm trying.
00:11.600: Okay, interesting.
00:11.600: There's.
00:11.600: I've been looking at it.
00:11.600: I mean, to me, it's like
00:11.680: Yeah.
00:11.680: Here's my folder structure.
00:11.680: Yeah, I saw it and I just thought, wow, that's stupid.
00:11.760: The Mad Fisherman.
00:11.920: Okay.
00:11.920: It works fine for me and a lot of others.
00:12.080: And then you can go back and
00:12.080: It's like I'm
00:12.160: Um
00:12.320: Okay.
00:12.400: Mm-hmm.
00:12.400: I mean, I mean, avid.
00:12.480: And another company called me about
00:12.480: Yeah.
00:12.640: Just.
00:12.640: But, you know
00:12.640: I'll try and figure that out.
00:12.720: And
00:12.720: Correct.
00:12.800: I already owned it.
00:12.800: That's him.
00:12.880: And
00:12.880: What did you do at that point?
00:12.880: There's many ways to work.
00:12.960: It's date stamped.
00:13.040: So, um
00:13.040: You know what I mean?
00:13.360: com.
00:13.440: I can just start.
00:13.520: Oh, well.
00:13.680: Okay.
00:13.680: It's like, come on.
00:14.560: And