Episode 80
FCG080 - Tour de FCPX (feat. Peter Wiggins)
Big thinkers are VERY entertaining to me. People that don’t just think “outside the box” but take the box and shred it up into little pieces and them stomp all over it. Peter Wiggins is one of those thinkers and we are very honored to get an hour of his time to discuss FCPX with him. Peter is an extremely knowledgeable guy and has been a real champion for FCPX in the community. I think you’ll love this interview.
Download
Featuring
- Chris Fenwick
- Peter Wiggins - @FCPdotCO
Transcription
00:00.001: By head switch?
00:00.001: And that live's okay because we had a gallery and and we produced the fees, that everything was fine, but we still got to make VT items for that show.
00:00.001: I just got away with doing that.
00:00.080: The four K's are needed because you we've got broadcast outputs on there.
00:00.080: It's a tough thing to do, yeah.
00:00.160: So Peter runs a website, scp.
00:00.160: I think he said for like 19 years.
00:00.160: But anyway, IDustrial Revolution.
00:00.160: It's called the the f we call it the fade.
00:00.160: FCP Co.
00:00.160: Three months ago, or whatever.
00:00.160: We've had quite a lot.
00:00.160: I mean the thing about cycling coverage is it's um a fairly linear event.
00:00.160: cutting the race down to show all the best bits of the race within the time available you know, and then time available.
00:00.160: the PA is counting us down, saying you've got six minutes before your parts needed.
00:00.160: which we had seventy terabytes, to the EVS for play out.
00:00.160: Part four sometimes is made up of a playlist.
00:00.160: of the show go down as full full rendered movies down and then it goes into the EVS.
00:00.160: Half an hour, there's the first half an hour, record the second half an hour, there's the second half an hour.
00:00.160: And it uses it's based on Av Foundation, which means it's perfect for lookup pro ten.
00:00.160: They had a piece of hardware that would make growing files, and it was really a trip to watch a QuickTime movie just get longer in your time line.
00:00.160: Post-production house.
00:00.160: It's done.
00:00.160: the guy in there likes making music closes.
00:00.160: Every multilateral, unilateral, every graphic, every piece of music, everything from the whole tour in one library.
00:00.160: Four to one, or something like that.
00:00.160: Let me see if I can get my head around this, 'cause I I want to break it down for for okay, I'll tell you.
00:00.160: I don't think it's that.
00:00.160: and then that was connected to the Mac Pro via Thunderbolt.
00:00.160: Score from this third quarter or whatever.
00:00.160: I started using it to produce some complex openers and things like that.
00:00.160: later on.
00:00.160: Premiere for the longest time really struggled with the concept of smart renders, and breaking things was really detrimental.
00:00.160: those render files are saved.
00:00.160: Oh, and it's done.
00:00.160: you know, you put something in, put a shot in or anything, you turn around to talk to the AP and say, you know, is that the one or should I do this or whatever.
00:00.160: Traditionally, sometimes you would turn round to the graphics guys and say, Can you do five seconds there, pause for that and then carry on?
00:00.160: you know, do that for ten seconds and let's face it, they don't want to render out a hold on the end or anything like that.
00:00.160: you know, the change you did on that one, can you make that a bit longer or something like that?
00:00.160: Can just to beat you.
00:00.160: causes something to happen.
00:00.160: It starts rendering when it's done.
00:00.160: from doing his sort of old school string outs of B roll to really using the bins and the show unused media the way it has it's it's just better.
00:00.160: So then, what is the feature that you would have wanted?
00:00.160: Will go into the next clip exactly how you left it, if that makes sense.
00:00.160: Go, hang on a sec, up, down.
00:00.160: you've got the voice and um you've got you you've got above that in the um secondary storyline you've got the shots that cover it with the the nat sound from from those shots with the handles um
00:00.160: Media managing isn't a problem because you're not sitting there with a five-hour clip, you're sitting there with a 20-second clip.
00:00.160: You know, Peter, this has been a really full hour plus, whatever.
00:00.160: since I think the first time you put one of my uh tutorials on your website, which was very flattering.
00:00.160: You know, Media 100 in the late 90s, or you know, any number of systems that we've used over the decades.
00:00.160: for a guy as old as I am to be you know excited about editing again it's it's really refreshing I could I couldn't agree more I've been in broadcast T V for
00:00.160: I've worked on a lot of systems and there have been moments where you've gone, oh, this is amazing or something like you know, preread, when preread came out, it was a complete revelation and complete and really difficult to make it work.
00:00.160: Yeah, but it doesn't matter because as I said, they soon go, well, I know you can do that now.
00:00.160: You're right.
00:00.160: It's been really flattering.
00:00.240: He does push the envelope and he finds new and exciting ways to push Final Cut 10.
00:00.240: what we're doing here and they're they're believers.
00:00.240: But it's all good stuff.
00:00.240: And we got on the phone one day when I was putting together the show and I said, Hey, can you help me do this?
00:00.240: So anyway, people have asked me about the sound effects that I use in the show, and they were custom made, custom made by a great friend who's very skilled and totally hireable.
00:00.240: I am, yes.
00:00.240: Synopsis of a particular job.
00:00.240: And some of the great ones.
00:00.240: So tell me a little bit about like if I was a viewer at home and I was watching the coverage of the Tour de France that you worked on.
00:00.240: probably about forty three, forty six minutes in total.
00:00.240: bonkers on the coverage and do something that stops that.
00:00.240: And on that we've got the commentators and CleanFX audio along with the video.
00:00.240: boiling down the race, obviously.
00:00.240: and they send bits back like the pieces to camera, voiceover, interviews, everything that that that come back.
00:00.240: point that we get something um we have we we've actually been on air and we're still getting stuff coming in um and that's great this this
00:00.240: Here's an interview with him.
00:00.240: We had a problem on the first day where our sound slowed down.
00:00.240: And in fact, it wasn't Fonica Pro 10 at all.
00:00.240: You called it the multilateral and the unilateral.
00:00.240: versus ISOs?
00:00.240: And is Viz a brand name?
00:00.240: And that's the best.
00:00.240: files, you were actually literally rolling and playing stuff in uh out of the Elvis.
00:00.240: does stream out media to the sand or can do.
00:00.240: you can't actually do a preview of the mix until you go to a commercial break when it frees up the channel and stuff like that.
00:00.240: Again, the key to this is access to a growing file.
00:00.240: I'm gonna wager to say that most people have never worked with a growing file or don't know what you're talking about.
00:00.240: and then bring back the file into Final Cut Pro 10, and it'll actually grow in Final Cut Pro 10 or Final Cut Pro 7 if you're using another way.
00:00.240: it doesn't work because they haven't written the AV Foundation side of the QuickTime file, which means it doesn't use Quick Look, etc.
00:00.240: We winding back to 2005, we did this with Final Cut Pro 7 with a growing file with a piece of software called Picture Ready.
00:00.240: put it down on the timeline and started to play.
00:00.240: And they flew in.
00:00.240: You know, and they they sat down in the back of the suite and um I think we just put some you know uh off air T V into the feed because obviously nothing was happening from France at that point.
00:00.240: what you're doing is the most important thing there.
00:00.240: that you can't use Final Cut 10 between multiple users.
00:00.240: it's nobody had really done the kind of like collaboration across four suites for for twenty one days.
00:00.240: What are we doing today?
00:00.240: we started with the master library that he had made from the previous day.
00:00.240: Confirm that, A, everything that this library is referencing is actually accessible to this local library.
00:00.240: So basically, all of the media and all of the cache files are pointed to an exterior location.
00:00.240: at the same level as the library, and we call this folder fcpx created.
00:00.240: the sort of disparate work that you have coming from these four edit suites, and Sylvan can tidy all that up for you.
00:00.240: So they'd take parts one, two, three, drop them all on the timeline and then stitch together parts four A, B and C and make a and then also kick out a flat file a quick time so they have that
00:00.240: They had that as reference, yeah.
00:00.240: Once you get complicated, there are things that it doesn't do.
00:00.240: Interesting things like subtitles, if you do an XML, all the subtitles go with all the text.
00:00.240: Whereas something that's made up of a lot of small files, it's a lot of traffic on the network to send that over.
00:00.240: because as you probably realize, there's the the Mac Pro is great, but it uses Thunderbolt.
00:00.240: To give you an example, going back to saying about workflow, we had the two gig library that we had every day contained all our archive from all the previous years.
00:00.240: And if you wind back to when we were making it on tape, it used to be a whole cupboard full of tapes.
00:00.240: So that's all the race, all the archive that you could just skim over.
00:00.240: It just it really is.
00:00.240: A little bit faster than a cupboard full of tapes, isn't it?
00:00.240: Whereas before we used somebody used to go round with a sheet of paper every quarter of an hour, there's the next bit.
00:00.240: You know, I've made the tour on a variety of equipment ranging from D5, if everybody anybody remembers a D5 machine.
00:00.240: you know, your playback, you know, you'd say, Oh, here's the time code, and they'd jot down, you know, here's the touchdown, or here's the goal, or here's the cur the finish line.
00:00.240: Yeah, you just got to know about that.
00:00.240: and Mac Pros.
00:00.240: You get used to how quick it is, and you're going, Yeah, I can skim this, I can skim that.
00:00.240: It's because something isn't fast enough or it's not connected up rightly right or something like that.
00:00.240: I used the Mac Pro back in January on a broadcast job for the BBC and I had it sitting next to my Final Cut Pro 7 setup.
00:00.240: It is funny.
00:00.240: on their um on their presentation.
00:00.240: Morning of the 10th, where you are.
00:00.240: you know, back in the days when you had a Steve Jobs keynote or something like that and it wasn't live or they used to publish the things
00:00.240: With the Mac Pro Font, it could pretend you're going, Yeah, that's not a problem, swap that out or or whatever.
00:00.240: kicking Premiere when it's down too much.
00:00.240: everything that you've rendered thus far, at least in the one thing that I had to do in Premiere a couple of weeks ago, the whole thing would get lost because it couldn't save what you've done thus far.
00:00.240: that set it longer than the default.
00:00.240: Yeah.
00:00.240: Delay between picking going back.
00:00.240: And you'd have to time it over maybe a voice over read by the presenter or something like that.
00:00.240: Changing the speed, you can just go in there and blade the stuff and say, Right, hold that.
00:00.240: is go and kind of nibble away at it and make kind of like a a second of a hold and then you know copy paste copy paste you know paste paste paste paste paste and then then the
00:00.240: we could just retime that.
00:00.240: Although in your room it's going to take at least 10 seconds before it starts rendering, but that's your choice.
00:00.240: Oh, really?
00:00.240: speed them up one hundred and fifty and then slow them down at a bit and um it's it it it saved having to go back to the graphics guys and saying, you know
00:00.240: if you had the ability to sneak into the Infinite Loop or whatever building the the boys are writing the Final Cut Ten in Cupertino, and you could bypass all of the marketing and all of the hype machine
00:00.240: Yeah, I'm not fighting a few bits of it.
00:00.240: You know, in the first six three to six months, I got to the point where I could do what I needed to do.
00:00.240: In the course of just doing this show, I have changed my ways of working.
00:00.240: that is an audio only dissolve.
00:00.240: is a quick way to be able to do an audio dissolve between two or audio fade between two audio clips, but using the handles.
00:00.240: is trail out the loud B roll over the interview, but an audio dissolve is going to, yes, trail it out, but you also might get
00:00.240: We haven't got time to assign roles while we're editing.
00:00.240: We're just going to be five minutes late on that because we're just adjusting.
00:00.240: is the quickest way of doing it.
00:00.240: He's not going to remix.
00:00.240: You might want it to go bouncing bald down the timeline, which is a little difficult.
00:00.240: In your thing here, you have your widescreen mat on top, so your bouncing ball is defaulted, selected to that.
00:00.240: Yeah.
00:00.240: my request.
00:00.240: that's probably less of an issue for other people.
00:00.240: website at Final Cut Pro, and you gotta dig really, really, really deep into it before you find even one image of like the Inspector open.
00:00.240: You know, s open up the inspector, open up the timeline inspector, open up the effects browser.
00:00.240: Yeah.
00:00.240: And what was the other one?
00:00.240: I found myself like going downstairs and dragging one of the other editors up and going, I gotta show I gotta show you.
00:00.240: In the last several months.
00:00.240: Push the you had to, you know, almost like a surgeon, go in and cut away a hole and push the stuff down the timeline.
00:00.240: He went yes.
00:00.240: There's times when I've had to turn around to producers.
00:00.240: The blue one FX toolkit or is the toolkit, yeah.
00:00.240: I never really thought of it that way.
00:00.240: Anyway, Peter, I should let you go.
00:00.240: It is one hell of an NLE.
00:00.240: Fcp.
00:00.240: So there you go.
00:00.240: Anyway, long story short, when we finished the recording, we talked for another like half hour or something.
00:00.240: Peter again.
00:00.240: And then I think what we'll do is we'll use the AirPlay to send the output to your TV or something.
00:00.320: So if you don't know who Peter Wiggins is, you've got to know Peter Wiggins.
00:00.320: Tons of content, tons of reviews, tons of tutorials.
00:00.320: So, I think you're going to dig it.
00:00.320: you also create plugins.
00:00.320: And if you're not using FX Factory, good grief, go check it out.
00:00.320: And he's like, Yeah, I'm a little busy working on the website.
00:00.320: We were able to chat and oh my goodness, we had just it was a great time.
00:00.320: Anyway, just wanted to let you know.
00:00.320: I've got a cup of tea.
00:00.320: Exactly.
00:00.320: the presenter and a guest, and then join us tomorrow.
00:00.320: We've done it a few times.
00:00.320: but not directly to air.
00:00.320: Interviews that they've gone and shot and come back because we've got two camera guys with XD cams out there and bits and pieces.
00:00.320: And here's the map for tomorrow.
00:00.320: Well, I mean, just to wind back slightly on the EVS, we only use the EVS for playout.
00:00.320: Actually, majority of the time we'd send the individual parts down to that.
00:00.320: We were using the EVS to stream via XD Access, I think, to the SAN.
00:00.320: And with a growing file, you can load it into your NLE and start editing straight away.
00:00.320: So you can play on your time line, this file, this growing file, five seconds behind actually the watching the picture come in.
00:00.320: It just doesn't work in Final Cut Pro 10.
00:00.320: four point five or something at that point in two thousand five.
00:00.320: um they do the podcast uh at the end of the day they also probably make a part part three so it all gets shared out between you know between everybody um
00:00.320: And then we had a great guy great guy Sylvan from Timeline T V who basically did all the housekeeping and made one big library for the next day.
00:00.320: With the library updated every night, it was already in the library.
00:00.320: and then another suite makes part two, etc.
00:00.320: And here's a command that I've just recently completely embraced and love.
00:00.320: The thing about using something new is there's a lot of new words that come to us.
00:00.320: Was stored is now very tidy and in that FCPX created folder.
00:00.320: Between those three commands, the copy or and or move to library, and then the consolidate files, you can take the
00:00.320: Media because we're talking about a huge amount and you can't have anything in, you know, in a library.
00:00.320: At the end of the day, we would zip everything up and send it to Sylvan so it sat there in a folder.
00:00.320: Doesn't like libraries if they're not it.
00:00.320: However, our main reference for what was edited previously was at the beginning of every day, one of the edit suite's job was to do um a compilation of the of the parts on one time line.
00:00.320: we deleted the cache files.
00:00.320: Okay.
00:00.320: Then every suite had a Mac Pro.
00:00.320: looking at film strips.
00:00.320: nine thousand nine thousand one hundred.
00:00.320: the the AP would just point and just say, Well, there it is.
00:00.320: Smearing it all over every flat surface of your one-inch machine and then pulling out a sharpie.
00:00.320: And I don't think people understand the enormity of how great this is for producing something like sport because
00:00.320: buses.
00:00.320: and the um the promise uh san san link two and then the um the uh a j a on the third bus.
00:00.320: You really need the waveforms in 7 to be able to do it with the growing file.
00:00.320: as quickly as it did.
00:00.320: but you've got to have the right stuff attached to it and configured and configured the configured the right way for it to work because
00:00.320: He was like, So, do you want me to render this?
00:00.320: being able to edit close to where and not having to worry about render times, not having to worry about export times to get the thing to the EBS.
00:00.320: Or a thunderbolt pause.
00:00.320: because sometimes five seconds slightly gets in the way when you're looking at something and it will kick in and you just have to get back out of it.
00:00.320: And then we came to export it.
00:00.320: And on the final night of the week long broadcast, we edited a complicated opener.
00:00.320: six, seven o'clock on BBC two.
00:00.320: Well, I mean, it has to be there.
00:00.320: But going back to what I was saying about broadcast, you can't put out black.
00:00.320: mats, mats within compound clips with graphics over the top of them that animated.
00:00.320: I think it took it took away the we would like to do that, but oh, that's how long is it going to take to render?
00:00.320: hit into consideration as to whether or not I want to proceed forward with a creative venture or not.
00:00.320: And also we were going back, replacing shots close to where, redoing stuff.
00:00.320: Yeah.
00:00.320: Now on Funica Pro seven, if it's all nice and rendered, you're going, oh, you know, you really sure you want to do that?
00:00.320: Concept and execution, if you will, of the way it deals with rendering is really spectacular.
00:00.320: Well, you know, it doesn't really matter.
00:00.320: Yeah.
00:00.320: That feedback, that instant feedback around the GUI.
00:00.320: Now you also mentioned in the article the use of blade speed and optical flow.
00:00.320: and just get the guys that are actually writing the code, and you could get them to make you a feature.
00:00.320: Now this is interesting because my opinions changed.
00:00.320: I would say only over the last year I've known it really well, comfortable with it, very comfortable with it over the last year.
00:00.320: But now I think I know it well and I'm very comfortable with it.
00:00.320: you can't physically do an audio only dissolve.
00:00.320: and do a crossfay between those.
00:00.320: So instead of being able to do that, what you have to do is you have to drag the audio out and then p pull back the handle to do a dissolve.
00:00.320: Yeah, yeah, so you have to kind of put little handles on everything to do the audio dissolve.
00:00.320: done three weeks on the tour, I now realize that if you've got a complicated edit, if you come and if you were to go in and move items around in that edit with a magnetic time line, then that will break the relationships with the audio dissolves.
00:00.320: So if you were to drag a clip away, does the audio dissolve stay with the clip that it's on?
00:00.320: probably goes into it in much more d detail than we've done here.
00:00.320: Expand audio components or components.
00:00.320: Exactly right.
00:00.320: If you were to pick that up and put it at the head of another interview, then that handle of the fade goes under the interview as well.
00:00.320: You know, the interviewer's question because it's it's actually a crossfade, it's not a trail out.
00:00.320: I think a quick way of extending the handles to do an audio fade but not applying an audio fade across the two tracks, if you're with me.
00:00.320: and have something that I can move up and down to adjust the audio in real time because I don't care what anybody says about rubber banding or range base plus or minus to push things up and down.
00:00.320: you have to stop the time line to do that.
00:00.320: dangerous part of of when it comes to the export.
00:00.320: I think the majority of live mixing that I do or used to do on on seven is pushing either music or effects to another track.
00:00.320: truncating the clips down to so you lose the stuff you don't use in a clip.
00:00.320: Well, let's say something like the Tour de France.
00:00.320: I'm going through looking at some quite a lot of audio bits and pieces in Final Cut Pro 10.
00:00.320: I don't know.
00:00.320: Oh, that's cool.
00:00.320: Yeah.
00:00.320: I shudder when I think when I had to go back into Final Cut Pro 7 to put a shot into something, you had to pull the thing apart, you had to
00:00.320: You mentioned your plug-ins, and you know, FX Factory is one of the sponsors of our show.
00:00.320: Great stuff.
00:00.320: And it's awesome because you can play with them and you can test them with the watermark, and then when you decide you need them, you pluck down your cash
00:00.320: Really?
00:00.320: But I think there are a lot of people out there in the industry who have completely discounted it.
00:00.320: And I'm not like super discriminating, like, oh, you're not famous enough or whatever.
00:00.320: With another edition of Final Cut Grill.
00:00.320: I believe that there may be a day in the near future where we get a version of Final Cut.
00:00.400: And it works great, and there's just so many features.
00:00.400: Something like that, yes.
00:00.400: Yeah, we tend to publish quite a few user stories.
00:00.400: Including the one from Chris in Australia.
00:00.400: because they're made from stuff that happens earlier in the day, you've got a bit more time to do with it.
00:00.400: Sometimes I'm still cutting part 4B while part 4A is on l on air.
00:00.400: Elements from the finish line.
00:00.400: Um okay, so but but going back to what you said, um the E E V S um
00:00.400: Yeah, yeah.
00:00.400: That's in two thousand five.
00:00.400: Normally on seven, you would sit down, start the day and go right.
00:00.400: And Sylvan, I think you said his name was.
00:00.400: Command.
00:00.400: not a lot of small items, but large items that are you know not a lot of large items, like video files.
00:00.400: Library, just the just obviously not the h the files themselves, they were on the on the sand.
00:00.400: Yeah, it's I think real estate is the key here because the film strip is great, but it's not something you want to be doing on a laptop.
00:00.400: Yeah.
00:00.400: But yeah, real estate.
00:00.400: That's great.
00:00.400: which I was slightly shocked at because I didn't think the broadcast output would reflect the um viewer.
00:00.400: the director slash producer was sitting behind me and he was building me little elements on his Retina MacBook Pro.
00:00.400: I would say probably five minutes to go before air.
00:00.400: Um and I set the um the background render to kick in after ten seconds
00:00.400: the thing would just catch up with you.
00:00.400: I'm not going to say what he does on the truck.
00:00.400: Hit our news at ten o'clock and everybody was looking at it.
00:00.400: Restraint that, as you said, with the technology disappears and you concentrate on the program, which is the way it should be.
00:00.400: Adjusting your timeline doesn't like kill everything in your timeline, you know, that has been rendered.
00:00.400: that you just get a you know, a a a delay.
00:00.400: And being able to just grab a clip and speed it up or slow it down, doing replays or anything to exactly match something.
00:00.400: Yeah, yeah.
00:00.400: Putting an audio dissolve between the effects track on the effects track helps go from shot to shot to shot.
00:00.400: So I can under I can completely understand how audio only dissolves could actually slow editing down.
00:00.400: Yeah, it will definitely be different.
00:00.400: Because for sheer nature, you've got to click on the time line, go across it and up and down, et cetera.
00:00.400: Well, a HUD pro possibly.
00:00.400: Hit play, maybe keep my finger on a button and something would pop up and I could adjust it up and down as it's going along.
00:00.400: uh uh a track, uh you know, a music track.
00:00.400: I mean, I don't know, but I think if if I had one thing, then it would be audio automation, I would say, would and then I could go right I don't think there's anything that I couldn't handle with this because
00:00.400: you're looking back at twenty five years of the Tour de France and each shot comes from a multilateral that's five hours long.
00:00.400: And there's been quite a few times where I've sat down and said, well, it does do that, but it does it like this.
00:00.400: looks a very simple program.
00:00.400: That's a good trick.
00:00.400: It's been really energizing and exciting because it reminded me of like learning Final Cut 7, you know, 10 years ago or Final Cut Classic, whatever, or learning.
00:00.400: the your producer, AP, whatever sitting next to you, when they say, could we do this, you go, yes, we can, and you've done it within seconds
00:00.400: Back on the job I did in January.
00:00.400: We're quite close to where, and the big producer came in to have a look at what we made.
00:00.400: California time, and then you know, we got, you know, you know, some tech things, whatever, maybe eleven ten, and then we like talk for like and I don't normally do this, j just so you know, I typically like hit the record button and then make the call and I
00:00.400: The support that you show to the show via iTunes, the comments.
00:00.400: Anyway, I'm rambling.
00:00.400: I don't know if you've noticed this, but the interviews are really raw.
00:00.400: And it's and it's when you and it's the collective fabric of all those stories that really makes for an interesting community of people.
00:00.400: Um garage band interface on the iPhone 6?
00:00.480: and I noticed that on Twitter I was posting things and people were picking them up and turning them into blog articles on their websites, which is fine, but
00:00.480: What would I have seen sitting at home?
00:00.480: Well, that's interesting.
00:00.480: I've actually been editing um the parts one, two and three uh I wouldn't say they're easy, but they're
00:00.480: From the France from France.
00:00.480: Record real time into it and flip a file around and play real time out of it.
00:00.480: with a few other bits and pieces tacked on as well.
00:00.480: The four libraries from the four edit suites.
00:00.480: Now, in the library file.
00:00.480: Okay, and so we point our media and our cache to the FCPX created folder.
00:00.480: we'd make a new library with only the project in it that had the bit that the other suite wanted to pick up.
00:00.480: Put on the SAN and then the other person would put that on to probably their desktop, open it up, and then copy the bits that they needed out of it.
00:00.480: Our library every day was about two gig.
00:00.480: Over 19 years.
00:00.480: Your bins basically on one monitor, and then that way you would have the whole top of the monitor in list mode to see that film strip.
00:00.480: on the FileMaker Pro database.
00:00.480: The 4K, the A the AJAIO 4K was rock solid.
00:00.480: And that was in the space of kind of like a week.
00:00.480: So, I don't know who got fired, but that was not a pretty day to be working on an Apple broadcast.
00:00.480: I've talked in the past about the concept of what a smart render is.
00:00.480: It is as astonishing sometimes when you look at it and you go, Oh, let's see how long this takes to render.
00:00.480: five seconds, it starts to kick in, and then you get that momentary moment momentarily the delay where you have to go back out of the render.
00:00.480: and the outgoing clip of the noise, you put you expand the audio components and then drag the clip out the audio side of it longer and then put the handle on.
00:00.480: Would be great.
00:00.480: One thing, it would be audio automation, followed quite closely, possibly by media managing and actually
00:00.480: Yes, indeed, there is.
00:00.480: You know, Final Cut Pro 10, when it first came out, it had took a good kicking.
00:00.480: the screen to do all of your your editing, and then you'll be able to view it on your T V through your Apple TV.
00:00.560: I thought that was a bit slightly unfair.
00:00.560: So, and of course, one of the things besides all of the great resources and tutorials and the stuff, you know,
00:00.560: One of our readers, Ronnie, is going to take him over to the Paralympic Games so he can work Final Cut Pro 10 for him.
00:00.560: I did not know.
00:00.560: So we needed to find another solution and Movie Recorder from Softron filled that gap.
00:00.560: we had people come in to see it working because they didn't believe you could access a growing file within Final Cut Pro seven.
00:00.560: In all afternoon.
00:00.560: Well, it that's the same thing.
00:00.560: Part 4B is normally me, which is the result sequence, and part 4C is normally made by edit two because
00:00.560: And we tried various ways of swapping data between the suites.
00:00.560: Well, it starts if we go through the workflow, we had two satellite feeds coming in.
00:00.560: Mountain starts here or whatever.
00:00.560: because you could see the see the film strips.
00:00.560: Yeah.
00:00.560: And I think I said I don't know if I said it in the article, but I I think the the Mac Pro and Final Cut Pro ten is like a Formula One racing car.
00:00.560: And so I open up this thing and I hit render and you forget how fast that m m machine is.
00:00.560: We've hit that.
00:00.560: It's amazingly liberating, isn't it?
00:00.560: I got you.
00:00.560: having audio automation on a clip and getting that hand, you know, the ear, brain, hand feedback.
00:00.560: handles on the used bit of the of the media.
00:00.560: But if you're making a broadcast show, then you'll have to dig a bit deeper because there are things you need to change.
00:00.560: How many animals are there in Final Cut Protein?
00:00.560: So that's my final cut pro 10 trivia question for you.
00:00.560: Over 30 years now, I hate to say it, but over.
00:00.640: I think I started it.
00:00.640: So I th I thought I'd start one and and so I did.
00:00.640: because sometimes a mountain stage can last five, six hours and we've only got forty six minutes.
00:00.640: The multilateral, the unilateral, then things, you know, we've obviously already on the sound we've got music, we've got graphics, we've got math
00:00.640: How do you clue those together?
00:00.640: So he, I didn't, actually, I didn't realize that in the Elvis that he could he could say dissolve from A to B or whatever.
00:00.640: Well, a growing file, let's say the race is five hours long.
00:00.640: Because you need that power to be able to get such a big show on air every night.
00:00.640: But you've got to go Thunderbolt, so everything's got to have Thunderbolt connectivity.
00:00.640: So also being able to do complicated things, lots of graphic overlays.
00:00.640: Afterwards or whatever, when it didn't appear on the news about what product they came out with, there wasn't a problem with the bandwidth.
00:00.640: Let's say you do a big review of the previous day and it's three minutes and you want to go in and make a shot longer.
00:00.640: To start working everything again.
00:00.640: Well, it's just little things like sometimes the graphics guys would kick out a graphic file that was a ProRes four by four with transparency.
00:00.640: If you're with me?
00:00.640: Yeah, I think a lot of things it comes down to putting 10 guys in a room going, okay, I know people want this, but how are we going to actually implement that desire?
00:00.720: About the Tour de France.
00:00.720: Part 4A, part 4B is a result sequence, which is, you know, here's the guy who won today.
00:00.720: Part 4A can last about, I don't know, anywhere from about six to maybe ten minutes.
00:00.720: let's say if I was editing part one, the top of part one, and it was really complicated and I didn't have time to edit part one racing, maybe another suite would pick that up.
00:00.720: using AJA four Ks as the input.
00:00.720: I think I said in the article I had a race with the AP to find material because with a film strip view, you can actually see what's happened.
00:00.720: So, while I'm talking to the producer in the room, for those four seconds, I got four seconds of stuff rendered.
00:00.720: Yep.
00:00.720: things like the broadcast countdowns or clocks and things like that.
00:00.720: You're probably getting the shows through iTunes.
00:00.720: Whether it's like you know somebody you've always wanted to hear from or maybe it's like a friend of yours or yourself even, you know.
00:00.800: FCP.
00:00.800: And there's a machine called a Viz that does that.
00:00.800: Objection, Your Honor, you're leading the wetness.
00:00.800: A couple of Apple displays and a few other bits and pieces, but more or less all all the same.
00:00.800: No, no, you want to go between audio A and audio B with a with a one click dissolve.
00:00.800: Drop on between between the two bits of audio.
00:00.800: I think it's Cartoon Voices or Cartoon Characters, which is a audio filter in Ten.
00:00.800: Yeah, it's funny.
00:00.800: It will happen.
00:00.800: Do you like giving out Peter?
00:00.800: So, Peter, thanks again, and thank you.
00:00.880: They got a lot of stuff there.
00:00.880: Oh no, that's a different Chris.
00:00.880: Time it had been done.
00:00.880: So it was there was a lot of pressure, you know, a lot of pressure to to get it right.
00:00.880: I think it's because it's made up of really small a lot of what small items.
00:00.880: The more you can see.
00:00.880: making a show is one thing, but putting the polish on it is another.
00:00.880: You can do that?
00:00.880: So you'd match the effects to behind a voice, or you'd match the music behind a voice, or both, you know, because you've got music and effects.
00:00.880: And in your on your blog, you showed an extreme close-up of a screen grab.
00:00.960: But it's quite interesting because sometimes if we send a part down late because one channel of the EBS is already online
00:00.960: The problem with the EVS is that if anybody's using the EVS file, they'll know that it kind of works and it kind of doesn't work.
00:00.960: Where is this sorcerer doing magic in his timeline?
00:00.960: And the key to my job when editing sports is knowing what you can do in the time available.
00:00.960: All honesty, I don't think you could have actually built a a faster suite.
00:00.960: I mean, it's just also things l like I think I said in the article, the the film strip um
00:00.960: And one day I'll have to tell you a great story about a great friend of mine who did the first edit on two inch.
00:00.960: Are you with me?
00:00.960: I was going to ask you.
00:00.960: And we've got a load of other little fiddly things that I'd like, or good ideas or something like that.
00:00.960: You know, how about putting that one there when we make that one shorter, put that in and you do it in seconds?
00:00.960: There you have it.
00:01.040: Okay, so we're going to go a little bit off the rails here.
00:01.040: Hey, okay.
00:01.040: So you don't have to there's this horrible word called chunking, which is how people used to do it before, is they say, right, record half an hour.
00:01.040: And so what now I don't know that this is necessary on the sand that you're dealing with, but consolidate files is fantastic because what it'll do is it'll
00:01.040: So let's can we talk a little bit about the the physical hardware of what you had?
00:01.040: Wow, quite the laundry list to go to your local Apple store, yeah?
00:01.040: And yes, in Final Cut 10 as well, of course.
00:01.040: Yeah.
00:01.040: Yeah.
00:01.040: I think Funicut Pro ten is the fastest thing out there for nearly everything apart from doing the audio automation.
00:01.040: CEO.
00:01.120: And also, as you probably realize, the tour started in Yorkshire this year.
00:01.120: Since 10.
00:01.120: From the seven coming from seven, have you media managed it?
00:01.120: I can go fast, but I can't go another step faster.
00:01.120: No no, I don't.
00:01.120: I don't know.
00:01.120: And but with Final Cut Pro 10, I think I said it in the article, it's made editing fun again.
00:01.120: And that was it.
00:01.120: And I want to recommend that anybody, if you haven't looked at the iIDustrial Revolution plugins, they're really deep and very powerful.
00:01.120: co.
00:01.200: Okay, so what is the schedule of the race?
00:01.200: Yep, we've got a local library, but at the end of the day, we all send our library zipped up and put it in a folder.
00:01.200: Normally, at the beginning of the show, is probably a look back at what happened the previous day.
00:01.200: Excuse me.
00:01.200: And I think it's important if you're working with the Mac Pro, you should definitely understand how the Thunderbolt buses are lined up in the little grid.
00:01.200: You just keep it at ten seconds.
00:01.200: But that's not my main request.
00:01.200: The mouse.
00:01.200: Oh, the amount of times where I've been editing with other editors and you do something, you go, Oh, that's cool, that's very cool.
00:01.200: Most people leave five stars, so that's very cool too.
00:01.280: Yeah, that's what I love about broadcasts.
00:01.280: It sounds like Fred Flintstone video editing, with like cutting two rocks together or something.
00:01.280: That's really great.
00:01.280: Oh, I just think it's a personal preference on how you do it.
00:01.280: Well, actually, it can't be half a second.
00:01.280: Well, you know, something like I used to put shots down on a timeline just to keep them there or whatever.
00:01.280: Does that make sense?
00:01.280: Put what you want in, and then you had to very carefully butt the thing back up.
00:01.360: on the tour because it's such a big job.
00:01.360: And but as soon as the thing goes out, you can literally power your mach machine down.
00:01.360: I don't think the speed of the machine and the connectivity or anything is the problem because it goes as fast as you can edit.
00:01.360: And that's what makes it flexible and fast.
00:01.360: And certainly, the media managing within 10 won't allow you to do that
00:01.360: Yep.
00:01.360: Anyway, I I'm I'm digging it.
00:01.440: pick up the file straight into Final Cut Pro 10 and watch it fill in the you know fill in the video as as it gets recorded.
00:01.440: Right.
00:01.440: I've used Final Cut Pro 10 on MacBook Pro's iMacs.
00:01.440: you can't do it.
00:01.440: whatever he's going to record.
00:01.440: So that's my two probably that I would say.
00:01.440: You either get it you either get it without thinking about it, or you sit there with a list and you go, Oh, can I you know, which one's which one's the best.
00:01.440: Once you understand the primary storyline and swapping stuff around on the primary storyline, you can be in the middle of something really complex and just swap two shots over.
00:01.440: I always refer to them by color.
00:01.520: So think first of all, I want to say thanks so much.
00:01.520: I'm British.
00:01.520: Is that not really.
00:01.520: I mean, I think I was a bit nervous when we started the move to Final Cut Pro 10.
00:01.520: Yes.
00:01.520: I'll go and change that.
00:01.520: That's not what I want because it's going to take me away from the timeline.
00:01.520: Sorry, this is a long show, but thanks again.
00:01.600: is a great website.
00:01.600: co is a great place to see, like even all the Ripple training stuff.
00:01.600: Now, so you were using the what's it called?
00:01.600: It was my nineteenth Tour de France this year.
00:01.600: I didn't actually put it on.
00:01.680: I I let's face it, there's been a lot of times when the final cut has been ahead and people are di they either don't realize it, they're not paying attention, or they have their head in the sand they don't want to notice, you know.
00:01.680: It's just it's it's magical sometimes what we have access to.
00:01.680: started off with D five.
00:01.680: With graying files, lip sync has been a problem.
00:01.680: And if you're serious about editing on FunoCut Pro ten, get a Mac Pro because the speed increase that you get is well, well worth it.
00:01.680: The fact that the machine is not the problem to going quick.
00:01.680: Now you're the first person.
00:01.680: Yes.
00:01.680: I've changed my opinion on this.
00:01.680: I was just about to ask you if you're using roles at all.
00:01.680: Does that sound a bit better?
00:01.760: Okay, good.
00:01.760: Buddy Alex Golner solved that, but go ahead.
00:01.840: And I I can't wait to talk to Peter again.
00:01.840: JeffTheStudios.
00:01.840: Here's the GC general classification of where everybody is.
00:01.840: We play off the timeline into the EVS and then that gets turned round by the EVS.
00:01.840: I go, No, no, no, no, just drop your file in this folder and I'll render it here.
00:01.840: What were some of the things that really pleased you about the project?
00:01.840: And so and to be honest with you, there's been times I've actually gone back to my own website to watch my own tutorials because I forgot how to do something.
00:01.840: Yeah.
00:01.840: I mean the the toolkit, I kind of made it for me because it it was a load of stuff that I was doing on a regular basis that I needed the bits and pieces.
00:01.840: Oh, no, it's totally.
00:01.840: You're at Peter Wiggins or at mp.
00:01.920: Yes, no is the answer to that question.
00:01.920: And they go, Oh, the guys literally, it's written on the flat surface of the old tape machines.
00:01.920: You made a quick reference to the Apple iPhone six iWatch announcement that happened on the ninth.
00:01.920: So true.
00:01.920: Yeah, I think so, and I think you can.
00:01.920: The GUI has been simplified.
00:01.920: But I, you know, my tutorials are based out of it, kind of like kind of like you.
00:01.920: Okay, very cool.
00:02.000: And this year, he did it on Final Cut 10 and he did it in a big way.
00:02.000: And I mean, a couple of couple of reasons.
00:02.000: You know, we've had the Sam Messman one from last year about Bulgaria.
00:02.000: And they came in and it's going to like tea?
00:02.000: Yeah.
00:02.000: The press on Final Cut X basically is making it look like this very simplified iMovie-esque application, but they never show the
00:02.080: But they were there for about five minutes and they got on a plane an hour later and flew back to Belgium.
00:02.080: You're going to have one master library now that has all the bits and bobs.
00:02.080: So we'd go and manually well, not manually, but delete the cache files.
00:02.080: If it wasn't rendered, it wouldn't take long to render.
00:02.080: I really miss in from Final Cut Pro 7 being able to hit play on the timeline
00:02.080: A mouse.
00:02.080: Thank you, Peter, for doing that and for setting aside the time.
00:02.160: And then we've got a unilateral feed from our guys in France.
00:02.160: They must have been there for five minutes just to see this growing file within Final Cut Pro 10 because you couldn't do it in Avid, you couldn't do it in any NLE.
00:02.160: Local storage.
00:02.160: You know, I've gone the opposite way.
00:02.160: Yeah, I'm looking at the image, and I really want to encourage people, and I'll put a link to this write-up.
00:02.160: You know?
00:02.160: Thanks again.
00:02.240: Now, as it turns out, Peter's been cutting the Tour de France highlights shows for BBC
00:02.240: Hey, welcome to another episode of Final Cut and Grill.
00:02.240: And I got to tell you, everybody calls it Industrial.
00:02.240: And that's just a big Elvis is the replacement of the tape deck in a in like a sports truck.
00:02.240: You could literally skim over anything you liked and it would update on the broadcast broadcast monitor.
00:02.240: I probably shouldn't be saying any of this.
00:02.240: Okay, so I don't want to keep you too long.
00:02.240: And that's good to know if you're if you're having if you need to.
00:02.240: So, at some point in your world, what you're going to have to do, and it might be following the bouncing ball.
00:02.240: Yeah, there will be a day when all of those people out there who are saying, oh, that's a toy that's ridiculous.
00:02.240: I would love to get other people's opinion because I feel, I don't think we've done an interview that I didn't, that I wasn't glad I did, you know?
00:02.320: And one of the other companies that Peter, I think, I don't know if he owns it, CEO, head, whatever.
00:02.320: So at any rate, this interview with Peter is a little long.
00:02.320: So, you made a website that you liked.
00:02.320: We've actually got two feeds.
00:02.320: Exactly.
00:02.320: Then we went to Final Cut Pro four point five or whatever, then we went on to Final Cut Pro ten.
00:02.320: More real estate you can have, the better.
00:02.320: I know, I feel sorry for the people at Apple.
00:02.320: It's really spectacular.
00:02.400: I also want to mention that during this interview, there was this very sort of natural thing in it, and it kind of clicked.
00:02.400: Okay, I don't yeah, I have not heard this one.
00:02.400: It was a box called XT Access, which links the SAN
00:02.400: The France.
00:02.400: Here's a stand up with this guy.
00:02.400: It's just a mix.
00:02.400: 1.
00:02.400: Before we well, we still had it working.
00:02.400: Simple as that.
00:02.400: Oh, it's only going to take kind of thirty seconds to render.
00:02.400: And then again, the rendering doesn't take any time.
00:02.400: I think so.
00:02.400: I don't want to be able to go to the effects bin, find an audio only dissolve and drop it onto two lots of audio that I want to b dissolve.
00:02.400: And on Twitter, that's actually DOT.
00:02.480: Okay, now let's go to the interview with Peter.
00:02.480: And also, there wasn't really a website that I wanted to read that talked about Final Cut Pro and Final Cut Pro.
00:02.480: So you're splitting, you have the Pegasus and one display on one bus, you have the second display.
00:02.480: It's that's what I I mean, you know, frankly, that's the thing I love about broadcasts, though.
00:02.480: You're doing just fine, Peters.
00:02.480: It's funny.
00:02.560: And you were listening to fade three.
00:02.560: Very good.
00:02.560: Yeah.
00:02.560: So we went back to those if we wanted to use something from the previous day.
00:02.560: I go, you have no idea how hard that would have been a year ago, you know, or two years ago, whatever.
00:02.640: That's awesome.
00:02.640: Explain that again.
00:02.640: I'm going to do that right away.
00:02.720: co, and I don't know how he does it because he's also like a full-time editor.
00:02.720: And the main thing I want to talk to you today about is your Tour de France job that you recently finished.
00:02.720: So we'd put part four A out.
00:02.720: So, what we've done in our office, and I've mentioned this before, is we actually create a folder in the job folder.
00:02.720: If there is a problem and a few things don't translate, you lose confidence in it.
00:02.720: I know what you're talking about.
00:02.720: Right.
00:02.720: Louder or what?
00:02.720: It's the blue one, the green one, the orange one, the pink one, the red one.
00:02.800: You know, that's kind of the reason why I started my own blog, because I got tired of saying to people, Hey, did you or people come to me and go, Hey, did you see this cat video or whatever?
00:02.800: And there's there those are two different things.
00:02.800: But that's great because if you just want to load in five shots from your DSLR and smash them together and upload them to YouTube, it's great.
00:02.800: But no yak.
00:02.800: But it just made me smile because obviously you know I make plugins as well and giving presets names is one of those things where
00:02.880: I'm assuming there's a whole graphics department that's dealing with those things.
00:02.880: Didn't really do it on one inch.
00:02.880: And I will tell you that I tweeted my friend who's working.
00:02.880: So true.
00:02.880: And plus, I don't know that there's enough control in terms of like what you want to be able to do.
00:02.880: I think it'd be on a clip basis.
00:02.880: And I think and the best way, to be honest with you.
00:02.880: With the word happy in it.
00:02.880: The client wants to actually have a media managed copy of it, of something that's been edited.
00:02.880: Oh, I was going to ask you, that's actually in my notes.
00:02.880: Effect.
00:02.960: So many I can't really name some of them off the top of my head because they're all good.
00:02.960: And he's pretty good at it too, to be honest with you.
00:02.960: And he very carefully does a copy from library one or two to one, from three to one.
00:02.960: We had Promise Pegasus R2 RAIDS connected.
00:02.960: And I would just do the traditional way of not the traditional, but the new way of looking at of skimming.
00:02.960: So rendering, we forgot about rendering.
00:02.960: There's no you can't broadcast black.
00:02.960: But it's a bit annoying because if you apply a video crossfade, by default, it will also join the two audio tracks, for want of a better word.
00:02.960: Also, if you're shooting on DSLRs and things like that, by the very nature of those, the clips are short.
00:02.960: Thanks for listening.
00:03.040: It does actually go from A to B.
00:03.040: Okay.
00:03.040: I know that you were using another piece of software to actually capture files for FileCat 10.
00:03.040: And literally they just got up and kind of started to go.
00:03.040: 2 and now, of course, 10.
00:03.040: So he's g what he's going to use is he's probably going to use under our file menu, there are two very powerful commands.
00:03.040: Yeah, it's in the blue one with the X.
00:03.040: But go there and leave a comment.
00:03.120: It was the December before Final Cut Pro 10 came out.
00:03.120: Quarter an hour before on air, I turned round to him and I said, I'm getting a bit nervous.
00:03.120: But you know, um Premiere for the longest time, and I think they've gotten better, but I'm not even totally sure.
00:03.120: I think Final Cut Pro 10 has done more for people to give up smoking than any NLE out there.
00:03.120: I was like, really?
00:03.120: I just get on and work.
00:03.120: And then what would you actually like to have now?
00:03.120: I think I'm following you.
00:03.120: And let's do this again sometime, okay?
00:03.120: Later, later.
00:03.200: Yes, there's a great one of the diagrams you have on the site also shows how you're actually wiring that using the multiple thunderbolt.
00:03.200: But I'm seeing what you're doing, and based on what I'm looking at in your expanded clip where you have, what do they say?
00:03.200: If you're post-producing a documentary or something, you could sit there and assign roles and everything would be lovely.
00:03.280: You know, they dig Final Cut 10 just like you and I do.
00:03.280: Very good.
00:03.280: Yeah, good fun.
00:03.280: So the things like the results page and everything are all come out of the Viz.
00:03.280: Yeah, I can't remember.
00:03.280: Now, I'm going to back you up here a second because I'm going to assume you clearly must have said something wrong because everybody knows.
00:03.280: So how are you dividing responsibilities between those suites?
00:03.280: You can do it globally, you know, you can go up and down while the thing's playing, but you can't do range based
00:03.280: Sort my rolls.
00:03.280: I know, me too, just a little over myself, yeah.
00:03.360: You know, I've had multiple people ask me off the record where to get the sound effects for the show.
00:03.360: Um and I really wanted to make a website um
00:03.360: Peter, do you remember the days of taking your whiteboard tape?
00:03.360: And as I said, we had a race I had a race with the AP.
00:03.440: com or JeffTykaus.
00:03.440: Here's the map of what's happening tomorrow, the route.
00:03.440: And that gets distribut distri d distributed across all the four suites.
00:03.440: No, you can't.
00:03.440: He's got the faders there, hasn't he?
00:03.440: All right.
00:03.440: Facebook, loads of places.
00:03.520: Not worrying about the behind the scenes yet?
00:03.520: You know, it starts in one place and ends in another.
00:03.520: And this is one of the biggest channels in the UK.
00:03.520: That was the size of our library.
00:03.520: Yes.
00:03.520: You want to kick a kick a kick a movie out and get it to get it to the EBS.
00:03.520: Anyway, and I said, dude, what the hell's going on there?
00:03.520: And I just felt with background rendering on when it goes, when it kicks in,
00:03.520: And when you are driving a Formula One car, you want the thing to not stop.
00:03.520: Imagine that trying to do that on seven or you know some other NLEs.
00:03.520: Also, you know, one other thing, I'm just sitting here, I glanced over at my laptop here.
00:03.600: So finally, you know, the stars aligned, you know, super moon, harvest moon, whatever.
00:03.600: So, anyway, let's go to the interview now with Peter Wiggins from FCP.
00:03.600: I don't know if you read that about the.
00:03.600: We've done it a few times.
00:03.600: Now, I think in the States we would I think you're referring to like a switched master.
00:03.600: We just engineer it that you just leave the effects long on the outgoing and then the EBS just does it just as a mix and a playlist.
00:03.600: Right.
00:03.600: And I gotta say, I've really enjoyed this.
00:03.680: I mean, the multilateral is the race.
00:03.680: We need PPMs, we need a ten eighty I, everything's ten eighty I output.
00:03.680: I set my machines to one second.
00:03.680: So I would because we're doing changing from a lot of different shots, different camera angles and everything like that, we've got an effects track and
00:03.680: Um I see it as a thing that would
00:03.680: Let's say you're sitting down and producing, you know, Pharrell Williams' latest, you know
00:03.760: And then I think another thing that I just want to clarify, you're referring to the EVS.
00:03.760: I mean, it's twenty one days on air, seven o'clock every night.
00:03.760: Three quarters an hour to line up your one inch suite.
00:03.760: You know, if you move the cursor to skim, it just doesn't do it instantly.
00:03.760: Yeah.
00:03.840: I think that's a good idea.
00:03.840: I think we've got more Funica Pro 10 user stories than anybody else out there.
00:03.840: Here's a it's our own feed that we the we send elements back to London to edit into the show.
00:03.840: Okay.
00:03.840: Regardless of what your next clip is, if you reorder them.
00:03.920: I know that you had to get up early.
00:03.920: It's such a great resource for us Fondal Cut 10 users.
00:03.920: And you could only access those half hours once they'd
00:03.920: That's excellent.
00:03.920: There's a thing called Mooncat.
00:03.920: I will say in our office, there was a m time just a few months ago where
00:03.920: I don't know if you're a Darts fan, but it was on BBC Darts.
00:03.920: And then, and there's something else I wanted to mention.
00:04.000: The Softron movie recorder for?
00:04.000: I know, isn't it funny?
00:04.000: We had instances where music edits wouldn't go over.
00:04.000: Robbie because it doesn't understand the package contents issue.
00:04.000: Yeah.
00:04.000: Okay.
00:04.000: Peter, one last thing.
00:04.000: I also want to thank everybody that listens for all of the
00:04.080: And we we just it was sound design, you know, it was like getting a smart guy and his and his computer and
00:04.080: We've got a multilateral and a unilateral satellite feed into the building.
00:04.080: You don't get any time code, etc.
00:04.080: As a matter of fact, I walked into one of our edit suites and I realized that somebody had set it to 0.
00:04.080: The fact that you can have a clip but the audio fade going off it
00:04.160: And we we we had one lot of people who came in from Belgium.
00:04.160: And a punched, you know, paper-punched ring binder that we used to have.
00:04.160: So D five, then we went to Digibeta.
00:04.160: And a smart render is something that is fluid and flexible and it
00:04.160: So forget any video, you can't do an audio only you can't apply an audio only dissolve.
00:04.160: We will be back.
00:04.240: With the 4K, it was rock solid.
00:04.240: When you go to a machine that's not like that, you go, Well, why is this taking?
00:04.240: But it it's just not an issue anyway because it renders so quickly.
00:04.240: I just think that five gets in the way of what I'm trying to do.
00:04.240: Yeah.
00:04.240: But no yak.
00:04.240: That's wonderful.
00:04.240: And there was a few things Peter wanted to chat with about before we got going.
00:04.320: And and I gotta say, I'm a big Peter fan.
00:04.320: I have three or four or five of them.
00:04.320: So civilized.
00:04.320: I've worked on some big BBC jobs where if you don't get this thing right, you have a five minute black hole at the top of the show.
00:04.320: 1.
00:04.320: And you know, two two um Apple monitors work really well
00:04.320: Yes.
00:04.320: I mean, I just noticed there's just that slight
00:04.320: So so ex uh I'm sorry to interrupt.
00:04.320: So I should be able to pick up one of those clips, and if I rearrange those, the handles will go with it.
00:04.320: Yeah.
00:04.320: But the more you dig into it, there is a lot there that you can use.
00:04.320: Thank you for thank you for doing that.
00:04.320: It really helps other people find out about the show.
00:04.400: What time of day do they start?
00:04.400: Now, do you ever get to the point where you're actually playing right out of your time line to air?
00:04.400: Because you can't wait until the race is finished before you start editing.
00:04.400: Yeah, I think the first time I ever saw a growing file was about uh I'm gonna say seven or eight years ago, and it was uh Telestream.
00:04.400: Correct me.
00:04.400: Again, one of those things you just plugged it up and forgot about it.
00:04.400: You can hit the play button, it'll be plus or minus two frames, you know out, cut into music
00:04.400: Now I I got a I'm gonna throw out a disclaimer here, and I'm probably gonna get in trouble for doing this, but I actually know people that were in the broadcast truck.
00:04.480: There's just you know a great blog.
00:04.480: No.
00:04.480: Where's the finish?
00:04.480: So what were some of the things that were the the biggest pleasure in throughout the project where you just like kind of I mean, I know because it happens to me sometimes like, oh, I can't believe
00:04.480: And what the combination of things we had enabled us to do some quite complicated things, to put a lot of polish on pieces.
00:04.480: Before the tour started, and let's face it, I mean, I've used Final Cut Pro 10 from the day it came out.
00:04.480: Yeah.
00:04.560: 3, and I've talked about this many times in the last few episodes, we have this ability to make and and Peter, I'm curious what you call it.
00:04.560: Or do what you had to do with the Final Cut Pro um uh seven
00:04.560: So it it's just very, very quick to be able to do something like that.
00:04.560: I know you have a full day of work to do, Peter, but I'm going to ask you one last question that I ask everybody on the show, and it's kind of a fun one, and I'm very interested in hearing your take on it.
00:04.560: Now I'm looking at the timeline.
00:04.640: And if you don't know Peter Wiggins, you probably at least know about fcp.
00:04.640: But parts parts one, two, and three
00:04.640: Like I said, if it's already on air, we can't join it together.
00:04.720: And hopefully at home you'd have seen a good show, a good cycling show.
00:04.720: But it's really the the the the the packaging around that and then cutting the race down
00:04.720: With a growing file, you can go into record.
00:04.720: I must see him.
00:04.720: And you mentioned you had four editors.
00:04.720: The majority of them had AJA four K's hanging off so you could have a broadcast output.
00:04.720: So gone through a whole lot of technology to where we are now.
00:04.720: It has to be there.
00:04.720: Doesn't that act as a a zero frame cut on the video?
00:04.800: My name is Chris Fenwick.
00:04.800: It's not.
00:04.800: That, in and of itself, is a good business lesson for anybody who's trying to start a business.
00:04.800: That all gets posted there and stuff.
00:04.800: Part four is the finish of the race.
00:04.800: And I think, as I said in the article,
00:04.800: And that's what we did previously with when we were using Fonica Pro 7.
00:04.800: I just think the amount of people they had connected just probably brought the whole thing down.
00:04.800: He's going up and down.
00:04.800: co.
00:04.880: .
00:04.880: So it actually does a file transfer to the EVS.
00:04.880: It's coming from France.
00:04.880: So so we we tend to share share the stuff out.
00:04.880: And when it comes down to four part four, so part four A is normally cut by edit four.
00:04.880: And um Sans with video are designed for um
00:04.880: And that's where the Sandlinks came in.
00:04.880: And pretty incredible.
00:04.880: That's okay.
00:04.880: From now on, I'm having it set on 0.
00:04.880: Yeah.
00:04.880: Well, you know, I mean, to be fair, Peter, I mean, a lot of the roles you can do in the bin before you even bring it to the timeline.
00:04.880: Go find it.
00:04.880: Oh, you're more than welcome.
00:04.880: If people want to follow you on Twitter, what's the best place to look for Peter Wiggins?
00:04.960: com.
00:04.960: Would you like some toast?
00:04.960: So there was no loading in of the media from the previous day.
00:04.960: I I want to know.
00:04.960: So previously, you might have had fiber channel and it goes into an HBA in your Mac Pro, et cetera.
00:04.960: We had a FileMaker Pro database with loggers who sit there and tap in time codes, yellow jersey across the line or
00:04.960: Very good point.
00:04.960: Okay.
00:04.960: Well, I use roles, but on another project.
00:04.960: You the guy who mixes it is not going to sit down and kind of
00:04.960: Well, no, I'm just saying that one of them I used extensively on a project this just this last week, and it was awesome.
00:05.040: And the XML, it kind of works for basic things, but it
00:05.040: You know, we had we had the best stuff out there.
00:05.040: And the AP who I was working with, I you know, started working with him and showed him how quickly this thing could render.
00:05.040: Yeah, I did see that on Twitter and I meant to ask you about it, but this has been
00:05.040: If you go to iTunes and search for Final Cut Grill
00:05.120: I can't watch stuff quicker than a certain speed.
00:05.120: But and you know, a year ago, I would have said I knew it well.
00:05.120: Now, I would have loved to have had an audio only dissolve to be able to just click on the audio and do the dissolve.
00:05.120: Yes?
00:05.120: And I know that your Idustrial Revolution plug-ins are available in FX Factory.
00:05.120: Uh nutty, huh?
00:05.200: It is the easiest little ecosystem to shop for and try out and ultimately purchase plugins.
00:05.200: It's iDustrial Revolution.
00:05.200: I'm staying up late, you know, across the pond, the whole thing.
00:05.200: Chris Hawkings?
00:05.200: And again, everybody pointed the finger at Final Cut Pro 10 because it was the new kid on the block.
00:05.200: So that's why I've made up this term trim a trim library.
00:05.200: Already the had been taken for granted.
00:05.200: It it it just takes away that
00:05.200: I totally I totally get what you're saying.
00:05.200: So I think now Audi only dissolves.
00:05.200: I don't think it would be on I d I think the days of having an audio window pop up with the faders and everything
00:05.200: No, because I think everybody's got a story.
00:05.280: You gotta go check out FX Factory.
00:05.280: I know you had some Mac Pros, and you had the Sand.
00:05.280: There it is.
00:05.280: And I opened it because I had heard him muttering about, oh, that don't want to do too much motion blur, the render will take too long.
00:05.280: Or just a hold frame, shift H to hold it.
00:05.280: Yeah, yeah, so so
00:05.280: Well, now that we got that worked out, that's not what I want.
00:05.280: Hold on.
00:05.280: So yeah, you can't put a dot in the username.
00:05.360: And we've got possibly about fifteen people and a truck that go to the finish every day.
00:05.360: And the easiest thing would have been to use Final Cut Pro seven because all the people are used to it.
00:05.360: But then again, you've got disk drives that are getting bigger and cheaper.
00:05.360: As opposed to, you know, just the
00:05.360: Let me think.
00:05.440: And um we've got some great people on the site.
00:05.440: Do you know what?
00:05.440: In fact, it actually starts rendering.
00:05.440: And I've said this to the audience.
00:05.440: And he said, I really like it, but can you swap those two shots over?
00:05.440: Yeah.
00:05.440: And it's taken a while to come back
00:05.440: I pop up quite often.
00:05.440: He got up really early and I had to stay up really late.
00:05.520: Absolutely brilliant.
00:05.520: It would just kick the thing out within minutes, and we could get that down for broadcast.
00:05.520: When the technology starts to really dissolve away and you don't have to take the technological
00:05.520: And even if you're, I think, even still, if you're partway through rendering a clip and you abort for some reason.
00:05.520: Not iMovie, but Final Cut on the iPhone.
00:05.600: I want to break it down for me.
00:05.600: Those went on to the seventy terabyte SAN, connected via SAN links, PROMIS SAN links.
00:05.600: I mean, you're going between shot A and shot B, and you want to crossfade the audio, but you want it to be a cut.
00:05.600: And and then in I think it's the alien
00:05.600: I just needed everything like that in one place, and that's why I wrote it.
00:05.680: And what we're going to talk today about is an article that he put on FCP.
00:05.680: And so you weren't actually taking Elvis
00:05.680: We would pick up the growing file.
00:05.680: Explain what you mean by a growing file.
00:05.680: Um but what we had to do we had to before doing that
00:05.680: He would try and he would find the app the item
00:05.680: I'll tell you that.
00:05.680: How did that integrate into your pieces?
00:05.680: Yeah.
00:05.680: Mooncat?
00:05.680: co?
00:05.680: Anyway, I was up really late, but it was fun and I can't wait to talk to
00:05.680: You'll be able to just sit there and diddle-fiddle the
00:05.760: When does the last bit of media come into you?
00:05.760: Now, how did you actually because and I'm I'm leading
00:05.760: And anytime something cool happened in your slow-mo, in your
00:05.760: I did a job on an iMac last week on it.
00:05.760: And I think that you know, ultimately, the other guys, and I don't want to, I don't like
00:05.760: Before and after the tour, my opinions changed, and I had to put my hand up and say
00:05.760: I've been wanting to sit down and talk to you.
00:05.840: So he's a trenches guy.
00:05.840: Do I ever say that?
00:05.840: And yeah, I I was just working on a piece just the other day where
00:05.840: Well, I before the tour, my one of my number ones, I think I had three was audio only dissolves.
00:05.840: Good grief.
00:05.840: Explain what you were talking about there.
00:05.840: Okay.
00:05.840: This is our Friday episode.
00:05.920: So, you know, first of all,
00:05.920: So you can't really go completely
00:05.920: That's impressive.
00:05.920: So you go, so you go, right, okay, I need the previous multilateral from what happened.
00:05.920: It's the consolidate file.
00:05.920: Yes, yes.
00:05.920: Right.
00:05.920: We just didn't really bother about it because we could watch a lot of stuff if it was quite complicated.
00:05.920: And the chunks that it renders are like and big chunk, bang chunk
00:05.920: Excuse me.
00:05.920: Keep going.
00:06.000: He was a guest on the show.
00:06.000: So it's 7 p.
00:06.000: It's the race coverage by the French.
00:06.000: Just out of curiosity, as an editor, what is the transition point between for A, B and C?
00:06.000: Yeah, I remember that.
00:06.000: So I think the speed of it.
00:06.000: It's really astonishing, isn't it?
00:06.000: You know, yelling down the hall.
00:06.000: There's a million places to follow you.
00:06.000: Oh, yeah, if you have an idea, if you have an idea for somebody that we should talk to.
00:06.080: So that's kind of a Switchmaster.
00:06.080: No, I want to see the timeline
00:06.080: Yeah.
00:06.080: I'm on to half a second.
00:06.080: What would be what would the Peter Wiggins feature be?
00:06.080: And they go, Oh, okay.
00:06.080: Well, keep keep keep them coming.
00:06.160: Those of you who have timed your morning commute to a one-hour Final Cut Grill, I apologize.
00:06.160: So you have to be slightly careful.
00:06.160: So not only were we making a seven o'clock show on the first three days on ITV4, but we were live on ITVON.
00:06.160: Previously with Final Cut Probe 7
00:06.160: Do you see the interface for that being some sort of an audio mixer window?
00:06.160: So let me play devil's advocate.
00:06.160: That's how we always refer to them here.
00:06.240: So premiumbeat.
00:06.240: So, Peter, you there?
00:06.240: There's that, followed by a bit of studio chat between
00:06.240: However, during the day
00:06.240: It'll go as quick as you can work it.
00:06.240: But I knew that I didn't know everything, and I knew that a lot of what I was doing was working was workarounds.
00:06.240: What I'd like is to be able to go to the top of a clip.
00:06.240: Like even in your
00:06.240: And you know, I've
00:06.240: And then you go, oh no, that's not long enough for that one.
00:06.240: Anyway, that's my prediction for the future, near future, long term future, whatever.
00:06.320: And it's a great story.
00:06.320: And then there's the whoosh, the uh and and those sound effects were actually created for me.
00:06.320: I'm curious.
00:06.320: I hadn't drunk their tea or anything.
00:06.320: And if you actually then, at that point, right below those two things in your file menu, copy to library and move to library.
00:06.320: And I tell people all the time, there's no such thing as the good old days in this business.
00:06.320: Now you've got favorites and keywords.
00:06.320: Let's put it another way.
00:06.320: But if I had one
00:06.320: I think with that A8 processor
00:06.400: So go check out their website, if nothing else.
00:06.400: Yeah, let's expound on that a bit because I'm
00:06.400: So clearly, there's something I'm not understanding.
00:06.400: They're based out of my own personal needs.
00:06.480: Like I've been following him for a while and I tried I tried to get him on the show a few several weeks ago, maybe a couple of months ago now, I can't remember.
00:06.480: Wow.
00:06.480: And I mean, it took a bit of getting your head around because
00:06.480: And then if we used Optical Flow, we'd go and find the Optical Flow files and manually delete those out of the library before zipping that up and putting that on the SAN.
00:06.480: It's um and
00:06.480: Actually, I think
00:06.480: The magnetic time line is absolutely brilliant because you can actually dig deep into a complex package that you've edited.
00:06.480: There are definitely times when you want to be able to do that.
00:06.480: And there's that point where you're like, oh, I got to show this to somebody.
00:06.480: They're in for a really rude shock.
00:06.560: And I'll send you a link afterwards, Chris, because it's just an amazing story.
00:06.560: Yep.
00:06.560: , and it's pretty unstable.
00:06.560: We were live
00:06.560: Then we went to using something called a Grass Valley Profile as a file server into an edit suite with a BVE
00:06.560: And we've only got a quarter of an hour before air.
00:06.560: Uh keep going.
00:06.560: Or does it stay with the clip that it's connected to?
00:06.560: There's a lot of power there.
00:06.640: We were on air every night, seven o'clock till 8 p.
00:06.640: So two things really, it's the packaging around the actual race and then
00:06.640: So that's the element that we use for
00:06.640: Finish recording.
00:06.640: And in a lot of ways, it's kind of like the old scratch disk.
00:06.640: And I was surprised he responded back and he goes, It's leaving here fine.
00:06.640: And
00:06.640: Yeah, exactly.
00:06.640: Yeah, you're referring to the yak.
00:06.640: I haven't seen that one.
00:06.640: Not again, Chris.
00:06.640: I know you could we'll we could swap that around.
00:06.640: And I gotta say, I have on multiple occasions had people go, Hey, I want to be on the show.
00:06.720: Okay, cool.
00:06.720: Well, first of all, all our media was external.
00:06.720: So what we ended up doing is doing copy to library
00:06.720: And this now is all in one two gig.
00:06.720: Where's the presentation?
00:06.720: I'll tell you one day.
00:06.720: A lot of our stuff's got subtitles over it because people obviously speak in French or whatever language, a lot of Spanish.
00:06.720: No, I just think the amount of people who tried to watch it were probably the cause.
00:06.720: There you go.
00:06.720: And you can leave stars, five stars, four stars.
00:06.800: Now the problem with.
00:06.800: Well, we all kind of like have a job.
00:06.800: Not having to worry about things, being able to edit close to where during air.
00:06.800: And it it just it just did it, and we just didn't have to worry about it.
00:06.800: It's like a let's just do it.
00:06.800: Okay, I want to talk about your you mentioned that you set the render delay to 10 seconds.
00:06.800: All right.
00:06.800: I just don't see stopping every clip and restarting my mix mode.
00:06.800: It's been very good.
00:06.880: The guy who has got I think it's CP, so he can only control Final Cut Pro Ten with by
00:06.880: So let me ask let me clarify a few things here because I think we're having some colloquialism.
00:06.880: And that library opened up within two seconds.
00:06.880: And he he just went, I know how quick this thing works.
00:06.880: But with the speed
00:06.880: Yeah, no, I get it.
00:06.880: And I've just I came across
00:06.880: Well, you know, have a great weekend.
00:06.960: And this is episode 080.
00:06.960: m.
00:06.960: That's the guys going over the line.
00:06.960: So consequently
00:06.960: Yeah, yeah.
00:06.960: That's what it was there for.
00:06.960: However,
00:06.960: It just worked perfectly.
00:06.960: So I've I've cut the show
00:06.960: Yeah.
00:06.960: Well, you can once.
00:06.960: 1 seconds.
00:06.960: Exactly.
00:07.040: And so
00:07.040: So come the next morning, you guys all have one library that you can deal with.
00:07.040: Exactly.
00:07.040: It was just literally, as soon as he said it, I did it.
00:07.040: You know, yesterday was the iPhone 6 announcement.
00:07.120: Wow.
00:07.120: You know, not only was the thing long, but it was wide.
00:07.120: That's what I call a trim library.
00:07.120: There's always that clock.
00:07.200: I also want to thank the guys at Premium Beat.
00:07.200: So that would be that would be the December twenty ten.
00:07.200: tonight.
00:07.200: Goodbye and a closer, and that's 4C.
00:07.200: Now you each have your own library that you're working on, I'm assuming.
00:07.200: You know, I have said that
00:07.280: Go back a few episodes.
00:07.280: That's why you have the website so you can store them all someplace.
00:07.280: Well, yeah.
00:07.280: Okay.
00:07.280: People that have followed this ridiculous little podcast we've been doing here have seen Chris Fenwick go.
00:07.280: Alex Golner, Alex4D actually has an effect on his website of free plugins.
00:07.280: If you were mixing an if you were mixing a
00:07.360: But with a growing file, you get one file and you can access the thing within five seconds of real time.
00:07.360: Yeah.
00:07.360: So yes, zip the library up and drop it on the sand.
00:07.360: We had dual fibers going into a Sandlink.
00:07.360: Because it just chews through those time lines sometimes.
00:07.440: And they actually sell their plugins on FX Factory, which is a sponsor of the show.
00:07.440: I like to discover things.
00:07.440: You can walk out.
00:07.440: There were quite a few boxes in a storeroom somewhere of all the stuff.
00:07.440: Why am I getting a beach ball?
00:07.440: And he was doing them in After Effects and I was cutting on the Mac Pro and
00:07.440: I wouldn't really want to go any closer than that.
00:07.440: So to ten seconds.
00:07.440: You're also bringing up a really good thing that I think a lot that doesn't really get discussed and talked about very much because
00:07.440: I got it set on minus five.
00:07.440: People love tutorials.
00:07.520: You also periodically will post I don't know what you'd even call it, but like a review or a
00:07.520: Cool.
00:07.520: So you have multiple libraries on multiple machines.
00:07.520: And so when you do that consolidate files, it's going to make sure that everything that that library file needs, regardless of where it
00:07.520: I remember that.
00:07.520: Even in regard to undoing, if you undo back to a state where it was rendered,
00:07.520: Not again.
00:07.520: There will be a day when you're going to like, really?
00:07.600: He cuts.
00:07.600: And we get really nerdy and really geeky about all the little details about that.
00:07.600: Well, ITV4's got an on-air look.
00:07.600: Yes, this is like one step away from like Marty McFly in a time machine in actuality, because it's really weird when you've seen it happen.
00:07.600: We're in a big London Central Soho
00:07.600: But now it's big news.
00:07.600: Or how long is it going to take to do it?
00:07.600: Sometimes when you pause.
00:07.600: And then
00:07.600: But there are other things I've heard a lot of other editors whinge about, why doesn't this do this?
00:07.600: No.
00:07.600: Yeah.
00:07.600: And we'd made something quite complicated.
00:07.600: And it was funny, you know, we were supposed to start at 11.
00:07.680: But so we had access to one hundred and fifty hours of archive that you could just skim over.
00:07.680: Absolutely rock solid.
00:07.680: And about quarter of an hour before on air, and this is
00:07.680: And
00:07.760: They flew into London City Airport.
00:07.760: You know, the top of the show is probably packaged up, etc.
00:07.760: So a trim library, basically you're keeping no media, renders or proxies or anything in the library.
00:07.760: I mean, I can only edit
00:07.760: No, I don't want to be the one that
00:07.760: What I really want is audio automation
00:07.760: And I think that would be the quickest way.
00:07.760: He's also not going to do it measure by measure.
00:07.760: And in the example you see on the side of the timeline, that's exactly what's there.
00:07.760: So I think we stocked for another 15
00:07.840: That's the getting the guys over the line.
00:07.840: So there's no paper logging.
00:07.840: That was metadata.
00:07.840: I I I'm obviously confused.
00:07.840: Right.
00:07.840: Makes sense.
00:07.840: So you're highly compressed, too.
00:07.840: I think that was on Twitter.
00:07.840: All right.
00:07.920: The multilateral is host broadcaster, so that's the race.
00:07.920: The unilateral is
00:07.920: And they went, you know, is everything all right?
00:07.920: Before the thing goes out
00:07.920: And then there's edit three as well.
00:07.920: Yeah, if something's turned off or or whatever, it can can get can can can get a bit tricky.
00:07.920: What does that sound like?
00:07.920: Absolutely.
00:08.000: How did when did you start it and how did it come about?
00:08.000: Are you am I going to be watching what happened today on the race?
00:08.000: And that box caused the sound to slow down on the first day, and then we had to play off the time line.
00:08.000: So
00:08.000: Now, if you come to putting audio dissolves on things, I'm not too sure how that's going to work.
00:08.000: But for the tour, we haven't got time to sit there and fiddle with rolls.
00:08.000: And you have to get them in.
00:08.080: Yeah, you talked about by setting up on two monitors, you could put your
00:08.080: I can't move my fingers quicker than a certain speed.
00:08.080: We're going to have to start breeding editors with an extra hand.
00:08.080: You want to go in and swap a couple of shots round.
00:08.080: Yeah, exactly.
00:08.160: co
00:08.160: Quite often that's referred to, at least in the States, they call it the Elvis, I believe.
00:08.160: So the EVS op would do would stitch together parts four A, B and C sometimes.
00:08.160: I think it was Final Cut Pro
00:08.160: And then you that would get zipped up
00:08.160: So you could just say
00:08.160: We'll be back on Monday.
00:08.240: And then when the producer would say, I need the the
00:08.240: 1 seconds.
00:08.240: And there's actually a freeze frame of this on your write-up about the Tour de Ferre.
00:08.240: Because the technology gets out the way, you can concentrate on what you're doing.
00:08.240: Well, thanks for your time, Peter.
00:08.320: com, they have great music that's easy to edit and they also have a great website.
00:08.320: But thanks for doing this.
00:08.320: So it's you can
00:08.320: Yeah.
00:08.320: And I went, like that.
00:08.400: And
00:08.400: And you can set the thing recording.
00:08.400: It's you know, once it's gone out
00:08.400: We had every clip
00:08.400: Zipping up, very important.
00:08.400: You're always cutting with one eye on the clock, and it it keeps keeps you sharp.
00:08.400: And you want that
00:08.400: Yeah, yeah, yeah.
00:08.480: We've got four edit suites that have to work together.
00:08.560: And as a result of that going on there, um
00:08.560: Basically, it was quarter an hour to line up your one inch suite and then half an hour to have a cup of tea, wasn't it?
00:08.560: Yeah, one day.
00:08.560: That's a lot of media.
00:08.560: Anyway, I've got a question for you.
00:08.560: Like I run into something, I was like, oh, good grief.
00:08.560: Very much so.
00:08.560: So I hope you agree with that.
00:08.640: We get the parts down to the EVS
00:08.640: I guess.
00:08.640: But for Final Cut Pro 10 users
00:08.640: Yeah.
00:08.720: Why am I doing this?
00:08.720: Or does the audio dissolve
00:08.720: If you're doing a history piece
00:08.720: Because on the face of it, Final Cut Pro ten
00:08.720: Bruce the Wonder Yak was a little Easter egg in old Final Cut.
00:08.800: I don't, you know, maybe I don't know what he does there.
00:08.800: And then the EU.
00:08.800: So normally I make part one.
00:08.800: I don't know that
00:08.800: Yeah, well the program comes first, and that's how it should be.
00:08.800: So let's say you were going from something that's really noisy into an interview.
00:08.800: And it's got a chipmunk, a squirrel
00:08.800: Exactly.
00:08.800: Shift T to grab all the tracks from here to the end and yeah.
00:08.880: Do you have a name for that?
00:08.880: One is called copy to library and the other one is called move to library.
00:08.880: They were recorded on a on movie recorder on Mac Pros.
00:08.880: The more real estate you can have
00:08.880: And that includes skimming.
00:08.880: It's a great write-up just in general.
00:08.880: Right.
00:08.960: It was like, oh, yeah, that's right.
00:08.960: What was that?
00:08.960: It would just double the thing up for some reason.
00:08.960: Life on the edge.
00:08.960: You go, Come and have a look at this.
00:08.960: I appreciate it.
00:09.040: Today we have a great episode.
00:09.040: You must have misspoken.
00:09.040: And I'd have it on the timeline before he found it.
00:09.040: Anyway, that's a side story.
00:09.120: co.
00:09.120: But the
00:09.120: I've done sometimes the maps would be a bit long, so you'd
00:09.120: Thing goes off.
00:09.120: So it actually starts rendering before I finish.
00:09.120: And like I mentioned, they're available on FX Factory.
00:09.200: And those sound effects that you see, that you just heard, there's two of them.
00:09.200: I like to find out new things.
00:09.200: Now, I'm just going to say this: that
00:09.200: One day.
00:09.200: I know.
00:09.200: And then you have to swap that around.
00:09.280: What is Final Cut Pro 7 then?
00:09.360: So let's see, what's the best way to break this down?
00:09.360: Well, having said that after last night,
00:09.360: Really?
00:09.360: So it's FCP DOT.
00:09.360: We'll talk again later.
00:09.440: We're recording this on the evening of the ninth and or the evening of the ninth in California.
00:09.520: So the whole show's knitted from
00:09.520: And rendering, the the pauses that you have in editing
00:09.520: But
00:09.520: So
00:09.520: We've talked about this many times.
00:09.520: I'm so busy doing these crazy podcasts, I've done very few in the last uh
00:09.600: You know, the eye watch probably
00:09.600: Again, it's one of those things where once you've used, you just forget about it.
00:09.600: Oh, that's right.
00:09.600: This is really great.
00:09.600: And he went, Yeah, fine.
00:09.680: And
00:09.680: So every day
00:09.680: And I think it's really worth mentioning that Final Cut Tens
00:09.760: I have one of those too.
00:09.760: So that would be my
00:09.760: You know, we can do it.
00:09.840: That's what I'm calling.
00:09.840: They said, no, we've seen it.
00:09.840: We've only got a couple of hours or whatever.
00:09.840: Oh, and I want to talk about your ten-second render delay.
00:09.840: But you can't you can't do it.
00:09.920: The Exam, for some reason, doesn't.
00:09.920: Keep going.
00:09.920: I think you and I are on similar paths.
00:09.920: And does the does the well, does the audio
00:09.920: Okay.
00:10.000: They've been extremely generous in supporting
00:10.000: At the end of the day, you all zip up your library and you send it back to the the happy folder.
00:10.000: There was no managed
00:10.000: I totally know what you mean, and I would agree with you.
00:10.080: No problem.
00:10.080: We knew how to work it.
00:10.080: We had four suites.
00:10.080: It goes as fast as you want.
00:10.080: Correct.
00:10.080: I mean, roll-bass mixing and stuff like that.
00:10.080: And I mean, my last thought is that
00:10.080: And did you see the cool
00:10.160: Of course, yeah.
00:10.160: Yeah.
00:10.160: What I want to be able to have now
00:10.160: But we're on air at seven.
00:10.160: It was on Twitter tonight.
00:10.160: Yeah.
00:10.160: And I can't remember which one it was.
00:10.160: I have to open this?
00:10.160: I obviously do, and I enjoy talking to everybody.
00:10.240: Yes.
00:10.320: I had so much fun recording this.
00:10.320: Oh, that's great.
00:10.320: Um
00:10.400: co about a week or two ago.
00:10.400: etc.
00:10.480: And the upcoming Final Cut Pro 10.
00:10.480: Oh, no problem.
00:10.560: We had some local storage
00:10.560: On both ends of the clip, yes
00:10.560: And they go
00:10.560: But I will say that it's been
00:10.640: It's almost like the switched master.
00:10.640: Right.
00:10.640: How do you refer to that?
00:10.640: And it's been really exciting.
00:10.640: Thanks very much.
00:10.720: Glad to be on the show.
00:10.720: Go ahead.
00:10.800: And we went back out again.
00:10.880: That's all we wanted to do.
00:10.880: And there's
00:10.880: Like if you all you got to do is go look at the Apple
00:10.880: Keep going.
00:10.880: If you hate the show, whatever.
00:10.960: m.
00:10.960: Um
00:10.960: And you know, with the magnetic timeline.
00:10.960: And
00:11.040: So we dig FX Factory.
00:11.040: Set it going, said right, there you go, there's the monitor, board it up.
00:11.040: What were you talking about there?
00:11.040: I got my metadata right here.
00:11.120: on ITV4 with a four part show.
00:11.120: Yeah.
00:11.200: It was the first.
00:11.280: They had a
00:11.280: I need this, I need the graphics from yesterday, I need this, blah, blah, blah, blah.
00:11.280: In fact, it happened to me it happened to me
00:11.360: Okay.
00:11.360: We knew what not what to do with it.
00:11.360: And
00:11.360: And the Alex's plug-in doesn't do it.
00:11.360: I got that, yeah.
00:11.360: Yes.
00:11.360: And I gotta say, I
00:11.440: I like to tinker with bits and pieces.
00:11.440: Yeah.
00:11.440: Take care.
00:11.520: It's a bit early, but you'll survive.
00:11.520: And I would say, Hey, I posted that on my blog.
00:11.520: Is it some graphic sting?
00:11.520: We tend to call it media managing.
00:11.520: It's not us.
00:11.520: You're the first person I've ever talked to.
00:11.520: You've got some music along the bottom.
00:11.520: I know, it's funny how quickly.
00:11.520: Okay, whatever.
00:11.600: And I'm like, oh, what, what, what?
00:11.600: That's a big story.
00:11.680: I just want to talk about that for a second.
00:11.680: It'd play back anyway.
00:11.680: We can't say sorry, viewers.
00:11.680: You won't go into the deep bits of it.
00:11.760: This might go into your afternoon drive home.
00:11.760: I call it a trim library.
00:11.760: And we've hit that now.
00:11.760: As a matter of fact, even
00:11.840: I got on the phone with my friend Jeff Dyckhaus.
00:11.840: And it's funny.
00:11.920: It's better.
00:11.920: So go check out fxfactory.
00:12.000: All that went.
00:12.080: So things like pieces to camera.
00:12.080: But I gotta say.
00:12.240: That's what's coming
00:12.320: So if you open, let's say,
00:12.320: So there's
00:12.400: I've had the same experience.
00:12.400: It was maybe.
00:12.480: And, you know.
00:12.560: We just went, yeah, let's do it.
00:12.560: I've changed my mind.
00:12.560: It's like, like
00:12.640: There's the little.
00:12.640: Having
00:12.640: And also, you get into this
00:12.720: Yeah, yeah.
00:12.800: I'd really like this.
00:12.800: Hey, so I'm going to mention real quick
00:12.800: So y you
00:12.800: Yeah.
00:12.960: We knew it was slow.
00:12.960: That's awesome.
00:12.960: Where's my binder?
00:13.040: As I said, graphic overlays.
00:13.120: You go, yeah,
00:13.280: I don't know.
00:13.840: Rude.
00:14.000: Okay.
00:14.080: So
00:14.080: com.