Episode 82
FCG082 - TED Cuts in FCPX? (feat. Michael Glass)
TED Conferences’ Motto is “Ideas Worth Spreading” and now they are spreading this idea, “FCPX is a powerful tool”. Hear what happened when TED, which turns out TONS of content, decided to go all Final Cut Pro X in New York City. Also, don’t miss the discussion at about 47 Minutes about their export procedures… VERY interesting stuff.
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00:00.001: I think one person started maybe a couple months ago.
00:00.001: So Sam Mestman from FCP Works sends me an email the other day, about a week ago, I guess it was, and he says, Ah, you got to talk to these guys from TED.
00:00.001: And Hamish thought it was just one of his friends, you know, bullshitting him.
00:00.001: It's a long way of saying even though the feature set of all the graphics and the ability to integrate motion and set up rigs and all that has reached its prime, it's just at the moment
00:00.080: Entertainment design into everything from anthropology to physics to et cetera, et cetera.
00:00.080: Bring us their feedback.
00:00.080: both human readability and reliability.
00:00.080: with with the operator's button.
00:00.080: petabytes here, petabytes, however you say it finally, of um of media just accumulating.
00:00.080: is a hard pill to swallow.
00:00.160: Go check out their music.
00:00.160: Ted Ted.
00:00.160: more or less academic lectures, twenty minutes long online.
00:00.160: Draw, if you know, yes.
00:00.160: Conference and the communities even more engaged in interesting ways.
00:00.160: that they put online and whatnot.
00:00.160: Yeah, I got involved uh with one of our clients.
00:00.160: Would would fall into that trap a lot of sort of the decapitation shot of the screen going through the back.
00:00.160: So I've done a little video doing one of the TEDxs.
00:00.160: I'm sort of responsible for that.
00:00.160: Filming video at TED conferences.
00:00.160: That's not going to happen.
00:00.160: you know, the Linda course and Ripple and uh two more that I'm forgetting, um assets or you know, videos available internally for people if they wanted to
00:00.160: The best work out of myself.
00:00.160: Then by saying more thoughtful, is it because you can look at it and see the cuts and say, oh wow, I've been on this camera for a long time?
00:00.160: Stop the whole thing.
00:00.160: That you work with the libraries.
00:00.160: Feature ads.
00:00.160: To be defensive about Final Cut 10, that it's just another major do you like this way or do you like that way?
00:00.160: You know, plenty of TED talks over the years, and I gotta say that just aesthetically, they feel very natural in the cuts, and frankly.
00:00.160: You know, they tend to call the guy sitting at the production switcher a vision mixer.
00:00.160: In today's day and age, so much of what we do is, and hey, I'm guilty of it too, three kids and their DSLRs and I'll figure it out and cut it later.
00:00.160: And that almost no, he is.
00:00.160: I said, so what do you think of the new album?
00:00.160: For a freelance editor a couple weeks ago, and for the first time made being fluent in Final Cut 10 a prerequisite.
00:00.160: Terrific freelancers.
00:00.160: vocabulary, visual vocabulary.
00:00.160: At NAB of this year twenty fourteen, Apple officially stated that they had sold that there were a million seats out there, a million paid copies.
00:00.160: But they don't say they don't think it's Final Cut 10's multicam.
00:00.160: are proactive about coming together and sharing, oh, I found this out, or here's how I solved that.
00:00.160: of the software that you didn't quite know were there, but suddenly opened things up.
00:00.160: pilot's cockpit control panel thing of having every last switch.
00:00.160: Where we don't need it as much.
00:00.160: No, no, no.
00:00.160: Well, that sounds weird, but me and our one freelance engineer in the corner.
00:00.160: For us, for the titles back in, I forget his name.
00:00.160: Apple, I think, has really taken pains with ProRes to strike the balance between quality, fidelity and file size.
00:00.160: Kind of an impossibility.
00:00.160: say, well, I'll export the proxy, hope it's good, send in the the XML and and sort of kiss it up to the fates is um
00:00.160: Saying it, I use Final Cut 10 makes you just kind of feel dirty and guilty and hiding in the corner at NAP.
00:00.160: Ted use the same tool that I'm doing.
00:00.240: If you've been listening to this show at all, you know who Sam Mestman is.
00:00.240: production and live multi camera production, there's some interesting stuff in there.
00:00.240: but it was so great.
00:00.240: exactly where I wanted it to be.
00:00.240: happened once a year in Monterey, California.
00:00.240: The organization, there's actually no person here named Ted.
00:00.240: for most everybody, and um it seemed a shame to be kind of um siloing all all these ideas.
00:00.240: As the focus of it.
00:00.240: Feel like talking about it, just let me know.
00:00.240: Posted it and we were sent some guidelines at our company, you know, like you know, how to do it.
00:00.240: You either show the whole screen or you have no screen.
00:00.240: the the hard close where I made people vow they wouldn't open Final Cut seven again unless they absolutely had to.
00:00.240: software for various reasons and they've got their tech.
00:00.240: Opinionated ones, but we landed on 10 in the end and are quite happy.
00:00.240: we'd enjoyed geeking out on the stuff and it would be a thing.
00:00.240: Basically, the implication of that phrase is that if you've chosen anything else, you're not making an intelligent decision.
00:00.240: I'm assuming the people from the TED conference would make an intelligent decision.
00:00.240: It's just smooth.
00:00.240: months ago until we started with ten, which is a sort of dirty secret.
00:00.240: The reasoning is because there's so much overhead, so much logistical madness to make a change that you're going to be thoughtful.
00:00.240: it's thoughtful when you do the sync and stack method.
00:00.240: all your decisions or all your options available to you and just hitting a button and carrying on.
00:00.240: Probably a medium, too, you know.
00:00.240: the uninterrupted editing obsession they have in creating it, that that things get in your way as little as possible.
00:00.240: Do you believe the editors have more time to focus on editing and finesse?
00:00.240: And really what it ends up happening is that the time that was spent doing mechanical things is now spent on aesthetic things.
00:00.240: Oh, here, I could ask it like this.
00:00.240: And so there is some of that on occasion that happens, but I I understand.
00:00.240: Fine, I'm sure it'll be better.
00:00.240: Patently clear that it's a grown-up player in the space.
00:00.240: No.
00:00.240: We're still complaining about that today.
00:00.240: Pretty revolutionary.
00:00.240: you don't want to say, no, we really put a lot of work into these, you know.
00:00.240: cast to attendees who aren't in the theater at the same time and the TED Live program people who stream the conference.
00:00.240: And the next morning, he rings up Hamish on the phone and he's like, Hey, this is Bonno.
00:00.240: You know, but it's just if you're interested in the concept of live production, I would highly recommend taking a look at that because
00:00.240: But the DVD has incredible behind-the-scenes stuff.
00:00.240: The Victoria Secret shows.
00:00.240: So the next night they turned off all the extra lights that they had set up, and Hammus shot it as it was lit for the concert.
00:00.240: I just got back from Dublin seeing you two play at Croke Park.
00:00.240: A lot of people say, well, I need to go with Premiere because that's what it seems like everybody else is going with, and it's easier to find freelancers.
00:00.240: The workflow around it because that's what the work was that was coming in.
00:00.240: the people who sort of dove in because they could afford it or could get their hands on a copy and whatnot brought something new to the to the whole
00:00.240: Now we all know a lot of people bought copies, played with it, said I got ripped off and never opened it again.
00:00.240: What they also said was, however, we also know that a lot of you are buying one license and putting it on mini machines.
00:00.240: It's impressive.
00:00.240: Interesting to hear that it wasn't just us also who sampled.
00:00.240: How are they taking it?
00:00.240: But there are certainly editors who have taken to it with a lot more gusto than um than others, and Sam can share share which of those are.
00:00.240: bits and bobs that are like, whoa, that audio editing is a lot more pleasing or wow, you know, multicam really is great.
00:00.240: come around the bend.
00:00.240: Progressive disclosure.
00:00.240: And it's a fun piece of the process.
00:00.240: Oh well, that's a you know hanging out's a generous phrase.
00:00.240: I was really down on Steve back in 2011 when this came out, and I'm sure that people could find some really negative things that I said about him.
00:00.240: with Premier, for instance, they they lay it all out there.
00:00.240: File, it doesn't have those lower thirds in, and then in the encoding process, um we lay them over.
00:00.240: Bespoke back-end process for some of him.
00:00.240: Signed up our CTO, I don't know how long ago, a year or two ago, and he really wanted to mature.
00:00.240: superimposes um we use ffmpeg um uh to to process various things.
00:00.240: Sure, yes.
00:00.240: I think Hulu might be one, or maybe it's Netflix, but there's dozens all over that stipulate: we cannot have, you can't have a link.
00:00.240: In FFmpeg, I actually could send you the docs and documentation on that.
00:00.240: language tools.
00:00.240: craziness to get it so it's consistent, giving all the variety.
00:00.240: Listeners to this show know that I'm a huge After Effects fan.
00:00.240: where if you have a bunch of lower thirds to create, you can actually import you can run a script that will access a tab-delimited
00:00.240: And you just run that script and boom, you have all your compositions already made, like in no time.
00:00.240: Yeah.
00:00.240: and get access to the programmers and get away from all the marketing and all the off front office people and say, hey, you have to build me this one feature, this one
00:00.240: file size and storage space, no matter how much storage space comes down, it's still just a headache to I mean, I can't you know, we have
00:00.240: advances in encoding to me have this quiet but profound impact on the entire editing workflow and the industry.
00:00.240: the happier I would be.
00:00.240: The masking and tracking all that right is a little dicier.
00:00.240: Oh, I mean they're they're great.
00:00.240: Well, it was essentially six or seven different both editing styles as well as roles from our AE to our
00:00.240: In the encoding process, that like blew my mind.
00:00.240: want to find, you know, Ted is all over YouTube, but you know, they're also Ted.
00:00.320: And he's actually been a shunt on the show many times too.
00:00.320: It's great music that edits well.
00:00.320: Oh no, I'm excited.
00:00.320: decided to put a couple of the talks we had online.
00:00.320: Thank you.
00:00.320: licensing is the wrong word because it's for free, but sort of signing people up to put on their own conferences as long as they followed some rules.
00:00.320: you know, you're never supposed to have the person, the the you know, the presenter and part of the screen in the shot.
00:00.320: It looks bizarre, and because it's tricky to place the screen in the camera, and the speaker in the right alignment, people
00:00.320: QC, so he watches every talk we put out on every platform.
00:00.320: or maybe a little after that, and had been on Final Cut 7 up until officially September 1st was the
00:00.320: their opinions and then we have the engineering team who need to hook into the the
00:00.320: Throw a dart at a board or flip a coin.
00:00.320: and ten.
00:00.320: not to sort of just read up on it and try it for a half hour, but actually kind of get their hands dirty and then, you know.
00:00.320: A great guy.
00:00.320: value to that approach.
00:00.320: Three and two, and just make it inactive?
00:00.320: Are are you finding that the edits are going a lot faster because of that?
00:00.320: I'm literally given like five hours, and it used to be, you know, a day and a half.
00:00.320: insisted people jump to it in the 10.
00:00.320: I think June 27th, somewhere around that week.
00:00.320: Press uh lingers.
00:00.320: Yes, our our full-time edit suites.
00:00.320: when Sam mentioned that, you know, a little bit about what you guys were doing, I was like, wow, they cut those?
00:00.320: you know, like a natural live switched master is what I'm saying.
00:00.320: Accurate, dead, dead cut.
00:00.320: rely on that.
00:00.320: You know, as an aside, there was a DVD that was released in, I believe it was 2001, Christmas of 2001.
00:00.320: And it was a YouTube concert from Boston.
00:00.320: But um so Hamish directed the live from Boston um 2001 D V D and I believe it was 2001 and um
00:00.320: He was discovered by Bono in London.
00:00.320: And you two played at that concert.
00:00.320: But the way Hamish directs is he says, I'm liking four, three, and one, seven, I hate that.
00:00.320: Directing the cameras ahead of the cut, and the vision mixer is choosing from what Hamish has limited down to being the things that he actually likes.
00:00.320: So they could map it all out and figure it all out.
00:00.320: Than you know the live experience, and we need more light, we need more light.
00:00.320: And he made the guys work harder at getting his focus.
00:00.320: It's really beautiful.
00:00.320: around the theme of the song.
00:00.320: yesteryear, if you will.
00:00.320: You must have been happy with uh the Apple's uh release, the the thing.
00:00.320: director is Michael Dempsey.
00:00.320: And I was like, oh, we're going to get three resumes and it's going to be, you know, sophomores at whatever school here.
00:00.320: the the pool was just as rich and interesting.
00:00.320: And you're going to find more and more work that is actually beginning its origins in 10, and they never even really consider doing anything else.
00:00.320: with Alex Golner's prediction, if you will.
00:00.320: With 10 than we ever did before.
00:00.320: And then but but the flip side is that of that is you can buy a license and put it on multiple machines.
00:00.320: Yes, probably a lot of people bought it, paid the money, did not bother to try and get a refund, and just you know, just were $300 more angry at Apple and held on to that grudge.
00:00.320: So finding freelancers not diffi less is it fair to say less respondents but but higher caliber?
00:00.320: Hate and eye rolling.
00:00.320: huddle on that stuff.
00:00.320: I mean, it's a cliche, but it's it's fun again for so many of us.
00:00.320: with me when I mentioned that we were thinking of turning over.
00:00.320: the matter at hand, the important stuff.
00:00.320: Mark where they want certain lower thirds, the speaker name and the event, place and date to come in.
00:00.320: thing.
00:00.320: And I agree with you, the Multicam in 10 is very buttery.
00:00.320: We've simultaneously been offloading a lot of that to the encoding process that the editors will
00:00.320: We can talk about the exact date of when you'll start seeing talks that do that.
00:00.320: information so that when it goes into encode for the various platforms.
00:00.320: Then, because it's associated with the speaker ID, it pulls down the speaker's name with the exact spelling and the event location and date with the exact figures.
00:00.320: Who they are, when they spoke, where they spoke.
00:00.320: We have a lower third that comes at some point when the editor deems it right, saying for more talks, visit TED.
00:00.320: This link at the bottom.
00:00.320: Problem built up, and finally, we said, you know what, we're going to export what's called the clean, which is nothing superimposed.
00:00.320: the engine behind it?
00:00.320: is far wider, and that's where the titles were originally made.
00:00.320: down once.
00:00.320: Or the tool is exactly where you need it to be.
00:00.320: how it's refining, the tool is in such great shape.
00:00.320: but they can at most get 75 megabit up and down on files.
00:00.320: the editors feel most comfortable looking at the final export in the way that it's going to go through the encoding process.
00:00.320: For two or three reasons.
00:00.320: briefed on where we are in the process.
00:00.320: Yeah, very bright guy and very, very good to work with.
00:00.320: Right on, man.
00:00.320: So I hope you enjoyed that.
00:00.400: I want to thank the people from Premium Beat for supporting what we're doing.
00:00.400: 30 and 60 second bits for you.
00:00.400: Plenty of music.
00:00.400: This you know, the style guide of putting on a TED conference, because like there was I remember things, and you know, you probably know it better than I do, but like
00:00.400: twelve, four of which are full-time editors.
00:00.400: Um and uh oh no, what are we gonna do?
00:00.400: track um version sync and stack track and uh I I hate it um I I know there's there's
00:00.400: Yeah, no, that's a great question.
00:00.400: Um uh so that was that was our our approach generally.
00:00.400: I think it's well, yes, that is one the that was one advantage, but not not exclusive to this method.
00:00.400: You know, back in December of last year was the switch from 10.
00:00.400: I think, prior to the ten-one update.
00:00.400: to a fault at times of, you know, being a version and a half ahead, but it's um it uh so it's kind of a
00:00.400: Not confusing, but a but a misleading intro, um because a lot of editors' frustrations were very valid, even if
00:00.400: I knew in my heart of hearts that those things would shake out in the next couple versions to say, No, no, you'll be
00:00.400: where, like, she'll say, you know, guitar solo in five, four, three, two, one.
00:00.400: You know?
00:00.400: Yeah, yeah.
00:00.400: So that's an interesting question we've actually been talking about because we just posted an opening
00:00.400: Editors who are very progressive and creative in their thinking, it seems almost like the people who are open minded enough to stick with this new software and like to fiddle with the technology
00:00.400: They are going to be using Final Cut 10 because it's available to them, because it's affordable, because it was like, you know, easy to get.
00:00.400: Yeah.
00:00.400: wouldn't have stumbled or floated to the top if I just cast the wide net for a Premier or a Seven or an Avid editor.
00:00.400: Two of the filmmakers here, but they've made over the hump as far as
00:00.400: And it's that kind of peer-to-peer sharing as opposed to this is now the way we will do this, or you know, coming down from above.
00:00.400: Steve Bays may have mentioned it to me at some point.
00:00.400: Because you have to go really deep into the web page before you even see a screen grab of, like, say, the inspector panel.
00:00.400: Yeah, yeah.
00:00.400: Each speaker, each TED speaker, with a certain talk ID as a speaker ID, as well as some metadata around
00:00.400: Okay, this is this is really interesting.
00:00.400: I'm a fan of episode Telestream's episode.
00:00.400: Example of something that I tell people all the time, because too often
00:00.400: Just ye and it's really hard to walk away from that.
00:00.400: That's fantastic.
00:00.400: But yeah, lower thirds, titles, spelling, automating, all that is is just a a rabbit's hole of Oh, there's nothing worse than re-exporting something for a typo.
00:00.400: An organization that dedicates itself on sharing great knowledge with the world has made this choice.
00:00.400: I would have collapsed from exhaustion at the end of the week if I were his job.
00:00.400: He's actually saying that he's matching their shadow and everything.
00:00.480: What TED is?
00:00.480: had a blog on it and we just kind of posted some of the talks and uh they got a bizarrely huge audience, relatively speaking, given that they were
00:00.480: rules, you know.
00:00.480: That if you were to kind of open your eyes and make an intelligent decision, not that and that sounds really harsh because
00:00.480: and get a slow sense of of what what would work as opposed to having
00:00.480: that's just our way here.
00:00.480: Was the change from 10.
00:00.480: Okay, without connecting the details, yes, that's one of the fundamental major contributions to evolution.
00:00.480: favorite uh it's not my pet favorite update.
00:00.480: And it's really fascinating to see that.
00:00.480: What you're going to find in the coming, say, five to ten years is that the free thinking, open minded creatives of the next generation of professionals
00:00.480: Equally creative and interesting applicants, and ones who I probably
00:00.480: The whole progressive disclosure thing that Apple has in terms of they don't just lay everything out, but as you drill down, you begin dis discovering pieces of
00:00.480: back then that you know, that damn internet, it saves everything.
00:00.480: Yeah.
00:00.480: In this business, and oddly enough, we're in the communication business, we are really bad at communicating.
00:00.480: Is just brilliant.
00:00.480: Yes, I and I can't tell you how many hours had been put into having to re-export something because two letters were transposed from Tanzania.
00:00.480: You know, a tool, what would you ask them to build you?
00:00.480: What would I I I s I really want to get back to you on that on on that that question.
00:00.480: Yes, and I think we're going to we're tipping to that, especially because 4K is on the horizon for us, at which point, not using proxies
00:00.560: And the people from TED are using Final Cut 10 now.
00:00.560: I've talked many times about how Premium Beat has like the song, the loops, and then the shorts.
00:00.560: And so now we've the the website is free and committed to to be free perpetually.
00:00.560: is probably somehow using Final Cut X, but I happen to know from Sam that you recently switched to that.
00:00.560: No, they went to Manhattan Edit Workshop are the ones we worked with on Premiere and a guy, Jem Schofield, who Oh, I know Jem.
00:00.560: Clicked where you went, oh, that's really good.
00:00.560: and say, I think we should move to a medium here.
00:00.560: the timeline and the speed of the editorial process was attractive, but it would have been tough to really adopt it in an organization the size of yours.
00:00.560: Irrespect of the speaker, if this live switched versus this edited talk and you just end up getting more traffic over time on talks that are edited from scratch.
00:00.560: and Bonnet and he had done like s the you know, the BBC, you know, whatever the television awards in in uh England are called, I think it was.
00:00.560: It was it first of all, I'm a huge YouTube fan.
00:00.560: There is some behind the scenes stuff on that DVD that's incredible.
00:00.560: And but in the in the um D V D they inset two windows, and one is the line cut.
00:00.560: Structure here where we've made sure that, especially because some people are remote or just work out of the office, that we
00:00.560: The project, the timeline I would I would say, heaven forbid in the in the project.
00:00.560: in the binary itself.
00:00.560: Text layers that are um input um locations
00:00.560: And then, and actually, one last question.
00:00.640: Right.
00:00.640: interested and tired in us again.
00:00.640: looking at Final Cut ten?
00:00.640: Looked at Avid, looked at Premiere, looked at when Smoke rolled out their new Autodesk
00:00.640: So congratulations for coming on when it's really cool.
00:00.640: So and and a blade all I mean, each editor would then sort of have their own flavor of this, but the idea was you come to spot all right, they you know, they turned away from the camera or they're holding up
00:00.640: That's exactly it.
00:00.640: easier for people to work remote, but media is just so heavy and even with good bandwidth it's hard to to move things quickly.
00:00.640: And one is the edited master.
00:00.640: Are you able to keep all your sweets and everything buddy working, or are you finding it hard to find people that are willing to cut in 10?
00:00.640: Also, come along with some really progressive creative thinking.
00:00.640: Yeah, our editors I mean, we've we've form put a formal like they call socialize the learnings, you know.
00:00.640: I have had some great talks with Stephen and he's and much to his graciousness because
00:00.640: You did mention that Multicam has been really powerful.
00:00.640: I think Avid I'm sure they do.
00:00.640: It was built in FileMaker and rigged with some Apple script a bunch of years ago when it was just me and our one freelance engineer in a closet.
00:00.640: Man hours to get it right, but once you're over that hump, you'll never have to think about it again.
00:00.720: I'm okay with anything, but I don't want to spend two hours looking for a cut of music and have you go, yeah, I don't like it.
00:00.720: sorting out what to do as they deprecate seven since maybe twenty twelve, twenty eleven, whenever it was first released.
00:00.720: An object for demonstration, blade all, kind of activate, inactive your different cameras, find the one that looks good, and then
00:00.720: It's a sensitive question given I'm the director, not the editor.
00:00.720: It's a in many ways, it's a totally different beast.
00:00.720: You know, seven and pre-seven came around, but it was considered a toy for the longest time, but
00:00.720: Where there is another hump in a work group where editors get up out of their seat and they walk down the hall and they go, Oh my god, look what I just found.
00:00.720: ProRes being proprietary and FFmpeg shouldn't speak together, so there's that.
00:00.720: Was definitely a long process to recreate what we had done elsewhere.
00:00.720: Yeah.
00:00.720: Frequently will replace the slides on the screen behind the speaker.
00:00.720: Sounds good.
00:00.800: First of all, I'll apologize.
00:00.800: you knew that you basically had to go through almost each camera one by one or each shot one by one.
00:00.800: I've been doing this a long time, and at the dawn of non-linear editing, everybody was like, oh, it's going to go so much faster.
00:00.800: if I could and again, part of the reason why I did this show is that I just I want people to hear this.
00:00.800: And they fought the whole time with the lighting department in preparation for it because they were saying, We need more light.
00:00.800: It's interesting, just at a time where ten would be primed for a lot of the lower thirds and whatnot that we need to do
00:00.800: Spreadsheet and it will put column A into little hole A and column B into little hole B.
00:00.800: Because immediately the trivial one of the scrolling timeline comes to mind.
00:00.800: Finisher to all these different things, and kind of tailor his language and his teachings to those people was impressive.
00:00.800: Just a really fascinating, you know.
00:00.880: To buy, we'd let them expense that, and then, of course, we had a bunch of literature.
00:00.880: way more people than the popular um mindset feels, way more people would actually choose Final Cut 10.
00:00.880: No, it's a great point, and it's something that's always tricky, especially when we're meeting with a new editor who sort of says, ah, God, I can get two of these done a day.
00:00.880: And my friend Alex McLean, who's a colorist, he keeps finding people that are coming to him with music videos that they've done that were all cut in 10.
00:00.880: Wide array of reactions.
00:00.880: But I feel like they've they've struck the balance between making enough quickly available to you, but also keeping it out of your way and letting you focus on the
00:00.880: I totally had a show ready to go.
00:00.960: you know I I have to s speculate.
00:00.960: And you can see the monitor wall.
00:00.960: And I wish I had an affiliate link to share with you, but I don't.
00:00.960: Okay, again, get rid of the soapbox.
00:00.960: When the peer-to-peer sharing happens, it's really cool.
00:00.960: That is a great guess, and that is one of the reasons we will do it, or we have it in place, but is not what prompted it.
00:01.040: Or has it advertised and made people more interested in going?
00:01.040: They have good sandwiches at the conference, I'll give you that.
00:01.040: I I go I go as deep as people want to go in this.
00:01.040: It hooks up with the EMS and pulls down all that
00:01.040: for various deliverables is that are you making the graphics a different size if somebody's watching it on like say a phone?
00:01.040: Talk about a SOPAC.
00:01.120: Thank you.
00:01.120: I think XML was um had a strangely big impact on us on um uh
00:01.120: The pros so far outweighed the cons back then that it was worth jumping through the hoops to get there.
00:01.120: What a live switch brings to it because a different energy happens on something that's actually cut live as opposed to, oh, we'll figure it out later.
00:01.120: I always talk about how when you look at Apple marketing, the marketing for Final Cut 10 does make it look like iMovie Pro.
00:01.120: So this is fascinating.
00:01.120: Yeah, and it's tricky because the flexibility you have with Apple's titling tools or Boris and Classic.
00:01.120: And I may be misspeaking.
00:01.120: So having something that'll just cascade through the system to match all that, get the event right, get this.
00:01.200: signed up our editors for an intro class to Premiere and an intro class to Final Cut 10 so they could
00:01.200: Right, right.
00:01.200: And even then, we do some cleaning up.
00:01.200: There's nobody who's standing up and selling it to other editors aside from
00:01.200: And I'll send you the links if I can dig it up on titling an FFmpeg.
00:01.280: If you can pull that off with a piece of the the screen, that's great.
00:01.280: Slide the cut point, which is not the right terminology, but you know what I'm talking about.
00:01.280: Oh, approximately when that was.
00:01.280: And it is looking down the console, and it's wide enough that you can see Hamish, who stands, apparently.
00:01.280: You said a phrase there that makes perfect sense.
00:01.280: I'm very curious about what you're saying.
00:01.280: It looks at the XML and says, okay, they want speaker name to come in here, speaker name to go out there.
00:01.280: Is that something you can do in compressor?
00:01.360: Yeah.
00:01.360: They're called Zoo Station.
00:01.360: Two things.
00:01.360: superimposed over anything.
00:01.360: Nice meeting you, Chris.
00:01.440: It's peace.
00:01.440: But um yeah, th I I was chatting with the guy on Facebook the other day and he's like uh with the drummer Scott and he said uh
00:01.440: Yeah, that's interesting.
00:01.440: It's impressive, especially given it being such an uphill battle, given the early press.
00:01.440: And I respect that.
00:01.520: So uh was that actually was that actually a class that they went to or was it like here, take this Linda class or something?
00:01.520: I mean, I bet you I cringe to think what Hamish's day rate is.
00:01.520: But if you look at the history of the growth of what I call Final Cut Classic, the pre ten version, we have gotten to a million licenses much faster.
00:01.520: I would say fewer respondents.
00:01.520: Event management system, EMS, or digital asset management, where you don't have to look over your shoulder and go, Hey, how do I spell this guy's name?
00:01.520: Yeah.
00:01.520: Michael, I'm going to ask you one last question, then I want to let you go.
00:01.600: No.
00:01.600: It's like multicam is so easy to do that s a lot of things don't even consider
00:01.600: And it's um it's it's a risky way to that that's you know, I think you compare it with
00:01.600: The the lower thirds are introduced in encoding?
00:01.600: And so now do we go back to all the project files, re-export without that in?
00:01.600: I you know, I I don't know.
00:01.680: Because that's a style guy we created a bunch of years ago.
00:01.680: But I'm looking at my calendar now.
00:01.680: Your offices are in New York City, correct?
00:01.680: And it's and the thing that Hamish does is he finds the emotion in every song.
00:01.680: Is that where did you get that term from?
00:01.760: I go off on a little bit of a U2 rant in the middle of this.
00:01.760: And it was a combination of great music from Premium Beat and the subframe editing in Final Cut 10.
00:01.760: So at this point, let's go over to New York City and check in with Michael Glass from Ted.
00:01.760: Inside I could swore I uh I reply, 'cause I I talked to my wife about this about four times.
00:01.760: And so now there's up to ten conferences a day somewhere in the world three hundred and sixty five days a year.
00:01.760: He goes, oh, I love it.
00:01.760: Are they over the hump or are you still getting grumbling?
00:01.840: So we're I'd say we're a relatively small department.
00:01.840: All right, let's back out to a wide because blank four.
00:01.840: Sam and Noick were terrific, both just in getting all the logistics sorted out, getting them
00:01.920: When did you guys get Jem to come and do the class?
00:01.920: And in my opinion, that was really, that was probably the greatest single upgrade of the history of Final Cut X.
00:01.920: So that's called us.
00:02.000: If anything goes wrong, it's my fault.
00:02.000: And so we tackled them in a bunch of ways.
00:02.000: Great guy in a hundred ways.
00:02.000: I'd love to check that out.
00:02.000: So it's it's uh I shouldn't be surprised.
00:02.000: So EMS Electronic Event Management System, DAM, is a digital asset manager.
00:02.000: Whatever, we'll look into it.
00:02.080: And on this particular one, I sent a link to the producer.
00:02.080: Happy to be talking with you.
00:02.080: And then there's the A D, and she's sitting right next to Hamish, and she is counting down to each musical moment.
00:02.080: But um yes, there is a lot of walk up the the aisle and oh, check this out or casual thing.
00:02.080: And yes, it takes you're it's obviously taking a lot of
00:02.080: But our editors have two concerns about that that I think are very valid.
00:02.080: I sure did.
00:02.160: It's it's really fascinating.
00:02.160: Have you looked into possibly ingesting the media, creating proxies and then letting them letting a remote editor just deal with the proxies?
00:02.240: That's an interesting comment.
00:02.240: Either the projection wasn't bright enough, or we want to break their slide down into multiple pieces and animate it, or we're pulling a shot from elsewhere.
00:02.320: And it actually is very much in line with one of the things that uh a a friend of the show, Alex Golner, Alex 4D from uh uh London, he has said many times that
00:02.320: Take care.
00:02.400: And you drop that cut, that fifteen second cut, into Final Cut 10 where you have subframe editing.
00:02.400: And it seems a little bit disingenuous if you say their ideas worth spreading as long as you have the money to come to the conference.
00:02.400: Has since 2006, so that's you know eight years now, has putting the talks online hurt the conference business?
00:02.400: And I know there have been fits and starts in TEN's XML, but that that was a serious one.
00:02.400: But to me, it's sort of like the value of cutting on a steamback compared with the value of an NLE.
00:02.400: So, if there's one feature, you know, one kind of, oh, this is it about Final Cut 10, for us, it was the
00:02.400: It may be like kind of a an not an add-on to FFmpeg.
00:02.480: Well, it's complicated, and I know we're trying to make this dense.
00:02.480: The the heart of, I would say, our encoding process.
00:02.560: But would that have been happening at this time anyway?
00:02.560: Well, it might be that we have all this free content online, but it could also be that sandwiches are yummy.
00:02.560: And so I think the products look nicer.
00:02.560: I don't you know, it's like if if you had stuck with the iPod, oh, it needs to be tethered to your computer and you've got this click wheel and you know, like the the first iPod.
00:02.560: We do have one editor who works out of LA who's a full timer.
00:02.560: And I said, yeah, I can't get past track three.
00:02.560: So now, and what are you doing the encoding in?
00:02.640: So there's there's a lot of a lot of stakeholders.
00:02.640: Alright, so I will step off my YouTube soapbox.
00:02.640: I've seen Zoo Station play many times.
00:02.720: It's it's butter.
00:02.720: I mean, like, look at least twice as fast.
00:02.720: They're just happy to be in multicam.
00:02.800: And we record the live switch, which you know is sort of simul
00:02.800: I wouldn't say that was a long way.
00:02.800: Take care.
00:02.800: I'm maybe I'm being foolish or childish, but uh that that's really interesting.
00:02.880: Um actually uh we shot one of the TEDx's in the South Bay and then
00:02.880: I wouldn't necessarily claim that's it's the best way or anything, but it's just that's how we like working, is smooth.
00:02.880: Isn't a nice way to work with your team?
00:02.880: I don't have the vitriol and dirty looks for saying we've got to do this come September 1 that I was getting 12, 15 months ago.
00:02.880: I just programmed it to release 24 hours too late.
00:02.960: Or did you drag track one up to the top track?
00:02.960: So I think the answer is we're going to end up with a proxy workflow.
00:03.040: So but but I I suspect he went with Theodore or something at Ted, which is bizarre anyway.
00:03.040: Sorry.
00:03.040: I've done a lot of encoding and I've never heard of such a thing.
00:03.120: We have been using Final Cut Studio.
00:03.120: Now, I would have liked it because it's fun and I kind of get obsessed.
00:03.120: But but point being, um, it's a much more limited set of of tools.
00:03.120: Bandwidth is so limited in this country, and
00:03.200: Have you guys gotten to the point?
00:03.200: I don't really plan to.
00:03.280: I think that was one of the stipulations or something.
00:03.280: And looked at 10, of course.
00:03.280: And Bono went home, watched th the tape, and he's like, wow, this is really good.
00:03.280: And if you've ever watched any of those, you'll hear his voice.
00:03.280: And here we are, we've exported 2,000 talks, each of with this
00:03.360: It's, you know, it's just, it was a dream.
00:03.360: And over the years, it developed a community around it, around those topics, and it expanded beyond technology and
00:03.360: There were.
00:03.360: I don't know that I've ever heard anybody say that.
00:03.360: And we find that you look at traffic numbers blindly, you know
00:03.360: When we bring in an exported file to our dam,
00:03.440: So he gives he sends me this email and he goes, Dude, I j just got back from New York.
00:03.440: But yeah, no, it's it's it's uh it's had this great effect on the
00:03.440: How what is the video department at TED like?
00:03.440: And and then one other question, did you just would you like take stuff on tracks
00:03.440: 1.
00:03.440: And yes, you could probably find it all on YouTube.
00:03.440: And, you know, and it's you look at it and you forget it's video.
00:03.440: And you know, this is probably a similar thing to what happened when Final Cut.
00:03.440: That information exists someplace.
00:03.440: This was like late 2007, early 2008.
00:03.520: TED stands for Technology Entertainment Design.
00:03.520: Uh you're putting in so when I watch a TED talk that is uh from September 1st on
00:03.520: How was it working with Sam and FCP works?
00:03.600: Oh no Well, you know, 'cause there's all the you know the press around ten and our editors um have
00:03.600: And then the other thing that's very interesting is that Hamish works in a very much very much in a British fashion.
00:03.600: Just go get it.
00:03.600: But I know Av I'm pretty sure Avid has multicam.
00:03.680: Sam is one of the principal people.
00:03.680: And then we have an encoding specialist and support there.
00:03.680: So it's pretty safe to assume that anybody who I'm talking to on this little podcast
00:03.680: Oh, it's fascinating.
00:03.680: He's fantastic to work with, and he's brought a new sort of rhythm and direction
00:03.680: So I was going to get to this.
00:03.680: Steve Bays has has uh deigned to uh to spend time with
00:03.680: And so we wanted to recreate that given F of MPEGs.
00:03.680: That's another week of the Grow.
00:03.760: Oh, we should be thinking about, okay, hold on.
00:03.760: And to be fair, and because I try to be very fair here, Premier's Multicam is much better than it was even a couple of years ago.
00:03.760: I've done a lot of compression and I've never heard of overlaying graphics in did
00:03.760: I would say I have tons of keyframes invested in After Effects.
00:03.840: It seems Jem came by and did mid-2013.
00:03.840: So, yeah, shut up, Bob.
00:03.840: I want to meet this guy.
00:03.840: I know exactly what you mean.
00:03.840: So what are the things, what are the features?
00:03.920: I realize I've taken a lot of your time.
00:03.920: Ted calls himself, you know, Ted Ideas Worth Spreading.
00:04.000: I think that's absolutely correct.
00:04.000: Yeah, I'd be curious to find out who who coined that phrase, because it's very happily.
00:04.000: Oh boy, that's the juiciest question I've been asked.
00:04.000: So that really blew my mind.
00:04.080: And then people were clamoring to sort of hold their own TED conferences, so TED finally started
00:04.080: Because then the point I asked that is that, or the reason for asking that, is that.
00:04.080: 0 to 10.
00:04.080: So you can kind of see a little bit what's going on, but it's pretty blown out.
00:04.080: And then they recorded, and they recorded two nights.
00:04.160: I don't think there was a single moment where it was like, boom, this is 10, that's a case closed.
00:04.160: I just wish we could get past that and see how it's.
00:04.160: And one of them is a shot, like they had taken a little tiny camcorder and locked it off or taped it to the wall or something in the production truck.
00:04.160: Maybe I just made it up, but I I dude, you're swimming with the big fish if you're hanging out with Steve and Bays.
00:04.160: And then really, while Sam was on the ground with us and having to work through
00:04.160: com and as Michael was saying, you can find it all over, like on Hulu and Netflix, apparently.
00:04.240: It was a great show.
00:04.240: And the week Sam Essman was at the office was a real kind of
00:04.240: Hell, I talked for 10 minutes about you too.
00:04.240: I mean, our CMS was
00:04.240: You know, my real frustration has nothing to do with the engineering of Final Cut 10.
00:04.320: Over the weekend, I had a little project that I needed a little cut of music for, and I'll tell you.
00:04.320: So, um we uh and and we we actually did not edit multicam for TED conferences up until a couple
00:04.320: Um uh and there's various artifact research.
00:04.320: And they shot the first night, and they and they sat down with the band, and they all went, It's shit.
00:04.320: So that was a big relief.
00:04.320: I believe you can do in compressor.
00:04.320: Yeah.
00:04.320: But just yesterday I was reading and watching a tutorial about a script, an After Effects script, that will allow you to set up
00:04.400: And 15 believe it or not, for this particular project, 15 was just way too long.
00:04.400: Every last little thing you can do is is typically squeezed into the real estate.
00:04.400: I think we brought in someone to script After Effects.
00:04.400: Well, that was really cool.
00:04.480: If you're not a fan of U2, you might want to skip over that.
00:04.480: 1 to 10.
00:04.480: And so you can see how often they stick to the line cut.
00:04.480: You're fine.
00:04.480: And so what we've done is we have a thing called the EMS, which is the event management system.
00:04.480: Sam's been a guest on the show multiple I think he's the only person who's been on the show three times in the last ten months, and uh I always I always find it fascinating with to chat with him.
00:04.560: Yes, we have found.
00:04.560: So you know, so it's interesting.
00:04.560: We call him a TD.
00:04.560: So yeah.
00:04.640: And the traffic was enough that we sort of decided to to redo the website and put the these TED talks
00:04.640: I I don't think we're we're spiritually against it.
00:04.640: And if you're even remotely a U2 fan, you'll love it.
00:04.640: And maybe in Apple's human interface guidelines, the HIG.
00:04.800: Hey, good morning.
00:04.800: If things go right, it's somebody else's brilliant work is where I'm positioned.
00:04.800: And that's not, that could be interpreted bad, and I don't want to imply that at all.
00:04.800: What other features have been advantageous for you guys?
00:04.880: I'll also say at the very end, there's this really interesting thing where he talks about how they use their digital asset management.
00:04.880: Is it fair to us is it fair to assume that you guys looked at Avid?
00:04.880: I think uh what was it?
00:04.880: And that was when I was first introduced to Hamish Hamilton.
00:04.880: He was just doing, you know, BBC television stuff.
00:04.960: 1.
00:05.040: I go, hey, go find something you like.
00:05.040: It's a totally fair question.
00:05.040: There's no hard data because you can't there's correlative data, and that is that interest has sort of shot through the roof.
00:05.040: And then we have a smattering of freelancers who kind of come and go as they get
00:05.040: Treaded water until exactly.
00:05.040: Because this is something that's actually been sort of fun around our office that has come about in the last about six to nine months.
00:05.040: And frankly, it reminds me of learning Final Cut Classic years ago.
00:05.040: If people don't know, Stephen Bayes is the product manager for Fanov Head Ten.
00:05.120: The the conferences can be rather pricey.
00:05.120: For the 10 people on the planet that have never heard of TED, tell us a little bit about what.
00:05.120: I hate that word, but that's that's pretty much what was involved and very
00:05.120: So I'm going to assume you guys didn't just
00:05.120: So you're saying that in a sync and stack technique, which is actually what people had to do with Final Cut 10 in the very beginning.
00:05.120: Mm, okay, does that work?
00:05.120: It's like, nope, you can do it, go.
00:05.120: But at the same time, a huge amount of care is to is put into going back to the ISOs and getting sort of a frame
00:05.120: I don't know that I've heard it before, but it sounds familiar.
00:05.120: You said FFmpeg?
00:05.200: Okay.
00:05.200: Switch to an audience, big reaction, three, as opposed to kind of having to
00:05.200: But I know that in preparation for that Boston thing, he came to the States and went and watched multiple shows with his AD.
00:05.200: Go ahead.
00:05.280: You gotta admit, that would be an awesome business card.
00:05.280: Not a single person named Ted?
00:05.280: Yes.
00:05.280: I'd love to talk to you about working for us.
00:05.280: Yeah, it's been a happy surprise.
00:05.280: But I think there's something 10 has to do with it.
00:05.280: But we think we've got about 98% of the way there.
00:05.360: And I'm like, really?
00:05.360: I think the the most formal way we went through it is
00:05.360: Sounds great.
00:05.360: So, while, yes, we got fewer resumes this time than we might have if we had put out Premiere 7 or Avid as a prereq.
00:05.360: And I do see that, that happening a lot.
00:05.360: We do resort to compressor for various things and even
00:05.440: Yeah, I I dream of a day when it no longer feels like we have
00:05.440: I think it, I think, the numbers state
00:05.440: But I I think it's it's paid off in the spades.
00:05.520: And we really sort of zeroed in on saying, all right, let's let's decide between Premier and
00:05.520: You're not intelligent.
00:05.520: 1.
00:05.520: There was some stats that came out recently, and I don't know I don't know where people get these numbers.
00:05.600: And he's like, well, why is that?
00:05.600: But um yeah, it it's the progressive disclosure and uh again, I think I've heard that phrase, but
00:05.600: We'll be back next Monday with something else.
00:05.680: Welcome to another episode of Final Cut Grill.
00:05.680: Okay.
00:05.680: I was telling somebody uh some friends of mine have a a U2 tribute band in San Francisco here.
00:05.680: Interesting.
00:05.680: Yeah, I don't wanna go, you know, I'll let someone else say that.
00:05.680: I still think proxy and even LT are terrific.
00:05.760: And it was interesting, you know, it's very it's fascinating.
00:05.760: And so by
00:05.760: Our headquarters are in New York City.
00:05.760: Screw that, go to Amazon, buy it, because you'll see all that extra stuff.
00:05.760: Okay.
00:05.840: I don't know that he's technically a principal.
00:05.840: Yeah.
00:05.840: How does that happen?
00:05.840: And then to let someone be able to edit from, you know, Topanga Canyon so they don't have to be coming to downtown Manhattan every day would be great.
00:05.920: What were some of the things that where it like
00:05.920: And that was major.
00:05.920: Never show me that again.
00:05.920: I I thought it was going to be trouble, but but we found a couple
00:06.000: I I wouldn't have
00:06.000: Yeah, and I would say that in our where I work, excuse me, I
00:06.000: All right, great.
00:06.080: So just go find something you like and let me know.
00:06.080: Yeah, that's interesting.
00:06.080: He sort of did our intro three day let's walk you through ten and the different pieces.
00:06.080: So, um the other thing that dawned on me as you were saying this, when was um
00:06.080: It's very beautifully shot.
00:06.080: Yes.
00:06.080: And when they export the XML though, and the master
00:06.080: And that's not something I would waste the ask one question of God.
00:06.080: I got to say, at the end, there, when he started talking about overlaying the graphics.
00:06.160: 2 because they tweaked some of the ways
00:06.160: Sorry about that, people.
00:06.160: It's a great.
00:06.160: I mean, yes, you can do like an overlay, like, oh, here's the time code, or here's the name of the file, but
00:06.240: It was so easy.
00:06.240: I I think it has a lot to do with the site.
00:06.240: The 10.
00:06.240: Because, no, this is really Bono.
00:06.240: And this show was better than that show.
00:06.240: Yeah, so and it's interesting that your statement is exactly in line.
00:06.320: Full time staff, we're maybe
00:06.320: You know, post-production supervisor, and then a little sort of sub-department that focuses on non-TED Talk content.
00:06.320: Specifically when you're doing a pro app kind of
00:06.320: If you and the guys from TED could sneak in the back door at Apple.
00:06.320: But um, yeah, that's like, yeah
00:06.320: Need to check the calendar more.
00:06.400: That would be cool because I'll put links to that stuff on the website if anybody else is interested.
00:06.480: And he's like, yep, just spent a week with them.
00:06.480: So, anyway, but yeah, we we've got a bunch of those things internally, rules of thumb.
00:06.480: I I have said for a long time, and even since I started this podcast last November
00:06.480: Because it's at this point to me, it's
00:06.480: Sounds great.
00:06.480: One,
00:06.560: 1.
00:06.560: And in the States, it's ready to, take, ready for, take.
00:06.560: And so pushing a file and using a bandwidth accelerator, all those things.
00:06.560: And I don't know.
00:06.640: Yeah, we ignore that now.
00:06.640: I think w the first version we used was five point one back when we rolled it out.
00:06.640: And yes, you can do more, but depending I mean, I know some of the jobs that we're doing in our office now
00:06.640: And I go, because I love track three, and I keep rewinding.
00:06.640: But like you said, the
00:06.640: So, are you doing some crazy custom stuff to be able to do this?
00:06.640: And to remove the keystroking from the editor to possibly do it wrong
00:06.720: And so basically, they've pre-built little fifteen
00:06.720: So, we really tried to immerse ourselves in part so we'd make the right decision, but I think in part also because
00:06.720: Um
00:06.720: Oh, okay.
00:06.720: 2 update?
00:06.720: And I the first night I saw them, I walked up to I didn't know who these guys were.
00:06.720: Uh yes.
00:06.720: But the reason we do all of this is because
00:06.720: No, I think it's inherently in the
00:06.800: But if you're a fan of Live.
00:06.800: Um so the website
00:06.800: We're a conference actually that started back in 1984.
00:06.800: Exactly.
00:06.800: Yeah, I didn't realize that.
00:06.800: No.
00:06.800: So at that point, I would imagine that.
00:06.800: But if there was that central
00:06.880: But so much of that
00:06.880: It's pretty.
00:06.880: Maybe you guys paid for the script that you can get on aescripts.
00:06.880: I might bug you with one more email about that just to remind you.
00:06.960: So go check out PremiumBeat.
00:06.960: Hamish Hamilton.
00:06.960: And I'll explain in a second why we go through all these acrobatics.
00:07.040: I was like, whoop, boop, boop, and like, I think in less than two minutes, I had this whole thing.
00:07.040: Yeah, FFmpeg is
00:07.120: That's not what I mean.
00:07.120: So what do you mean by it's
00:07.120: I want people to realize that Final Cut 10 is not 10.
00:07.120: So there is that to keep in mind.
00:07.120: So
00:07.120: What do we do?
00:07.200: So let me ramble and then either edit or ask.
00:07.200: Michael, I should let you go.
00:07.280: I don't know.
00:07.280: I
00:07.280: What were you using prior to
00:07.280: The multicam experience in 10 is just
00:07.280: zero six or seven, somewhere around in there, there was some big
00:07.280: Wink, wink, nudge, nudge.
00:07.280: Yeah, and again, I don't want to be completely Pollyanna about that, but again
00:07.280: We have to do some flip-flops 'cause
00:07.280: We'll do it as part of the encoding process, depending on which distribution platform.
00:07.360: How did you guys do it?
00:07.360: As opposed to you're making your first pass and you can do a fast pass.
00:07.360: I've never heard of this before.
00:07.360: We've been sort of this
00:07.440: I mean, they feel very much.
00:07.440: It doesn't, you know, wasn't a great camera like we have today.
00:07.440: And all he's doing is
00:07.440: Yeah, no, I I would uh I would love to meet the guy.
00:07.440: It's the discovery and it's
00:07.440: With, again, no keystroking.
00:07.520: In 2006, TED made the TED
00:07.520: Here's another thing that's very interesting about it.
00:07.520: So Ted is
00:07.600: This is the Friday edition with Michael Glass from TED.
00:07.600: He's one of the top guys at FCP Works.
00:07.600: So you had to stop the process, stop the flow of the video, of the talk.
00:07.600: And
00:07.600: And it, you know, kind of makes sense to me.
00:07.680: I think we just find that it looks um
00:07.680: And how do you fall into that?
00:07.680: So you can have one font look for the name, one font look for the title.
00:07.760: You can do so much stuff quicker.
00:07.760: And this
00:07.760: So if if you've if you
00:07.840: And then move on to the next cut.
00:07.840: That was a really big deal.
00:07.840: And a lot of people are doing that.
00:07.840: com.
00:07.920: It's no big deal.
00:07.920: They've totally clued into, like, oh, Hamish is really cool.
00:07.920: So I kind of feel good about that, because for way too long
00:08.000: But I
00:08.000: Thanks for listening.
00:08.080: Did you have any of those kind of moments?
00:08.080: It just fades in, fades out.
00:08.160: Yeah, it's really kind of an engineering
00:08.160: I know, isn't it?
00:08.160: Not sure what yet.
00:08.240: I'll take a look at Hamish.
00:08.240: And he gets the theme of the song and shoots that song.
00:08.240: And so to create this sort of slight inner glow and the right amount of transparency and all that, um
00:08.320: Yeah, I think I agree.
00:08.320: Is that where the edit suites are?
00:08.400: Anyway, it went great, and I love Premium Beat.
00:08.400: You know, oh, and by the way, you're doing two of these today.
00:08.400: You know, what?
00:08.400: My guess is you said for various
00:08.400: Yeah, I don't think that's necessarily a benefit of what he's doing with Final Cut 10, but it seems like
00:08.480: Maybe.
00:08.480: Uh we did uh stacked
00:08.480: And then they know it's like, boom, close up of Edge.
00:08.480: The fade duration should be this much.
00:08.560: com
00:08.560: Good morning, Mike Glass.
00:08.560: They could never charge for their talks
00:08.560: Is huge.
00:08.560: In the
00:08.640: Inactive, a control B or whatever it was instead of
00:08.640: And this is a valid complaint about Final Cut 10.
00:08.640: Thanks again.
00:08.720: So I'd say people of
00:08.800: And in no time, I was able to cut it down to eight seconds because, again,
00:08.800: Well, no, I guess your life a living hell.
00:08.800: It's great.
00:08.880: We have one guy who
00:08.880: And they're like, really?
00:08.960: You should talk to this guy, Michael Glass.
00:08.960: Or?
00:08.960: But it's one out of twenty talks go online.
00:08.960: But
00:08.960: It just I wish we weren't.
00:08.960: We'll be back with another episode next Monday on the Grill.
00:09.040: So that's a long way of saying, yes, that happens here.
00:09.120: Did I ask this?
00:09.200: At any rate, um Ted
00:09.200: And he's a live director that
00:09.200: And for the editors who are off-site to
00:09.280: But I would say almost a bigger deal.
00:09.280: No.
00:09.280: I'm giving it all away.
00:09.280: Are you doing any graphics or building any templates?
00:09.360: So welcome.
00:09.360: And no, we got some not only really terrific editors.
00:09.360: But when the
00:09.360: I've never heard of this.
00:09.360: And anyway.
00:09.440: I would call it a British fashion.
00:09.440: We need more light.
00:09.520: And this is a really, it's a really fascinating
00:09.600: And it's interesting when.
00:09.600: Oh, oh, hello, Mr.
00:09.680: That's actually an interesting question, and this is a little bit off our topic.
00:09.680: So it's been an interesting journey.
00:09.680: We it's not necessarily my
00:09.680: Hamish has since gone on to do like.
00:09.680: Second of all, the editor feels
00:09.680: Also, I want to apologize for the snafu this last Monday and Tuesday.
00:09.760: It's bizarre.
00:09.760: And it's sort of reassuring that, you know.
00:09.840: So my title is Director of
00:09.840: But I think
00:09.840: And I don't think that's necessarily the way to get
00:09.840: Especially when you're talking about moving all the cameras.
00:09.840: Anyway, with all due respect, I I I mean, I should mention Ted's current uh live
00:09.920: And we're almost losing the ability to do live multicam production.
00:09.920: So.
00:10.000: Yes, you are very thoughtful about your decisions, but
00:10.080: And Sam has turned me on to some really interesting interviews over the last year.
00:10.080: He's been on the show.
00:10.080: What prompted it was
00:10.080: com now.
00:10.160: But if you really look at the facts that.
00:10.160: I I think the real one was
00:10.160: But now it's just so much easier.
00:10.160: You know, I'll have time to do other things.
00:10.160: Spoiler alert.
00:10.160: So how are the editors
00:10.160: And part of that registers
00:10.160: I don't want to answer too quickly.
00:10.240: I think it's a fair correlation to
00:10.240: There are certain platforms
00:10.400: It's that
00:10.400: So the the more muscle that can be put into that
00:10.480: Hey, Chris, how are you?
00:10.480: You know, television is different than
00:10.480: I'd kill to go to Dublin to hear him play.
00:10.560: Bono.
00:10.560: This was awesome.
00:10.640: It's a massive one.
00:10.640: And then some of our freelancers are remote.
00:10.640: And he was like, I had to learn.
00:10.640: And it does it for the various lower thirds.
00:10.720: I would say a few respondents, but
00:10.720: And to actually get
00:10.800: He's a good good man.
00:10.800: Uh however, they have all started to find the
00:10.880: So that's who we're going to talk to today.
00:10.960: So thank you guys from Premium Beat, and please.
00:10.960: Yeah.
00:10.960: Anyway.
00:11.040: He's almost like, you know, a celebrity multicam director.
00:11.040: I don't know if they're released by Apple, but I do know that
00:11.040: Yeah, whoops.
00:11.120: Yes, exactly.
00:11.120: I mean, somebody's obviously taking that guy's name.
00:11.280: 0 that was released three plus years ago now.
00:11.440: So very, very cool.
00:11.440: We've we've been um
00:11.520: They shot for two nights in Boston.
00:11.520: And and there's a value to that, to the you know
00:11.520: What um
00:11.520: Very interesting stuff.
00:11.600: You know, it's like, oh, okay.
00:11.760: This is really fascinating.
00:11.840: I'm doing well.
00:11.920: And obviously you guys, you know, like I said, you
00:11.920: I mean, we could.
00:11.920: If you had
00:11.920: It's like.
00:11.920: Later, later.
00:12.000: I walked up to the stage and I told them, I go, Look,
00:12.080: You know, I will say that I mean I've watched a hand
00:12.080: It's um
00:12.160: Nothing.
00:12.400: And then of course made
00:12.640: Thanks for doing this, man.
00:12.720: You're going to love this.
00:12.800: Exactly.
00:12.880: Okay, so
00:12.880: And I think that
00:12.880: And I'm trying to make it
00:13.040: And if you don't
00:13.200: I think you're going to like it.
00:13.440: So I'm glad that went well.
00:13.520: Oh, wow.
00:13.600: Now,
00:14.080: So