Episode 87
FCG087 - Who Needs a Consultant (feat. Noah Kadner)
A product of UCLA Film School, Noah worked in behind the scenes and VFX world before getting into training and producing his own video courses. An early adopter of Apple Color he began to take a keen interest in the entire Apple production pipeline. After a stint working at Apple Corporate, Noah Kadner took on a full time marketing job with our friends at FCPWORKS. Noah has a unique view into the current modern day production needs and solutions. Studio Daily - 2006 - 2011 broadcaster stories about FCP7
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Featuring
- Chris Fenwick
- Noah Kadner - @fcpworks
Transcription
00:00.160: He had actually worked for Apple for several years and has since left Apple to work with Sam at FCP Works.
00:00.160: It's an interesting discussion.
00:00.160: I got mistaken.
00:00.160: a very low level tech, and I think anybody who's been in VFX knows that this stuff is really tricky and takes a lot of time.
00:00.160: Pretty out there.
00:00.160: No, no.
00:00.160: It's the most expensive thing on the menu, but it's really tasty.
00:00.160: It's many, many pages.
00:00.160: Crap and send.
00:00.160: Icon more because I just happen to be a visual person, and I know that's such a cop out to say that, but it is kind of true.
00:00.160: I've interacted with him via Twitter.
00:00.160: It's just an interesting thing.
00:00.160: And see people's reactions, like, oh my god, like, I had no idea you could do this, and here it is, as opposed to like, oh yeah, I read about that six months ago.
00:00.160: What I mean by that is the actual play out of the products, the programs that they've created onto air.
00:00.160: tighter integration with with Ten's strength.
00:00.160: It's pretty solid.
00:00.160: It's like, oh, okay, I'm really interested and engaged in what this guy is talking about, and I want to tell this person's story, and this is making me feel like I'm creating something and not just pushing buttons.
00:00.160: Yeah.
00:00.160: That being said, if you look back on this podcast a year from now, you're going to be smiling and say, I know what he was talking about, and my mind is still blown.
00:00.160: No, we're talking about folks that are editing in a larger collaborative workflow, people like Ted.
00:00.160: group of people and sort of tag team around and get an entire work group together and and hopefully doing work that is quicker, more efficient and
00:00.160: Hey, that's 12 at 10.
00:00.160: If you could sneak into Apple and get one feature made, what would it be?
00:00.160: In terms of both customers and just workflows myself, I can't think of anything you couldn't do with this software.
00:00.160: And so that to me is the more interesting debate.
00:00.160: But the question is, can you do it better?
00:00.240: From Ted.
00:00.240: Now if you go back through the history of the show, you're going to hear the voice of Sam Mestman on many episodes.
00:00.240: Supporting what we're doing.
00:00.240: Finding that, listening to that, exploring their catalog.
00:00.240: You know, sort of vetted by them.
00:00.240: They spend a lot of time and resources by making demo videos of what the various plugins do.
00:00.240: Kadner, formerly of Apple, now working with FCP Works.
00:00.240: Some video training and other type stuff.
00:00.240: Let's see.
00:00.240: A lot more lucrative and easy to deal with than uh the vagaries of making actual movies.
00:00.240: And, you know, well, it looked pretty bad, but it w it did the trick.
00:00.240: My origin story.
00:00.240: of the final battle and some other stuff, some connecting material that they wanted to add in.
00:00.240: And they're like, Well, this is such a minor part of the thing, let's just bring your friend in for a couple of days and he can shoot pieces and if we can use him, great.
00:00.240: I I guess there's a scene in the movie where the submarine breaks down and they have to surface and you see guy uh, there's like a helicopter shot flying overhead and you see guys pan banging away on the hull of the submarine and so those are my guys shot in twenty four P on the
00:00.240: Venerable Panasonic DVX100 from way back in the day.
00:00.240: Give me some great juicy secrets.
00:00.240: NDAs that you've signed in the past that we all know are perpetual and go until the end of time.
00:00.240: although there's been a lot of added functionality, the the actual flow of the editorial process is pretty much the same.
00:00.240: works for them in other in other editors.
00:00.240: As a side business, I do my own projects, which range from feature films, indie films to
00:00.240: Oh, no, no, no.
00:00.240: Now, again, again, I this might be asking too much.
00:00.240: But yeah, I mean, when you do send in feedback, just knowing that it does get very carefully read, looked over and it gets factored into where the product is going.
00:00.240: on multiple episodes that Apple really, really does read those comments and it is important for us as users of the software
00:00.240: And then I'll get an opportunity, somebody else will come along, like, oh, let me introduce you to my friend here.
00:00.240: I could see that, but here's a product for you.
00:00.240: Something like that.
00:00.240: Yeah, exactly.
00:00.240: Well, you know, I'm lucky in the sense that, you know, or I was lucky when I was working at Apple in the sense that Final Cut is a released product, or at least it was for most of my tenure there.
00:00.240: that I wanted to be a a part of.
00:00.240: Yeah.
00:00.240: And when my wife walks in the room, I have to close the lid of my laptop to talk to her because it's like, really?
00:00.240: Fully in the Kool-Aid when you talk like that, right?
00:00.240: Yeah, but even still, I mean, like, I know, I won't say the name, but I I used to work with a guy whose whose wife also worked at at Apple.
00:00.240: either on the fence about Final Cut Ten or are working with it but want to get their workflow up to snuff or maybe add something to it or expand, have a resource to go to.
00:00.240: were going to be the broadcasters.
00:00.240: they can finally work with.
00:00.240: would be sort of editor for hire who needs to kind of be changing his methods up to the minute.
00:00.240: And they may be on Final Cut six even now.
00:00.240: Yeah, exactly.
00:00.240: they would go to a test pattern of some sort indicating that the sh that the channel was no longer broadcasting and that, you know, you could just calibrate your T V.
00:00.240: That was so weird.
00:00.240: And then, you know, you just get static.
00:00.240: And so a lot of the tools that make that possible are kind of high end hardware and software based tools.
00:00.240: Yeah, it's interesting.
00:00.240: get picked up by the plug-in, and then so that when the playout is actually happening, the plug-in can superimpose in whatever titles you want at the moment of airing.
00:00.240: which I th I thought was fascinating.
00:00.240: Which is cool because it means like the titles themselves are no longer really burned in.
00:00.240: But then what happens when you get a gig where they're insisting you use it and suddenly you realize you're you've got like s a couple of years of catch up training to get to work on and you're kind of behind the curve all of a sudden?
00:00.240: Yeah, you know, I think I mentioned this story on the last episode, but I was talking with my uh with my nephew's wife, and she's she's a great editor, Esther.
00:00.240: She actually had a a project just recently where the producer, who's this I guess a fairly well known documentary and uh documentarian
00:00.240: who I'm sorry, I don't know who it is, said to her, Oh, yeah, I I've been hearing about Final Cut 10.
00:00.240: misinformation or even just direct experience that it was not what they expected and kind of get to that point where they're starting to realize that, yes, okay, I can work with this product.
00:00.240: part of my craft, but just kind of unnecessary workarounds and sort of busy work I needed to do to get things done.
00:00.240: Yeah, well, you know, it's funny.
00:00.240: we're going to focus in just this one platform because we happen to think it rocks and we really know it well and we think it's powerful.
00:00.240: Exactly.
00:00.240: Folks that are doing and then by enterprise, I don't mean the Starship Enterprise, I mean folks that are I know, that'd be awesome.
00:00.240: The day I met Sam was at NAB 2013.
00:00.240: Then there's ones that have like a framework with like velcro panels that cover up, you know, the sort of behind the scenes portion.
00:00.240: But I got to tell you, within like three minutes, Sam is peeling off the Velcro walls to show me the physical hardware that's back behind.
00:00.240: We are ready, willing and able to put together not only the gear, but just the sort of handholding to make it happen and kind of get you over that initial trepidation.
00:00.240: So, Noah, thanks for taking the time to do this.
00:00.240: Yeah.
00:00.240: The live titles from Viz1.
00:00.240: The discussion that I had a couple of weeks ago with Michael Glass from TED.
00:00.240: like FCP Works and and Noah and Sam over there.
00:00.240: It definitely shows the power of the tool that we have chosen to embrace.
00:00.320: And I also want to thank Nicholas Bond and the gang at FX Factory.
00:00.320: what it was like in that era.
00:00.320: backing off from a line of questioning because I know that it will be uh you know interfere with various legal documents that Noah has had to sign to to work there.
00:00.320: So interesting to Noah that he decided to actually leave Apple and go there.
00:00.320: And it's a great ecosystem because you can browse and actually download any plugin that you want.
00:00.320: Well, that is an improvement.
00:00.320: when it probably doesn't have to be, but it's almost like there is a there is a badge of honor, you know, especially in the VFX world.
00:00.320: A lot of beards.
00:00.320: you know that there are producers in Hollywood that pride themselves in putting FX houses out of business.
00:00.320: So I went from there, worked off and on, as I was saying before, on some big projects.
00:00.320: Yeah, well, so what happened was they shot most of that movie, I believe, up in Canada, and then they kind of I think they did a test screening and they realized they had missed some pretty significant chunks.
00:00.320: you know, is worth spending more money on or or whatever.
00:00.320: And so I was there for all that.
00:00.320: Before 24P would tell you that the look you get due to 60i is not exactly filmic looking.
00:00.320: The stuff I shot it was all green screen.
00:00.320: Yeah, I think there's a shot i in the movie one of the char it's it's like kind of the League of Extraordinary Gentlemen is like a group of sort of legendary fictional characters that come together and and try and stop save the world and so
00:00.320: One of the characters is Captain Nemo from 20,000 Leagues Under the Sea, and so he has but of course in this movie his submarine is all crazy tricked out.
00:00.320: came together the league, I started getting into the idea of answering people's questions over the Internet on places like Creative Cow and Tupop.
00:00.320: back when it had just recently been acquired and everybody was very interested in doing high grade color correction, but nobody really knew how to do it because color was quite a challenging interface at the time.
00:00.320: Yeah.
00:00.320: people never expected and are hopefully blown away by and fall in love with, I think is just the main reason for all that stuff.
00:00.320: And so that was kind of where I started, and then did that off and on for a few more years.
00:00.320: Where you sit down with the thing, you know what it's capable of doing, but you don't really have any idea how to get there, and you just start to
00:00.320: start playing around with it.
00:00.320: People who come to it from any other editorial platform probably have the hardest time dealing with it just because they're trying to apply what they know.
00:00.320: How much editing have you actually done?
00:00.320: Definitely done a lot of editorial work, just non-stop testing workflows.
00:00.320: where the industry is going in a particular niche, what people don't have that they don't realize they don't have, but if they did have, they'd be super psyched.
00:00.320: to like you just mentioned when we give feedback give it in such a way that it's actually you know usable not like damn you Apple damn you it crashed this is a piece of
00:00.320: If you can explain that feedback in such a way of this doesn't work for me because I'm doing this, this, this, and this, that is always helpful and appreciated.
00:00.320: about the human being on the other side of that icon.
00:00.320: I have no idea who you are.
00:00.320: And I look at him and now I start running through the mental scroll wheel of appropriate responses to such an odd
00:00.320: our relationship history, that would really work for me.
00:00.320: you know, comments and it would say, Oh, this is uh you know, this is Noah and all of a sudden the little sensor thing in your eye watch would jiggle and you'd look at what time it is and it'll say, Noah Kadner
00:00.320: Yeah.
00:00.320: Be a little more flexible in my own personal schedule 'cause I got two boys at home and you know looking after them is a is a full-time gig right there
00:00.320: Which is great because it picks you up in the city, it drives you to work, and you have like awesome Wi-Fi the whole way, so you're kind of actually getting stuff done.
00:00.320: But yeah, I mean, you know, portal to portal, that can be a very long day.
00:00.320: And they worked in totally different departments.
00:00.320: Oh, well, you should just use this button and then have them come back and say, What button?
00:00.320: Yeah.
00:00.320: I make sure I mean, this day and age, as you know, the world of marketing is pretty deeply embedded in social media.
00:00.320: folks that are doing more technical work or kind of helping to evangelize a bit what we do so that when somebody comes along and wants to do a big project
00:00.320: So, you know, all that kind of stuff.
00:00.320: social marketing as it's sort of come up and matured.
00:00.320: He's definitely the right guy to be doing that.
00:00.320: And I feel like in the past year, those are the workflows that have really been enhanced the most by both third party and by Apple itself in terms of what's new in the app and what they can
00:00.320: now for over three years, it's like those are the kinds of long form schedules they're on.
00:00.320: the the test pattern, which with kids today don't know what we're talking about.
00:00.320: You'd get the national anthem and the sign-off, then you'd get color bars for a while and tone, and then ultimately, even that.
00:00.320: not unlike uh a a playlist in iTunes where you just queue up just a ton of material and uh where it's gonna go and which channel if you're if you're a multi-channel broadcaster.
00:00.320: and when it's going to play out.
00:00.320: by the time it hit version seven, it was pretty deeply integrated with a lot of those, and is really one of the main motivating factors why so many broadcasters were into seven was just because they could do that.
00:00.320: you didn't have editors keystroking in lower thirds and stuff.
00:00.320: And he was one he works for Ted, and you guys did some consulting with Ted, as I as I recall.
00:00.320: And yeah, where Sam spent a good amount of time with them, kind of getting them out the door as far as fully transitioning to 10.
00:00.320: They were actually going back through a lot of their old content, which they had been editing over the years, also in Final Cut previous versions.
00:00.320: you figure the folks the folks that are doing video at TED um probably have a pretty good experience and probably are pretty smart guys.
00:00.320: And Esther's like, I don't really know I don't know it.
00:00.320: enjoyable bits of the business of being in a company like FCP Works is sort of coming into a group of editors or even a one-on-one person that is interested in LearningTen, has heard a lot of sort of
00:00.320: putting together pictures and sound together in an interesting way and telling somebody a story.
00:00.320: I didn't I personally didn't know of a lot of companies doing anything like this.
00:00.320: And there's more of those on the way that when they're all out the door and finally openly spoken about, I think it's going to really blow people's minds.
00:00.320: And also just one-to-one.
00:00.320: Because he's that's just the way he is.
00:00.320: And you could wipe away one bit of misinformation that you have to deal with all the time or misconception.
00:00.320: And that seems to have been the at the core of the debate when Final Cut Ten first shipped was is is it possible for a professional to do stuff with it?
00:00.320: instead of it becoming an if, sort of becoming an ahow, I think that would be a much more constructive way to go at it.
00:00.320: And I'm hoping that a lot of the folks that haven't jumped in already are going to feel like now is the time and I hope they'll give us a call because
00:00.320: Well, it's FCP Works.
00:00.320: Yeah, you know, I uh in the first handful of episodes I spoke a lot about, you know, the cool kids.
00:00.320: And dealing with the graphics.
00:00.320: So, anyway, that's it for this episode.
00:00.400: a plug-in ecosystem for not just Final Cut 10, but also for Premiere and Motion and After Effects.
00:00.400: On your screen until you purchase the plug-in, but it's a great way to actually see something in its actual form.
00:00.400: Yeah, you know, I was in LA for about 10 years after film school, and I sort of dabbled in a couple of things.
00:00.400: Studio films, and so I was able to work on those a tiny bit, and then I kind of got into the training gig, which was
00:00.400: and um wanted to do something similar.
00:00.400: movies where like um the Terminator from Terminator Two turns into Brain Man somehow and then attacks the student union, that kind of that level of filmmaking.
00:00.400: and did three years there and got what you would call a pretty solid master's degree in filmmaking, which, as anybody who's been through film school will tell you, it's not the degrees, it's kind of who you know.
00:00.400: And so he brought me in, and yeah, I got to.
00:00.400: on some green screen material that's going to go into some VFX shots.
00:00.400: Kind of worker outfits like grubby sort of overalls kind of thing.
00:00.400: I want to say Final Cut 6.
00:00.400: Before it was to be released, I believe at the time it was maybe about let's see, I think that was February of two thousand seven, so maybe about s five or six months out from the that release.
00:00.400: meet with a group of like minded sort of editor for higher trainer types and just bang away on the software and give notes.
00:00.400: Well, you know, it's funny, I actually got kind of lucky.
00:00.400: thing that confused people the most?
00:00.400: Sent in a few requests of my own, or you know, like that.
00:00.400: Option you have in the menu to say send feedback to Apple.
00:00.400: what people are doing, what they could use, what what might be interesting to explore, that sort of thing.
00:00.400: Damn.
00:00.400: Meeting, and I'm thinking, you know, who are you?
00:00.400: And he looks at me and somebody started to chime in.
00:00.400: And he just got so he just got such a kick out of that.
00:00.400: But yeah, if if Google Glass could just be a contact lens and it would just show the context of where I know a person as I pass them with their name and like our our
00:00.400: Remember, he's kind of an ass or whatever.
00:00.400: on your laptop on the bus that you have to keep secret from other people on the bus?
00:00.400: as a real draconian measure.
00:00.400: when the company gets involved in larger projects, I have a hand in that, either kind of working as a as support for for
00:00.400: Either particular channels of a network or entire divisions.
00:00.400: Can you elaborate on the IBC comment?
00:00.400: product that is embedded and working well with Final Catena, which allows you to queue up and sort of automate the creation of on-screen titling.
00:00.400: The final program, and you need to make a change to the titles, or for example, you might be playing it to a different market, you can just change the language.
00:00.400: Yeah, it's kind of a strange approach, too.
00:00.400: at your craft, but to be open to what's out there and to sort of understand this this ever evolving workflow, I think is really the key takeaway.
00:00.400: Was that this was getting them back into, oh my god, I'm actually enjoying putting this story together, as opposed to I'm worried about transcoding, or I'm worried about sync, or I'm worried about my multi-cam timeline.
00:00.400: the the customer profile for SCP Works is is a bit all over the place.
00:00.400: And if you don't know, go back to episode eighty three and I talked with Michael Matzdorf, who worked on a very, very large feature, and he had some interesting comments about that.
00:00.400: Yeah, no, no, no.
00:00.400: Yeah, you can contact us through that directly.
00:00.480: Like I I spent a summer kind of noodling around the set of the original X Men movie with a camera shooting behind the scenes footage, which is that was pretty trippy
00:00.480: And I did see that people at the top were pretty impressive.
00:00.480: Big time.
00:00.480: And doing I think you did some did you do like some training stuff with that?
00:00.480: Then I realized there might be a little bit of a business in there if I could sort of condense all that back and forth down into tutorial courses.
00:00.480: Okay, so we're going to talk about Final Cut 10 here, and I am going to mention, and you can always wave me off, but this is part of the story.
00:00.480: State because I think the fascinating thing for me is that I was very angry and very against it, and I'm totally in love with it now.
00:00.480: you know, what I thought should be addressed to kind of get people like me, the the sort of incoming Final Cut 7 editor, on board with it.
00:00.480: Right.
00:00.480: But I'm also looking at like the person's name.
00:00.480: And it turned out it was Scott Simmons.
00:00.480: And when kind of the opportunity came around to join up with them and be a part of that effort, it kind of hit multiple buttons for me.
00:00.480: Just so that I could sort of understand better what people were doing and if questions came up, I would be able to answer in such a way where I wasn't saying like
00:00.480: Well, it's not too bad.
00:00.480: Okay.
00:00.480: So so what are you actually doing at FCP Works then?
00:00.480: I make sure that the the musings of Sam's blogs get properly put out and scheduled and supported and things like that.
00:00.480: I might be the first person they talk to and just kind of make sure they get to the right people internally in the company and that the project sort of gets off the ground well.
00:00.480: Sorry.
00:00.480: Maybe 2000, say, 6 through 2011, it's just non-stop big broadcaster stories of like, you know, CNN this, BBC that.
00:00.480: Hardware and software that they needed to work with was either directly supported through a plug-in or within the app itself, or a workflow existed to enable them to use it.
00:00.480: Sam kind of went through this pretty well.
00:00.480: So now in the most recent IBC show, a lot of those tools have now been shown to be at the very least as capable as they were in the previous version of Final Cut, if not even more so, due to
00:00.480: Because it offered up a more accurate representation of the title information, because
00:00.480: they were ending up having to go back and redo a lot of work on opening up old projects and redoing titles because all the titles had been burned in on what they had exported as their final programs.
00:00.480: without having to have all that material, all the raw footage online, have the project itself online, basically just
00:00.480: This producer said, That's okay.
00:00.480: and I can actually do things that used to be used to be what I considered part of my craft, which I now realize were not really
00:00.480: a lot less of busy work and and fix it stuff.
00:00.480: I think, you know, raids, I believe.
00:00.480: more and more by features and sort of partner workflows in the sense that, yes, I mean, I can think of at this point with everything I've seen and everything that I personally have worked with
00:00.480: What yeah, and just say, like, can I just never have this conversation again and wipe it from the consciousness of everybody?
00:00.480: Well, you know, I think a lot of this really goes back to this kind of ongoing and ever-evolving debate of is a particular tool professional enough?
00:00.480: And it almost feels like we're getting to the point where other people are looking at what we're doing, going, Oh, yeah, I want to see that, more that.
00:00.480: We got into this you get into this topic called meta graphics.
00:00.560: uh big studios and just I'm just so glad I never went down that path.
00:00.560: Poring over films, over coffee, kind of as college came around.
00:00.560: So I had another friend who was working on the VFX of that movie, and again, more pickups in LA, and they were like, oh, well, we need somebody to shoot kind of fifth or sixth camera.
00:00.560: Yeah, well, you know, it's funny.
00:00.560: This was back in like 2000, 2003.
00:00.560: I g you were at Apple full time for a period of time.
00:00.560: Let's try that out.
00:00.560: will support you.
00:00.560: look at all of that and sort of distill it down and s and present a a good picture of of um
00:00.560: Well, I mean, if they could just if it could just be like a very small clip-on device that goes onto an already pair an already pair of glasses I have
00:00.560: When I saw what he was doing with that company and saw that he'd hooked up with some friends I had known from back in the day, it definitely was something that had been on my radar for a while.
00:00.560: you know, caught in a situation where people are haranguing them for information nonstops.
00:00.560: What type?
00:00.560: there's certain groups that should probably really take another look at what's going on.
00:00.560: even coming out of this last this most recent IBC, there's just all kinds of new and interesting developments that are happening that are allowing more and more of those workflows to be possible and hopefully better than what they're doing now.
00:00.560: You don't have to have the same editor do the same work over and over again.
00:00.560: You know, okay, yeah, you can do that.
00:00.560: And said the same thing or relayed the same story, you'd go, Yeah, that's like fantasy.
00:00.560: you're looking for some way into that, we have the experience and a capability to m to put that together for you.
00:00.560: Yeah, yeah, of course.
00:00.560: Outside of my previous engagement for a relatively short time now, but I have to say it's been a real pleasure.
00:00.560: be noticed.
00:00.640: To a lot of people, it's like, oh no, I got a job, work for Apple, I'm going to stay there.
00:00.640: Well, yeah, it would have been neat if they're like, look at this amazing invention, the televisor.
00:00.640: Well, let's see.
00:00.640: A ton of like corporate and commercial and music video type stuff.
00:00.640: Accept the incoming feedbacks.
00:00.640: And so the idea of being able to do that now at the moment of encoding is great because it means you don't have to go back and reopen the old projects and you can make changes to just the titles.
00:00.640: just through the evolution of this show, you know, I can remember in the very beginning there was I read a tweet from somebody who said, Well, it's not until Hollywood starts using blah, blah, blah, then I'll be then I'll take a look at it.
00:00.640: If you could reach into the consciousness of all the people on the planet who have heard things about Final Cut X
00:00.720: Well, it's funny, you know, it's like they want these crazy amazing looking visual effects and they want them on those really painful deadlines and then they don't expect to pay more than you would
00:00.720: which for channels that are dealing with a lot of different language feeds or repurposing of content for foreign markets is a very key workflow.
00:00.720: Yeah, this this whole idea of titling in Final Cut Ten really catches mi it it's sort of catching me by surprise.
00:00.720: You have what amount to cues for the titles sort of saved out separately that then you can go back and re-edit any time you want and repurpose.
00:00.720: And also, thanks for checking out PremiumBeat.
00:00.800: Yeah.
00:00.800: And when you were having a conversation with somebody and it would do facial recognition, it would go through your faces
00:00.800: And so while you do have to be very careful with it, I mean, generally speaking, I personally was working with versions of the software that were already sort of what you would call out in the wild or released.
00:00.800: I mean, you know, whatever.
00:00.800: I think it's great to learn all of these products, to be honest.
00:00.800: I'm not worried about these guys.
00:00.800: So what kind of companies should be looking at FCP Works and the solutions that you guys provide?
00:00.800: But you didn't hear it from me, so I'm okay.
00:00.800: Yeah.
00:00.800: I don't know.
00:00.880: A byproduct of a conversation that I had with Sam.
00:00.880: lot of bodies out there, I'm afraid, in the VFX world.
00:00.880: I noticed that when I and actually I have a very funny story about this, when I interact with people, say, like via Twitter.
00:00.880: And this guy comes walking up and he goes, Hey, Fenwick.
00:00.880: Yeah, no, I'm totally with you.
00:00.880: That's you know, that's there's there's a there's quite one of the big one of the major responsibilities of any broadcaster, as you might imagine, is broadcasting.
00:00.960: There was a kid who was on Battlestar Galactica for a few years back in the 70s that I had myself convinced was me.
00:00.960: You see, it was like, how's Battlestar Galacto?
00:00.960: Yes, that's me.
00:00.960: you do have a certain subset of gatekeepers in in the in the tech world who kind of want to hold everything they know very tightly.
00:00.960: It's like, what do you mean they're going they're not doing shows?
00:01.040: Actually, you know, I think you can even download yeah, you can download the previous without even making an account, I'm pretty sure.
00:01.040: But I it was fun 'cause I I was like, Oh, cool, like, you know, I'll build a little I'll build you a little model of the student union and we'll take it out in the desert and set it on fire and film it in slow motion in sixteen mil and see what that looks like.
00:01.040: It's the big time.
00:01.040: Well, this in League, this like a it was kind of a period piece.
00:01.040: Not not that any of us wear lapel pins, but you know, something some sort of jewelry you could wear, you know, on your upper chest.
00:01.040: It's something that I've been saying here for a while now, that we are going to see other people pushing us toward this.
00:01.120: As someone at Apple brought into test out workflows, I mean, it's basically just edit all day long, do your own projects, collaborate on projects.
00:01.120: It's kind of ironic to me because it's like, okay, if I hit send feedback, I know who's going to get this.
00:01.120: Well, you know, it's interesting.
00:01.120: I mean, basically, the way it works is you essentially set up markers within Final Cut 10 and those
00:01.200: What types of the industry what portions of the industry do you think
00:01.200: They'll say, oh, well, you want to do editing.
00:01.280: Hello?
00:01.280: And a guy a guy I really respect the heck out of because he's one of those guys who is very, very into workflow and is also very into sharing the knowledge.
00:01.280: If I were somebody, say, handling a a new uh device that was unreleased by Apple, yeah, I would I would definitely not want to whip it out on that bus, even though in theory it's supposed to be people that are purely Apple.
00:01.280: which is on the FCP Works site, and I just noticed he was making comments about an episode of the show.
00:01.280: And I gotta say, it's really encouraging to read the comments because by and large, most of them are pretty good.
00:01.360: I mean, it's it's it's it's just under sixty miles and actually Apple, like many of the tech companies in the Bay Area, is nice enough to provide its employees with a corporate shuttle.
00:01.360: Yeah.
00:01.360: He's like, he's just standing there smiling.
00:01.440: Okay, the origin story of Noah.
00:01.440: Online, I think it's important to reveal a little bit about your personality to a certain degree.
00:01.440: Ego, whatever, they have it, but they they're very they're very I know something new very stingy with their info.
00:01.440: He's good.
00:01.440: looking at this software, I think you really should be.
00:01.440: Maybe I'll have to have somebody from their show, from their company, on the show.
00:01.520: I was first brought in as a contractor to test what at the time was going to become
00:01.520: The $20 bento plate in the main in the main Infinite Loop building.
00:01.520: Right, exactly.
00:01.520: I don't know your face.
00:01.520: And I think that, you know, when you I think and maybe it's a Twitter thing, but I think it's important when you are communicating with people.
00:01.520: Oh, yeah, and I think that, I think that, you know, I've seen people, you know, through the
00:01.600: Just got a couple of tweets over the weekend of people saying, Yep, just cut two pieces with Premium B.
00:01.600: No, really?
00:01.600: I did one on the DVX100 and then I sort of expanded out and got into a bunch of other cameras.
00:01.600: There you go.
00:01.600: keeping things confidential was easy because you wanted these things to be a surprise when they actually were released.
00:01.600: And you know, hav having seen a lot of broadcaster integrations come together myself, I know that they're on a much longer time scale than the average
00:01.680: I mean, if you go back and you sort of read through the archives of Apple and Studio Daily and other sources like that for, say, the period between
00:01.680: It's his last thing out the door.
00:01.680: I mean, Sam is a great is one of those guys that can get out there and work with just one person one-to-one and kind of get them up to speed in Final Cut or work with it
00:01.680: Anyway, uh, thanks, Noah.
00:01.760: He's working in marketing for FCP Works, and we talk a little bit about just his history, and we also talk a fair bit about just the rollout of Final Cut 10 and
00:01.760: Okay, yes, I'm looking at that now.
00:01.760: But you know, it's all in keeping with the philosophy of that company, I think, which is to sort of play the cards very close to the vest, and when products do come out, have something that
00:01.760: I mean, to me, it's a nice gig to have because it's a lot of the stuff that I personally am interested in.
00:01.760: I'm trying to figure out how I want to word this.
00:01.760: I mean, and not to sound like a total plug here, but I mean, kind of one of the main, I would say, I wouldn't say duties, but sort of.
00:01.760: And the reasoning behind that is because we enjoy these relationships and want to see them continue because everybody has their own PR schedule when they want information to go out.
00:01.840: He's a great mind, a huge evangelist for Final Cut 10, and he's out there and he's actually been bringing me some really interesting interviews.
00:01.840: I I was a big early proponent of twenty four P because I was always shooting projects in what at the time you would just consider a video camera and anybody that shot a video camera back
00:01.840: I mean, it's it's it is true.
00:01.840: Should really take another look at Final Cut 10.
00:01.920: Very NPR-ish.
00:01.920: So it was sort of I I had a friend who was the producer of the film and actually the kind of the creator of it, Creative Force, sort of was the guy who was like, Hey, let's do comic book movies.
00:01.920: You can do things that no other pl editing platform can do.
00:01.920: I mean, you know, you you do I mean it's it's and it's not it's interesting because it's not something that comes around as a
00:01.920: They don't want to go dark.
00:01.920: Thanks again for listening.
00:02.000: And it's, I like to think of it as the good stuff.
00:02.000: And then, and then, of course, the League of Extraordinary Gentlemen.
00:02.000: I would say with Fan Katen, it's almost an unlearning curve that you really got to think about because
00:02.000: So you're saying that the Viz the VizOne software somehow is doing a similar type thing?
00:02.000: So VizRT, I think they're called, they have this thing called that they use the term metagraphic.
00:02.080: There's a product.
00:02.080: And so having a gig that I that I wasn't going to be commuting down to Cupertino from San Francisco every day.
00:02.080: It's like, you know, I'm a big time editor, but I don't want to touch 10 because I heard it's horrible.
00:02.080: I'm excited for him.
00:02.160: I mean, we're at the dot com of that.
00:02.160: I really appreciate it.
00:02.240: I mean, you know, and of course, that is an important bit of data to gather as well, because if a million people hit the same error, then yeah, that's something that very much needs to be looked at, right?
00:02.240: He's now been on this show many times, two or three times.
00:02.320: Anyway, I get a lot of interesting leads from Sam.
00:02.320: And that's really the trick is if you can just think about pure creative storytelling and use the tool the way it kind of
00:02.320: I mean, most people that I interacted with at Apple were just incredibly happy to be working on these kinds of projects.
00:02.320: And you might be queuing in commercials as well.
00:02.400: Noah, that cracked me up.
00:02.400: You know, maybe I'll ask you what the best food in the cafeteria is.
00:02.400: Can you do it more efficiently?
00:02.480: It was I was literally shooting these guys like just pounding away on this piece of green screen like in
00:02.480: And it's a joy to sort of see him discover these things as well and share them.
00:02.560: So I was there throughout much of the internal development, so I kind of got to see it come together and sort of gave a lot of notes as far as like what
00:02.560: So have you realizing you were at Apple and now you're working at FCP Works, and we'll talk about that in just a second.
00:02.560: The words that people obviously with Twitter with 140 characters, the words you choose are very important because you have a very brief window of time with which to express an idea.
00:02.560: And they would he was telling me once, he goes, I yeah, I sit I'll sit at my dining room table
00:02.640: Is that really you?
00:02.640: I mean, honestly, like, I am probably the worst person with names.
00:02.640: And I feel like the sky's the limit as far as what's possible and what you're going to see in the next year.
00:02.720: This is the s you and the same, correct?
00:02.720: I mean, this all kind of comes out of our good our good mutual friend Sam Messman.
00:02.800: I don't know you.
00:02.800: They know what they're doing.
00:02.800: Well, we'll give you Avid, we'll give you Adobe, we'll give you FCP if you really want it.
00:02.800: Nor me, nor me.
00:02.880: Here's a product for you.
00:02.880: I've kind of sat down with him and we've sort of worked hard to get out a lot of hopefully useful content for people so that folks that are
00:02.880: He goes, Yes, it is.
00:02.960: Let's see.
00:02.960: So, and you were inside Apple, and I'm not going to ask you.
00:02.960: And so being able to participate that directly is is great because obviously a company like Apple is going to be a lot less directly in that world just because they don't want to be
00:02.960: I mean, he's one of those guys who just gets out there and loves to do everything.
00:03.040: They don't want to show color bars because that means that somewhere along the chain the playout broke.
00:03.040: So I I I would say, yeah, you've got your tools on air, your Softron, your Sienna, all of that sort of playout stuff.
00:03.120: Okay, so I did not realize some of the stuff that you had done.
00:03.120: And so they did about another I think they did easily another three or four weeks in LA.
00:03.120: com and FX Factory and supporting them because they're supporting what we're doing here.
00:03.200: Have you done editing for paid clients in that transition of your own?
00:03.200: Well, yeah.
00:03.200: So, Noah, usually I ask people at the end of the show, I'll ask them, you know,
00:03.200: Uh I'm gonna let you go.
00:03.280: How are you doing this morning?
00:03.280: Kind of a shame.
00:03.280: Yeah, I think a lot of people would expect something different out of that one.
00:03.280: I don't even know where I want to go with this.
00:03.280: That wasn't that your job?
00:03.280: Turn off the tone generator.
00:03.360: So this way I will fulfill the audience request.
00:03.360: I'm wandering one of the back halls.
00:03.360: But he on the demo machines he was running Final Cut 10.
00:03.440: So back in 2007 or so.
00:03.440: Hm.
00:03.440: Now, I know Scott.
00:03.520: So if we go into the application itself, there's a little
00:03.520: Right.
00:03.600: Remember, Premium Beat is a curated catalog of music.
00:03.600: Go away, stalker, you're freaking me out.
00:03.600: So let's talk about FCP Works.
00:03.600: I mean, you want a surprise.
00:03.600: I mean, you don't have to be a master at any one of them, really, but to show you.
00:03.600: We certainly love to talk to people.
00:03.680: Right, right.
00:03.680: Well, it's funny because with all applications and even pieces of hardware out there, there's something you would probably call a learning curve.
00:03.680: And yet it was this whole thing, like, I don't know the man.
00:03.680: Well, you're up too late.
00:03.680: So I hope you enjoyed this.
00:03.760: This is our Monday episode.
00:03.760: Well, I kind of was always into movie making.
00:03.760: Oh, well, this is no, no.
00:03.760: When I started doing a little more research into that at the end of after the show, after we finished.
00:03.840: There's quite a few scenes in the movie that I was sort of sitting right next to the camera to watch, so it was kind of fun.
00:03.840: And this is all happening like in 20 frames of time inside my head.
00:03.840: And I'd be like, Oops, I mean the button that looks like this.
00:03.840: Meanwhile, I'm going to be just sitting over here in the corner sending out invoices
00:03.840: Oh, my pleasure.
00:03.920: You I didn't know you could leave an answering machine on Skype.
00:03.920: Wouldn't it be great if it could do this?
00:03.920: You know?
00:03.920: Well, I only recently left, so yeah, maybe the effects are longer lasting than I expected.
00:03.920: And I will also say that, you know, I know just because I interact with most of the many I won't say most, but many of the listeners of this show that
00:03.920: And obviously, we're going to have to have somebody on the show here because this is even more it's even deeper than
00:04.000: So, um, you know, a very cursory search of L Noah Kadner on the uh Internet finds a IMDB page uh with some
00:04.000: I'm like, oh, it's great, guys.
00:04.000: But most importantly, it has to be a contact lens because you don't want to be one of those glass holes walking around with the glasses on, right?
00:04.000: It's a Bluetooth eyesight pin or lapel pin.
00:04.000: Exactly.
00:04.000: And so So so let me ask you this.
00:04.000: I want to learn it.
00:04.000: Do me a favor and go to iTunes and leave a comment.
00:04.080: Yeah.
00:04.160: Good morning.
00:04.160: But Noah felt that what Sam is doing at Sam and the gang at FCP Works was so much
00:04.160: What type of I really wish I was better at what I do.
00:04.160: And it's their question is, do we go to seven or do we go to ten?
00:04.160: Now I'm not going to present that question to you.
00:04.240: So how did you how did you get started in this business?
00:04.240: If you look let me see, I'm actually going to look at one of our recent blog posts on FCP works because I think
00:04.240: Let me see.
00:04.240: It was all being drawn from a master project database.
00:04.320: Now, there's a few points where, you know, it's a little awkward because I don't want to get Noah in trouble for saying anything inside.
00:04.320: You know, but no, it was actually, I think, in the movie.
00:04.320: Thanks for everything.
00:04.400: Good grief.
00:04.400: But just getting to that point, I think is what is holding a lot of folks back or just making them throw up their hands and say, nope, this doesn't work.
00:04.480: So little tiny guys to key into a larger shot.
00:04.480: We're at the Twitter of that.
00:04.560: Were you working at an official capacity there doing behind the scenes stuff?
00:04.560: Yeah.
00:04.560: You met him at a party last year.
00:04.560: Oh, well, it's just kind of a broad spectrum of marketing work.
00:04.640: So a lot of like home movies with friends and um you know
00:04.640: And so, yeah, for me, I've definitely banged away on this app.
00:04.640: Once again, I've forgotten somebody's name.
00:04.640: This is my friend, and I kind of get lucky on that.
00:04.640: And so if you're playing out
00:04.640: And in fact, I believe that was one of the big pluses for Ted as well, was that
00:04.640: We've got people doing these very large features that you may have heard about.
00:04.640: So you've got those guys.
00:04.720: And I managed to fall in with a group of people in college who were making their own movies, really bizarre movies too.
00:04.720: You know, obviously oh, I recognize that name.
00:04.720: Go to bed.
00:04.720: I think I've told this story before.
00:04.800: You were actually, this is in an era where 24p work on set was still kind of difficult, yeah?
00:04.800: And so Apple is a very conscientious company, and they really are, I think, their goal is to figure out to sort of sense what
00:04.800: And I look at him and I'm like, and this is my internal dialogue.
00:04.800: And he put his hand in front of the guy.
00:04.800: And that's something that I hear more.
00:04.800: But still, if you're listening and you have never even looked at this software, you probably should take a look.
00:04.800: How do people find you on and or FCP Works on the Internet if they want to follow you?
00:04.880: They were like a 24p video camera.
00:04.880: No, they do not.
00:04.880: Exactly.
00:04.880: Hey, I'm I'm not sure you know this.
00:04.880: But at any rate, this is the kind of benefit that you get when you deal with somebody
00:04.960: And uh then I kind of f managed to get into film school at USC in LA.
00:04.960: And I don't know if anybody's ever, you know, there's different types of trade show booths.
00:05.040: Welcome to another episode of Final Cut Grill.
00:05.040: And I think they were also sort of making sure that they
00:05.040: Yeah, we've come a long way.
00:05.120: So it was fun.
00:05.120: You don't want to get to like Christmas morning and like, I know what's in that box.
00:05.120: I mean, there's a lot of integrators, a lot of resellers that'll basically put together any sort of solution you want.
00:05.120: Can you do it in a more creative and interesting way than you would have before?
00:05.280: Yeah.
00:05.280: Uh w wh what years were those?
00:05.360: And the funny story was last year at NAB or no, earlier this year, NEB twenty fourteen, I was at the post chat meetup.
00:05.360: And the reason why they jumped on board was because they found that all of the
00:05.360: Make sure we're not on.
00:05.360: And I have to admit, I've only been doing this
00:05.360: All right.
00:05.360: This is a little kind of deep, super nerdy type stuff, but
00:05.440: I didn't know you could have an answering machine on Skype.
00:05.440: I'm all right.
00:05.440: What do you think are some of the main things in that sort of getting up to speed
00:05.440: Okay.
00:05.440: Let's do it.
00:05.440: And I gotta say, I'm continually blown away.
00:05.520: Is that frustrating now that you're not at Apple where you're like, oh, I have to use the page?
00:05.520: I mean it's a it's it's a it's a it's a different kind of engagement.
00:05.520: I mean, radio does the same sort of thing on a slightly less complex level.
00:05.520: And now this program can do a lot of those things for me.
00:05.600: Okay.
00:05.680: He was episode 83.
00:05.680: We want to thank the people at PremiumBeat.
00:05.680: So go check out premiumbeat.
00:05.680: Do you know anybody who has their own camera?
00:05.680: I think it was sort of Victorian era steampunk kind of thing.
00:05.680: Yeah, so I was running this little around the time right after that project
00:05.680: Yes, I think people who listen to the show will will remember that several months ago, I said something about how I was talking actually, I think
00:05.680: I've spoken with Scott on the phone.
00:05.680: Take easy, Chris.
00:05.760: Let me just check out what you're referring to, because uh there was a time when there was a couple of NOAAs running around in the entertainment business and uh
00:05.760: HVX boot camp?
00:05.840: Yeah, I mean, and that and I don't think that's not really a secret to say that sort of my my main job there was to
00:05.920: So those are the kinds of to me, those are the kinds of customers that really owe it to themselves to take another look because
00:06.000: Boat.
00:06.000: And you can't say, oh, everybody should.
00:06.000: I'm wandering around one of the back corners of the cr you know, the crappy corners of one of the halls and I c I don't know who he was working for, but he was doing he was demoing
00:06.000: We're at the Facebook of that.
00:06.080: I don't know.
00:06.080: Take a step back, whatever.
00:06.080: He goes, No, no, don't tell him.
00:06.080: And because it is a superficial way that we interact with many, many people, I think is what I'm trying to say.
00:06.160: I guess I was one of those kids that grew up in the Star Wars era, the classic trilogy, I guess you would call it now, the original trilogy, of course.
00:06.160: And then, yeah, at a certain point, they were like, hey, we're going to switch to Final Cut 10.
00:06.160: And then, yeah, on the side, I mean,
00:06.240: Watch out.
00:06.240: Is it the Viz1 thing?
00:06.240: Exactly.
00:06.240: Let's learn it together.
00:06.240: If it's like, let's just assume for a second that yes, this is a professional tool.
00:06.320: Well, one of them is today's episode, Noah Kadner.
00:06.320: Very interesting.
00:06.320: And so, you know, I better write this in such a way that it's not going to bum them out to read.
00:06.320: Do do you know that Sam's starting another podcast?
00:06.400: Yeah, I was talking with somebody just recently about their trials and tribulations dealing with uh
00:06.400: Obviously, I'm not going to ask you to
00:06.400: T V's used to either go to static, which they did away with, thankfully, with digital, or
00:06.400: Ted is many folks collaborating together, both in the editorial and on the exporting and processing transcoding side.
00:06.480: What's your what's Noah's origin?
00:06.480: So basically brought in to just kind of play around with the software
00:06.480: I think I can spell that secret without getting in trouble.
00:06.480: Exactly.
00:06.480: So what
00:06.480: You're more than welcome to tweet that or whatever.
00:06.480: And it shows you just like how massive this idea of dealing with video as data.
00:06.560: So now somewhere along the way, I know that you got involved in Apple Color, the software.
00:06.560: Save some money.
00:06.560: I want to do this next project in Final Cut 10.
00:06.640: Well, I think one of the real bread and butter sort of customers of the older version of Final Cut
00:06.720: Hi, this is Noah Kadner.
00:06.720: And uh more than likely I notice the
00:06.720: How did you get involved with them?
00:06.720: Yeah, you get, you, yeah, you get like.
00:06.720: You've got a lot of enterprise customers.
00:06.800: How does that even work?
00:06.800: So you were in you were full time at Apple during the release of Final Cut 10?
00:06.800: I did not realize that this was that this was there.
00:06.880: But yep.
00:06.880: He gets a lot of drinking.
00:06.880: And I walked by and I did a total massive double take.
00:06.960: My voice may sound particularly deep and NPRish this morning, but I'll give my best shot.
00:06.960: So, what was the stuff you were shooting?
00:06.960: Oh, yeah, that's easy.
00:06.960: And they're long too.
00:06.960: I mean, you might I know a lot of broadcasters out there that I've come across in terms of support or just a story that I'm interested in.
00:07.040: This is episode 087 with Noah Kadner.
00:07.040: He was on episode two right in the very beginning.
00:07.040: And they have a watermark, but you know, when you decide you like it and the client buys off on it, you can buy the normal thing and swap that out.
00:07.040: Yeah, it doesn't always work.
00:07.040: And he's like, Yeah.
00:07.040: What would that topic be?
00:07.120: Not anybody can just throw up their music and send it to Premium Beat.
00:07.120: You can try it at no cost.
00:07.120: And there's nothing more frustrating than opening up a plugin and have no idea what to click on.
00:07.120: In fact, it's looks it looks like a home movie.
00:07.120: That was something that I heard from the editors at TED
00:07.120: Yeah.
00:07.120: So I feel like if that question could be just sort of put aside for the moment and
00:07.200: Episode 82 was Michael Glass.
00:07.200: And he's like, well, I know this guy has got a 24p camera.
00:07.200: Actually, no, it's more than not forgetting your n forgetting your name
00:07.200: This is too much fun.
00:07.200: I mean, the worst nightmare of any broadcaster is to show color bars.
00:07.280: FX Factory is
00:07.280: So very cool.
00:07.280: I had friends that were doing like big
00:07.280: Close, tight-knit family, a lot of pets.
00:07.280: You should be a particular master at least one of them, I would say.
00:07.360: Oh, yeah.
00:07.360: I mean
00:07.360: All right, that's it.
00:07.440: You know, recently I had Michael Glass on the show a couple of episodes ago.
00:07.520: Oh, we're going to hear some inside news about Apple.
00:07.520: And finally, I just said, I'm sorry, but I don't know where I know you from.
00:07.520: And it's like, oftentimes, I'll get into a conversation with somebody, and I'll be like, oh, I know, I know this person, I know, I know this person.
00:07.520: I would always picture the janitor would be in there and be like, Are we still broadcasting tone?
00:07.600: And he was talking about how he's using they're doing all of their titles on the ENCODE step.
00:07.680: Right, right, right.
00:07.680: I mean, I'm kind of.
00:07.680: I mean, I've always been interested in seeing
00:07.680: Yeah.
00:07.680: And this was a very small booth.
00:07.760: Boring.
00:07.760: So I mean, I'm kind of watching the store on Twitter and Facebook.
00:07.760: Oh, you're great.
00:07.760: And she's like, and much to my surprise.
00:07.760: Well, I mean, in general, it's I would say we kind of put ourselves out there because it I didn't
00:07.840: I go, oh, that's kind of interesting.
00:07.840: It just seems like s it's so horribly cut throat when it
00:07.840: And whether that's for profit or whether that's for
00:07.840: And even though ten itself has been out
00:07.840: There you go.
00:07.840: And frankly, anybody with nine fingers and a rudimentary understanding of Google can probably figure out the name of the movie.
00:07.840: Give the show some stars.
00:07.920: com for
00:07.920: com and you can listen without making an account.
00:07.920: Right.
00:07.920: I have to say, when I did get hired full time, I was impressed by the length of the NDA.
00:07.920: I know the icon and I know your words and I know your ideas.
00:08.000: And they found classic.
00:08.000: Okay, I gotta say that um the discussion that we had there kind of toward the end about the uh um
00:08.000: It's like, wow, this is like stuff I didn't even know existed.
00:08.080: But a lot of times you forget.
00:08.080: That's why they invented the Indian.
00:08.080: You got to go to the Enterprise?
00:08.080: We'll be back Friday with another episode of The Grill.
00:08.160: You could probably.
00:08.160: Right.
00:08.160: And the previous iteration of Final Cut
00:08.160: And she um
00:08.240: Or do you just not partake in those things when you're on the bus?
00:08.240: I'm like, Oh, good grief.
00:08.240: And I can get back to focusing on hopefully what I got into this for the first place, which was
00:08.240: And if
00:08.320: Was that like news news stuff that's playing on monitors on the set?
00:08.320: Oh, yeah.
00:08.320: You're great.
00:08.320: Yeah, as a kid that was.
00:08.320: So, I mean, yeah, that in and of itself is a great workflow.
00:08.320: Just let us know what you want and we'll put that together, as opposed to
00:08.320: I personally think is going to answer that question and a whole lot more.
00:08.400: I'm really glad people are
00:08.400: Please leave a message.
00:08.480: It picks up after like a bazillion rings, but yeah.
00:08.480: You do realize, Noah, that you sound like you are bathing.
00:08.480: Yeah, yeah, yeah.
00:08.560: And I think this is a fair question.
00:08.560: That's quite a haul for people that don't know.
00:08.560: I'm not even going to open that one.
00:08.560: And so if they're willing to switch up to Final Cuts N, that that strikes me as a pretty good harbinger that
00:08.560: It's been a lot of fun kind of getting this stuff out there and opening people's eyes up.
00:08.640: And so
00:08.640: And yet we're starting to see this.
00:08.640: Googling that even will find us up really quickly.
00:08.800: And so yeah, one of my responsibilities was to kind of
00:08.800: And I'm like, oh, come on.
00:08.800: I really do feel like I'm on NPR or something.
00:08.800: So that's something that's incredibly powerful because it means
00:08.880: And if you have bad comments, you can keep those to yourself.
00:08.960: And really.
00:08.960: Well, you know, I mean
00:09.040: Color was one of those.
00:09.040: That's always been my favorite.
00:09.040: So yeah, so these playout systems they have now are obviously very highly automated and
00:09.040: So, I mean, in general, the
00:09.120: So um
00:09.120: Obviously, there's
00:09.120: Again, I still don't think we can mention
00:09.120: I'm like
00:09.200: Yeah, that's.
00:09.200: And you know, if you had gone back a year
00:09.200: It definitely helps the show.
00:09.280: The other thing I love about FX Factory
00:09.280: It looks, you know, just
00:09.280: Yeah.
00:09.360: Like, is your work on the D V D's or whatnot?
00:09.360: Not much TV, sorry.
00:09.360: So, um, but yeah, I mean, there is, of course.
00:09.360: That's awesome now.
00:09.360: There's ones that are like pipe and drape.
00:09.520: And they're like, what's that?
00:09.520: I mean
00:09.520: The number one Final Gad Ten evangelist in the world, maybe.
00:09.680: Michael Matzdorf was.
00:09.680: You will have a little watermark.
00:09.680: And you know, that's to me, that's a great story right there.
00:09.680: Can a professional use it?
00:09.840: So Noah had been an ins
00:09.840: That one's lame.
00:09.840: But I'm going to modify that question for you.
00:09.920: And and VizOne is another interesting
00:09.920: If you're not at least
00:10.000: I'm freaking out here while you were talking.
00:10.000: But essentially, you want to make sure that all of that is just ready to go.
00:10.080: Yeah, exactly.
00:10.160: Right, exactly.
00:10.160: Oh, isn't that cool?
00:10.240: It allowed me to.
00:10.240: And I think over time, that question has been has been answered
00:10.320: And Sam works for a company called FCP Works.
00:10.320: And then you know, it's kind of fun for me in a cross-functional sense.
00:10.320: I mean, and not necessarily entire corporations at once, but
00:10.400: And yet, I'm not going to get you in trouble for any
00:10.400: And
00:10.480: Yes, you can do your work with it.
00:10.560: We all, you know, if you follow like the VFX soldier.
00:10.560: Mm-hmm.
00:10.560: And you hopefully use it in a more efficient way than what they had been doing.
00:10.560: Final Cut Classic.
00:10.640: You know.
00:10.640: It's like fresh air or something.
00:10.640: Yeah, exactly.
00:10.800: So at any rate,
00:10.800: So you might hear me apologizing a little bit or.
00:10.800: This was
00:10.800: Let's, you know, let's
00:10.800: You know, I don't know if it's me, but
00:10.800: And I think that
00:10.880: This is stuff that has been.
00:10.880: Uh
00:10.880: Now you're just making fun of me.
00:10.880: Can a professional get work done with it?
00:10.880: Later, later.
00:10.960: Exactly.
00:10.960: And that was back when nobody wanted to do them.
00:10.960: And yet I got over it, I got through the fog.
00:10.960: Exactly.
00:11.200: And so
00:11.200: But
00:11.200: Very cool.
00:11.360: Do we know?
00:11.360: I mean
00:11.360: I mean, of course, you want to be really good at
00:11.440: So l let's talk about Final Cut 10 and its current
00:11.600: Make an account, you can download.
00:11.680: Uh this was one, two two rings.
00:11.680: Exactly.
00:11.760: So check them out as well.
00:11.760: I was just scrolling through Sam's blog.
00:11.760: They found that.
00:12.000: Are there things that you are doing
00:12.000: So
00:12.160: It was number eighty two.
00:12.400: Actually, you know what?
00:12.720: And so
00:12.960: So I think he's
00:13.040: I can't use it.
00:13.200: That's a really good idea.
00:13.360: All right, let's go to our interview with Noah.
00:13.680: I mean
00:14.000: It's like