Episode 78
FCG078 - 7 to X Midstream (feat. Sam Russell)
Many people change from FCP 7 to FCPX but very few do it in the middle of a project. Sam Russell is a college student in Ithaca New York and over the summer he produced “Mississippi Crayfish”, an experimental student film about… well… you need to watch it. Mid stream, Sam decided to switch to FCPX. Today we’ll take a long look at his decisions and see what motivated him. We’ll also hear from the audience via voicemail and discuss Motion vs. After Effects.
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Featuring
- Chris Fenwick
- Sam Russell - @Samm_The_Human
Transcription
00:00.001: And I know this because I worked for these companies, okay?
00:00.160: I have to open my mouth and talk about it.
00:00.160: It's very interesting.
00:00.160: You know, really, yeah, yeah, it's I mean, and that was like, I mean, that was the total idea.
00:00.160: You were at some point you were at some point you were enhancing the story, at some point you were looking at it, you were juxtaposing things like completely incongruous.
00:00.160: Four streams of did yeah, did you transcode the footage or keep it as the H.
00:00.160: like T V and cinema are like produced more or less the same way nowadays and they're only really separate because it used to be so so different.
00:00.160: You shot a lot of it vertical.
00:00.160: a douche film kid and shoot it all vertical.
00:00.160: Yeah.
00:00.160: Here's one of those backpacks that's like kind of a like an illusion when you look at it.
00:00.160: And he's like, Okay.
00:00.160: That's the advice.
00:00.160: Read anything online about how much it sucks.
00:00.160: I think it's the positioning tool to drag things out.
00:00.160: And they give you notes.
00:00.160: That was Sam Russell.
00:00.160: So, anyway, I enjoyed that.
00:00.160: Photoshop wins.
00:00.160: Completely agree that motion is extremely powerful and the ability to create templates.
00:00.160: And frankly, I've learned a lot of it from the interviews that we've done here and the conversations that we've had that are all available for you to go check out.
00:00.160: and I learn from them constantly, all the time.
00:00.240: He spent a bunch of time cutting this together.
00:00.240: So anyway, Sam's an interesting guy, and I think you're going to enjoy this.
00:00.240: So that's really sort of a microcosm of what this show is about, is people learning a new piece of software.
00:00.240: But Premium Beat has been generous enough to sponsor the show and to support what we're doing.
00:00.240: that make it very easy to uh extend and and shape the um the build of the music.
00:00.240: You know, you know what happens with Twitter is I read stuff and I see the name and I'm really more kind of visual.
00:00.240: Who I think was a guest on your show a couple weeks ago.
00:00.240: I'm in college right now.
00:00.240: I can do whatever I want, you know?
00:00.240: And yeah, like obviously zero budget.
00:00.240: You started d did you start cutting it at school?
00:00.240: 7 and chapter 2 is 10, and I did not realize there was going to actually be a go-get-your popcorn intermission type thing.
00:00.240: I went home that weekend was just I started working in seven.
00:00.240: I mean, yeah, the rendering sucked.
00:00.240: Being somebody who's cut many years in what I like to call Final Cut Classic, and then also now for a couple of years in 10, a lot of those transitions I would not
00:00.240: When I'm doing stuff in 10, I can do so many more things in real time.
00:00.240: Editing on Final Cut 7 for so long, and then this would be almost three years ago now.
00:00.240: smaller projects, I'll switch back to seven just 'cause it's, you know, faster and it's what I know much better.
00:00.240: Uh-huh.
00:00.240: Primary storyline with all the same magnetic functions.
00:00.240: There's this project, which was uh I mean, that short that part is pretty short.
00:00.240: really the idea of being able to edit in as many programs as possible.
00:00.240: You know, some of them are very negative toward 10.
00:00.240: Like being flexible, but nobody is working with 10.
00:00.240: Everyone kind of bought into that idea.
00:00.240: 10, like I just feel like it'll, it's a good idea to know, have as many, be able to work with as many tools as possible.
00:00.240: Yeah, yeah, and I do.
00:00.240: It didn't exist, it would not exist for another 20 years.
00:00.240: or you were shooting with, you know, old out of repair film cameras that didn't work very well.
00:00.240: tried to major in both or some combination of the two.
00:00.240: Yeah, so you like get up to go get ketchup.
00:00.240: And then all of a sudden I realized, oh my goodness, there's four vertical iPhones repeated there.
00:00.240: four versions of it right up next to each other.
00:00.240: I'm going to get three days to cut it.
00:00.240: Yeah, definitely more than three days.
00:00.240: like he did he like finished it.
00:00.240: Being able to do something like that with my dad.
00:00.240: most people don't get to do that.
00:00.240: like more content gets uploaded to YouTube in an hour or a minute or something like that than you could possibly watch in a in a lifetime.
00:00.240: And then they just push me in a little dark room and they go, make cool, make pretty, and come out when you're done, you know?
00:00.240: And I walk in, who am I cutting for today?
00:00.240: Like, I don't I don't want to say disdain, but like I get it, that's a good word.
00:00.240: And it was an enormous concerted campaign to get Macintoshes out of the business workplace.
00:00.240: That they don't want to deal with by sweeping it under the rug.
00:00.240: Nobody ever got fired for using Microsoft.
00:00.240: You've got to kind of be sort of ballsy to go, no, yeah, I do want to use this.
00:00.240: I don't know, episode six, seven, eight, nine, somewhere around in there with a guy by the name of Chip Desard.
00:00.240: And then also there are shape masks and color masks that allow you to control what is inside the shape or color selection and outside the shape or color correction.
00:00.240: Like, I'll give you a perfect example.
00:00.240: To that black slug.
00:00.240: it also works against you.
00:00.240: like web series type thing.
00:00.240: Broadcasters tend to be, in my opinion, tend to be more technically minded because of just the nature of what television always was.
00:00.240: Well, hey, Sam, thanks for chatting.
00:00.240: I was saying that I know how to make Final Cut 10 do what I need it to do, but over the last eight or nine or ten months, I've learned so much more about the app.
00:00.240: which is the mother website for all of our shows.
00:00.240: Hi, Chris.
00:00.240: And one of these days I'm going to get Mark Spencer on the show because he's like the master motion guru guy.
00:00.320: First father-son confluence of events.
00:00.320: Is Sam's father.
00:00.320: And I went and I went and I checked out Sam's Vimeo channel, and he's got this video called I'm going to get the name wrong, it's like I think it's called Mississippi Crayfish.
00:00.320: And it's this sort of funky.
00:00.320: You know, it's it's it's what you do when you're in college and you have a camera and you have nothing else to do for the day.
00:00.320: Was the most interesting to me was the audio soundscape in it.
00:00.320: Skype name Sam the Human or something?
00:00.320: But basically, I did it half and half because I started it I started playing around with footage and then I needed to learn Fonica 10
00:00.320: I use that to like learn Fonica 10 on.
00:00.320: 'Cause that's fun.
00:00.320: It's like easily the douchiest thing I've ever made, and probably ever will.
00:00.320: And me and the idea with everything, but the sound especially was just like playing around, goofing around, seeing what's what's funny or what works or like what sounds good.
00:00.320: That needed to be edited by the end of the summer.
00:00.320: That was basically it.
00:00.320: And then when I was done with that, move on to ten.
00:00.320: you know, not try to take in more knowledge.
00:00.320: 40% into it.
00:00.320: There would have been so much rendering that the prospect of saying, Well, I'm going to try this, render it.
00:00.320: See if it, then see if I like it, and then go, oh, yeah, that's kind of crap.
00:00.320: And I was kind of I was editing this over the course of the whole summer, so it was like a pretty leisurely pace.
00:00.320: like a split screen of like four images it's the the rendering was like it was the playback was just it not maybe not the rendering because it would say a hundred percent you know but the playback was just as choppy and like
00:00.320: Just as limiting it that way.
00:00.320: It is a codec that is designed to play back in real time well.
00:00.320: I think you win out a little because you're used dealing with smaller files.
00:00.320: I was looking at it from an effects and technical standpoint to try and see if I could tell.
00:00.320: Um I mean it's definitely it's a little weird.
00:00.320: behave the same way.
00:00.320: sucks it up and pretends like they love Avid.
00:00.320: Do you think your experience over the weekend has does it let me think, how do I say this?
00:00.320: You know, now you're real.
00:00.320: Now, in the kinds of work that you do besides your funky, hippie compositing montagey stuff, are you doing any other kind of graphic work?
00:00.320: usually I like I find someone who knows I I don't really know After Effects.
00:00.320: C G's titles, things like that?
00:00.320: You know, the other show I do, Digital Cinema Cafe, my partner, Alex McLean, he's clearly a filmmaker.
00:00.320: I'm we say all the time that I'm my background is as a broadcaster, and broadcasting is totally different than filmmaking.
00:00.320: You know?
00:00.320: Disciplines, because in a lot of ways, even though technologically they're the same, there's still a different mindset between the two.
00:00.320: Yeah, I mean and it's like they're not doing it any time soon, but like I have heard of kids who have like tried to
00:00.320: Over, if you will, into the filmmaking community because as an editor, it seems like everybody's always looking for an editor.
00:00.320: checkerboard kaleidoscope thing going on with the bubbly sixties hippie uh lettering.
00:00.320: Yeah.
00:00.320: I kept it to myself until like a day or two before I was going to show it to people, show it to some kids, and like cut it down by like a whole bunch.
00:00.320: And I worked for his company for one summer when I was about your age.
00:00.320: I love my brothers, but when I have to work with them I just wanna strangle them.
00:00.320: the people and this kid, he sits in the in the lounge watching playing video games on his iPad all day.
00:00.320: Yeah, no.
00:00.320: Essentially, it's a few years old now.
00:00.320: He may never get noticed because with all of the accessibility of the tools that we have
00:00.320: We also have this deluge of content being created.
00:00.320: That you're probably more I mean, I'm not making judgment calls about you, but I know that at least for me, you know, I get mired down when I have to start talking to somebody about how they're going to pay for something or whatever.
00:00.320: Yeah.
00:00.320: I don't know.
00:00.320: More or less disinterest disinterested.
00:00.320: And hey, you always have your dad to work for.
00:00.320: How do you think the conversations will go when the school year starts up and you start telling people what you were cutting with over the summer?
00:00.320: 'Cause like, I mean, some of them are die-hard avid editors and all this.
00:00.320: And I think that there's a little bit of that when it comes to the avid world, you know, because nobody
00:00.320: But they all do.
00:00.320: Nobody got fired for buying Avid.
00:00.320: Yeah.
00:00.320: that I think I'm missing, I'm pretty sure are there and I just haven't learned it yet.
00:00.320: Is designed.
00:00.320: So it may just be a habit thing, but I don't I just don't really I just don't love it.
00:00.320: Yeah.
00:00.320: You know, pound up the chroma in the sky, or you can invert that selection and say, maybe I want everything that's not sky to be black and white.
00:00.320: Magnetic timeline, I can't drag things down.
00:00.320: Okay.
00:00.320: all your audio bits, like you know, your piece had a lot of sound effects, all those audio bits are going to now be attached to the to the
00:00.320: Black slug that's in the primary storyline, so you lose the ability to pick up that shot with all of its associated effects and whatnot and move it down a little bit.
00:00.320: Awesome, yeah.
00:00.320: I like this.
00:00.320: experiment and be expressive.
00:00.320: is it's spectacular, and I really do like it.
00:00.320: And also upcoming shows, which are I trust me, they're on the horizon.
00:00.320: Thanks.
00:00.320: And I have a lot of keyframes invested in After Effects, and it's a very powerful tool, and I know it very well.
00:00.320: And unfortunately, to a large extent, Adobe owns us as well, much to my dismay.
00:00.320: I have to be able to use that tool.
00:00.320: over the last couple of years, I have adopted more and more of the functionality and power of Final Cut 10
00:00.400: background music.
00:00.400: iPhone earset plugged into your Macintosh.
00:00.400: Thank you.
00:00.400: It was surprisingly engaging in that regard.
00:00.400: editing and whatnot.
00:00.400: I am now starting the second half.
00:00.400: I mean, I'm trying to think back 'cause I remember it sucking, but I basically would just kind of be patient with it.
00:00.400: Yeah, you know, it's interesting.
00:00.400: Well, I mean, clearly certain people have are more adept or more comfortable going back and forth.
00:00.400: Decidedly saying, Nope, I want to learn it all.
00:00.400: blow any smoke up anybody's butt about that.
00:00.400: There has been like some talk at a period I see that of like bringing the two together because it's
00:00.400: And in the classes that you're taking, is it more directed toward you know, because I've never been to film school.
00:00.400: You know?
00:00.400: Were you working solo?
00:00.400: Tom of the Berman Sfers.
00:00.400: So, I gotta say, when I hear stuff like that, you know, my dad was a contractor.
00:00.400: homeless and destitute and hungry and beg you for a job.
00:00.400: Just literally unimaginable when I was your age.
00:00.400: Yeah, niletz.
00:00.400: you know, a hundred million views in two weeks.
00:00.400: traditional route that LA, New York, start at the bottom, work your way up?
00:00.400: Yeah.
00:00.400: You're going to get mired down in stuff that you don't want to do.
00:00.400: Next thing you know, everything's falling apart.
00:00.400: These companies were like, get the max out.
00:00.400: You know, the little pointy part of the belt curve, and it doesn't work, then everybody goes, Well, why didn't you just get what everybody else?
00:00.400: That is useful in the long run.
00:00.400: Misinformation or disinformation.
00:00.400: is just well first of all the ease of which that you can add multiple color layers, color correctors
00:00.400: You know what?
00:00.400: Send me a tweet.
00:00.400: Pretend to use a different program.
00:00.400: Templates to me that are created in After Effects.
00:00.400: as time marches on.
00:00.480: Um, okay, well basically, I've always worked in uh like starting in high school I was working in uh Final Cut 7.
00:00.480: Um so basically son, this is how it's gonna go down exactly um
00:00.480: does like professional video work who I edit for him every now and then.
00:00.480: So, I could start on this project I was doing for him this summer.
00:00.480: is limited to the scope of what can fit into what corporate America deems acceptable
00:00.480: Yeah, I will say some of the stutter effects you did, I was like, oh, gee, is Vimeo screwing up on me again?
00:00.480: I just barely before that, I noticed that you had the text at the bottom of the screen that says chapter one is
00:00.480: with the original H.
00:00.480: Yeah.
00:00.480: No, everyone was told that it was garbage when it came out, and no one's given it.
00:00.480: But it's just the idea that it yeah, I do like I tell people, it's like it does it really does.
00:00.480: Just looking up at us.
00:00.480: Yeah, I think you could just you I think behind us you could see the ceiling.
00:00.480: Um, that's a really good question.
00:00.480: you work very hard here, and it has provided for our family quite nicely.
00:00.480: Really?
00:00.480: Press pause play.
00:00.480: But essentially, it is an examination of digital creativity and digital tools and what they mean in the creative space.
00:00.480: Um, well, the school year has set it up and I've told I've like I've mentioned it when people ask about uh like when I show people the movie.
00:00.480: Because when you're in the center of the bell curve, right, and you're like mainstream, when it doesn't work, you just throw your hands up and go, hey, you know, I don't know, this stuff just doesn't work right.
00:00.480: And then we did a whole nother hour on what he didn't like.
00:00.480: the programmers and ask for a feature based on your knowledge of Final Cut 10 so far and say, hey, you got to make it do this thing.
00:00.480: A lot of people sit down at Final Cut 10 and they're like, okay, I know how to edit an Avid or Premiere or Final Cut 7, whatever.
00:00.480: That's interesting.
00:00.480: Crazy little art film.
00:00.480: I played a bunch of those things, and I'm going to try and do those more often.
00:00.480: Thanks for listening.
00:00.560: Go check it out.
00:00.560: So at this point, let's go to Sam Russell, who's a student up there at Ithaca College.
00:00.560: Skype audio preferences.
00:00.560: The thing that's interesting about your project, first of all, I watched it and it is interesting to say the least.
00:00.560: Back when I did stuff like that, getting the camera that thirty students had to share was a big deal.
00:00.560: Um and then uh when I came to school, you know, they're drilling avid.
00:00.560: When you changed to 10.
00:00.560: think they would have not transitions, but those overlays, those montages that you created.
00:00.560: So all the stuff I do for school, like a bunch of short films, stuff like that, I do that all on Avid and I'm always switching for like
00:00.560: Yeah, and I think that there's a different mindset that goes into you know what and I've talked about this with
00:00.560: And it's a good way to be able to fit two like if you want to do split screen, you got a frame for it to take up half the frame, and that's very easy to do with portrait mode on the iPhone.
00:00.560: Eating the meal together.
00:00.560: I think it was just one, two, three, four.
00:00.560: Um this summer that was the only editing project I did for him.
00:00.560: I get that and I understand that.
00:00.560: It was an interesting choice of words.
00:00.560: Yeah, not quite.
00:00.560: There are two primary instructors.
00:00.560: Let me think.
00:00.560: Okay.
00:00.560: Is completely negated by updates and things that have happened over those three years.
00:00.560: and graphical elements that are editable in the timeline in Final Cut 10 is extremely powerful.
00:00.640: Hello, hello, hello.
00:00.640: I watched it because I was going to talk to him.
00:00.640: I've done this a few times.
00:00.640: And it's meant to be funny as well.
00:00.640: So what was your what was the biggest stumbling block as you were learning ten this summer doing this project?
00:00.640: it doesn't matter if you, you know, get a red or shoot it on film, which is a big deal here.
00:00.640: Yeah, it is it's pretty remarkable.
00:00.640: So um when you share this with your friends, how is it how is it received?
00:00.640: Definitely more than three days, I'd say.
00:00.640: If only, if only.
00:00.640: Today, if Steven Spielberg were young today and using the tools of today, he may never get discovered.
00:00.640: But you it takes a lot to be noticed.
00:00.640: Um, I'm to be totally honest, I really have no idea.
00:00.640: But I am curious to talk to like some of my professors.
00:00.640: that was promoted by Compact Computers, Novell Networking, and Microsoft Software.
00:00.640: You know, a small or medium-sized business.
00:00.640: It can't be if Avid can't do it, it can't be done.
00:00.640: And you get by all the security trying to keep you from the iPhone 6 or the iWatch or whatever's coming out next week.
00:00.640: So so what were some things that you did have trouble with as you were putting together the Mississippi piece?
00:00.640: And by doing that and turning on the position tool, you basically, in a lot of ways, not entirely, but basically, it's like cutting in Funnel Fed 7 at that point.
00:00.720: It's very well executed.
00:00.720: How much alcohol is involved?
00:00.720: with their feedback.
00:00.720: It's wide open what you could do.
00:00.720: And so I think that probably the most important thing is to find somebody who
00:00.720: Are even interested, you know?
00:00.720: sound recorder window flash thing will pop up and you can actually leave a message.
00:00.800: Just while he was cutting this one piece.
00:00.800: Is I'm going to have to recalibrate my brain the way I think.
00:00.800: Just be flexible.
00:00.800: experience was television production, not film at all.
00:00.800: But that was clever.
00:00.800: It's a great question.
00:00.800: there's an interview in it.
00:00.800: It doesn't matter, but it's like that's how massive something like YouTube is.
00:00.800: Yeah, it do you how do I want to say this?
00:00.800: Is business oriented with a minor, if you will, to borrow college vernacular in something creative.
00:00.800: Because I think the thing that has done the best for me is finding people to work for that are passionate about the business side of this stuff.
00:00.800: It's like a they're always like a little surprised and like I don't know.
00:00.880: But so it's interesting that they're talking about merging the two
00:00.880: So how many total hours?
00:00.880: It was an admissions video for a high school, a private high school in my area.
00:00.880: And you know, the w where I work, I'm completely removed from that.
00:00.880: Just because there's less headaches that they have to learn about and go through.
00:00.880: the color correction is set up.
00:00.880: One thing I've seen that was annoying me that I kept having to switch tools to do that until I realized it was kind of a trivial thing I was doing.
00:00.880: might be presettable in the preferences, I can't remember.
00:00.960: I am a huge premium beat fan.
00:00.960: Um the biggest I I think what like drove me a little crazy was the fact that like you don't have layers the same way.
00:00.960: I realized that the absolutely the only reason I had that job at all was the fact that my last name was Fenwick.
00:00.960: And there was absolutely zero contribution that I brought to the company.
00:00.960: Yeah, there's this one producer I work with all the time.
00:00.960: the number of people that really understand money and finances in the creative workspace is like next to nothing.
00:00.960: It doesn't work right.
00:00.960: They say, okay, screw that, not going to use that thing.
00:01.040: Right.
00:01.040: And it tends to be more news oriented, on the spot, fast turnaround.
00:01.040: But New York City is also looking pretty good.
00:01.040: Important in this business is understanding the business.
00:01.040: Because you can't really do it yourself well long term because you're going to get
00:01.040: And the thing about the a lot of not all of but a lot of the avid popularity is kind of like the old Microsoft thing.
00:01.040: What would that feature be?
00:01.040: So there's actually it's actually really powerful, but I think people get turned off by the square colorboard as opposed to the round color wheels.
00:01.040: I'm going to keep it over here.
00:01.040: So anyway, yeah, Eric, that's a good question.
00:01.120: I gotta say, I look at things like this piece and I realize that my and I'm doing giant air quotes on my audio podcast here.
00:01.120: it's more processor intensive just to play it.
00:01.120: Yeah.
00:01.120: We're all shooting on our iPhones.
00:01.120: I don't think I've discovered that yet.
00:01.120: I was wondering if you could share your thoughts on why you prefer to use After Effects rather than Motion Five.
00:01.200: Hey, so I want to welcome to the little show.
00:01.200: If I was talking to young me, I would say that is like 50% of what success will be, is finding that person.
00:01.200: And I think that I've gotten to the point where I actually really like it.
00:01.200: Let me know.
00:01.280: And we just whatever we were doing that day, we just kind of filmed ourselves as we did it.
00:01.280: Well, I will I will say before the halfway point or the second chapter as you as you labeled it um before that that I
00:01.280: Right as it was like ready to show to the clients, my dad took it over to like polish a little bit and like make their the edits they wanted to.
00:01.280: And I went into my dad's office at the end of the summer and I said, Dad, I want to tell you something.
00:01.280: They all have their false.
00:01.360: I mean, it's awesome that it's really awesome that I get to do something that I like really like to do and that my dad really likes to do and get paid for it as well.
00:01.360: I think I'm still a freshman.
00:01.360: Yeah, no, like both I see the pros and cons in both.
00:01.360: Yeah, no, I'm excited.
00:01.360: Yeah, plenty of ways.
00:01.440: So I just and I was going back and forth, believe it or not, between editing the first part in seven and ten.
00:01.440: Yeah, and I think, you know, back when dirt was new, it was totally different, you know, because people weren't shooting digitally.
00:01.440: There's some really great moments of that kind of sort of out of the box creativity.
00:01.440: One more is the I mean, I think I mentioned it earlier, that the magnetic time line like the magnetic timeline I'm really I found myself using the um
00:01.520: And I know that might sound stupid.
00:01.520: But so it very interesting because you somehow, for some reason, chose to do part of it in seven and part of it in Funnel Cut 10.
00:01.520: Where like it's the kind of thing everybody everybody tells you Avid's the best, Avid is what you're going to need, every so everybody just like
00:01.520: I'm living vicariously through the wide open road that is ahead of you, thinking, oh, gee, what would I do if I was going to start over?
00:01.520: Oh, wow.
00:01.520: kids who aren't editors at film school are like, I don't want to know anything about it, just take it and make it.
00:01.600: Now, Brian sent me a tweet on the Twitter and he goes, Hey, you should check this guy out.
00:01.600: What were you thinking?
00:01.600: I read an interview the other day with somebody was saying uh, yeah, I got
00:01.600: So let me think.
00:01.600: Shift click on the sky, or actually you click and drag and select the blue hue of the sky.
00:01.600: And I think that that's what happens is people try to work around using the
00:01.600: It was fun.
00:01.600: And so that's why I tend to use After Effects.
00:01.600: Thank you for the question.
00:01.680: And it's very interesting, too, because Alex and I butt heads a lot on things.
00:01.680: Oh, wow.
00:01.680: If you said, well, gee, I'd really love to be able to put a dissolve between two shots, I'd go, ah, well, it actually does do that, and it's interesting that you couldn't figure it out.
00:01.680: And if you go to the show notes at Digital Cinema Cafe, I will put a link to Sam's
00:01.760: So it also cuts very well.
00:01.760: Like the magnetic time line, I like I loved right from the start, actually.
00:01.760: Another thing that I never get to do.
00:01.760: But yeah, that is definitely a good question.
00:01.840: So I thought that was interesting.
00:01.840: I say that to people all the time.
00:01.840: I can't remember who it's with, but he was talking about um I think he was talking about Spielberg or Lucas.
00:01.840: Mississippi crayfish is not blowing up.
00:01.840: And at their school, the kids are lining up to get into chips class because they all have figured out that they get to start editing much sooner.
00:01.840: I'll post it on the website.
00:01.840: So it's a fun watch.
00:01.920: And uh basically uh my dad, who I was.
00:01.920: Um yeah, there's some tricks to that.
00:01.920: Um, I I don't like the way the color
00:01.920: Oh, cool.
00:01.920: I think thi you've to kind of go back to the beginning, this is a little bit about what I was talking about, the difference between filmmakers and broadcasters.
00:02.000: I can't remember whose name it is.
00:02.000: So what were the things that you actually that kept bringing you back besides the potential of the paycheck of working for your dad for the summer?
00:02.000: But for the most part, yeah, it was just me and the laptop.
00:02.000: let's say mid to early to mid nineties and you look at the gigantic campaign
00:02.000: I I look at stuff like that and I'm like, ugh, you know, if I could be, you know, twenty some odd years old again, it would be it would be very interesting.
00:02.080: So what was it like going back and forth?
00:02.080: I'm not sure if I could put an exact number on it.
00:02.080: Right.
00:02.080: He's like, But you don't really need to.
00:02.080: I think even if you go back to the beginning of the show last November, November 2013, when Final Cut Grill started
00:02.160: It's kind of poking fun at itself.
00:02.160: Yeah.
00:02.160: Oh, it would be nice to see him.
00:02.160: I really appreciate it.
00:02.160: It's expensive.
00:02.240: They said, I got caught in a part of YouTube filled with X kinds of videos.
00:02.240: A lot of people, I've seen a lot of people do this when they just start.
00:02.240: Exactly, yeah.
00:02.240: I'll come back to it later.
00:02.240: And I got to say, I really enjoyed the piece.
00:02.320: I'm a junior in film school up at Ithaca College.
00:02.320: Yeah.
00:02.320: You're totally cool because you just spent the cost of a car on film and processing.
00:02.320: Oh.
00:02.320: Yeah, it's very very much like a kaleidoscope.
00:02.400: Yeah.
00:02.400: I just kind of chill out with seven and screw around with that.
00:02.400: two six four.
00:02.400: He's like, Yeah, where's this going?
00:02.400: So how much more school do you have?
00:02.400: Yes.
00:02.400: I don't know.
00:02.400: There's him and another dude.
00:02.400: I'm excited to get more into it.
00:02.480: And I look at things like this and I'm like, you know, this is it's such a it's such just a free and open, wide open world of
00:02.480: Yeah, and clearly that has been the case for the last three years now.
00:02.480: Now, some of that stuff, it looked like you had it mounted, or was it just really held being held really still?
00:02.480: But um for the most part it was just me.
00:02.480: And I said, uh I said, um you know, I I I love this business and I and I fully realized that
00:02.480: I think I've heard of it, but I ha no, I haven't seen it.
00:02.480: But if you chose something that is out of that bell curve, out in that kind of lunatic fringe, as I like to call it.
00:02.480: The bottom line is there's plenty of ways to use it.
00:02.560: Yes, he was.
00:02.560: Yeah.
00:02.560: But I'll tell you, there was an interview I did very early on on this show, probably like
00:02.640: I don't think I would bother doing that.
00:02.640: It's it's kind of what I'm used to just because um I've been
00:02.640: Oh yeah, it's a fun time.
00:02.640: So yeah, well, there might be that.
00:02.640: Ooh.
00:02.720: I was kind of like going back and forth working on both parts.
00:02.720: You know, I'm going to do this all.
00:02.720: And during the summer a lot of times he'll bring his kid to the office with him.
00:02.720: I think I yeah.
00:02.720: Yeah, exactly.
00:02.800: There's a Skype preferences and then there's a little tab for audio video.
00:02.800: I've seen all the pitfalls.
00:02.800: Um yeah, I think my Twitter handle is Sam the Human.
00:02.800: There was a whole bunch of like floating montagey sort of windows that were floating through the front.
00:02.800: Some of them are actually like, oh, yay, you know, I get to work in 10.
00:02.800: It didn't seem like the point of view was quite that low.
00:02.800: Yeah.
00:02.800: I mean, I think the thing that is so exciting about the industry in today's day and age is
00:02.800: Now, that's really kind of backwards, but I've seen a lot of people who edit that way
00:02.880: I'm in college, I got nothing else to do, experimental, weird, arty, you know, exploration of technology and people.
00:02.880: I mean, he did a lot of stuff with the audio in it, and it's I will say it's worth watching.
00:02.880: And and it's it's actually quite um it's quite inspiring for an old guy like me.
00:02.880: I mean all the sound effects are freesounds.
00:02.880: And then the guy.
00:02.880: And where do you think you'll go after that?
00:02.880: We we asked about where you think you're going next.
00:02.880: I was there.
00:02.880: Yeah.
00:02.880: All on Final Code 10.
00:02.960: I love cutting to their music.
00:02.960: Yeah.
00:02.960: Or no, no, no, you're supposed to get ketchup, but you get butter instead, and you're like, it's the same thing.
00:02.960: You know, it costs it costs you fifty bucks a month to have it available.
00:03.040: You'll hear all about that.
00:03.040: And then in the beginning of the interview, I was like, oh, you're Brian Russell's kid.
00:03.040: Yeah.
00:03.040: Yeah.
00:03.040: Yep.
00:03.120: It's probably about three or four years old now, which means it's like ancient history.
00:03.120: I mean, good grief.
00:03.120: And that's the other thing.
00:03.120: And I think one of the things that I've done, because I get the whole I want to put it down at the end thing, I call that the land of lost ideas or the boneyard.
00:03.200: So, at any rate, we'll get to that.
00:03.200: Anyway, somebody said, You should get this guy, Sam, on the show, Sam.
00:03.200: Several weeks ago, I think.
00:03.200: Because I did it like in very small amounts over the course of the whole summer
00:03.200: Yeah, no, it's a blast.
00:03.200: Yeah, for sure.
00:03.200: And I appreciate your time.
00:03.280: Cause I wasn't expecting that.
00:03.280: No, I mean, clearly, I think in the in the freelance world, I mean, I deal with people all the time.
00:03.280: But the it was just like the edges were feathered, so it like kind of blended together better.
00:03.280: I don't know.
00:03.280: It's actually very cool.
00:03.280: The the Digital Cinema Cafe show that I do with Alex, of course Final Kek Grill that we do here together.
00:03.280: Thank you, Premium Beat.
00:03.360: Right.
00:03.360: And it's the same with the like why we wanted I mean, it's because we shot on iPhones because it's what we had, but also like
00:03.360: Somebody with you?
00:03.360: And they're not exposed to it.
00:03.440: Is that how it started being cut at seven?
00:03.440: Um yeah, just first of all, it's just kind of funny, 'cause it's usually the very wrong thing to do.
00:03.520: So again, I don't think I got the answer I was looking for, enough of an answer.
00:03.520: I tend to be more creative.
00:03.520: No, um, n not really.
00:03.520: And then that way you can actually drag that thing out and say, okay, I'm just going to put stuff back there.
00:03.600: So, and I gotta say, I was completely fooled by it because I will say that I'd say roughly about
00:03.600: Because clearly there is still resistance, but it's interesting to find people like you who are
00:03.600: Which Avid is great, but it is a pain in the ass.
00:03.600: It looks like it's always kind of moving.
00:03.600: Okay.
00:03.600: I was at a I literally had a front row seat to all of this stuff.
00:03.600: You know, and again, if it doesn't work, it's just like, well, you know, I don't know.
00:03.600: Um that see, it's a it's I feel strange answering it because like I I feel like all the things
00:03.600: I think it's probably I'm just so used to the most color correction I've done is, I think, in Avid actually.
00:03.600: So, anyway, here is a sound file that came in.
00:03.600: I will say and I think I've said it before in the past, I've been using After Effects since like version one or two, a long time ago.
00:03.680: It's designed to be looped.
00:03.680: At least that was the intention.
00:03.680: But it is, I don't know, it people they do talk about how how much closer the two have come together than they used to be.
00:03.680: Yeah, I think a lot of times people deal with stuff
00:03.680: As long as you don't, you know, piss him off too much.
00:03.680: And the other dude is teaching Premiere.
00:03.760: And it's cool, too, because he starts the video in Final Cut 7, and he does the second half of it in Final Cut 10.
00:03.760: It's sort of a two edged sword.
00:03.760: Now, is the guy you?
00:03.760: I mean, I did a two part interview with Scott Simmons several months ago, and I gave him a whole hour to talk about what he liked about Final Cut 10.
00:03.760: The other reason, and this is a little bit particular, but this will make sense, quite often I am dealing with clients that will bring
00:03.840: Hey, good morning.
00:03.840: What the hell were you thinking?
00:03.840: And yet, you know, friends of mine I know who have kids that are like they could care absolutely care less.
00:03.840: It's like, you know, they have a certain amount of time.
00:03.840: I would recommend it.
00:03.920: So let's talk briefly about the piece.
00:03.920: I that's a totally valid word.
00:03.920: Me and my I have an apartment with four other dudes, and we're doing like a little
00:04.000: I mean, I interned there at a pretty cool it was a pretty cool editing internship.
00:04.000: And then that part's just, it sucks the life out of you.
00:04.000: And you know, one of the things that Scott is very vocal about, and I was just talking with him about it the other day, is you know, they all have their problems.
00:04.080: But anyway, it's actually a very interesting piece.
00:04.080: Okay.
00:04.080: However, the files are so much lighter in terms of just being smaller file size.
00:04.080: Well, I'll definitely avoid those things.
00:04.080: You know, got to get that out of there because it doesn't work within our recipe of how we're going to help you make your business run better.
00:04.080: You could just make, you know, you could just make s drag out the space between them.
00:04.080: So I hope you're enjoying Final Cut Grilled.
00:04.160: I need to do that over.
00:04.160: 264 out of the iPhone?
00:04.240: Let me just look this up a second here.
00:04.240: And frankly, that's the only reason that I have in any way, shape or form, crossed
00:04.240: I guess yeah, I guess you're right.
00:04.240: How did that go?
00:04.240: How does that how does that happen?
00:04.240: And then they come in, they throw a bunch of hard drives at me, and we get going.
00:04.240: Very cool.
00:04.320: Yeah, yeah.
00:04.320: And he needed it to be done on 10, just, you know, so we could switch back and forth and whatnot.
00:04.320: Well.
00:04.400: Um and then, you know, I mean, it was summertime, not a lot was going on, so I was mostly just hanging around getting stuff like that done, like fun
00:04.400: Yeah.
00:04.400: I'm spoiled.
00:04.400: Yeah, there's some little buttons right underneath it.
00:04.400: And then my dad sees me doing this.
00:04.400: I'm not saying that 90% of what I do could not be done in motion.
00:04.400: Let's face it, we live in a especially when it comes to graphical design, the world is owned by Adobe.
00:04.480: I love cutting to their music, and I would recommend that you at the very least.
00:04.480: But the thing I like about their music is it doesn't fight the foreground element.
00:04.480: And I, you know, I help him out on shoots all the time.
00:04.480: Uh I'm a junior, so Three or four years?
00:04.480: Nobody ever lost their job because they bought Microsoft Word or Microsoft Office.
00:04.560: Welcome to another episode of Final Cut Grill.
00:04.560: Thanks for taking the time to do this.
00:04.560: We didn't have a plan, it was like the last day, uh, me and a bunch of friends were all hanging out up here at school, and we just were like, let's make a movie today.
00:04.560: Um you know that you can make a sub storyline by command g ing a bunch of clips together.
00:04.560: Did you uh did you flip them periodi uh left, right, left, right across the screen or were they just one, two, three, four?
00:04.560: I think that's one of the things that I find really interesting about something like this is that a typical project of that length
00:04.560: Is your intention to kind of go a
00:04.560: Oh, they don't know anything.
00:04.560: But when the advent of computer networking became a bigger deal.
00:04.640: And it would be interesting to try one of those scenes.
00:04.640: Oh, that's cool.
00:04.640: Really?
00:04.720: Who's the guy?
00:04.720: And I said, But I, but I want to um I want to ask you a favor.
00:04.720: And then they start doing everything above it, and they connect
00:04.800: It was a pain in the ass.
00:04.800: Right.
00:04.800: In the past I've done I think I edited a couple of weddings for him and some bar mitzvahs.
00:04.880: So, that the most recent footage I had that I was like excited about playing around with
00:04.880: And uh I mean, the w what I try to when I'm setting people up to watch it, I say
00:04.880: And so, yeah, I mean, again, I didn't know that there was going to be a
00:04.880: Yeah, and I think some of that might be the fact of doing
00:04.880: And one other project, but really I'm still just like getting my feet wet.
00:04.880: Like, there's like a weird stigma
00:04.880: Yeah.
00:04.880: It's absolutely worth seeing because it's
00:04.880: Really?
00:04.960: org and like YouTube.
00:04.960: Yeah.
00:04.960: No one's willing to give it a second look, because that's what they heard.
00:04.960: So I mean, yeah, it's interesting.
00:04.960: So keep in touch.
00:05.040: And it's just exciting that a company like that sees what's going on here and wants to support it.
00:05.040: And, you know, I edit for him sometimes.
00:05.040: Yeah, and I mean, a lot of people, I think a lot of people here at school have that attitude of
00:05.040: I think it was like right between high school and college.
00:05.040: You're going to be able to talk him into doing that?
00:05.120: Yeah, I think I think the thing okay, so let's let's figure out young Sam Russell's career.
00:05.200: I just signed up for a Skype account for this.
00:05.200: Because that's what it is.
00:05.200: Because a lot of people a lot of people's fear of learning 10
00:05.200: Yeah.
00:05.200: Really?
00:05.200: And I've always had new shoes at the beginning of the school year, and there's always been a roof over our head.
00:05.200: And I realize it won't be without its pitfalls on occasion.
00:05.200: I believe it's option W.
00:05.200: And as an old guy, when you look at something like that, where you're young and you don't have a client over your shoulder and you don't have a budget of time and you can really just
00:05.200: And that's it.
00:05.280: Well, I will tell you this.
00:05.280: I I always expect them to be more interested in that because of how much how much
00:05.360: So he and his friends went out and shopped for a day and
00:05.360: So are you guys related?
00:05.360: So like I switch back and forth between those two, which isn't quite the same.
00:05.360: So um that's not really the kind of the kind of stuff I've done.
00:05.360: Yeah, great.
00:05.360: Yeah, I'm completely jealous, and I'm 51 years old.
00:05.360: I think somebody said to me recently that
00:05.360: I believe that virtually everything that people have heard over the last three years, most of it.
00:05.440: Yeah, well, I'm that's engaging.
00:05.440: And Chip runs a little production company, but he also teaches high school and college-age kids.
00:05.520: He got really into Fanuka 10.
00:05.520: So in in your piece, it's very interesting and somewhat controversial.
00:05.520: Um and it looks really weird when you put 'em
00:05.520: Yeah.
00:05.520: But again, so and that's part of the reason why I started the show.
00:05.520: Yeah.
00:05.600: Yeah, yeah.
00:05.600: They all do the exact same thing at the end of the day.
00:05.600: And I'm not.
00:05.600: Really?
00:05.600: And I'm currently being indecisive 'cause I'm still a junior.
00:05.600: Yeah, and they never heard they never
00:05.680: I want to thank the people at Premium Beat.
00:05.680: It's it kind of you can buy the loop packs, which are like these audio Legos
00:05.680: Like that always worked pretty well for me.
00:05.680: Yeah, the guy is me.
00:05.680: Here, drink two beers and watch this.
00:05.680: Yeah.
00:05.680: And in ways that are
00:05.760: So it's interesting, you know, I noticed about
00:05.760: And again, not funky art school summer project creative, but in that little tiny, acceptable bubble.
00:05.760: I wasn't noticing I think it was like the in the opening titles, it was this sort of
00:05.760: Yeah.
00:05.840: I know exactly what we're talking about, where you just like can't really get an idea of what it's looking like.
00:05.840: Yeah, it's my friend Zach, who is the guy walking in that shot.
00:05.840: Yeah.
00:05.840: Um, yeah, it was just me and then
00:05.840: But that's completely valid.
00:05.920: That kind of stuff sucks the creativity out of me.
00:05.920: So a lot of people will say, oh no, you have to use ProRes.
00:05.920: He's like, oh, no, I want to change that.
00:05.920: Okay.
00:05.920: Now granted, it's you know, a crap Nicki Minaj video.
00:05.920: Yeah, no, I I haven't really talked to any of them yet.
00:06.000: So I started learning that.
00:06.000: Okay.
00:06.000: I was thinking exactly that.
00:06.000: And secondly, I don't do I have no skills for you.
00:06.000: And so the world is there for you.
00:06.000: So I'd be curious to get their reaction.
00:06.000: I'm going to teach you.
00:06.000: He's like, why are you doing that?
00:06.000: Let us know if you if you ever come up with other cool Final Cut ten things.
00:06.080: Oh, yeah, sure.
00:06.080: I mean, I've I've done like titles in Photoshop and stuff like the simple stuff like that, but not really.
00:06.080: Yeah, no, the color board definitely is something that has to be it's sort of an acquired taste.
00:06.080: And a couple of episodes again, a couple of episodes ago
00:06.160: What's it called?
00:06.160: And you know, it was a totally different thing.
00:06.160: And I felt really bad about it because I'm sure somebody would have actually liked to have had that job.
00:06.160: And if it were me, I'd be hanging out in the edit suite.
00:06.160: Yeah, have you ever seen the documentary called I'm going to get the name wrong, but I think it's called Press Pause Play?
00:06.160: I mean, you know, if some of these videos are getting
00:06.160: Yeah, I I mean, the reaction has been almost kind of I don't want to say dismissive, that's a little strong, but like
00:06.240: Hey, everybody who knows Sam at Ithaca, and let's go to the interview.
00:06.240: I don't read really well.
00:06.240: Right.
00:06.240: I wouldn't expect them to be done in seven primarily because
00:06.240: Um but I did find in Final Cut 10, especially when there's like a
00:06.240: It's so much different.
00:06.240: Um, they thought it was hilarious.
00:06.240: And and was it that one project or was there more for the summer?
00:06.240: That's a really good question.
00:06.240: Yeah, exactly.
00:06.240: There's like a little eyedropper and and a the eyedropper is the color mask.
00:06.240: Thanks.
00:06.240: Eric, thanks for the question.
00:06.320: Um, no, I transcoded to ProRes422.
00:06.320: And were you doing it by yourself or were you clearing it with anybody?
00:06.320: All right, well, let's figure it out right now.
00:06.320: Actually, I think it was just earlier today from Eric Byrne.
00:06.400: Okay, episode 17: Brian Russell.
00:06.400: And I reclaim douche with pride in that sense because it's just
00:06.400: I started looking avid
00:06.400: Please don't give me a job.
00:06.400: And frankly, it's a great, I use the tool every day and I love it.
00:06.480: This is episode 078 with Sam Russell.
00:06.480: I didn't realize he was pimping his son.
00:06.480: There you go.
00:06.480: They don't like the magnetic timeline.
00:06.560: Exactly.
00:06.560: And I think some of the power in the color board.
00:06.640: Now everybody just pulls their phone out of their pocket.
00:06.640: Mississippi crayfish or crawfish?
00:06.640: I mean to here the those the majors are extremely similar.
00:06.640: Yeah, no, it's I mean and usually I'll like edit a little bit and bounce it off some other people, but um I just kind of
00:06.640: Yeah, I'll try my best.
00:06.640: Or are you the only one who's going to be editing it?
00:06.720: As you know, as I've said many times, if you go to digitalcinemacafe.
00:06.720: There is a little tab on the right-hand side, and if you click on that thing, a little
00:06.800: Like in 07, Avid, I have edited in Premiere.
00:06.800: Decidedly fewer of those.
00:06.800: If you shoot on film, it's like
00:06.800: Oh, really?
00:06.800: How much time did you do you think you had into that if you added it all up?
00:06.800: And Chip said, Nope, I'm going to teach Final Cut 10.
00:06.800: That's another week of the Grill.
00:06.880: And it was interesting because Sam was actually making that transition.
00:06.880: You have to choose your microphone if you have your
00:06.880: Um I'm Sam Russell and uh the person who you saw on Twitter was uh Brian Russell.
00:06.880: I thought the audio soundscape in it was fantastic.
00:06.880: Yeah, I was gonna say, so was it dad saying, Hey, you gotta learn ten?
00:06.880: Like I'd be going through tutorials with the second half.
00:06.880: Okay.
00:06.880: Yeah.
00:06.880: Okay.
00:06.880: So what was the projects or project, whatever it was, that you worked on with your dad this summer?
00:06.960: Or do you think you might do something more independent?
00:06.960: So when those templates come in in Adobe Illustrator or Photoshop or primarily After Effects,
00:07.040: And yet, here you are.
00:07.040: I walk in, I say, What room what edit suite am I in?
00:07.040: But you probably have Photoshop anyway.
00:07.040: And we'll talk motion and ways to go about learning it.
00:07.120: Hello, can you hear me?
00:07.120: And these are college students who don't have any money.
00:07.200: What's your
00:07.200: And so like in the late eighties and very early nineties, it wasn't that unusual to have a handful of Macs around a business.
00:07.280: Yeah, I'll do that.
00:07.280: Does it give you ammunition that makes you want to like say to people, hey, you should pull your heads out and give this thing a try?
00:07.280: I was like, oh, come on, just want to get this out the door.
00:07.280: It's true, they only had butter there.
00:07.280: And it allows you to kind of really focus on the things that you're
00:07.360: Yeah.
00:07.360: And you could talk to
00:07.360: Okay, so that is
00:07.360: It's a completely valid question.
00:07.440: Yeah, he's my dad.
00:07.440: And the H264 has to be
00:07.440: Well, me last spring when I had pink hair.
00:07.440: You'll love it.
00:07.440: Yeah.
00:07.440: If you put your cursor between two clips, option W will put in a spacer for like three or four seconds.
00:07.520: Okay.
00:07.520: And somebody, I can't remember who, and I feel bad because I.
00:07.520: So I see the icon and I'm like, oh yeah, that icon and then I
00:07.520: Everyone says don't shoot vertical, so I'm going to be uh
00:07.520: What were you doing there?
00:07.520: That being said, I will complete
00:07.600: And I got to say, and I mentioned this in the interview, I think the thing that
00:07.600: I wasn't I didn't just do the whole thing in seven
00:07.600: And then the kind of part two slide came up.
00:07.600: Magnetic timeline, I hate you.
00:07.600: And all of a sudden, one day you wake up and you realize, oh, we're all using the same tools.
00:07.600: Yeah, it'll be very interesting to see if the instructors
00:07.600: And I am going to do it that way.
00:07.680: Sounds like a blast.
00:07.680: I was told I don't need to learn that one.
00:07.760: Yeah.
00:07.760: Well, no, uh I was I was back home.
00:07.760: No, I mean, I think it's I think I think you'll be fine.
00:07.840: Yeah.
00:07.840: You know, it's a weird, uh, like self-fulfilling prophecy.
00:07.920: So t if I wanted to work for him this summer, I had to learn Fanuka 10.
00:07.920: I love the scene with the guy and the girl.
00:07.920: It just doesn't work.
00:08.000: I don't I didn't notice if he had any Premium Beat music in his piece, Sam.
00:08.000: And just like this past year, my dad, who
00:08.000: Like the fact that each layer doesn't
00:08.080: It is kind of the classic sort of film school, freeform, free for all.
00:08.080: Yeah.
00:08.080: But it was the fact that when you go above or below, it wouldn't behave the same way.
00:08.080: So I think that's great.
00:08.080: Talking Final Cut 10 again.
00:08.080: So because that speaks heavily to how the software
00:08.080: Yeah.
00:08.160: That's the one.
00:08.160: I'll do a test with that.
00:08.160: Yeah, you know, I tell you, if you go back into the
00:08.160: I want to make sure that I'm teaching you something that is
00:08.240: Yeah, definitely.
00:08.320: Oh, yeah.
00:08.320: And quite often, it's more about getting it done than getting it right.
00:08.320: Okay.
00:08.320: So that was
00:08.320: And what Apple has done with Motion 5 and Final Cut 10
00:08.400: It's really important that you understand.
00:08.400: You know, it's like, oh, that would have been awesome, dad.
00:08.400: So the first thing they do is they put a black slug in the primary starry line.
00:08.480: So anyway, that's premium beat.
00:08.480: So uh yeah, we laughed our asses off.
00:08.480: Like, really?
00:08.560: I enjoyed it.
00:08.560: I mean
00:08.560: So you're one of those few, apparently.
00:08.560: I mean, my schooling, and again, giant air quotes.
00:08.560: Yeah, no, and it's I mean, it's
00:08.640: And he this summer he got me into Final Cut X.
00:08.640: It's basically the same thing.
00:08.640: Exactly.
00:08.640: And you can ask around and
00:08.720: Well, welcome.
00:08.720: You were using really crappy video cameras, shooting standard deaf NTSC.
00:08.720: Yeah, let's do it.
00:08.720: And now you've selected that.
00:08.720: I think that's what happens.
00:08.800: No, it was horrible.
00:08.800: So much of that stuff is just
00:08.800: We will be back next Monday with another episode.
00:08.880: And so I was watching it trying to see
00:08.880: I don't know.
00:08.880: Um and it's like
00:08.880: Uh, I'm the only one who's going to be editing.
00:08.960: However, conversely,
00:08.960: And yet, here I am.
00:08.960: These are j I'm just talking about stud other students right now.
00:09.040: Oh, yeah, Mississippi crayfish.
00:09.040: And it was, I can't remember what it was.
00:09.040: He's probably listening.
00:09.040: Anyway.
00:09.040: And I will s another thing I want to say is that
00:09.040: So there's plenty of wicked smart people that I've had the opportunity to talk to.
00:09.120: It is great.
00:09.200: All right.
00:09.200: Yeah.
00:09.200: Well, if you had the ability to sneak in the back door at Apple.
00:09.280: Yeah, it's just it's just kind of interesting.
00:09.280: I'd be asking a million questions.
00:09.280: And I'm so used to that.
00:09.280: So it's
00:09.280: Let's face it, Photoshop is the is the big gorilla.
00:09.360: Right.
00:09.360: In that scene, it was literally placed on the table.
00:09.360: Yeah.
00:09.360: So now I d I look at what you were able to do with your dad and I was like, ah, I would have loved
00:09.440: I'm just going to pretend like that's still the case, and cool.
00:09.520: Welcome to the wonderful world of Skype that sucks.
00:09.520: You can come out with the same result on any of them.
00:09.600: I mean, the stuff you were doing with the audio, you were.
00:09.600: I don't want to, you know.
00:09.600: I mean, of course, I'm considering LA
00:09.600: And he said, you know, if a young Steven Spielberg
00:09.600: Sounds good to me.
00:09.600: Yeah, yeah, I mean, you know, but you don't have to.
00:09.680: But if you mention ten, it's like
00:09.760: Thanks.
00:09.760: So, right.
00:09.840: But yeah, it's me.
00:09.840: And he says, What's that?
00:09.840: And he said, well, why's that?
00:09.840: It's like a lot of people.
00:09.920: You're like, Oh, okay Um, more or less, yeah.
00:10.080: Yeah.
00:10.080: Hey, Dad.
00:10.080: So you can actually like
00:10.080: So anyway.
00:10.160: I don't want you to misunderstand what I'm saying because this is very important.
00:10.240: Cool.
00:10.240: I was like, oh, okay, well, I was totally wrong about that.
00:10.240: But I don't know, it it it was never that strange for me actually.
00:10.240: We've all seen some of the comedy sites about don't shoot vertical.
00:10.240: Uh after this one, hopefully just one more.
00:10.400: I'm trying to remember.
00:10.400: Oh, you're going to be downstairs.
00:10.480: And at his school
00:10.560: How was it going back and forth?
00:10.640: And then when I wanted to just like relax and not like
00:10.640: I'd be hovering.
00:10.640: It was.
00:10.720: And I said, If I ever come to you.
00:10.720: Not CS one and C S two, but like version one or two, like the early nineties.
00:10.880: How did that come about?
00:10.880: Crayfish.
00:10.880: And.
00:10.880: Now
00:10.880: I haven't not a lot.
00:10.880: I think the thing I think the thing that is the most
00:10.960: I'm a
00:10.960: And it was actually, it was.
00:10.960: Anyway
00:10.960: So like let's say you take your sky and you can
00:10.960: Yeah.
00:11.040: Okay, yeah.
00:11.040: I was doing it totally on my own.
00:11.040: I mean
00:11.040: So, um
00:11.040: Yeah.
00:11.120: He just has a
00:11.120: So um they liked it, but they're also all in it.
00:11.120: It was horrible.
00:11.120: But I think that that's something
00:11.120: Oh, exactly.
00:11.200: And they're like, okay, well, if I use the
00:11.200: Okay.
00:11.280: Yes.
00:11.280: Can we just finish this?
00:11.360: com
00:11.440: Yeah.
00:11.520: Okay.
00:11.520: Yeah.
00:11.520: Hey, Brian.
00:11.599: Um
00:11.600: We shot it the last day we were up here, so I think I like
00:11.600: I'd be a pain in the butt to
00:11.600: And
00:11.840: Ah.
00:11.840: For
00:11.840: Yeah.
00:11.840: And thanks for listening.
00:11.920: And it's, you know, it's.
00:11.920: And then that will actually act like its own little mini
00:11.920: Well, that's fun.
00:12.000: Hey, we have a camera, let's go out.
00:12.000: Um because it is a
00:12.000: And I think by the end of the summer
00:12.000: It's a really good deal.
00:12.000: And the thing is, it's like.
00:12.080: Okay.
00:12.240: There's you know, there are substitutes, but
00:12.320: Perfect.
00:12.320: I mean
00:12.320: So.
00:12.480: Yeah.
00:12.560: And I said, well, for starters
00:12.640: Perfect.
00:12.640: And
00:12.640: Let's do one more.
00:12.640: But.
00:12.720: Yeah.
00:12.720: Thanks for the heads up.
00:12.800: Yeah.
00:12.960: My creativity
00:12.960: That's always nice, too.
00:13.120: Okay, cool.
00:13.360: Which is weird.
00:13.440: It doesn't matter.
00:13.520: I mean, he had a project
00:13.760: Later, later.
00:13.920: So