Episode 86
FCG086 - What I Did Last Summer (feat. Scott Simmons)
2.1 TB of ProRes LT on a 2 month long project, how did FCPX handle it. On this episode we are joined by our friend Scott Simmons and he gives us the low down, both good and bad on how Final Cut Pro X did on a large project with tons of media, many Events and several deliverables.
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Featuring
- Chris Fenwick
- Scott Simmons - @editblog
Transcription
00:00.001: To me, as an editor, like it all is, you know, the shit flows downhill into the edit suite, right?
00:00.001: You know, like you you look at the uh you got a keyword collection and you've been, you know, logging it for thirty minutes, you're like, How much do I have?
00:00.001: It depends on many factors.
00:00.001: When you're skimming and you're JKL shuttling.
00:00.001: No, I think it's a fine way to work.
00:00.001: Oh, I do too.
00:00.001: Can I just turn every possible thumbnail and waveform off?
00:00.001: I felt like half time I'm grabbing a puck and like, which way do I need to move?
00:00.001: Yes, it has these goal wing doors.
00:00.001: So I like took all the interviews, assigned a new sub-role to them, and then I went into the timeline index and said, all right, you know, did the little minimize thing where it like
00:00.080: Hey, good morning and welcome to another episode of Final Cut Grill.
00:00.080: Throwing all this media at it, and it just really choked and did not seem happy.
00:00.080: You know, just wanted to work at home for a few days, and I could do that.
00:00.080: I mean, God, I don't know how many hours this is, you know, 70 hours, 80 hours, or something like that, of this footage.
00:00.080: In bulletproof, which has its hundreds of different parameters in there, that stuff will a lot of that stuff will translate it, but in all these weird places that makes it somewhat unusable.
00:00.080: Of the two are avid.
00:00.080: When you try keywording one time, you're like, oh my god, how you know, I can't go back to editing in something like Avid or Premiere because it doesn't log the same way.
00:00.080: Three-year-old iMac, and I'm like, uh, you know, I'll be to be fair, I have pretty good, I have access to very, very relevant, very new, and very current hardware.
00:00.080: Don't, I mean, there may be people who sort of don't want to try Final Cut 10 because they're on the old tower, and I mean, this is like not a particularly powerful old tower, it's a uh
00:00.080: Put this an archive of this thing on a drive somewhere.
00:00.080: you know what I mean, and sort of move it out of my um out of my uh the drive it was on.
00:00.080: The trimmed library.
00:00.080: Unload a new Mac Pro?
00:00.080: to think that it's as bad as some people have thought thinks that it is.
00:00.160: That are shooting stuff all summer long.
00:00.160: But that's certainly the biggest one.
00:00.160: gigs, how many terabytes it is?
00:00.160: Aren't you an editor?
00:00.160: I mean, ProRez is good.
00:00.160: The establishing process of the workflow, but I wasn't there on set.
00:00.160: Or in your case, keywording it.
00:00.160: or pulling selects, whatever, as opposed to you know, you got a couple of weeks of just going through the footage before you actually start cutting.
00:00.160: you know, that whole like understanding of what maybe a better product in the back end you get by trying to do some of that categorizing and logging on set.
00:00.160: You know, somehow overlooked that because I'm having to go through that much footage.
00:00.160: You know, right at the same time, basically.
00:00.160: You know, there's this metadata column that has, I mean, hundreds of different, what do you call them?
00:00.160: like bulletproof was a you know, it's sort of like internal to the video world that we're living in, if you will.
00:00.160: You know, sort of like just sort of the free time at the camp, and you know, and I have a keyword collection and the smart collections.
00:00.160: of them doing it on set was to uh when I brought that stuff in that the keyword collections were already created for me.
00:00.160: that it builds a smart collection in real time as you click it.
00:00.160: Yes, and actually that's a comment that you're seeing by sorting through two terabytes of data.
00:00.160: Field crew, in a certain way, they are sort of acting like an assistant because they're putting all this metadata in, you're using those keywords when you import your media.
00:00.160: Well, it's funny you should mention that because one of the and this will probably be a somewhat controversial topic, and another reason I wanted to do the big job.
00:00.160: NLE review of Final Cut 10 in quite a while, and I want to do an in-depth, you know, just review of where it is, you know, here at this point in time.
00:00.160: Like, I don't really want anybody to sort of set the video up for me.
00:00.160: Yeah, that's where you get to your own editor preferences there.
00:00.160: Favoriting way more shots than I needed, and as I went through and was, you know, saw how long it was taking to you know, just to go through and pull selects, I'm like, I maybe started favoriting less and less and less.
00:00.160: 15 minutes, and you're only going to need a couple of tiny little things out of there.
00:00.160: To look for media, and that is the skimming.
00:00.160: is that I can shift Z, see my whole time line of soccer B roll, and see the parts where I grabbed a lot of shots and see portions where I didn't grab any.
00:00.160: you know the rejected is like that that sort of what would be a v1 if you will you know what i mean and i guess um i mean it gets it gets kind of complicated but
00:00.160: You've been on favorites and you move to a new thing, and there are no favorites.
00:00.160: You know, then you mark it out.
00:00.160: Well shit, do I really need to watch that whole clip?
00:00.160: A young student of filmmaking who had only used Final Cut 10.
00:00.160: Remind me not to hire you.
00:00.160: I mean, it's just it's just that's all there is to it.
00:00.160: It's so much better than thinking I have to now go into this bin and shift select these hundred, drag to that bin, go to another bin.
00:00.160: Ships like these 14.
00:00.160: In the baseball keyword collection.
00:00.160: Oh, it seems like something it's it's beach balling, and it's and when you hit force quid, it says final cut 10 not responding, but something is still churning.
00:00.160: An event with his timelines because he was doing something sort of a totally separate type of thing.
00:00.160: Does that make sense?
00:00.160: The merging of it things, you know, I had to do it because of the way that the logging was done through bulletproof.
00:00.160: That's my philosophy.
00:00.160: Open.
00:00.160: Which is, you know, it's a supported system.
00:00.160: You know, why won't its competitor not do it fine on this machine?
00:00.160: was the uh was the fa how stable it was once we got into it like you know i mean the the only cra like i didn't get just sort of like a random cra like it never just crashed you know like you're working
00:00.160: You do something, that's crashed.
00:00.160: that's uh you know, I I think I think could be better.
00:00.160: with Final Cut 10 and you know targeting where things are going to go and like you know do I have that right thing selected right there when I add an edit or you know was my little
00:00.160: Cutting a cut a piece of music, you and Premiere, me in Final Cut 10, and see what it is.
00:00.160: Music edits some more.
00:00.160: It's like nowhere even and even Avid's dynamic trimming is better than Premiere's.
00:00.160: I digress into the whole thing.
00:00.160: Feature point counterpointing is like, well, you know, dynamic trimming is an AVI, but AVIT doesn't have keywording.
00:00.160: You think that kind of uh that could be an endless sort of uh well, that's what he that's what we call a loop that like just loops back upon itself and never ends.
00:00.160: You know, be exactly the same.
00:00.160: I've heard many people say that Premier's Multicam is now is now just as good.
00:00.160: Could make it better, but then again, you go back to uh, there's you know, you need to do some specific thing, you're like, oh, well, the way Final Cut 10 does that's probably better than the way Premiere Multicam does that.
00:00.160: Oh, yeah, I would absolutely use it again.
00:00.160: Premier will utilize what this old Mac Pro has way better than Final Cut 10 does.
00:00.160: Gotcha.
00:00.160: I thought it was supposed to relink better.
00:00.160: Yes, it may choke when it's as much media as you have.
00:00.160: I like the term a lot.
00:00.160: I don't know, a discussion on Twitter with somebody like was saying, you know what, keep your library off your RAID because your library is full of thousands of tintsy tiny little files.
00:00.160: So I'm thinking, okay, this isn't a very big file.
00:00.160: Big huge files.
00:00.160: And it was like, all right, colorboard, it's you and me, and we're going to duke it out, we're going to make it work.
00:00.160: There's many of them in FX Factory, that's for sure.
00:00.160: If you know, Final Cut 10 has an auto has matching built in.
00:00.160: very usable tool.
00:00.160: And it's not just like organizing for like export to Pro Tools or whatever.
00:00.160: I'm sorry.
00:00.160: And there's 20 instances of the clip name.
00:00.160: clip heights if you will but like you know i i talking about drawing redrawing thumbnails and whatnot like you know all of my um sort of primary storyline are interviews in this one
00:00.160: Particular clip.
00:00.160: Monkey around a bit to make that happen.
00:00.160: Yeah, I should if I uh if I get the review written, we'll come back and chat after that because I'll go into more detail on some of the there's several stuff we had we didn't even know people's commutes are only so long.
00:00.160: Then you have like a thirty seconds of silence, then you put all this shit in there.
00:00.160: It's a lot.
00:00.160: Last file is like you know 17 or 28 minutes long because you've got this ghost track.
00:00.240: Finding good music is such an important thing that he's dedicating a little bit of time every week, even if he doesn't need music that week.
00:00.240: He's dedicating a little bit of time every week to finding, you know, and curating basically his own collection of stuff that he likes.
00:00.240: And I tell you, the favorites section in Premium Beat is a great way to do that.
00:00.240: I have been like a little gnat in your ear about talking about this particular job.
00:00.240: in Final Cut 10.
00:00.240: Good morning, sir.
00:00.240: massive promo of the whole entire scope of the uh of the camp, which which is the biggest piece of the whole thing.
00:00.240: contemplated Final Cut 10, but we did not choose it.
00:00.240: you know, client stuff.
00:00.240: So everything we did the same thing last year, you know, track everything in a common codec, which is a little bit anti-spirit of Final Cut.
00:00.240: Ten, I guess, is to transcode everything, but still I'm I I I if you got the time to be, like I I'm I'm a believer in it, dude, you know, just 'cause
00:00.240: HQ or ProRes.
00:00.240: You know about the you and I have talked about the ho the house tours that we do.
00:00.240: For another?
00:00.240: Producers, when they dump footage at our feet, they don't realize, hey, I wasn't there.
00:00.240: Thing is like, well, we just don't have time.
00:00.240: Yeah, and I think that we've all seen it.
00:00.240: for a long project like this, you know, it behooves you to get it right, but it also it there's no benefit to them
00:00.240: to do more on set to bring you better media to start with.
00:00.240: Firmly believe that better pre-production on the front end gets you a better thing on the back end.
00:00.240: You know, there may be a s you know, one little shot of the perfect smile that we don't get in the piece because, you know, the editor out of 5,000 clips.
00:00.240: Of, you know, in the mountain, it's like, oh, we only grabbed one shot of horseback riding in the mountain, but I don't have sort of that, it wasn't categorized right.
00:00.240: Are you saying that in Bulletproof, you can create keywords that translate into Final Fed X?
00:00.240: You know what's going to come out.
00:00.240: How did I miss it?
00:00.240: They wanted this like hard driving, you know, aggro kind of thing.
00:00.240: Hmm.
00:00.240: I personally wouldn't have wanted to do something like that on this project because then I had, you know, finder tags are universal throughout the finder.
00:00.240: You know, like notes or description comes across, and that's what you want to be able to sort.
00:00.240: That came across as well as real number, but real was less important here than the notes in the scene because I was able to have, like, you know, the note column was sort of a macro organization, whereas the scene column
00:00.240: I need to see all of this minus one little thing specifically.
00:00.240: You would import the XML and the keyword collection wouldn't be there.
00:00.240: it pops up instantly because the keyword collection already holds the data.
00:00.240: what they did done and it made my life so much easier.
00:00.240: Playing back and you know, favoriting.
00:00.240: Of the tool should be long gone.
00:00.240: But yet at one thirty two in it, there's a great circular shot around some kid cheering or something, and that's the one part you really want.
00:00.240: When you have so much media, and there are times like, you know, it's a GoPro that, you know, is mounted to the corner of a soccer net for a soccer game.
00:00.240: I honestly think that in Final Cut 10, I do not get to know the footage near as intimately as I would have.
00:00.240: By the way, let me ask you about that, because I've heard you say that before.
00:00.240: Well, I wish like maybe the background would turn a different color or something when you're filtering something.
00:00.240: Or I would make a keyword collection called Hero Shots and I would just my Control 9 was always the Hero Shots and let those go into a um their own little keyword.
00:00.240: You can only promote up to a secondary track.
00:00.240: Now icon mode can can you can view it in multiple ways.
00:00.240: Okay, so like you can make the icon longer than one chiclet wide.
00:00.240: Now, when you are skimming in the browser, you can either be looking at it in list mode, where your clip is represented across the entire span of your browser.
00:00.240: You know, versus all the way to the right.
00:00.240: It's nine minutes, and I'm two minutes in.
00:00.240: You know, the idea of actually watching it down, it seems often seems foreign.
00:00.240: There was so much footage.
00:00.240: You physically don't have enough time in the allotted time to make the edit to sit and watch all the footage.
00:00.240: Guidance from the producers.
00:00.240: you know, new ways of reviewing our footage is a good thing.
00:00.240: Anything that is metadata, I'm guessing a search bin will work for, but I'm 99% sure it'll work for like a note column.
00:00.240: You know, the soccer field that is, you know, from this camera.
00:00.240: That.
00:00.240: When you think about doing it the old way, it's just like, well, this is just insanity.
00:00.240: Select if probably 12 or 20 events and said merge events and I let it run for probably 36 hours.
00:00.240: And still did not merge.
00:00.240: Actually, merge them, but it was the I think the 36-hour one where I was finally like, you know, screw this.
00:00.240: Sort of dragging clips from one event into the other.
00:00.240: an instance of where I felt I needed multiple events in one library.
00:00.240: I know, several hours of helicopter stuff.
00:00.240: All the footage into one folder, bucket, event, you know, and then microorganize from there, or you can use the events as the ways to organize.
00:00.240: it came in in individual events.
00:00.240: Two basically three cameras: A camera, B camera, and then C camera, or four cameras because we also had the aerial ABC, AB, and C camera.
00:00.240: multiple times during the event.
00:00.240: First massive import was an ev was multiple events with multiple um camera offloads.
00:00.240: And of course, you never upgrade a project in the middle of a job unless you're Chris Fenwick or Scott Simmons.
00:00.240: you know the laptop and thunderbolt and uh yeah i did the update and opened up the event the next day and like uh crashed crash crash like it would not
00:00.240: Terrible crashing after updating 10.
00:00.240: On the desktop machine.
00:00.240: And I got multiple of those like, hey, things corrupted.
00:00.240: you know, uh a press release, you know, please do not upgrade to 10.
00:00.240: Well, there's corruption now.
00:00.240: Which we did the job in 10.
00:00.240: You know, a RAID five attached to it.
00:00.240: The whole 10.
00:00.240: Stable Premier was.
00:00.240: OS, Final Cut 10, nothing else.
00:00.240: all of his bins came over too as keyword collections.
00:00.240: You know, conceptual things that we've never done before in editing.
00:00.240: Drop the whole song in a timeline, you know, and then mark in point, out point, you know, lift it out, close the gap, and there's my music edit.
00:00.240: Like you know, I may have a I had a job the other day.
00:00.240: Hey, my bouncy balls up there, but when I do that, the operation happens down there.
00:00.240: You know, I try not to hurry through them because I want to try to find the best.
00:00.240: Yeah, I just I don't um yeah, I don't like it.
00:00.240: And I remember after he did that, I saw a tweet on Twitter where I can remember who said it was like, here's how you do it in Final Cut 10.
00:00.240: When you look at what anytime somebody goes, oh, that's exactly the same.
00:00.240: the so-and-so and such and such from two years ago.
00:00.240: No, yeah, you're right.
00:00.240: Oh, that's called editing.
00:00.240: Somebody had said, I can't remember what it was, you know, if something's exactly the same or something.
00:00.240: Well, really, things are exactly the same.
00:00.240: You know, I just it's that endless debate.
00:00.240: I would love to do the exact same job on a new Mac Pro.
00:00.240: You know, it's quad-core 2.
00:00.240: To kind of test it out and see the power of it?
00:00.240: And I was, you know, the library file is 200 or some odd megs.
00:00.240: you know, there were thousands of files in this library and it was like it's Dropbox, it will take six hours to sync.
00:00.240: I did just that throughout the whole edit.
00:00.240: It down to 14 megabytes.
00:00.240: The backdoor question.
00:00.240: What's that?
00:00.240: I had to jump into some uh third party plugins to make sure that.
00:00.240: multiple masks together.
00:00.240: And there's a shot of the new BMW i8 with the door opening.
00:00.240: those masks would draw.
00:00.240: No, no, no.
00:00.240: audio audio working working in general with audio stuff like it just it's it's uh I wanted to edit audio slower like in Premiere I want to edit I wanted to edit aud
00:00.240: There's no tracks in the timeline, but you know, this was another.
00:00.240: you know, like, oh, I wish Final Cut would do this, and you get like 10 responses, like, oh, it will, or I think you can do that, or try this, or you know, the idea of, you know, you come from a track-based editor and you would put your dialogue on V1 through four or A1 through four.
00:00.240: Your effects, you know, you would have that stuff organized in an at-a-glance way.
00:00.240: Free-for-all of like, what the fuck is this jumble of audio that's 19 layers deep?
00:00.240: Photoshop mocked up version of what Michael Matzdorf wants?
00:00.240: Thing where I guess they put in like a dummy clip that expanded, you know, they had three or four dummy clips that went the length of the edit.
00:00.240: That's awesome because that gives you what you want.
00:00.240: I just want to hold down a key and say, Show me all my dialogue, show me all my effects, show me all my music, so that you could get that visual representation that you that Michael Madsdorf wants in his
00:00.240: In his mocked-up file.
00:00.240: and I D noise.
00:00.240: This is true.
00:00.240: Send me a tweet, send me an email.
00:00.240: Because sometimes that stuff falls through the cracks.
00:00.240: Scott, thanks again.
00:00.240: Any last comments?
00:00.240: My producer friends out there that are recommending.
00:00.240: Yeah, we'll do it.
00:00.240: Good night, that was loud.
00:00.240: Hey, did you hear?
00:00.240: Jump on a concrete slab.
00:00.240: It was really great over this last weekend.
00:00.240: The office here where I work, they just hired some guy to come in and do a big screen, and he's going to do it all in premiere.
00:00.240: But anyway, he does a little bit, yes, because he but he's I have a guy.
00:00.240: Oh, sorry.
00:00.240: Oh, that's a good idea.
00:00.320: to support what we're doing here.
00:00.320: any time now, we're going to see a new website from them because they have told they've been kind of teasing me about it, and I think that's due any time.
00:00.320: Of recruiting counselors and staff as well as campers.
00:00.320: much more robust than the Mac Pro Tower, the old school Mac Pro Tower you had.
00:00.320: build into the uh final piece.
00:00.320: Because I didn't, you know, I didn't trust it last year.
00:00.320: we ended up with something four or five thousand clips.
00:00.320: Because I get the media drive and I and it has the raw as well as the transcodes and all I put onto my RAID is just the transcodes.
00:00.320: At the camp, yeah.
00:00.320: one event or one like activity from another necessarily by name.
00:00.320: It's not the fact that it's going to save a few days of post-production time, because like me categorizing the stuff of something of this scope, and I did on the one last year.
00:00.320: And it's just like, you know what?
00:00.320: That one little thing they weren't able to get to it, yeah, you know, because like if someone had categorized stuff said, Oh, go to the you know, the horseback riding
00:00.320: You know, revision hell.
00:00.320: Where the exact problem was, was there an update to bullet proof or an update to final cut 10 XML or something they didn't do on set, but
00:00.320: Ultimately, we were okay, but that you know, it's a typical thing.
00:00.320: And I took the piece, I took the cut of music, I cut like eight or ten or twelve shots to it, and it was co a complete counterpoint thing.
00:00.320: Which could have been a hundred plus finder tags that I took time to build in the finder, then suddenly I have a hundred plus finder tags like when I just go to you know try to organize my documents or something like that.
00:00.320: Do the keywords in Bulletproof translate into Premiere somehow?
00:00.320: You know, I think like a you know scene in description kind of thing, which which gave me what I wanted.
00:00.320: you know, was more of a micro organization.
00:00.320: or give it to put a XML out that has the metadata.
00:00.320: something like that.
00:00.320: Smart collections is an interesting thing because, like, part of me was like, okay, this is going to be great because the smart collections will be, you know, a wonderful thing to use here.
00:00.320: I don't know, six or seven hundred gigs.
00:00.320: By having that stuff pre-sorted as opposed to sorting it yourself because through the very act of sorting it, you are becoming more familiar with it.
00:00.320: Yes, you could say, oh, this is a great clip, but it could be a two-minute steady cam shot running through a soccer field where kids are playing.
00:00.320: It was, you know, it was macro, mic, macro, and then micro, but not to the point of where, like, you know, I didn't have to review the footage.
00:00.320: You know, I've got we had A cam and B cam, so we have two different cameras.
00:00.320: You kind of got to watch that stuff because kind of the moments happen during real-time playback.
00:00.320: You know, a quote unquote regular NLE.
00:00.320: Skim through it, find the bits I like, slice it out of the main clip and promote it up a track.
00:00.320: Yep.
00:00.320: I actually did look through it.
00:00.320: Maybe I got distracted and didn't look at the rest of it.
00:00.320: If you wanted to go nuts with your whole rating and stuff that you can do on clips, you could let your favorites, in essence, be like the absolute heroes.
00:00.320: Yeah, so there's plenty of ways, but hold on now.
00:00.320: And if you're doing two monitors, that could be a lot of uh space.
00:00.320: Representation per left, but or right.
00:00.320: Logging level, you are you're clicking and you're playing and watching it play back.
00:00.320: And I think you get into that kind of thing where you start being able to miss stuff because it's so pleasant and so easy to skim it.
00:00.320: You know, it's it's you know, maybe my um my lack of willpower as an editor or something.
00:00.320: Sit back and watch it.
00:00.320: Right.
00:00.320: Oh, no, no, not at all.
00:00.320: Every clip that is under the notes column is instruction.
00:00.320: a complex search string like a boot.
00:00.320: And that is pretty cool.
00:00.320: So in each event, just like in a bin, I have a lot of clips.
00:00.320: And then and there it's when I almost slipped my wrist and abandoned using and went back to Premiere because merge events just basically didn't work.
00:00.320: You know, and you would like an hour later, the beach ball, and you're like, is this thing crashed?
00:00.320: And I kept the GoPro stuff separate because the GoPro is hours of footage and you're only grabbing tiny, tiny moments out of the GoPro.
00:00.320: Organize this stuff?
00:00.320: You do know, like, I don't have a day to spare if the upgrade goes wrong.
00:00.320: Huh.
00:00.320: I mean, for the most part, these things are going to work, but there are times when they don't work.
00:00.320: Anything in the middle of a project.
00:00.320: And I would have in this, I would have this fear as I booted.
00:00.320: The next day, or sometimes in the middle of the day, I would sort of version it that way.
00:00.320: Those sort of corruptions of the libraries were happening early on.
00:00.320: Clearly, the guys at Apple would be all over it, and you know, there may even be
00:00.320: Yeah, and I think uh those systems did you ever have problems with 10-1-1 beach balling?
00:00.320: But you know, I mean, but you you really notice when you're doing you know a big job on a version and it never beats balls or crashes.
00:00.320: And I and he didn't k he had done some a r a rough time line.
00:00.320: Exas7 recently that sort of added a few things to let you know to let that kind of stuff come come across.
00:00.320: What do you not like about it?
00:00.320: As the multi-cam there, it just works a little bit differently.
00:00.320: and you got through your what I did last summer video project, and it went well, and you would use it again.
00:00.320: So I think looking at the calendar, this is October 2nd.
00:00.320: a blog, website, podcast.
00:00.320: I mean, I did move machine to machine.
00:00.320: Wherein I thought the theory is behind it, I think or I thought was that I could have drive with different names but similar folder structure.
00:00.320: Naming the drives exactly the same thing.
00:00.320: actually just say, here is the job folder, and all the audio is in the audio folder, and all the media is in the media folder, and all the graphics are in the graphics fo
00:00.320: And say, just snoop around in here and it goes, uh uh uh uh oh, oh, yeah, yeah, yeah, I got that, got that, got that.
00:00.320: There's always so much to talk about.
00:00.320: It kind of worked, but there are many times like it just, it just, you know, I like, I literally could not figure it out.
00:00.320: I would agree.
00:00.320: suddenly your your uh scopes are reflecting these weird controls on the screen.
00:00.320: Always start with the exposure dot, the exposure tab.
00:00.320: If you open up your timeline index, Command Shift 2.
00:00.320: Wouldn't show me those thumbnails, but I still wanted to see thumbnails for the B-roll stuff.
00:00.320: Has yet to be actually you know, it's kind of untouched at this point.
00:00.320: Audio is important, so we need some better audio educing tools.
00:00.320: And if you have any suggestions, and Scott, this goes to you too.
00:00.320: For sure.
00:00.320: Number one, Scott, thanks again.
00:00.320: With the bend gate, everybody's talking about it.
00:00.320: However, we also shipped 10 million phones that weekend.
00:00.320: I want to do this in Final Cut 10.
00:00.320: Yeah, that's good.
00:00.320: I want to come on and do a, you know, I'll show you how people use Premiere Show, and you're like, no, I've already done that show.
00:00.320: Um, sure, but not anytime soon.
00:00.400: Yes.
00:00.400: you made a comment either to me privately or on Twitter about how I think you said something about the a new retina seemed to be just
00:00.400: Uh there was um is it C one hundred?
00:00.400: Bridge Eye Bulletproof is what was used to do the transcoding as well as the organization.
00:00.400: Subcategory one is activities, and all those, you know, that 3,000 clips of activities is then subcategorized into another.
00:00.400: Know one thing from another, and someone there on the shoot was able to actually categorize that stuff.
00:00.400: Even in a one-day shoot in a multi-million dollar home, I get the footage coming back and you know, I don't know one bedroom for the
00:00.400: You know, there are certain things that one can do in the course of production and post, it's going to get you a better final result.
00:00.400: And finder tags to automatically create keywords in Final Cut 10 also.
00:00.400: Event, it would put all the biking into one keyword collection.
00:00.400: Oh yeah, absolutely the more data you have, the longer it's going to take for it to sort through that stuff.
00:00.400: The rest of the podcast is shit, but this go to 25 minutes here.
00:00.400: The way I used to work is I would take like, you know, the soccer footage, string it out in its own project or timeline, and then I would.
00:00.400: So, but this is what I was saying.
00:00.400: Final Cut 10, and it's interesting because with Premiere having HoverScrub, a very similar way of kind of being able to view your footage.
00:00.400: It depends on how many clips I have in the in the in the keyword collection.
00:00.400: Have you seen the footage and are you giving me the best representation of it?
00:00.400: Yeah, I will watch every single performance take of the song in real time.
00:00.400: So, and I realized that each one of these questions could elicit a one-hour response.
00:00.400: You have that little search bar in your bin, and you can.
00:00.400: Well, if they use them at all.
00:00.400: Keywords, or these, you know, these three things from the note column, but you know, there's a fourth one that I didn't include, so I just didn't.
00:00.400: And all stuff was organized by Real.
00:00.400: And then I have inside that event I have folders full of keyword collections.
00:00.400: What about things that that surprised and delighted you?
00:00.400: Got straightened out.
00:00.400: So delighted, I don't think it crashed a single time in this two months or whatever of work on either laptop or the desktop machine.
00:00.400: A whole lot of media at Final Cut 10.
00:00.400: The new Mac Pro is.
00:00.400: graphics card in it, which you know, which which definitely helps out.
00:00.400: of the Mac Pro, and I know people from Apple listen to us.
00:00.400: But I think there's like a month, there was a small window in which I could keep it.
00:00.400: Make it look right, but I get the color wheels.
00:00.400: tools and I would use the um I use the auto grade quite a bit I didn't use the auto match very much so I just find like that auto matching I even
00:00.400: Shortcut where, without even opening the key the timeline index, if I could, and I don't know what it would be, there's definitely some thought process to put into this, where I could just say
00:00.400: So uh and that'll be the ghost track.
00:00.400: Yes, Apple's going to take it on the chin and plus get slathering blowjob praise for anything that they do, no matter what it is, because it's just the nature of being Apple.
00:00.400: Yeah, yeah, just you're you are you you manly, you know, he-man hands are you know using all of your strength to bend this large piece of metal.
00:00.400: Either doesn't work or is like a total POS.
00:00.400: Yep, and I'm still amazed that you are bopping back and forth between apps the way you do.
00:00.480: He's been working on it for actually a couple of months, and I've been pestering him like a little gnat in his ear.
00:00.480: At any rate, let's go now to, it looks like Scott's ready.
00:00.480: The project on my home system, which is basically my Retina laptop and a you know a Thunderbolt RAID there.
00:00.480: Something like that, first of all.
00:00.480: the um the original media and the trans codes?
00:00.480: Back from the chute to you know, that actually made some kind of sense in voice production was a wonderful thing.
00:00.480: So I don't know how embedding into a QuickTime file how embedding metadata into a QuickTime file works, but it does work.
00:00.480: This podcast is about Final Cut 10.
00:00.480: There's only one thing that I miss.
00:00.480: All right, I'm just gonna kind of skim over these and see.
00:00.480: I don't have time to watch it.
00:00.480: Where um no, actually, I think weren't you on Cafe?
00:00.480: I had two days to cut this piece.
00:00.480: Well, w let's go back five years.
00:00.480: Would you watch all the foot please tell me you're not watching all the footage in real time.
00:00.480: You sort of have to watch that because the performance is part of the piece.
00:00.480: You know, if you can, but that's a business, that's what an editor does, right?
00:00.480: That's why Skype is getting all funky.
00:00.480: What didn't work well was the first few weeks of getting things organized.
00:00.480: Like, um, you know, in sort of been way.
00:00.480: Now why the merging itself didn't work, I have no clue, but it was a real it was very, very painful as we were getting up and running.
00:00.480: Of course you do.
00:00.480: And I, and I, it was probably more of an accidental update.
00:00.480: And what you know, what I used to do in updates, you save the old version, so you can have multiple versions on the machine.
00:00.480: thing to tell people.
00:00.480: Well, yeah, you know, if I it's no, it should.
00:00.480: You know, redraws of, I mean, like every time you blink, Final Cut Team wants to redraw something.
00:00.480: I'm totally blanking.
00:00.480: You can put a clip in multiple keywords.
00:00.480: Well, you talk about the I think you do the whole markers thing and then extract from there.
00:00.480: Final Cut 10 can't play back in real time, but I can stack nine of those on in Premiere and it can play back in real time.
00:00.480: I just would render selective things.
00:00.480: I don't know why that is.
00:00.480: Yeah, it's cool.
00:00.480: And it was in a very dingy room, and I wanted to make the car pop a little more.
00:00.480: You know, trace the shape of the car, and then I did an outside mask adjustment where I could pull down the luminance of the rest of the room.
00:00.480: No, I totally disagree.
00:00.480: And actually, sorry, Esther, I don't know if you go by if you use our wonderful name.
00:00.480: Here is a producer who is motivating the changeover because she is hearing good stuff about the software.
00:00.480: You know, great rock band, but like they had some really, really good ghost shows.
00:00.560: About, hey, come on the show, come on the show.
00:00.560: It's a great way for me to sort of make my own collection in off times.
00:00.560: It is a corporate piece for a very large summer camp.
00:00.560: It's really perfect for that, which is why we're like, you know, it's like, oh, this would be perfect for Final Cut 10.
00:00.560: Oh, so somebody else is doing all the transcoding for you?
00:00.560: This is interesting.
00:00.560: If you are working in a situation where you have an assistant and you're just the editor, not just the editor, but you're the editor, or in this situation, you're
00:00.560: But in this case, everything was keyworded.
00:00.560: You know, hopefully, I don't know if I have the absolute best of everything.
00:00.560: The first way is what I was still advocating even at the beginning of this show about doing b-roll string outs.
00:00.560: You're showing a half second, or you're showing all, and you hit the L key and start playing, and then you look to the viewer to see what you're seeing.
00:00.560: That it in this quote unquote new economy, quite often, and I'll give you the perfect example, this BMW thing I just cut last week.
00:00.560: Are you are you uh do you think you made a mistake cutting this in Final Cut 10?
00:00.560: Correct me if I'm wrong.
00:00.560: It's fantastic.
00:00.560: But no, actually, there was more than there was probably eight or ten.
00:00.560: There was, I'm trying to remember exactly what happened there.
00:00.560: No, I remember what it was.
00:00.560: I have an event that are aerials because they were shooting helicopter shots, and there's a lot of that because the helicopter starts recording, the helicopter goes up and flies.
00:00.560: Open event, it would say, cannot open this event, it's possibly corrupted.
00:00.560: It would just be updated with all the new stuff that I had done.
00:00.560: Do you not like it?
00:00.560: I would do it.
00:00.560: Apple's stock went down four percent in market cap, and they lost twenty three billion dollars in market capitalization.
00:00.560: a project or she started a project with a and I don't know the woman's name, so I apologize, but apparently she's a fairly well known documentarian.
00:00.640: adventure sports and and so that all that was done for me on set so it it took me not the fact it just took me less time to get ready for it like there's stuff that I didn't physically
00:00.640: We also did a smaller camp job of almost the same thing, but just scaled down tremendously.
00:00.640: I did not mean to go into a commercial about that.
00:00.640: Give me the XML and they imported into Premiere.
00:00.640: I believe and I think that as wonderful as the whole skimming thing is and how quickly you can move around media
00:00.640: And V3 is like, it's a pretty good V2 is like, well, usable and V1 is fine.
00:00.640: Let's start with what did not work well.
00:00.640: You've been talking about a lot of things that did work well, and I know that we could talk about that for an hour also.
00:00.640: Keyword collections and sort of my master event with all of my real fun footage.
00:00.640: So what you're saying is that bulletproof sort of uh ushers your way into multiple events because of the way it
00:00.640: Should be able to do it in Final Cut 10 as well, unless Apple says, nope, this software is not qualified for old towers.
00:00.640: 7 to 10 converter, you know?
00:00.640: Okay.
00:00.640: You can do all that on the subright front, subframe level, and premiere and all that.
00:00.640: I think that overall, like you know, you can do, and we said this before, you can do any job in any of the tools.
00:00.640: When you were moving back and forth, were you literally just picking up your RAID and taking it home with you?
00:00.640: Okay.
00:00.640: We need some and I mean, I'm fine with no tracks for video for the most part.
00:00.640: I I am full of sarcasm, yes, but I'll tell you a good use of it.
00:00.720: Are you going to edit this pause out?
00:00.720: Or is this the bathroom that's in the hallway or in the the master suite?
00:00.720: I can't.
00:00.720: Do you do you think that there is a um that there is a disadvantage
00:00.720: Is you know, the favorites were my favorites, but then I would often put like a marker on the like what would be like the V4.
00:00.720: Or, and here's the question I have for you: you can scale the icon to wrap.
00:00.720: The number one important thing to do as an editor is watch the footage.
00:00.720: I need to better spend that time watching that other thing in real time.
00:00.720: And to make a long story short, I first got all the footage in and I had, you know, I don't know, a hundred maybe events, different events, right?
00:00.720: I can't remember the exact specifics of why it came in with multiple events, but I guess I could open an earlier version of the project and see.
00:00.720: I mean, I you know, like if I was in a premier job and like that next update that they announced at IBC came out, I would stop and upgrade that moment because there's such good stuff in there.
00:00.720: Interesting.
00:00.720: Well, you know, I think that's and that's sort of the still in my mind, kind of the schizophrenic final cartoon.
00:00.720: Yeah, and you know, and I guess that's one of those like in a perfect world, you want to be on the perfect, you know, on the perfect hardware and the fastest hardware in the world.
00:00.720: It was fun.
00:00.800: Sent me a little escape message saying he's on the phone with his client.
00:00.800: It should be interesting because it was a giant undertaking.
00:00.800: Sorry, phone rang clam.
00:00.800: No, I did not because the keyword collections are already created.
00:00.800: And to me, that is still something that I miss because it allows me to kind of gauge how well
00:00.800: In the end, it may have made the project better.
00:00.800: Of instruct in the note column.
00:00.800: So, boys and girls, don't upgrade in the middle of a project.
00:00.800: Let me go be doing music attending in Premiere and I'll bring that back into Final Cut Ideas.
00:00.800: A trimmed library will do the same.
00:00.800: That is lacking.
00:00.800: Hey, Johnny, did you see if these things bent?
00:00.800: You know what?
00:00.880: Because I knew I'd become the majority of it at my office.
00:00.880: Besides the monetary side of it, it also means your editor is not like crafting what he needs to craft.
00:00.880: Dropping the bucket for them, but a lot for the lay play folks like us.
00:00.960: I guess if you're paying a flat rate, you don't really care how much time it takes the editor to do something.
00:00.960: And begin to start pulling stuff in and just and finally got in, and nothing works.
00:00.960: Released a tutorial on premiumbeat.
00:00.960: So then I have a keyboard collection that's all that's all biking.
00:00.960: unused.
00:00.960: I know the footage is good as doing this same job in Premiere.
00:00.960: 1.
00:00.960: I leave my background rendering off because I don't know.
00:00.960: Or sending it out.
00:00.960: She needs our audio needs to be analyzed and denoised.
00:00.960: Okay.
00:01.040: ProRes LT is a great.
00:01.040: You can choose to embed the file or use an XML, and it will come in in both FileCut 10 and Premiere because at the same time we were doing this BigCamp job.
00:01.040: It can be better.
00:01.040: It kind of worked, but like, I think the straw that broke the camel's back was when I said, All right, I've got this batch of BCAM events.
00:01.040: End of day and put the date on it.
00:01.040: To see them from those two different perspectives so close up was a very enlightening kind of experience.
00:01.120: Well, again, this gets down to and this is a whole nother discussion that I don't want to get into today, is how do you as an editor protect yourself from
00:01.120: How did I find anything?
00:01.120: I use their music.
00:01.120: It depends on the job, what the footage is, where it came from, how much time you have to do it.
00:01.120: Okay, so I'm looking at the time we have here and how much time you have and how much time I have.
00:01.120: Who knows what's going to happen next year?
00:01.120: Yeah, I mean it does, but I I guess what's different is w the way I organize stuff is I have one event inside my library because I have to have one event.
00:01.120: I only did it on the laptop.
00:01.120: It is as fast as Final Cut 10.
00:01.120: It's not.
00:01.120: I mean, it has to be improved to move to another level of consciousness in people's minds.
00:01.120: Is that Vetter?
00:01.200: Oh, okay.
00:01.200: True.
00:01.200: But yeah, I mean, they there there's a crew there for you know, on and off for, I don't know, two, three weeks as the summer goes along, and then that's, you know, what we
00:01.200: Well, they have power, they have electricity, and they have laptops.
00:01.200: It's the same but different, but it's the same enough where you're always tempted by this tempting mistress called skimming to be like,
00:01.200: 3 thing, I don't consider that a machines?
00:01.200: I have had Final Cut 10 beach balling since inception here and there.
00:01.200: It's quite nice, actually.
00:01.200: You just kind of adapt, and you know, and what you like and you don't like.
00:01.200: Now transitioning into episode two of Honor Good Girl Scott Simmons, part three.
00:01.200: And I'm like, you know what?
00:01.200: Yeah, maybe I will.
00:01.280: He's like, not usually.
00:01.280: I'd be curious as to how much better.
00:01.280: But then just the Hiawaki color one, which gives basic color wheels.
00:01.280: Hey, Scott, stick with me.
00:01.360: Correct, yes.
00:01.360: I think you do these extensive music edits and then the client comes back for changes, it changes the length.
00:01.360: Stand by and I will tell you.
00:01.360: No, if the lawn guy has got a Mac Pro, he's bringing it in, but my guess is he's just going to mow the lawn.
00:01.360: It suffers from an architecture issue in Final Cut 10, which is like it needs all those controls right on the screen.
00:01.360: To wrap up this version of the Apple Marketing podcast, I think I used that jump last.
00:01.360: I don't have that kind of time.
00:01.440: Your media.
00:01.440: You know, it's kind of like you don't want, I don't know if you will.
00:01.440: And I think the and it's funny, like the first few weeks, like every time I went to open, oh, I got one more really bad thing.
00:01.440: 1.
00:01.440: It just never did that.
00:01.440: If you could sneak into Apple and have the guys build you a feature, what would it be?
00:01.440: Yeah, it's it's very interesting.
00:01.520: I don't know much about it except I think it's about like a summer camp or something like that.
00:01.520: It's kind of a juggle, but yeah, people don't realize you are getting and this actually also comes to how are you billing?
00:01.520: Oh, those aren't all together.
00:01.520: software creation, troubleshooting and workflow.
00:01.520: Now, I'm going to go back and experiment with that because I have seen that it does relink better, and you can.
00:01.520: And can I borrow that?
00:01.520: And um yeah, and it's it was by f it was my go-to uh when I when the color board didn't do its thing, it was by far my go-to uh my go-to tool.
00:01.520: You will be back again, I promise.
00:01.520: All right, so we'll do this.
00:01.600: But it's been hasn't been continuously, it's been on and off for that period of time.
00:01.600: We just don't have time.
00:01.600: It would take me multiple days, maybe a week, just to sort of go through and categorize, as opposed to jumping right in and being able to start subclipping.
00:01.600: We had some bulletproof problems that we did a test before we started the job when everything was just rock solid.
00:01.600: So the keyword collections, you like the way I preface that?
00:01.600: See, that's a thing that you have to have to be able to trust you're getting the best footage.
00:01.600: I had some that I would like merge and come back two hours later and they would have merged.
00:01.600: And I think maybe they were sorting them by real maybe by real name.
00:01.600: And I think we had nine or ten music edits in there to make the song fit.
00:01.600: So if you keep your library off your RAID, your trimmed library, Final Cut 10, will like it better.
00:01.600: And yeah, I think it did seem to perform better.
00:01.600: That's a wonderful example of Timeline Index doing exactly what it should do, which is help you do stuff in the timeline.
00:01.680: Hello.
00:01.680: Well, they when they did the organization, they were you know, they they were offloading the card you know, they had many different card offloads.
00:01.680: I had something really uh you're talking about redrawing, you're talking about
00:01.680: 6 gigahertz, so like it's nowhere near the fastest processor, but it's I've got an NVIDIA K5000.
00:01.680: Yeah, you're a big car car fan.
00:01.680: Tracking would be nice, yes.
00:01.680: So so is that your choice?
00:01.760: Here we go.
00:01.760: I don't know that I've seen a good demonstration of Search Bin.
00:01.760: Okay, so I have, you know, the keyword collections is what does the organization.
00:01.760: It's just a different way of organizing.
00:01.760: The responsible thing is to not upgrade any software, OS, whatever, in the middle of a project.
00:01.760: The 10.
00:01.760: 2 was the just sort of random library corruptions.
00:01.760: It's an old tower.
00:01.760: Yeah, yeah, I haven't.
00:01.760: And that's okay.
00:01.760: I will say that I have had multiple conversations with multiple people when, like, I remember having this conversation with somebody at SF Cutters a while ago, and they go, Oh, well, you know, I'm on a
00:01.840: Ben Consoli, a friend of mine who does the Go Creative podcast, he just recently
00:01.840: You know, favoriting is subclipping, if you will, of my favorite stuff.
00:01.840: Yeah.
00:01.840: And I think Peter Wiggins, I think, was had said, hey, just zip the library because they zip, they're like a Final Cut project.
00:01.840: Oh, I love it.
00:01.840: You think they could sponsor, right?
00:01.920: There's not a super big rush.
00:01.920: Let's try that.
00:01.920: But that's shuttling, not skimming.
00:01.920: Do you hear Skype getting funky, or is that just me?
00:01.920: I mean, you can say, I want everything that matches this criteria, but does not match this, or all of these things I need, everything that is a synchronized clip that is from the
00:01.920: These systems are not I mean, they're not the most slimmed down things.
00:01.920: And we talked about that with Austin, you know, I 'cause I used like the TiVo analogy.
00:01.920: I kept the library itself on like a you know, just one of my internal sort of like document drives, not my system drive.
00:01.920: Yeah, my final library right now sits at standby.
00:01.920: I just select all and go into the audio tab and say, you know, noise reduction.
00:01.920: People don't realize it's something like we we talk offline on on a especially on a pretty regular basis.
00:02.000: I would hope so, but apparently not.
00:02.000: So what I'm doing now is I'm trusting the tools that we do have available in the Finder.
00:02.000: And I would probably pick Final Cut 10 again next year.
00:02.000: And it's also lacking the idea of like, I missed all my my that one interview is all on V1.
00:02.000: I don't need you to redraw the stupid waveforms for the interviews or the thumbnails for the interviews every time I, you know, zoom around.
00:02.080: I don't have time to deal with it.
00:02.080: Because, you know, we worked a while on the big one, then stopped and did the small one, then came back to the big one.
00:02.080: I don't think we use it in this show.
00:02.080: You have to watch.
00:02.080: Right?
00:02.080: I mean, I asked my Apple contacts like, hey, can I can I get an a a new Mac Pro for a couple of testing and review?
00:02.080: I guess in theory, I could have just brought my Thunderbolt raid over.
00:02.080: Thanks for listening.
00:02.160: But you know, there's there's stand up interviews with um rec you know, some the recruiter, there's interviews with counselors and campers for one deliverable, and then there's just sort of like a a long twenty minute um you know, big
00:02.160: Right.
00:02.160: Oh, no, absolutely.
00:02.160: If everything I found is just at the end of the soccer game, it, or better yet, if everything that I promoted up is at the beginning of the soccer game.
00:02.160: So I can always see anything that is not in my current time line.
00:02.160: Yeah, if they I mean and they're and like I used you know I have one here where I said I'd include these three
00:02.160: 1.
00:02.160: I'd be curious to see.
00:02.160: I will just put the library onto Dropbox to move it.
00:02.160: We will come back.
00:02.240: I mean, it's kind of the perfect job for Final Cut 10 as far as the organizational aspect of Final Cut 10 and keywording and smart collections and all that blah blah blah.
00:02.240: So at that point, you know, I can say, give me a keyword collection of, you know, where notes is all like biking.
00:02.240: You know, it's like how macro or micro to use that term again is your favoriting, you know, and that's just your own sort of like, you know, and I find, you know, I started probably started out
00:02.240: I mean, you know, I just kind of skim around and look at cool.
00:02.240: 1.
00:02.240: Yeah, just I said wonderful, wonderful thing.
00:02.240: No, I don't think he uses Final Cut 10 at all.
00:02.320: Yeah, let's see.
00:02.320: You're going to pay for this one way or another, and for what you're paying for post and what you're paying, you know
00:02.320: That's controversial enough.
00:02.320: Is there any other kind of favoriting?
00:02.320: I haven't seen crap.
00:02.320: And I had to trust some of the guidance that I got from the producer.
00:02.320: Okay, so back to the summer camp videos and Final Cut 10.
00:02.320: But I don't even want to see those clips except every on a very brief occasion.
00:02.320: Did you ever sort out what was wrong?
00:02.320: And I'm surprised, and this goes back to the difference in the kind of machines, I guess, not machines, but the difference in the applications.
00:02.320: When I would get home, I would have the library file that was there on the old machine, and I would just sort of overwrite the old library.
00:02.320: Now I'm going to have to go find that file for the show notes.
00:02.320: I got to spend some time with my niece, my nephew and his wife and their kid.
00:02.400: I love going to their site.
00:02.400: So the keywords.
00:02.400: I don't think you get to know the footage near as intimately as you do in another NLE.
00:02.400: 3.
00:02.400: Oh, I just had this discussion on the last episode with Dean Sherwood, and he said something.
00:02.400: And the keyword collections, how does it deal with that?
00:02.400: I'm like, oh, you know, three tugs on there, and it's, you know, it's right where it needs to be.
00:02.400: that whole audio working world is just it's it's it's far, far from where it really should be, or could be.
00:02.400: We all have busy lives.
00:02.480: And he's just now finishing.
00:02.480: They bring you the stuff, and there's sort of a bit of a rush to get it done so that they can use it next summer.
00:02.480: And I'm on the Mac Pro here, which is not the faster of the machines.
00:02.480: It makes sense.
00:02.480: It's got an NVIDIA GPU that's on the list.
00:02.480: Well, when I do music editing, what I want to do is, I think it's probably an old school way of working, is I want to drop
00:02.480: If your library has two terabytes of media in it, it ain't going to zip down to 200 megs.
00:02.480: I mean, they're small.
00:02.480: But there's a lot of power in there.
00:02.480: Nah, that's enough, I guess.
00:02.480: Well, you made a comment a couple episodes ago.
00:02.560: This is a web and DVD deliverable thing, so there's no absolutely no need for the proxy I mean for
00:02.560: And you essentially have the same thing by favoriting and then sorting your browser by showing only your favorites.
00:02.560: Now, if you said, Look, I got two days to cut this, you've given me 40 hours of footage.
00:02.560: So, same kind of thing as that.
00:02.560: 3 thing was just like the library wouldn't open and phone cut, it would crank, hit the library, and it would just crash.
00:02.560: So it's a good system, you know.
00:02.560: And it did work.
00:02.560: Well, this is true.
00:02.560: But you can do exactly the same kind of things.
00:02.560: It's it's just like, oh, come on, people.
00:02.560: And she's like, I've never used it.
00:02.560: People don't want to hear me.
00:02.640: How are you doing, Scott?
00:02.640: So, what was I going to say?
00:02.640: And Premier calls it hover scrubbing.
00:02.640: But, you know, I think in a sense it's irrelevant because I mean, it's not what it is because you place your cursor, your playhead into a chiclet, whether it's
00:02.640: If it's a multi-camera like a live concert, I mean I would attempt to watch those all cameras in real time that I'm you know cutting from scratch and not it's like cleaning a line cut because you know you just get those cool moments that happen and you're not going to see cool moments.
00:02.640: But as it stands right now, I think I want to talk about search bin for a second because I've heard multiple people going, Yeah, but now Premiere's got search bin, search bin.
00:02.640: I got to now, you know, shifts like that.
00:02.640: So I basically, you know, so I didn't get any work done that day and I went back to 10.
00:02.640: It never, you know, Colonel Pannington, it never liked, you know, beach ball spin force quit, and it never just application unexpectedly quit.
00:02.640: 77x.
00:02.640: You can assign multiple keywords to a clip, but you can't put a clip in multiple bins, can you?
00:02.640: But that doesn't make any sense to me.
00:02.640: It was a bit of an experiment.
00:02.640: It went as good as I probably could have expected.
00:02.640: But I use the Hiawaki, there's the auto-grade, auto-match, and colors.
00:02.640: Yeah.
00:02.640: We'll pick this up at the cough.
00:02.720: So I um so yeah, so I you know wanted to mirror the two things.
00:02.720: Yeah.
00:02.720: Be sure you're seeing what is you know you know what is being shown because you know everybody's had the time when you've
00:02.720: As cool as that is, I would just be willing to bet you that 90% of the people out there don't check more than one or two parameters when making a smart collection.
00:02.720: So I'm going to take the time to manually drag thousands of clips from one event to the other because that kept me having the organization that they did on the shoot.
00:02.720: So I think it's definitely in a stable place for sure.
00:02.720: Yeah.
00:02.720: I mean, yeah, it'd be great to have dynamic trimming in Funnel Cut 10, but it doesn't.
00:02.720: Was the controversial topic that I think is, you know, I've had a couple of funny Twitter discussions about it is the whole colorboard thing.
00:02.720: But the time it takes to build that is just insanity.
00:02.720: They say the iPhone 6, you know, is bending in people's pockets and stuff.
00:02.720: I kid you not.
00:02.800: Um I had been working on this job for well, I think it it started probably the end of July, maybe.
00:02.800: And you've done this before, but this is the first year you've done it in Final Cut 10.
00:02.800: Um, I can tell ya.
00:02.800: Because I don't want you drawing anything.
00:02.800: I've done it I've done it twice on some simple things to test it out.
00:02.800: So you never had to relink at all.
00:02.800: And I I had to do something where it would have been nice if I had had a pen tool where I could just draw around something, but it was on that BMW piece.
00:02.800: When I was in the smaller camp project, jumping over to Premiere is really a weird kind of
00:02.880: Yeah, I can JKL and hit L three times, but man, you know, this is just, it's five
00:02.880: I just wanted to see in the smart collection with these three.
00:02.880: It's just the circles back round upon itself.
00:02.880: Yes.
00:02.880: This show is completely off the rails.
00:02.960: This is episode 086 and today on the show I have Scott Simmons.
00:02.960: And what kind of footage was it to begin with?
00:02.960: I've been on the receiving end of some really horrible bad decisions in production.
00:02.960: It may be that stupid thing that pops up that says, hey, you have updates, you know, now an hour, or remind me tomorrow.
00:02.960: And there's other things where it's like, oh, you know, just hang on, let me slip my wrist before I do music editing.
00:02.960: And I just start moving around until it starts to look good, then I tweak from there.
00:02.960: I'm sure you can figure out my email address.
00:02.960: We will do this again.
00:02.960: Part, pardon me there.
00:02.960: No, but uh it was after the um the weekend of the iPhone 6
00:03.040: I ain't gonna have time.
00:03.040: Yes, yes, yes.
00:03.040: And to review, if you go back to old episodes of the show, I've never listened to the show before.
00:03.040: You're like, what?
00:03.040: I spent about two and a half because I was getting into it and I stayed late one night.
00:03.040: You make a judgment call, also, like, you know what, I don't have to watch this in real time because
00:03.040: Yeah, and I will say it's interesting because I've had this discussion with multiple people and I have yet to really, personally, I have yet to really find
00:03.040: But, like, you know, I have interviews.
00:03.040: But I think what happened on the laptop, I was working at the house, and if anything's going to work, it's going to work on the laptop because I'm looking, I'm fast, I'm Thunderbolt, I'm this, I'm that, Final Cut, 10 loves.
00:03.040: But we both do it.
00:03.040: It actually did work fine.
00:03.040: Oh, yeah, I'd love to.
00:03.040: Yes.
00:03.040: And not just like making music edits, but things like, you know, yes, it's a, it's a.
00:03.120: Most of us crap anyway.
00:03.120: Stop editing.
00:03.120: I said, you really you're gonna make that comparison?
00:03.120: There have been these 20 Twitter discussions that were had during this project about stuff.
00:03.120: Let's just wrap up the show here.
00:03.120: So we'll be back Monday with another episode of Final Clock Grill.
00:03.200: Yes, yes.
00:03.200: But there's only one new wife.
00:03.200: I'll come back to them later.
00:03.200: Like, here's ACAM, Real 1, ACAM, RHEL 2.
00:03.200: They're like 30 megs, something like that.
00:03.200: We'll be back this is Friday show.
00:03.200: Yeah, there's lots of good things to say.
00:03.280: And pretty much the same data came across, but it came across in a little bit of a different way.
00:03.280: So you're just kind of skimming around that as opposed to playing that back.
00:03.280: Can't, I'm just going to go over there and just kind of slowly skim it.
00:03.280: And I've got to get those clips from one you know, from multiple events into one event.
00:03.280: That's a great word because like if the competing tool will do it fine on this machine
00:03.280: But you know, I can't say it didn't you know, it I wasn't like chugging along.
00:03.280: So it has these goal wing sort of not goal wing, but these weird doors that slide upward.
00:03.280: Like in in in the case of like audio editing, like this one interview girl, you know, she needs um
00:03.280: I mean, they have lots of money.
00:03.280: You know what I mean?
00:03.360: Yes, yes, yes, right.
00:03.360: What uh two questions.
00:03.360: Do the two drives have to be named the same thing?
00:03.360: I'm keeping it's one it's a trimmed library as you like to call it, so everything is external.
00:03.360: And I know there could there are keyboard shortcuts to go to everything, but I wish that you could tell, like, when I go to the color board
00:03.360: We'll talk more later.
00:03.520: It was about Pathfinder, the wonderful tool will tell me.
00:03.520: You know, one was you know, usually on a steady cam or something of that nature.
00:03.520: You know, why not have a church for years?
00:03.520: I've got a lot of and then maybe there's not you know, I'm not a lot of really bad things.
00:03.520: Ah, whatever.
00:03.520: I'm like, oh God, please don't be corrupted.
00:03.520: I would love to do uh I would love to do a side by side with you and I both
00:03.520: Well then in that case, Premiere is perfect for you if you want to work slowly.
00:03.520: Like, what was the Avid guy, Austin, was on there, was talking about the dynamic trimming thing?
00:03.520: I would zip the li like at the end of the day, I would zip the library file, right?
00:03.520: Thank you.
00:03.520: It's the first ghost track for Final Cut 10 Chrome.
00:03.600: Well, but I mean, I think the thing about something like that is like you try to discuss that type of thing before production.
00:03.600: Don't have time.
00:03.600: So, yeah, that's don't you love it when people like go, How did you miss that?
00:03.600: I used to, you know, work when I was an assistant, I would work for an editor and I would go in and sort of sub-clip and sync and do all this logging for him.
00:03.600: Maybe I broke for lunch and forgot that I was in the middle of that.
00:03.600: I don't know.
00:03.600: Oh, I thought you were going to do that, Schiller.
00:03.680: And that is a great discussion for sure.
00:03.680: com.
00:03.680: I guess you could favorite a whole clip.
00:03.680: Events or folders or bins or what, you know, regardless of whatever silly term Apple gave to it, it is just a place to store footage, right?
00:03.680: But it seems like once it kind of once I kind of got in the groove, it never happened again.
00:03.680: But I mean, it was it was entirely usable.
00:03.760: No, I did use a piece of it in the other one, I think.
00:03.760: If I click on the smart collection, it's going to have to pause here and sort through the smart collection for six or seven seconds as it sort of builds that smart collection.
00:03.760: Or you've got something typed into the little spotlight searchy thing up there that filters.
00:03.760: It's not always just about making the, you know, the actual cut imperceptible, but it's like finding the best part of the song to make the edit too, you know, so you have the swells there and that kind of thing.
00:03.760: I don't know why.
00:03.760: I think you've got those big sort of fundamental differences in how the NLEs work.
00:03.760: But this time I made the colorboard work kinda.
00:03.760: And for every one time it works, it looks good.
00:03.760: Like it goes to color by default.
00:03.760: It's just sort of the visual reference of being able to quickly see what you have and what's going where.
00:03.760: I don't recommend it to you at all.
00:03.840: But I also wanted to really compare the difference in working those two systems because what we've got here is a big project with I don't know how many hours of media.
00:03.840: But yeah, I think when someone logs for you, like if I do a music video
00:03.840: I'll give you a perfect example.
00:03.840: Because I think that's something that a lot of people don't realize.
00:03.840: I, you know, perks of having a, you know.
00:03.840: Color masking or tracking track masks?
00:03.840: Two speakers, one screen.
00:03.840: And some of the better interviews I've ever had, this one notwithstanding, has come from suggestions from listeners of the show.
00:03.840: What's his name, Eddie Vetter?
00:03.920: I talked last week about or I guess earlier this week about using the favorites
00:03.920: Yeah, they did the transcode on set, and partly because
00:03.920: Oh, so Ben Consoli's piece was all about how you can use folders.
00:03.920: 1.
00:03.920: I mean, I think with the laptop, it's the top of the line retina, but it's still not as fast as a
00:03.920: I mean, that's okay.
00:03.920: Because you know, a lot of this stuff we're talking about, like the audio especially, it will be improved.
00:03.920: She goes, that's okay.
00:03.920: I mean, gay ghost tracks are, you know, they're a known thing back in the CD world.
00:04.000: My second year of doing it this year was less rushed than last year.
00:04.000: You don't edit the pause out as I look for the media folder?
00:04.000: I would love to go and rappel down the towers as I was waiting to get footage to edit.
00:04.000: Don't have time.
00:04.000: Like, you know, plan you plan best you can, but then something always goes wrong.
00:04.000: Thank you, Premium Beat, for sponsoring this show.
00:04.000: And it was really fun.
00:04.000: Premiere has the same thing now.
00:04.000: If you're doing hovering.
00:04.000: But you know, if I don't see anything good, and I think that just I think that, yeah, I don't know.
00:04.000: That may be as few as 10 or 15.
00:04.000: And my sort of my billwether, if you will, it's like, look, if I can do this job on this machine in Premiere or Avid,
00:04.000: Yeah, 7 to X, I guess it's called.
00:04.000: The iPhone 6 came out, and I was talking with my niece, and she goes, you know, that looks exactly like.
00:04.000: There's certainly, you know, this big job did open my eyes to a lot of things that I didn't know otherwise.
00:04.000: I got an example of Scott.
00:04.080: But, you know, we used-I say we, they, I mean, I was part of the
00:04.080: But if you drug the media to a different event, then suddenly the keyword collection would show up.
00:04.080: What I was asking about earlier was the way that you choose to skim.
00:04.080: I was having this conversation.
00:04.080: Up the yeah, I mean, I mean, you know, not literally, but maybe literally, depending on what I was doing.
00:04.080: 2, we're taking it offline, it's been killing people's machine, you know, projects.
00:04.080: It was just a little bit slower to do things, just slower to boot up.
00:04.080: So you've got denoising built into Final Cut 10, right?
00:04.160: And so it's a lot of stuff.
00:04.160: I just, you know, I was like, oh.
00:04.160: Weren't you on Digital Cinema Cafe?
00:04.160: I think it's just you.
00:04.160: Like, I don't, I've got, you know, I don't know, an hour of interviews there, and I don't even, I know I can, like
00:04.160: You knew the software well enough to know that it wasn't going to end horribly.
00:04.160: Guys, that whole band thing was so stupid.
00:04.160: You were something in preview.
00:04.160: This show is gone an hour and a half now.
00:04.240: Besides cynical of the world, I'm great.
00:04.240: You know, that's a year ago, and a lot has changed in a year.
00:04.240: So it seems to me that the most obvious thing to do to make that work would be to just select multiple events and go under File and go merge events.
00:04.240: But for the most part, it's really good.
00:04.240: But the whole.
00:04.320: He said, you started to say something, I interrupted you.
00:04.320: So you just know when you look, when you glance.
00:04.320: I think the point of this conversation, in my mind, is just that a new way of viewing footage might come at the detriment of an old school way of doing it when it comes to finding the best stuff.
00:04.320: And you know, if you do have a day to spare if the upgrade goes wrong, right?
00:04.320: Like, I got this, you know, and I don't know why early on, but not later on, but early on, that would happen a lot.
00:04.320: You could sort of look down and be like, all right, I know exactly what I've got, where stuff goes.
00:04.320: Although that's what everybody still thinks.
00:04.400: Instead of making a select sequence, I make favorites and then sort by favorites.
00:04.400: You can scale your icons to only be one chiclet wide.
00:04.400: You know, some of the importing, XML importing didn't work quite properly.
00:04.400: And I got to where, like, you know, at the end of the day, every day I would zip up that library and save that and start a new.
00:04.400: Yeah, yeah.
00:04.400: I want to ask everybody who's listening to go to the iTunes and leave comments, and you can leave stars because that helps other people find the show.
00:04.480: I don't know.
00:04.480: Because, like in Final Cut 10, for example, it's the notes column and the scene column.
00:04.480: So did you create a lot of smart collections then to help sift through that stuff?
00:04.480: Go to 25 minutes in.
00:04.480: Well, I plan to, and maybe this, having this out in the world will make it happen.
00:04.480: And when you're in the left, you're seeing all, you're seeing one chiclet per clip.
00:04.480: That's just part of what being a good editor is all about, is knowing when to and when not to.
00:04.480: Now, command, command, command, command.
00:04.480: I have I've upgraded many projects in the middle of 10.
00:04.480: Yeah.
00:04.480: And I would export XMLs, you know, and like, all right, I'm gonna take this timeline in a good spot.
00:04.480: You want to come back and do this again?
00:04.560: But it was just kind of like last year.
00:04.560: Well, there's no benefit except they'll may have they can get a better product on the back end.
00:04.560: True, yeah.
00:04.560: And if you don't watch it in real time, you're going to miss something.
00:04.560: So, you know, if there's that metadata in there, and I assume it'll work on real numbers, and you know, any time you have
00:04.560: No, I didn't.
00:04.560: I've got an ESATA.
00:04.560: I have this 20-minute timeline that every shot has an orange bar over it.
00:04.560: Because when that trimmed library was on the RAID, it just felt like the RAID was all the time doing shit and moving around.
00:04.560: If you have any suggestions of people that you would like to hear interviewed on the show,
00:04.640: I I mean it was my choice.
00:04.640: Or it's really hard.
00:04.640: Yeah, so I have a question for you because I think this is
00:04.640: Exactly.
00:04.640: And well, no, actually, the brief summary question that it on Reddit, they call this TLDR, too long, didn't read.
00:04.640: It's been out yet.
00:04.640: I just want to only see the clips that I have in the timeline.
00:04.640: Would you be willing to load that project into a new Mac Pro if they were to send you one to
00:04.640: Thanks.
00:04.640: Well, and the other thing they said, that there was only like Apple Apple said, you know what, we it's true.
00:04.640: I mean, again, same with any tool: good things, bad things.
00:04.720: I hate that
00:04.720: This is why it's important.
00:04.720: And I said to the producer, I said, you know what, I have this cut that I've been wanting to use for almost a year, and I've been trying to sell it to people.
00:04.720: I mean, you know, there's if you've ever been in Premiere, I think you may have been in Premiere once in your life, Chris.
00:04.720: But you know, I think that's a very real thing that happens with this new way of logging your foot or looking at your footage.
00:04.720: Yeah, yeah.
00:04.720: Seriously?
00:04.720: I would love.
00:04.800: Let's go now to Scott Simmons in Nashville, Tennessee.
00:04.800: So it's like all it's eleven deliverables of their promotional materials that they will use for the following year.
00:04.800: What's the C1000?
00:04.800: Yes, correct.
00:04.800: Like the ones that are, you know, you know, where there are huge keyword collections, I might kind of be on a 30-second thing versus a
00:04.800: Yeah, no, it's a very valid question because what it boils down to is
00:04.800: Oh, I'm sure.
00:04.800: Give me a search bin with instruction.
00:04.800: And I would unzip like the previous days, or you know, when I moved from the other place, I would unzip that library.
00:04.800: Well, you know, which is that's an old school, that's an old Final Cut 7 way of relinking.
00:04.800: Don't do it.
00:04.880: And actually, I think he's on the phone with his client right now.
00:04.880: And it all comes down to like what is that final product that you get out of the back end when the job is done, you sign off on the master.
00:04.880: You could favorite a whole clip, and I think that's important.
00:04.880: Fana Katin only gave us one new thing.
00:04.880: Oh, that's a cool thing.
00:04.880: And that was when I got the media back.
00:04.880: I have an event that has, you know, all the graphics, be they, you know, quick time alphas or still images.
00:04.880: But I don't just don't feel like I even need to see those interviews if I accidentally click the event thing and not a keyword collection.
00:04.880: Or actually, I'd like to see you do it in Final Cut 10 and see what you don't like about it.
00:04.880: I didn't cough on purpose.
00:04.880: Did you hear Monday?
00:04.880: It's like, if you really think they were going to put out a phone, they didn't actually see how easy it would bend, then you're kind of naive.
00:04.880: I don't want to do that.
00:04.960: I mean you go all the way to the right, it's like what a half second
00:04.960: Okay, you're probably cutting in seven or avid
00:04.960: You know, here's waterfront, here's basketball, here's crafts, whatever.
00:04.960: Yeah, I mean I have done a couple of things where I log it in 10 and send it to Premiere and edit in Premiere.
00:04.960: As long as you call it Chris Fenwick's Trimmed Library.
00:04.960: I'm going to just I'm going to drag you through the close, okay?
00:04.960: We'll learn it together.
00:05.040: It was something that I had been kind of holding in my favorites collection on Premium Peat.
00:05.040: He was like, no, I don't, you know, I just kind of skim through and sort of grab stuff that I like.
00:05.040: You know, little things of that nature.
00:05.040: I think where you need that sort of visual organization.
00:05.040: You're like, I don't know anybody uses that at all.
00:05.040: Okay.
00:05.120: But we will get to him in just a second.
00:05.120: Oh, interesting.
00:05.120: Or is that just the trans codes?
00:05.120: I don't know what this is, unless you're really slating it well.
00:05.120: I mean, that is not an unusual thing.
00:05.120: Oh, well.
00:05.120: And I said, Do you mind if I move this to ten?
00:05.120: Well, I mean, before you do that, this is why Scott Simmons interviews end up being two episodes all the time.
00:05.120: But I think to it brings back some normal tools that's missing that you might expect from Final Cut uh Final Cut seven, but it you know, it brings them back in a very it's very responsive, very very
00:05.120: I have that, and I saw someone one time was saying, Here's what I do, and they showed like this, you know.
00:05.120: And sometimes there was like 10 minutes of silence between the song ending on the CD and the ghost track.
00:05.200: And yeah, that's all well and good.
00:05.200: But what I found is that, like, you know, if I have a keyword collection that has a lot of footage in it, like, for example, here I have one called
00:05.200: It's that fact that you can go to an icon view and you can just move your mouse over and see what it's true.
00:05.200: I mean, if it's a music video,
00:05.200: And I was just looking I would at that point, I was literally dragging clips from one
00:05.200: Right.
00:05.200: That's weird.
00:05.200: I mean, were there frustrations?
00:05.200: No, I think I'll do it quickly.
00:05.200: Yeah, it's a wonderful, wonderful, wonderful, wonderful thing, the Timeline Index.
00:05.200: I think some of the power of it has yet to be fully realized and possibly
00:05.200: All right.
00:05.200: And th it's just not no company is going to do that.
00:05.280: I will also say that I literally think
00:05.280: It shouldn't be these days because at this point, like I totally agree.
00:05.280: Good.
00:05.280: I have not opened 10.
00:05.280: Don't be corrupted.
00:05.280: You log in 10 and cut in Premiere, but
00:05.280: He goes, No, it's not.
00:05.280: And it's just a matter of what your what floats your boat, I guess.
00:05.280: But I think the point that we're getting at here is you took and you threw.
00:05.280: The other weird thing was early on, like, you know, I had had my library on the raid itself.
00:05.280: I think the one I used it the majority of the time was uh you know, speaking of uh Final Cut Team Grill, was uh FX Factory.
00:05.360: And the test I did this test in Premiere where I said, all right, embed the metadata but no XML and I imported into Premiere and saw what all came across.
00:05.360: And maybe JKL is shutting a little bit because you see more than if you're actually skimming.
00:05.360: If you've only been exposed to this way of logging your footage,
00:05.360: So, so yeah, I mean, and we've talked about this before on the last time you were on, I think, this show.
00:05.360: But I chose not to because I couldn't keep it long enough.
00:05.440: It's okay on this end, on the record end.
00:05.440: I can't remember exactly.
00:05.440: It's never been like just unusable at all.
00:05.440: First one, very short.
00:05.440: And if I don't respond back to you, I am asking you, bug me again.
00:05.440: Well, it's like Sonic.
00:05.520: So, yeah, being able to do that stuff on the set and getting that metadata.
00:05.520: Yeah, because I've never noticed that there was a a sort that there was a pause at all.
00:05.520: So I go into the kayaking keyword, for example, and I
00:05.520: I mean, you could score it.
00:05.520: And it's not necessarily a bad thing because what I may have saved in some of the tools I have access to here versus Premiere.
00:05.520: Because there's many things I'm sure I want to talk about that we're not going to get to.
00:05.520: And that's what's prompted that whole conversation with Austin.
00:05.520: And I'm like, what the?
00:05.520: So, like, things like that are kind of cool.
00:05.520: So you rejected that topic idea.
00:05.520: Okay, so the real close is
00:05.600: You know, I was talking with Peter Dippry, a producer friend of mine, and he said that he is that
00:05.600: Because what we have here is
00:05.600: And like, I, as the editor, don't necessarily know
00:05.600: But the fact that you have these extra few days of time when you're not really working
00:05.600: I mean, not tremendously, it was still pretty big, but I did that one in Premiere.
00:05.600: They do, yeah.
00:05.600: And I wouldn't give up scheming and hover scrub for anything because I really like it.
00:05.600: I import all 5,700 clips of this job in the same job into Premiere, and I can then go, all right, every time
00:05.600: And you would sort of look at the activity monitor if I understand how to read that stupid thing right.
00:05.600: So, like, you know, when I brought that stuff in,
00:05.600: I still have a lot of timeline issues with
00:05.600: Awesome.
00:05.600: It does these gold electric
00:05.600: At any rate, and she was saying that she had just started
00:05.680: And I was just curious as to how one system would handle versus the other.
00:05.680: There's a C one hundred.
00:05.680: Yeah, and actually, that's really common for editors, and it's frustrating to me.
00:05.680: It may be a bit intangible.
00:05.680: So, like, it was like, wait a minute, we just did this test, and now it's not working.
00:05.680: So pay attention now, because this is going to actually be something interesting now.
00:05.680: That's where it gets interesting.
00:05.680: Or in icon mode, which
00:05.680: I grab that and grab that.
00:05.680: I think at this point, because of the organization and log.
00:05.680: Or I would let them merge overnight and they would have merged.
00:05.680: Goodbye, everybody.
00:05.680: Well, you had Austin doesn't use Final Cut 10.
00:05.760: So like if I had you know if I was you know taking these multiple events and putting them into one, if I had biking and nine different events when they all merged into one
00:05.760: So you know, just that pause sometimes is like, you're like, all right, come on, do your thing.
00:05.760: Hang on, yeah, that's what I'm saying.
00:05.760: I think we talked about it on that show.
00:05.760: Yeah, no, I don't, I have no idea if you can get that detail, that sort of if this, then that, or, you know, if this, then not that thing.
00:05.760: Yeah, agreed.
00:05.840: I did not choose it ultimately.
00:05.840: And you're talking about a whole summer worth of activities at a summer camp.
00:05.840: Well, you know, what I have here in this, I have an event that's only my timelines and another editor helping me on a part of it, and I've got a
00:05.840: And I mean, I'm a very slow music editor.
00:05.840: I'm like, well, I've got to do this whole job.
00:05.840: No, no, I have two different RAIDs that I would like to use.
00:05.840: Blows me away.
00:05.840: The ghost track is like a massive.
00:05.840: He played at a show that I did.
00:05.920: Yeah, I did a couple of tests, and we may have talked about this in the last time I was on this, but you know, kind of like
00:05.920: You know, I think shooters and even
00:05.920: Now, shifts like that reins and drag those to a bin.
00:05.920: And the way that the importing worked is that I would get an event with Real 1, ACAM Real 1, BCAM Real 1.
00:05.920: And I did not save the old version.
00:05.920: I'm going to redraw your little render, your little render outlines, your little orange render lines.
00:05.920: Yeah, we should.
00:05.920: It's kind of like it does, it's kind of partway there for some stuff.
00:05.920: We'll be back Monday with something.
00:05.920: They get more money than FX Factory does.
00:06.000: And it's a show that he has done multiple times.
00:06.000: Was that you?
00:06.000: So they were able to sort of keyword and log on set.
00:06.000: You know, so if I had had, you know.
00:06.000: I mean, yeah, there are, we get jobs sometimes where.
00:06.000: Okay, so all I have seen is
00:06.000: Right.
00:06.000: That's ridiculous.
00:06.000: And then you say, Yeah, relink, and it does.
00:06.000: You know, there's 10 times that it doesn't.
00:06.080: You've been working on it for how long?
00:06.080: So if I had to work at home, I could jump on something there and make changes there, or if you know, if I needed to
00:06.080: As in acquisition?
00:06.080: And that is dynamic because if you switch to a different time line, it's a different example of what is unused.
00:06.080: Yeah.
00:06.080: I've had Music Good Yellows where I've had 100 takes of the song in multiple locations.
00:06.080: Well, I've got one more really bad thing.
00:06.080: If every single person was having the same kind of corruptions that you were having
00:06.080: Like it w you know, I I would do it again.
00:06.080: Your 200-meg Final Cut 7 project will zip down to 1 meg in the library.
00:06.080: But, you know, there are multiple times I'm like, I just can't can't get what I need.
00:06.080: Agreed.
00:06.160: So I want to thank the people at Premium Beat for being so generous to
00:06.160: It is I think it's about the same as we had last year.
00:06.160: And, you know, and that categorizing thing is a simple thing, but like
00:06.160: I mean, do that to do me as an editor.
00:06.160: Okay, so so you mentioned bulletproof.
00:06.160: You may be faster about getting to certain stuff, but I don't know
00:06.160: But what didn't work well?
00:06.160: Okay, so what delighted you?
00:06.160: And it's like that's not even near as good as Premiere's dynamic trimming.
00:06.160: You know, it's like, oh.
00:06.160: We're going to make this happen.
00:06.160: It clicks on, it analyzes.
00:06.240: And so I
00:06.240: Okay, so let me ask you a question because there's in my there are multiple ways to skim through.
00:06.240: Now, the one thing that I miss with with the current way of doing it
00:06.240: Yeah, I haven't dealt with Exas7 at all.
00:06.240: I think probably within the next month or two, we're going to see an updated, refreshed version
00:06.240: Okay, because my library right now, if I go back to so what I ended up doing was, and I was.
00:06.240: I'm going to calculate library 346 megs.
00:06.240: Apple marketing.
00:06.320: And I don't exactly understand it because when you create your stuff in Bulletproof, you can say embed the metadata.
00:06.320: Whereas when you have the Seticam running around in the middle of the soccer game,
00:06.320: That's what skimming will miss.
00:06.320: I guess I could have said don't include
00:06.320: And yeah, that's great.
00:06.320: 1.
00:06.320: So the two totally kind of separate things.
00:06.320: You know, it must have something new.
00:06.320: Duh.
00:06.400: You can.
00:06.400: Something I downloaded a premium beat club just the other day.
00:06.400: If I click on the um keyword collection
00:06.400: I don't think most of us are dealing with projects that are quite that large.
00:06.400: If I slowly skim it, that's as good as watching it, right?
00:06.400: Oh, geez, there's still, you know, there's still like a hundred clips left.
00:06.400: Oh, skip that card, go to this one.
00:06.400: Okay, so does it have the ability to create
00:06.400: I know.
00:06.400: Yeah, just don't like it.
00:06.400: No, it's not.
00:06.400: You know, the multicam and Final Cut 10 is wonderful, but you know, Premiere's multicam is just as good.
00:06.400: Yeah.
00:06.400: Yeah.
00:06.400: What goes where?
00:06.400: So many people still think that.
00:06.480: That's a clever idea.
00:06.480: And there's two questions that I want to ask you.
00:06.480: I mean, I've got some system system extensions in there for things I like to use.
00:06.480: It will put like you get a bin of favorites, you get a bin with a subclip with keyword collections.
00:06.480: I'm waiting for the next big job to really kind of dig into that little workflow because it was I think there was an update to
00:06.480: It's like there are things that are just, you know, head and shoulders, wonderful.
00:06.480: It takes me a long time to get them, you know, because I want to get them right.
00:06.480: Because you make a comment like
00:06.480: Say goodbye, Scott.
00:06.480: Later, later.
00:06.480: It's like, you know, and I'm like,
00:06.480: Aww.
00:06.560: Yeah, it's got it's a fun, it's a fun thing, actually.
00:06.560: But yes, it's a big, big job, long time.
00:06.560: Boom.
00:06.560: But yeah, for whatever reason, that was the the
00:06.560: 3 since then.
00:06.560: It's 200 megs.
00:06.560: So when you bring it up and you can put these controls on the screen
00:06.560: So I wi through a series of rectangles, I was able to kind of
00:06.560: So I think all this stuff is still going to come, but it's just.
00:06.640: And all pieces are important.
00:06.640: That's the trans codes.
00:06.640: I I you know, I I understand that you don't set shoots or hectic, you don't always have time.
00:06.640: So just categorizing is multiple days worth of time.
00:06.640: But now let me ask you this question.
00:06.640: I mean, it would be.
00:06.720: I might.
00:06.720: Were there things that could be better?
00:06.720: I couldn't make the pucks.
00:06.720: And I contacted you.
00:06.800: Scott has just finished a giant long show.
00:06.800: He's just doing a bunch of technical jumping through hoops and calling you and asking, what's this?
00:06.800: You may not be able to quantify exactly why it's better, but
00:06.800: And it's like, well, I don't know, as an editor, you should probably watch it.
00:06.800: Yeah, it's exactly what you did for years.
00:06.800: I do the same and don't think twice about it.
00:06.800: 1.
00:06.800: It opened up.
00:06.800: Well, you can put subclips in multiple bins.
00:06.800: You know, you push, you know, this and then that, and that, and that, and that, done.
00:06.800: I mean I
00:06.800: If I could sneak into Apple?
00:06.800: And like, you know, I like g we make fun of like I like people that I can make fun of because they make fun of right with me right back.
00:06.880: Correct.
00:06.880: You know what I mean?
00:06.880: So I can sort by
00:06.880: You know, I think the responsible advice is: you're right, don't upgrade in the middle of a project.
00:06.880: It was because any, and that you know, that's one thing doing it on both of them.
00:06.880: He goes, No, I was hoping you would.
00:06.880: So I don't think I've even seen this Hiawaki color one, and I am downloading it as we speak.
00:06.880: You know, and it's like
00:06.880: Wow.
00:06.880: If you really think they were going to redesign into a new tool that didn't have some merit, there's a real naivete that
00:06.960: So I put them in their own event.
00:06.960: When you um
00:06.960: Just and put it on the Dropbox, and I would call that like, you know.
00:06.960: Because I, before in the past, I like tried it.
00:06.960: I think those are out of order.
00:06.960: So I could go into my timeline index.
00:06.960: I would recommend it.
00:07.040: It was a lot of GoPro and DSLR.
00:07.040: So I get the drive.
00:07.040: Yeah, which is great.
00:07.040: So I don't think, I don't think, no, I don't think that happened here because I really, really, really needed.
00:07.040: In a smart collection, when you dig into what you can do in a smart collection in Final Cut 10,
00:07.040: But, like, m
00:07.040: Okay.
00:07.040: 2.
00:07.040: If you're just looking at like what it looks like, like it's a fashion accessory, maybe, but it's not the same thing.
00:07.040: Yes, you're correct.
00:07.040: But that goes back to the architecture and how the software is utilizing the architecture.
00:07.040: They do.
00:07.040: And then, but then they would have to manually like move these connected clips.
00:07.040: You have to kind of, you know.
00:07.120: You know, different parameters in there.
00:07.120: Because when you bring that stuff in from Bulletproof, the keyword collection is already there.
00:07.120: So, you know, there are different feels to the shots.
00:07.120: I mean, and I didn't because I did it, you know, I've done this job in.
00:07.120: And that's why.
00:07.120: Well, I mean, it depends.
00:07.120: Lot slower to boot the big job on the old Mac Pro versus the laptop, that's for sure.
00:07.120: Yeah.
00:07.120: I was really impressed.
00:07.120: And I did not realize this, but if you do it at the project level
00:07.120: And what exactly is what?
00:07.120: You know, don't sit on your iPhone, you targ.
00:07.200: It seems to me just recently.
00:07.200: I might.
00:07.200: So I
00:07.200: Go ahead.
00:07.200: I don't know what it is.
00:07.200: Okay.
00:07.280: It's my second year doing it, and the first year in Final Cut 10.
00:07.280: Like, but at its most proper sort of.
00:07.280: I didn't even try 10.
00:07.280: You got to go back in and, you know.
00:07.280: You know, it's just like this whole
00:07.280: I mean, you know, renders renders on the on the on the old tower are, you know, pretty fast.
00:07.280: Do you like that too?
00:07.280: Like, you know, I felt like I would grab a puck.
00:07.360: Well, I mean, there are always rush, but then we had like this big pause.
00:07.360: You can create categorizations and keywording and stuff of that nature.
00:07.360: Keep doke.
00:07.440: Yes, it was definitely me.
00:07.440: I totally get that idea.
00:07.440: But you know, I I skipped over your Premiere as a slow editing tool jab there.
00:07.440: But, you know, I mean, when you get back to that sort of.
00:07.440: It could be one of those kind of uh
00:07.440: And that was actually a weird thing that happened early on because Final Tin One Two is supposed to have this better relinking stuff.
00:07.440: Yeah, that's true.
00:07.440: Oh, goodbye.
00:07.440: And the way that.
00:07.520: Yeah.
00:07.520: I don't do that anymore.
00:07.520: I mean, it's like, it is, it's.
00:07.520: You know, and when you
00:07.520: I think it's supposed to work that way, and it did not.
00:07.600: Sure, sure.
00:07.600: You prep before you make the update, and you don't, you know, if you're doing it right, you won't lose much even if it goes wrong.
00:07.600: 12 and 10.
00:07.600: I go, Oh, I would totally do it.
00:07.600: Right.
00:07.600: So, anyway, yeah, it's good to have conversations.
00:07.600: So
00:07.600: It's a ghost track.
00:07.680: Oh, I know what I was going to ask you.
00:07.680: But I think in this case, like the sorting, you know, it was, it was
00:07.680: I don't know that, you know, hopefully everybody knows that by now, but
00:07.680: Yeah.
00:07.680: But the the issue is
00:07.680: Ha ha That's a perfect tool.
00:07.680: I guess I just don't feel like the need to fill that many render files up, even though I can delete them.
00:07.680: Yeah, I don't know.
00:07.680: I would recommend it to you.
00:07.760: It's like, Are you kidding me?
00:07.760: The same workflow on both of them, and I was able to kind of like sort of compare, you know.
00:07.760: So I think it's a little bit, it's a bit buggy and wasn't a perfect workflow.
00:07.760: Well, you know, that's.
00:07.760: All right.
00:07.760: There's three, you know, they make three separate.
00:07.760: You're ready.
00:07.840: Yeah, absolutely.
00:07.840: Majority of the footage is from the A and the B camera, but those were offloaded.
00:07.840: Scott Simmons said it was no big deal.
00:07.840: You know, it's like, oh, well, this is this is a this is a good thing.
00:07.840: I know you love music editing in Final Cut 10.
00:07.840: I want to throw a master compressor on the entire track.
00:07.840: So let's do okay.
00:07.840: I mean, I did do a whole premiere show with Steve Martin.
00:07.840: It's not so popular.
00:07.920: Okay.
00:07.920: Nope, can't watch that in real time, not ever going to happen.
00:07.920: What did not work well?
00:07.920: So that way, every clip that is baseball is not in five events.
00:07.920: I mean, it's got a couple of features that actually I think makes it better.
00:07.920: There you go.
00:08.000: I don't know.
00:08.000: But it would have taken me a week and a half to watch it all.
00:08.000: Okay.
00:08.000: And then I was
00:08.000: But don't use the word should.
00:08.000: But yeah, I would love to.
00:08.000: And
00:08.000: I actually have a few emails that some of you the
00:08.080: And I used a few, but most of the times when I would create a smart collection, it was like.
00:08.080: Like, you know, when you
00:08.080: So
00:08.080: That was a really bad thing.
00:08.080: Really?
00:08.080: A total side note: a client brought in a Final Cut 7 project yesterday.
00:08.080: So I did.
00:08.080: I don't get it.
00:08.080: So, you know, it's all like
00:08.080: I'm not going to move.
00:08.080: Yeah.
00:08.080: The default settings, great.
00:08.160: Anyway, so I was just saying in the intro of the show that
00:08.160: And the key thing I was able to get out of it was
00:08.160: And it could be a thing where, like, you know, V, you know, those clips on V4 are like the absolute best superhero.
00:08.160: If that is actually something that has been filtered.
00:08.160: One click, I have a bin with that.
00:08.160: So I've got, you know.
00:08.160: So then
00:08.160: Yeah.
00:08.160: I was going to think we could just do the second half of this show Monday, but no, you're right.
00:08.160: It's like, yeah, it's gonna bend if you just put it in your pocket and
00:08.160: I said
00:08.240: Now I just I just got to the office, just plugged everything in and Scott just
00:08.240: Well, I want to I want to do a I want to plug
00:08.240: Plus the the keywords, if if bulletproof is working properly, you're saying that the
00:08.240: And I had this conversation with a
00:08.240: And it was like, well, you don't.
00:08.240: It's just, you know, it's just like it's a ludicrous way to work now that you're like, wait a minute.
00:08.240: So that's why I would just do these hour-long merges and just let it go, and finally it would actually
00:08.240: Now
00:08.240: And I was working at the house that day, and I needed something I needed to get something out.
00:08.240: 1.
00:08.240: So when you zipped the 200 meg library, what did it zip down to?
00:08.240: I just had an idea of a feature that may not be difficult to do.
00:08.240: He was the secret guest artist.
00:08.320: I know there's some good stuff on here.
00:08.320: I don't
00:08.400: Except for my computer.
00:08.400: I've never heard of Premium Beat.
00:08.400: It's like, okay, now that is an absolute
00:08.400: So, how do you skim?
00:08.400: Right.
00:08.400: 3 on the
00:08.400: 1.
00:08.400: I'm gonna export that XML just in case something goes wrong.
00:08.400: And the woman said
00:08.480: Because one thing I did and I did for a couple of reasons was to basically mirror
00:08.480: You know, like, oh, that's, you know, crafts, and that's
00:08.480: So, I don't, we never did pinpoint.
00:08.480: But so a basic thing like
00:08.480: You know, you do it and you work for a few hours or a day.
00:08.480: But were there things that helped the project along?
00:08.480: Oh, God, no.
00:08.480: But, you know, in Final Cut 10, you get this
00:08.480: Unless you're 3D, but that's a whole other.
00:08.480: Like when this one comes out, you wrap the show.
00:08.480: I'm crazy, I guess.
00:08.560: So, my old school way was through a timeline.
00:08.560: And I would have an event
00:08.560: Even if you make no money from the product, it's an important product.
00:08.560: There are many that, yeah, there are still many that think that, yes.
00:08.640: I mean, I
00:08.640: You're doing range-based favorites.
00:08.640: I don't blame you.
00:08.640: I just don't feel that
00:08.640: So I let them stay.
00:08.640: All right.
00:08.640: I think those are out of order too.
00:08.640: If I got a dime, if I got one dime out of Apple, you could say that.
00:08.640: But I don't have anything to do with that.
00:08.720: Let's talk about just the sheer.
00:08.720: Yes, 2.
00:08.720: It's like nobody would think of putting this music with this kind of footage.
00:08.720: I'm going to.
00:08.720: And I may have not thought anything about it and hit now.
00:08.720: 3.
00:08.720: Yeah.
00:08.720: Once I point into one file, it's going to see everything.
00:08.720: Although, apparently, the
00:08.800: So they have people on site
00:08.800: But if you have the time to do it, you're better off doing it because that's when you're going to find the magic.
00:08.800: But we had
00:08.800: Yeah.
00:08.800: I used Phillips.
00:08.800: Keywording one, the magnetic timeline another.
00:08.880: This is not dynamic trimming.
00:08.880: Like some simple stuff that on the old Mac Pro Tower
00:08.880: I'm still not 100% on it, but it
00:08.960: Standby.
00:08.960: The other one was you know 10.
00:08.960: I just felt like it was going backwards.
00:08.960: That would actually be a good thing to do now because I'm sure I'll.
00:09.040: But the
00:09.040: You discuss it with your editor.
00:09.040: And depending on what you do, in
00:09.040: But, you know, as they were shooting, they were shooting for multiple days-I don't know what, two and a half, three weeks, something like that.
00:09.040: But you know, a lot of people
00:09.040: You just call the drive exactly the same thing.
00:09.120: And I think there's that temptation to do that.
00:09.120: Now, you know, Premiere's got this search bin thing coming.
00:09.120: Well, I don't know.
00:09.120: Oh.
00:09.120: Yeah, I mean, I have heard it said.
00:09.120: No, no, no, no, no.
00:09.120: Right now we're going to do the absolute wrap, and then I'll lift this out from your cough on.
00:09.200: I mean, within the last two months.
00:09.200: So you're still using 10.
00:09.200: RAID's like really
00:09.200: Okay, one last quick question, and this is going long.
00:09.200: Have you seen the
00:09.200: Okay.
00:09.200: And they were on Cafe Batiste and Esther Fenwick.
00:09.280: And if you have agreed as an editor to a flat rate
00:09.280: There's too much of it anyway.
00:09.280: I mean, I tried it I think three times.
00:09.280: Because, like, last year I sent this out for color correction, but this year I did it myself.
00:09.280: The masking's good.
00:09.360: So
00:09.360: What time is it?
00:09.360: Applications unexpectedly quit.
00:09.360: I would love to have an EMAC Pro, but I would still do it again on the old on this old tower.
00:09.360: And that zips down to like, yeah, 50 megs or so.
00:09.360: I'm like, screw that.
00:09.360: I could search for the clip name.
00:09.440: 1 terabytes all transcoded to ProRes LT.
00:09.440: Now, I've never used it.
00:09.440: I haven't written a good
00:09.440: And I don't, you know, I don't
00:09.440: I wouldn't overwrite it, I would actually zip it on both places.
00:09.440: And now on the laptop, I kept the library in my movies folder.
00:09.440: You could put half of the show in a ghost track.
00:09.440: What's weird is like when you have a CD with a ghost track and you buy the digital version, you know, you've got all these short little files and the
00:09.520: I trust the tools that are in the browser.
00:09.520: And it would like
00:09.520: And I have an event for audio, so I don't I guess I still sort of try to organize them like
00:09.600: So I would then go in and you know, basically start.
00:09.600: Exactly.
00:09.600: But, um, no, they, um
00:09.680: Are we recording now?
00:09.680: Where when I got the media, it was like, oh, you know
00:09.680: All right.
00:09.680: What can I say?
00:09.760: Yeah, I was going to say, it seems to me just recently.
00:09.760: Okay.
00:09.760: Shut up.
00:09.760: That you can't do now.
00:09.760: That's my question.
00:09.760: I was just curious: is like, you know, what is the old Mac Pro
00:09.760: Like, you know, you can't adjust individual, like, you know, lane.
00:09.840: I don't want to be the guy that screwed up your career.
00:09.840: Yeah.
00:09.840: I hate it.
00:09.840: Feel better like in Premiere
00:09.920: But I mean, that's typical
00:09.920: Anyway.
00:09.920: But
00:09.920: You know, there's just times when you physically can't do it.
00:10.000: Same with the keyword collection, right?
00:10.000: So, maybe there are things that I am not noticing.
00:10.000: And I would have to jump into
00:10.080: And the morning to you.
00:10.080: But I think the point here is that
00:10.080: So, what
00:10.080: I think you're bringing up a really interesting part about.
00:10.160: And he thought, you know, I think this year I'm ready to try this thing.
00:10.160: But we will get to him in just a moment.
00:10.160: Oh, I just told the story last week about a thing I did for BMW where.
00:10.160: And you can put.
00:10.160: 13 came out right in the middle.
00:10.160: It's the same thing.
00:10.160: Interesting.
00:10.160: I'm going to, you know, resolve or, you know, no colorboard.
00:10.160: Very cool.
00:10.160: It needs tracking.
00:10.240: If you've ever been in Premiere,
00:10.240: But I personally wouldn't do that myself because that's a good chance to get to know the footage.
00:10.240: Absolutely.
00:10.240: Once the event stuff
00:10.240: Like last year when I did this job in Premiere, like I was amazed how stable
00:10.240: That was episode 74.
00:10.240: And I think it would be cool if there was some sort of a keyboard
00:10.240: So
00:10.320: You could actually use the when you select range and hit delete.
00:10.320: 1.
00:10.400: And when you say two point one terabytes, does that include
00:10.400: It was just amazingly stable.
00:10.400: But anyway.
00:10.560: 2?
00:10.560: Yeah.
00:10.560: I hate that word.
00:10.560: So it's not like they're
00:10.560: I find, you know, that's this, I don't have time to.
00:10.560: Yeah.
00:10.560: Get him on the show.
00:10.640: Yeah, so I just took a 63-megabyte library and zipped.
00:10.640: Yep.
00:10.640: No, no, no, no, no.
00:10.640: Do you want to come on and talk just about Premiere sometime?
00:10.720: And what is the subject matter?
00:10.720: I think our our a big project for me is probably only
00:10.720: I mean, I think in our first conversations together, you said the first
00:10.720: Yeah.
00:10.720: We received nine complaints of people saying that their phone bent.
00:10.800: or texting, what's that shot?
00:10.800: You just don't have it in a timeline.
00:10.800: I'm going to redraw your w
00:10.800: It's like, yeah, let me.
00:10.800: Yeah, I was just showing somebody the other day how in the colorboard you can gang up
00:10.800: And I'm like.
00:10.800: That's cool.
00:10.880: And the common
00:10.880: I think that's the responsible
00:10.880: Yeah, this library is corrupted.
00:10.960: Do you know the size of the data?
00:10.960: That's what happened on the 10.
00:10.960: And it's like they're never going to
00:11.040: We're not talking about that now.
00:11.040: Yeah, 10.
00:11.040: And I tried it.
00:11.040: That's still one screen.
00:11.120: Last year we did it in Premiere.
00:11.120: Correct.
00:11.120: So the library was always the exact same name.
00:11.200: And I mean, I
00:11.200: It's less clicking and holding the mouse buttons and stuff like that, which is really good.
00:11.200: .
00:11.200: I don't know why.
00:11.280: No, it's almost like if there was
00:11.280: You can't do V1, V2, V3 because
00:11.280: But I, you know, I think that.
00:11.280: And it did not relink at all.
00:11.280: I mean, see, it's.
00:11.360: Yeah, I know, absolutely.
00:11.360: You're not going to put out something that just
00:11.360: Yeah.
00:11.440: In the morning to you.
00:11.440: I already did the plug in the intro.
00:11.440: That could come through roles-based mixing.
00:11.520: Whereas like using something like
00:11.520: I think what I would do.
00:11.520: 1.
00:11.520: I have not tried to use it in a couple of years, but
00:11.520: But I had
00:11.600: Other than like having some templates.
00:11.600: You know, I mean, yes, you
00:11.600: The responsible thing is to not upgrade
00:11.600: Different person on Monday.
00:11.600: The point being is that.
00:11.600: Do you like Pearl Jam?
00:11.680: Okay, so hold on.
00:11.680: I can say smart collection.
00:11.680: I'm like, oh my God, that is so not the same thing.
00:11.760: 2.
00:11.760: Not just many as there used to be, but.
00:11.840: So
00:11.840: And yeah, it was just it was
00:11.920: Now it's a little bit weird because like
00:12.080: This is very true, but
00:12.080: 1.
00:12.080: I'm going to redraw those thumbnails.
00:12.080: I mean, I don't
00:12.160: I don't understand that shot.
00:12.160: I want all baseball in one event.
00:12.160: It was the um there's a lot of them in
00:12.240: But the whole point.
00:12.240: I don't know if you can do that or not.
00:12.240: 3 update.
00:12.240: It's like.
00:12.320: Are you a Pearl Jam fan?
00:12.400: Who knows what either.
00:12.400: If you open up your
00:12.480: How many
00:12.480: And things like
00:12.480: Anyway.
00:12.560: And I showed the producer, and he goes,
00:12.560: Yes, this is true.
00:12.800: The 10.
00:12.800: And I so I ended up
00:12.880: And then as you transcode
00:12.960: Was he was.
00:13.040: I mean, I would love to.
00:13.040: Is somebody backing a truck up to your office to?
00:13.120: 1.
00:13.200: We all know this, blah, blah, blah.
00:13.360: 2
00:13.440: You know what I mean?
00:13.520: No.
00:13.600: It's like
00:13.840: It's not even funny.
00:13.920: And then I did it