Episode 91
FCG091 - From Audio to Picture (feat. Micha Schmidt)
The TiVo Effect revisited, audio for post, audio workflow and plug ins. I always like to talk to people who specialize in their field but not necessarily mine. On this, our second audio centric episode, (Check FCG066 for the other), we talk with Micha Scmidt. Micha came to video post thru an audio background and has many unique insights on what FCPX needs to bolster up their needs. In order to XML out to Logic using Roles, XML metadata view needs to be set to Audio, the Roles info gets out to Logic. Could you send us some screen shots of your Premiere Layouts??
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Featuring
- Chris Fenwick
- Micha Schmidt - @michaschmidt
Transcription
00:00.001: Somebody says, We should do this in 3D.
00:00.001: And it was funny too because I've been spelling his name wrong all day on all of my notes that I've been taking.
00:00.080: an FCPX timeline or project or whatever it's called and you know show the client and you can even chop out uh parts or
00:00.080: By all means, uh, do that.
00:00.160: thing that we did for that.
00:00.160: Oh yeah, dude, I could totally do that.
00:00.160: So I I'm a radio person, so sound and audio is kind of kind of my first thing, you know.
00:00.160: Even though others say, well, you know, everybody can shoot video now, but everybody can produce music now or mix music on his uh
00:00.160: Now are you kind of a like the full blown Pro Tools guy?
00:00.160: auditioned for all the podcasts and mastering and just pure editing and noise reduction and stuff like that.
00:00.160: For you that way.
00:00.160: named dialogue and music is music.
00:00.160: it actually exports ten audio files.
00:00.160: Subframe audio editing in Final Cut 10 is really important.
00:00.160: presets for your channels.
00:00.160: To mix it all together.
00:00.160: But he called me he o he used to always call me a videot.
00:00.160: Back to loud music again, or not even that.
00:00.160: you know, play with the faders or you know, have compressor and equalizer on each of those.
00:00.160: you know, clicking on a file on YouTube or Vimeo and all of a sudden going, Oh, I can't hear it, and the first thing you do is you're reaching for your volume knob.
00:00.160: Premiere Pro right away.
00:00.160: So I'm going to offer up a suggestion here, folks at Apple.
00:00.160: After Effects and Funnel Cut 10 today.
00:00.160: But then I was going to say that then you could have a in logic, you could say, stamp that down to my project, and it would do basically a left-right or five-one or whatever your mix down is.
00:00.160: mixer or something like that inside of FCPX.
00:00.160: FCPX right away.
00:00.160: And he's like, Yeah, Fenwick, everybody thinks you've lost your edge.
00:00.160: And then you have a second time line beneath, and that's your main edit, so to speak.
00:00.160: long format, like a thirty minutes, seventy minutes documentary or something like that with lots of interviews and B roll.
00:00.160: cut something out and all the connected clips are gone as well and you didn't even notice or something like that.
00:00.160: They're easy to manage.
00:00.160: Selecting a bunch of clips for the audio workaround, you know?
00:00.160: And I'm like, Steve, check this out.
00:00.160: for the tracks or something like that.
00:00.160: are efficient in terms of CPU, even though nowadays audio stuff is nothing really the CPU is doing four K video.
00:00.160: Fine cut seven was, well, mm meh.
00:00.160: The one that I want, and I have subframe editing.
00:00.160: Audition much deeper than I am.
00:00.160: But I do realize that it gives me a limited perspective, and that's why it's good to talk to people like Austin, or I had Steve Miller on.
00:00.160: I don't have the bandwidth to learn Avid.
00:00.160: It'd be good to talk to somebody.
00:00.160: and give them all the features they want, you're going to end up with an application that's really good for rendering submarines.
00:00.160: you know, they were so excited that NBC in the United States was using Light Wave to do the special effects shots on this television show.
00:00.160: Give them what they want.
00:00.160: Upcoming 100th show, and believe me, doing two of these a week that's going to happen any day now.
00:00.160: And over on the right hand side, there's a little green tab.
00:00.240: And many, many, many of the guys, many of the people have said they that there's various things that they want to change in the audio world.
00:00.240: Hello, good morning, and welcome to another episode of The Grill.
00:00.240: So, anyway, that's premium beat.
00:00.240: Make yourself an account and you can start slugging away favorites, things that you like, that you might want to use.
00:00.240: But actually nowadays doesn't doesn't need that thing, even though the production company uh I work for most of the time just ordered AF.
00:00.240: And it totally sucked me in.
00:00.240: you mix it in or using compressor equalizer, you know, to finesse even not so good sound in the first place.
00:00.240: I think that it it speaks very highly to the power of editorial because you could you could have done
00:00.240: Cool Edit Pro.
00:00.240: Before the facelift, of course, the the latest facelift.
00:00.240: So you have the radio background.
00:00.240: And then eventually video came in, started to be a thing as well.
00:00.240: video, you know, with uh projectors going on uh all over the stage and stuff like that.
00:00.240: something like that.
00:00.240: by doing, just editing and some eventually Final Cut six or five, I'm not quite sure, came along with my first with the first Mac we got at work.
00:00.240: Were you doing the Avid on a PC?
00:00.240: Yeah, you know, I mean, it's a it's kind of a common theme.
00:00.240: It's really interesting.
00:00.240: And in today's day and age, where public image is so important in the kind of music industry, they opted
00:00.240: the Chris Fenwick tutorials of Logic X that have not that I don't know if they've been made, but there are quite a few actually for Logic Pro X or Logic Project.
00:00.240: can't name it right off my head.
00:00.240: kind of rules them all, so to speak.
00:00.240: voice over what's it called, dialogue, music and refx, and actually kinda kind of manages or arranges the Logic Pro session
00:00.240: arranges those, you know, all the dialogue, all the music, all the sound effects, all the other roles you you know, not not it's not a mixture of all kinds of stuff.
00:00.240: I hope people don't think that they just haven't figured out how to turn on that mode because it was a really good Photoshop mock-up and stuff like that.
00:00.240: And I always have to like stop and read it.
00:00.240: tracks.
00:00.240: He showed how he did all the audio right inside of FCPX.
00:00.240: you go crazy if you have different settings for different people.
00:00.240: Can we have the remove attributes again, please?
00:00.240: a low end, you know, so I push the low end a little bit more and stuff like that.
00:00.240: Yeah, you can kind of hear, maybe it's just my ears or audio ears, so to speak, that kind of hears yeah, there's a little bit of mastering missing.
00:00.240: a quite nice master limiter and ozone five on it or something like that to just uh make it sound a little bit nicer, so to say.
00:00.240: three faders for my main mix, for my final mix, the dialogue fader, the music fader and the sound effects fader.
00:00.240: or like or like you said, have a master output as well.
00:00.240: song and it'd be like really loud and present and you'd say, Yeah, that's the song that's the station I want to listen to.
00:00.240: plug-ins from one channel to the another.
00:00.240: a compound clip and put a a limiter or compressor on that, but then you have to go back and forth, you know.
00:00.240: It actually works right there.
00:00.240: But you have to go back and forth and you know, have it right there in the editing application is quite powerful for quick turnarounds and just you know comfort, so to speak.
00:00.240: Automatically replaces that rendered output back into the timeline.
00:00.240: In logic, the whole project opens up in logic, and then you can diddle, diddle, fiddle, fiddle.
00:00.240: maybe that could ripple through into logic, even though because there's like a live link between them and it's not a literal export XML.
00:00.240: Because that way, you could have one guy cutting picture and another guy fixing audio simultaneously.
00:00.240: render in place and it would a it would automatically mute all your other audio and just turn on your stereo or five one file.
00:00.240: make these changes.
00:00.240: quite works.
00:00.240: some other things.
00:00.240: Nice big screen, in fact, more than one.
00:00.240: I think the term pancake at it came because you what you end up is you have a very slim representation of your time line, but at least you can see them both.
00:00.240: for each and every task.
00:00.240: edit, so to speak, all of this.
00:00.240: not the case that it's no I understand that.
00:00.240: So one of the things that I used to do is I would do um a lot of our edits are um uh you know, they're medium length
00:00.240: We tell them what they do next, and what would, you know, next chapter header, what was the s the solution, or whatever.
00:00.240: And I would purposely put them higher than they actually needed to be.
00:00.240: My workaround, and yes, Scott, it is a workaround.
00:00.240: I would see, oh, here's my four bumpers, and I can click on one and my cursor cuts jumps to there.
00:00.240: I would be very interested if you wouldn't mind doing it.
00:00.240: I f I figured that out and I was like, oh, score And I literally I went I was working in the the third story slice editorial tower, whatever I always call it.
00:00.240: right away in fi in Premiere Pro.
00:00.240: uh get it uh back into the v uh video application.
00:00.240: the best thing to do.
00:00.240: I call it it's sort of the TiVo syndrome.
00:00.240: So I look at the audio editing in Final Cut 10 and I'm like, score, I'm subframe audio and I get to use all my bits.
00:00.240: what it would be like to actually have, you know, track based plugins and a and a mastering channel and subgroups or whatever, I would I might have to go
00:00.240: But that's just because I choose to specialize.
00:00.240: I saw it right away, um, even though it was like the first day, you know, bought it, saw it.
00:00.240: opened the window and you know burned it in a open celebration, my my machine, so to speak.
00:00.240: Or just, you know, it's easier that way.
00:00.240: But can be easier.
00:00.240: I think by and large they tend to be very passionate about what they're doing, and they are constantly managing resources.
00:00.240: And Play made a thing called the Trinity.
00:00.240: That are getting the most noise, if you will.
00:00.240: And but the play people, th there was a fundamental shift in that company where half of the company wanted to do everything in hardware and half of the company wanted to do it ev everything in software.
00:00.240: was that there was a T V show on American television called I think it was called S Sequest, I think it was.
00:00.240: And it was set in the future and it was set in a submarine and there was a talking dolphin.
00:00.240: And you know what?
00:00.240: Is there one in I know we've talked for like the last half hour about a bunch of things you'd like to see.
00:00.240: Thank you.
00:00.240: Anyway, thanks a lot for listening.
00:00.320: I actually kind of like the audio.
00:00.320: And you know, he's an interesting dude because his background is actually radio and relatively new, maybe 10 years to the video space, and does a whole lot of different stuff.
00:00.320: And I'm stoked to be able to actually click on it.
00:00.320: So it's quite interesting.
00:00.320: But this conversation, you know, at the end of every episode I've been, well, not every episode, but many episodes, I ask people, you know, if you could change one thing about Final Cut 10, if you could sneak in the back door, what would you tell the programmers to do?
00:00.320: Yeah, that's good.
00:00.320: Calm Sunday, so to speak.
00:00.320: Something like that, yeah.
00:00.320: crazy in a way.
00:00.320: getting quite a good quality out of this little cam.
00:00.320: S seven, so the real camcorder.
00:00.320: a sharper image out of a good sensor and especially low light.
00:00.320: thing, event thing for Converse in a old factory, an abandoned factory in Berlin.
00:00.320: thingy and yeah, we needed um a little bit more solid stuff for this kind of project.
00:00.320: you know, give this thing my all, my attention.
00:00.320: So it was not nothing nothing special in terms of audio recording, just, you know.
00:00.320: um, did all the um slow-mo stuff, you know.
00:00.320: It's my lean.
00:00.320: is probably I'm guessing, I don't know, I've only watched the piece once, maybe like in the first twenty seconds, maybe thirty seconds.
00:00.320: So, what is your editorial background prior to getting involved using Final Cut 10?
00:00.320: So yeah, radio was my first thing.
00:00.320: Three or four?
00:00.320: I think it was like Windows NT on a big IBM machine with maybe twenty one gigabytes of RAID storage.
00:00.320: So yeah.
00:00.320: And he's like their he's their their video guy.
00:00.320: You know, yeah, there now is something still kind of open up a lot of opportunities
00:00.320: is shooting video.
00:00.320: You know, I mean, just that story there and your story, you guys are, you know, Dean made a job for himself.
00:00.320: little notebook, you know, since the tools are so available.
00:00.320: But Logic ProX is today's mixer of joys, if you will, mixing application.
00:00.320: And I just I there's you know, we always talk about on this show about the learning wall getting over in Final Cut.
00:00.320: But I can't get like the simplest things done in in logic.
00:00.320: like the best yeah, it it still is kinda it's it's more f fun, it sounds funny, but yeah, to to edit, you know, big uh projects in in Pro Tools, it's still kinda
00:00.320: right away are quite powerful.
00:00.320: Let me sh let me look it up.
00:00.320: all over the place, two tracks dialogue, then one track SF, sound effects, then music, and then you know, if you use general.
00:00.320: Yeah, you know, when I was on the virtual user group a couple of months ago that Pixel Core does, Michael Masdorf had like
00:00.320: Did you yeah.
00:00.320: But then again, you can't really it's not quite it's not quite the same experience.
00:00.320: And I also, you know, I have some pretty nice plug-ins.
00:00.320: Even if you say, ah, well, I should remove all of them.
00:00.320: just to k give the finished um finished s finished sound and just manage those three faders um
00:00.320: Some sort of you know, I would call them roles-based inserts.
00:00.320: have the dialogue and music play well together, and um most likely it's like loud music, then it goes down
00:00.320: to zero so to speak and then so a little bit of dialogue that's not quite loud but yeah it's okay and then it goes right
00:00.320: as close to zero without being zero as possible.
00:00.320: that's essential.
00:00.320: If I do the whole project like video editing and sound and stuff like that, I most likely do that in Premiere just because
00:00.320: quite a good potential, so to speak.
00:00.320: And now, if you were to make an edit in to anything in the audio in Final Cut, it would go, Hey, you're gonna break your audio stuff.
00:00.320: Basically, the main issue I have with FCPX is still not having the ability to make some nice audio mixing right inside the app and
00:00.320: basically it.
00:00.320: I just bought a small thirteen inch MacBook Pro just because, you know, sometimes it even is good just to put in the Texas Master inside a
00:00.320: on his quote unquote real jobs, he's still going to d use Premiere, but he was very pleased with cutting in Final Cut 10.
00:00.320: So my question to you, much like I asked Wes, what are the things okay, so it sounds like you're saying, oh, Final Cut10 is great if it's not a serious edit.
00:00.320: You know, Final Cut apologists.
00:00.320: my different tasks.
00:00.320: Yeah, that's right.
00:00.320: the magnetic magnetic time line sometimes even gets aw in a way, so to speak.
00:00.320: Because I think that visually we editors, you know, a lot of us do that.
00:00.320: Like, and you could, you know, and if you send them to me, I would love to post those on the website to kind of give sort of inspire people.
00:00.320: I will be the first to admit that I do not always use the roles functionality, primarily because I don't really need it most of the time.
00:00.320: However, I now have a new reason for wanting to select things and apply them to a role, and that's this.
00:00.320: However, if you select those graphics, you can just swipe across all of them sitting up there on chat quote unquote layer two, although it's on layer
00:00.320: Yeah.
00:00.320: Yes, it does.
00:00.320: Yeah.
00:00.320: machine and it doesn't really hurt what what's going on?
00:00.320: Right.
00:00.320: He was saying to me, He goes, Dude, you really got to learn Avid and Premiere.
00:00.320: You know, I know for a fact that Apple takes all of the suggestions that they get, all of the suggestions that they get in the door.
00:00.320: So a handful of people left the company and they went to Make Play, which was a very much a hardware-based device.
00:00.320: And that's what he said.
00:00.320: Yes, it's audio still will be is the most important things for me or thing is to have a little bit better audio implementation right inside the app.
00:00.320: Yeah, I think will be really important for that application.
00:00.320: explains the whole trip from FCPX to Logic Pro X and back a little bit.
00:00.320: C H M I D T and that's where you can find him on Twitter.
00:00.320: And also, thank you for leaving the little star comments.
00:00.400: And it's quite interesting.
00:00.400: Barrage, if you will, of the various saws.
00:00.400: Maybe two seconds, and it what and it's the moment that I'm sitting here talking to you about, you know?
00:00.400: I have purchased I purchased Logic 9 and I was like, okay, I'm going to learn this.
00:00.400: Yeah, it kinda is.
00:00.400: all your tracks inside of Logic Pro X.
00:00.400: I think it may have been slightly confusing if anybody watched that, but he had like a Photoshop mock-up of how he wanted the Final Cut 10 user interface to work.
00:00.400: preset again, just you know um alt click on a on a plugin and track it to another channel.
00:00.400: If you take, you know, like an album or, you know, an audio recording, quite often the real magic
00:00.400: They just wanted to be the loudest thing on the radio.
00:00.400: the EQ and compressor sounds really good from Logic ProX.
00:00.400: quite even you have a good workaround with Logic Prox to FCPX with just exporting an XML and it actually exports all those tracks.
00:00.400: Apple would be better served by putting some of these audio features into Final Cut 10 that many people have asked for.
00:00.400: mastering and and uh roles based uh e uh plugins and whatnot?
00:00.400: in Premiere, which which is really no different than I've worked between After Effects and Final Cut VII, and even to a certain degree between
00:00.400: Premiere versus cutting in you know what, let's not do that.
00:00.400: And what I would do is, like, you know, I might name those clips in a certain way so that if I
00:00.400: Because they're more collapsed.
00:00.400: I would put the chapter headers up on track three or four because maybe it would be like dissolve to a background on track three and then the title would be on track four.
00:00.400: Yes, I like to have like a big time line and stuff like that.
00:00.400: Yes, I didn't even know the modify assign role command.
00:00.400: I was up on the third floor and I immediately ran all the way down to the first floor, no elevator, all stairs, to talk to Steve Navrat.
00:00.400: Premiere editor who doesn't like Final Cut Pro.
00:00.400: Maybe he is up for it actually.
00:00.400: um for the easy stuff.
00:00.400: A bit if I have to do a lot of audio and I can't really do it.
00:00.400: Um, I think it's really important to know as us as end users that these people um
00:00.400: At NewTek.
00:00.400: The outside influence doesn't know where you're going.
00:00.400: And so it's very important, and we know that, but I agree, I would love to see some of these audio things.
00:00.400: Um probably Twitter's uh still the best thing to connect um uh it's Michael Schmidt.
00:00.400: You can find those as well there.
00:00.400: I'm going to say it wrong.
00:00.480: And so the the end question is really not it's barely not there.
00:00.480: Listen to some cuts.
00:00.480: This interview with Misha Schmidt.
00:00.480: Eight shots in, you know, ten seconds.
00:00.480: you know, less is quite literally more because it it's it probably took, you know, forty frames total.
00:00.480: that I think they have since decided, yeah, let's take our own audio people.
00:00.480: But is there a signal path to get your audio out of Logic excuse me, out of Final Cut 10 into Logic and back?
00:00.480: My podcast is very loud.
00:00.480: could work as well.
00:00.480: to a music clip.
00:00.480: whatever you call it for a complex edit sometimes is quite essential especially if you have a long
00:00.480: to work that in FCPX.
00:00.480: Yes, well, like I said before, it's basically to do all the audio right inside of the editing application, especially if you know there will be a lot of changes or you just have to
00:00.480: you ha you you should use them.
00:00.480: Oh, yeah, now I totally get it.
00:00.480: And they log those things and they prioritize them and they vet them, whatever they they and there is a list.
00:00.480: move toward that end as we add features.
00:00.560: Misha is good.
00:00.560: Yes, that's the event we did that.
00:00.560: Well, I started in radio actually in maybe 2099, 98, something like that.
00:00.560: Just you know, we we did like a thing in a theatrical thing and we need it
00:00.560: He 100% of his income was as a still photographer.
00:00.560: especially auto automation and something like that, is might be a bit tricky at first and but yes, it's quite powerful.
00:00.560: So there was first, I was excited about that in FCPX.
00:00.560: how the plugin experience is different between Funnel Cut and Logic?
00:00.560: works, but then again, why not just do it right inside the app, so to speak, an app for everything, one app for everything.
00:00.560: air quotes in uh Premiere.
00:00.560: Yeah, like I said, it's quite you know, if you have just a few edits to do or chop down master or something, it's quick, that magnetic time line.
00:00.560: is really nice for that.
00:00.560: have markers and if you beam it on a screen, so to speak, with an HDMI output, it's quite a nice tool to adjust for client review, so to speak.
00:00.560: And his conclusion, and again, this is he's self-teaching himself over the course of six weeks, and he was sort of alluding to the fact that
00:00.560: Okay, so this is interesting because this is a conversation that came up a couple episodes two episodes ago with Wes Plate.
00:00.560: Well, essentially, it's if it gets too complex.
00:00.560: Basically that that happens in Monkoch, sure.
00:00.560: search for, you know, bumper hyphen, okay, then
00:00.560: As your primary storyline, which is controlled by the little slider down in the lower right-hand corner of the timeline window, there's a little pop-up thing there, whatever.
00:00.560: the vertical height of all of those what were once video clips collapses to approximately a quarter of the height of the normal video clip.
00:00.560: like in seven, you could say, oh, I want track one to be really tall so I can see the icons.
00:00.560: have a quick turnaround or send even a quick first edit out, you can make that happen quite a way.
00:00.560: Just to see what's out there.
00:00.560: or function creep or something like that.
00:00.560: He said, in software development, you have to be really careful because if you just listen to every request and throw it into the app, what happens is
00:00.560: Submarine were done in Lightwave.
00:00.560: And believe me, there's more stuff.
00:00.640: Now, again, I fi you know, I I love Twitter.
00:00.640: I just did something today not today, but Friday at the office where I had to swap out a bunch of files.
00:00.640: I love premium beats.
00:00.640: Yeah, but it's a saw.
00:00.640: called metadata view, and it's usually set to general, I guess.
00:00.640: And we're just speculating.
00:00.640: So for that kind of stuff, it works really nice.
00:00.640: Okay.
00:00.640: the window the effect window for color creating, so to speak, with Colorista 2 or Film Convert and stuff like that.
00:00.640: Yes.
00:00.640: TTT back in the days, yes, yes, yes, yes, I remember TTT.
00:00.640: And if you drop those in over your timeline, they look like a video clip.
00:00.640: I've seen that.
00:00.640: Misha, as you know, quite often at the end of the show, I say, what would be the one feature that you asked for if you could sneak in the back door and talk to the programmers?
00:00.640: from Michael Keone came up with how you could do it in logic in FTPX, but then again I thought, well, no, maybe there's a different way.
00:00.640: You know, there's more stuff.
00:00.720: Audio is the most time is audio.
00:00.720: I do and I think I've talked about this a lot I do a lot of graphic like animation elements in After Effects and bring them in as ProRes four by four files.
00:00.720: Stronger audio support would greatly benefit Final Cut 10.
00:00.720: NewTek had made the original Amiga-based video toaster, totally different than what they did much later.
00:00.720: software.
00:00.720: keeps the application on track.
00:00.800: Not as good as the A7S.
00:00.800: They actually budgeted to take Dean, their personal videographer, if you will, you know, a documentarian.
00:00.800: And he had his little 5D, you know, Mark II or III at the time, and he showed the guy what it can do.
00:00.800: It's a thing you can use roles in FCPX, of course, and there's a setting in the XMLX port.
00:00.800: Excuse me.
00:00.800: What you're hearing is that that recording is really loud.
00:00.800: application in FCPX.
00:00.800: I sure think so.
00:00.800: would open up logic and open up either some sort of a sidecar file or maybe you from within Final Cut 10, you click on something in the audio that says edit this in
00:00.800: If the time line gets cluttered up, I go for Premiere Pro because it works a bit little bit better for my taste, so to speak.
00:00.800: different cameras, just you know, quick edits.
00:00.800: Scott Simmons over the sometime this last week, and I think we were going back and forth on Twitter, and he said like the DM on Twitter
00:00.800: so to speak, and then I have the preview window and stuff like that on Ada and the media browser.
00:00.800: Force a piece of media above the primary or secondary timeline, even if it was like up in space, like it's not literally laying on top of something.
00:00.800: any company, whether it's a a bohemoth like Adobe or Apple or a small company that's writing a plug in or something like that
00:00.800: Great.
00:00.880: Yeah.
00:00.880: happens in the mastering.
00:00.880: But for a one man band, you know, put put a mixer in there, some tracks or something, you know?
00:00.880: And you go up into your modify role assign I think it's modify assign roles and you select graphics for that.
00:00.880: Even though there as well, you don't have a nice plugin management.
00:00.880: copy and paste, so to speak, plugins from one to the another track or have presets for them and change those up.
00:00.880: I happen to know there is a list.
00:00.880: I'm sure there's probably I'm probably telling stuff that those guys would rather not have me tell publicly.
00:00.960: Essentially, a dynamic link.
00:00.960: So on a big screen, you know, I have really on one screen just maybe three or two time lines stuck
00:00.960: Because, you know, you select all those uh tiny you know sound effects all over the place and then ah you hit the wrong key and all the selects are gone and stuff like that.
00:00.960: You know, like just put a little lock next to it.
00:00.960: make you kind of shy away from using Final Cut X on the the quote unquote bigger jobs.
00:00.960: Because sometimes I don't have the maybe I had the time, but just, you know, it's something to send, like I said before, to send something to another application.
00:01.040: We are weeks, I think, just weeks away from seeing the new website that they're doing, and that's going to be fun.
00:01.040: before they planned on taking the sound engineer.
00:01.040: So all the dialogue comes first, and I think it's music, and then all the sound effects tracks.
00:01.040: So he had like like, look, this is the way you could do it, like have a region for all your dialogue and a region for all your music and a re and it's like and I remember and I was sitting there watching it and I was thinking
00:01.040: Right.
00:01.040: So but then again, if you have a complex edit in Premiere, that can be tricky as well.
00:01.040: No, I think I very much appreciate hearing the because again, this is gets back to my conversation that I had with Austin Flack back on episode seventy four.
00:01.040: Yeah, it's quite nice what he did actually and right inside the application.
00:01.120: it's a good move to go there and learn that application.
00:01.120: And when you do this XML out using the metadata view, the appropriate audio metadata view, do you get custom roles that you've also created as well?
00:01.120: Anyway, I'm just I'm just totally can see that way of working those issues.
00:01.120: But yeah, for quick stuff, you know, I just have um like um ten Texas masters, like you call them, uh and making a little best of
00:01.120: I don't see the limitations that are actually really big limitations for you.
00:01.120: He goes, if you give the public or if you give the customers everything they want, you'll end up with a really great application for rendering submarines.
00:01.200: Jeff Jeff invented a word when we were in college.
00:01.200: Yes, it's always it's always kind of odd if you have to leave the application itself.
00:01.200: Just the basic small projects, quick turnaround, nothing fancy in terms of audio or interviews or
00:01.200: Like customer stories with like chapter headers, you know.
00:01.280: And Richard always does this stuff on his website where he mocks up screenshots.
00:01.280: Oh, yeah, okay.
00:01.280: I don't have to leave the application.
00:01.280: The the whole thing is just not the same.
00:01.280: And they were doing refractions and blah, blah, blah, blah, blah.
00:01.360: Excuse me.
00:01.360: Streamlining and polishing the round trip through logic?
00:01.360: So in Final Cut 10, you would use the little forward and back arrow.
00:01.360: Now, most people know that NewTek is known for LightWave 3D, the 3D
00:01.360: That's the best way, I guess.
00:01.360: And if I get them in in enough time and I actually have enough time, I'll uh I'll you know bang those together and uh we'll do a little playback.
00:01.440: Well, I had a shoot this morning, a little little quick one, not nothing fancy.
00:01.440: I guess you'd call it the lean forward moment.
00:01.440: So eventually it invol it involved or I moved on or got new things going on and was fascinated by the whole video thing.
00:01.440: Like one of the things that's historically most well known for in mastering is sort of a phenomenon that happened, I believe, in the eighties where all of the rock and pop bands
00:01.440: And I have a tip I'd like to give people, and this is something that we got really excited in the office about just this last week, I think it was.
00:01.440: And I know that there's a software term for this, and somebody will tweet this or whatever, but it's called I think they call it application creep.
00:01.440: Well, Misha Schmidt, thank you so much for doing this.
00:01.440: It's like color, film, sound, or film, soundcolor.
00:01.520: And like you in your show, every other person, you know, if you ask them what should be changed in FCPX, it's
00:01.520: I like the way I just included you in that, our listeners.
00:01.520: And it very much tidies up your timeline because I will be the first to admit I miss the ability to say
00:01.600: At one point he talks about how they were crewing up, they were scheduling how they were going to do their Australia tour.
00:01.600: A lot of people in this business, you can get sort of I think territorial is the word I want to say.
00:01.600: So like when you like do the the dynamic link out to After Effects and you can like work on your comp and then you sort of render it and premiere
00:01.600: You know, I do that in FCPX, that works quite nice.
00:01.600: Okay, well, this is just getting to be a bummer now.
00:01.600: And he's like, oh, that's awesome.
00:01.600: And I think Scott even said, You might be able to get Al Mooney on the show.
00:01.680: I saw that on your Twitter last night.
00:01.680: How about you know it's just a horrible sound anyway.
00:01.680: I remember, yeah, yeah.
00:01.680: I think so.
00:01.680: And I will say that I know like almost nothing about 3D.
00:01.760: So I'm going to ask you just as a friend, please go take a look.
00:01.760: Go check them out.
00:01.760: Well, okay, no, hold on now.
00:01.760: Yeah, good.
00:01.760: I can have submix, I can have automation, I can use my plugins, even though not the plugins I have that come with Logic ProX.
00:01.760: But yes, even the turnaround thing, workflow between Premiere and Audition is
00:01.760: The timeline index is quite powerful, actually.
00:01.760: I actually do record the show here in Audition and I do all my audio editing and whatnot there.
00:01.760: it will lose robustness.
00:01.840: You know, I don't even think no, actually, I think you do have to make an account, but you don't actually have to purchase anything.
00:01.840: When did you start getting involved in, you know, as your website says, you know, film sound color?
00:01.840: As the idiot scrolls through a list here, I'm sure you could search it on Digital Cinema Cafe.
00:01.840: Ah, yeah.
00:01.840: All right.
00:01.920: I think you're going to like it.
00:01.920: Yeah, it definitely.
00:01.920: It's quite quite better to do that that way and to have tracks or
00:01.920: Okay.
00:01.920: It should be a little bit better there.
00:02.000: Oh, I gotta say the audio in it is great.
00:02.000: And yeah, so I learned uh on Evid.
00:02.000: It's like, okay, yeah, that button doesn't exist.
00:02.000: I would love for you to elaborate on this.
00:02.000: So the ability to select a bunch of stuff and then just say, yeah, assign that to the graphics role, it really tidies up the time line quickly.
00:02.000: Anyway, it doesn't really matter anymore.
00:02.000: That's all I'm gonna say.
00:02.080: Video and editorial.
00:02.080: Sure, sure, no problem.
00:02.080: And again, I just want to say that I know nothing.
00:02.080: You know, it you don't have to to think about, oh, there's uh different tracks or different clips uh down the timeline or something like that.
00:02.080: I'm like, whoa, whoa, whoa, whoa, whoa, whoa.
00:02.080: What are the stumbling blocks?
00:02.080: Well, a lot has happened since I did the episode that I did with Steve Miller, and I know that we're now like on the second update of 2014.
00:02.160: And you can do that in FCPX, but then again, not really at least in my experience.
00:02.160: But maybe it's just the way I like to work and I you can make it work in FCPX.
00:02.160: I didn't get it before.
00:02.240: Yeah, well.
00:02.240: And then if I finish thi this, I have like a different uh setup where I have um the
00:02.240: But to be fair, it's not as transparent for me to see how that timeline is going to transpire over time.
00:02.240: He goes, Yeah, you do.
00:02.240: So yeah.
00:02.240: No, I totally get it.
00:02.320: I would love to change some things also, but this discussion is mostly about audio.
00:02.320: Good for an American.
00:02.320: I have presets for interview one with a certain person or for a certain client that I know.
00:02.320: So you don't have to do the whole ah I save a preset and then I load the plug-in and then I load the
00:02.320: I know that the people at Apple are totally aware that people would like to do that, but you are not the first person to say, gee, I wish I could customize the user interface a little more.
00:02.320: So you know what I mean?
00:02.320: Um but yeah, it it's like uh just the audio it kind of frust fru frustrates me.
00:02.400: And Dean was a still photographer.
00:02.400: You don't have to do that.
00:02.400: So thanks, Misha.
00:02.400: Okay, very cool.
00:02.480: Yeah, Windows NT.
00:02.480: I mean, a few episodes ago, episode 85, excuse me, I spoke with Dean Sherwood.
00:02.560: It's an interesting world we live in with all these cameras, isn't it?
00:02.560: You know?
00:02.560: Something like that.
00:02.560: I'll just ask you the the question that nobody will say out loud, but come on, man, what made you think you could handle the picture as well as the sound?
00:02.560: You can use XML and export your project.
00:02.560: But still it works quite nice.
00:02.560: It's something creep.
00:02.640: And so that is quite nice to get it to Logic Prox and then actually just export an XML.
00:02.640: So what if we had something kind of like that with logic?
00:02.640: Just for select making selectrias is one setup.
00:02.640: Like for example, I'll I'll give you a for instance that I kind of miss, and then I'm sorry, Scott, I'm going to sound like the Kool-Aid drinking apologist, but then I'm going to explain how I get around it.
00:02.640: So to me, that's like really, really great.
00:02.640: Right.
00:02.720: So it's a for the money and especially for FCPX users
00:02.720: Yeah, this is really good.
00:02.720: And that is the mastering to audio is what color grading is to video.
00:02.720: That's the way my little brain works.
00:02.800: And Misha has some really good input and insights, because of his radio background, about some of the features that he would like to see changed.
00:02.800: You know, I I do a little bit of, you know, stuff on that to make it, you know, kick to to, you know, be as
00:02.800: That's quite essential if you have like quick turnarounds, lots of changes.
00:02.880: Yeah, yeah.
00:02.880: But yeah, Logic Pro X is quite powerful, especially the plugins that just are in there.
00:02.880: And yeah, marshalling can help you, but even that is quite essential to have tracks and
00:02.880: And there's a link to my website or whatever.
00:02.960: I want to thank the people at Premium Beat for speaking of audio.
00:02.960: I have like the Isotope RX3 I haven't upgraded yet.
00:02.960: But yeah, for the whole uh the more more complex edits and if I know I have to do the sound and have lots of interviews and different music tracks and you know
00:02.960: You can and like it is right now, but it's not perfect, so to speak.
00:02.960: And if you click on that guy, you can leave an audio message or question for the show.
00:03.040: Yeah, it's it's a little bit tricky.
00:03.040: It just it arranges them in the when you import it into Logic Pro X.
00:03.040: So you open up your Final Cut 10 project and you have all your roles laid out.
00:03.040: Even though you might have the time, yeah, just send it back to another application.
00:03.120: What's your audio editor of choice?
00:03.120: And I have like the pancake edit, you know, a timeline screen setup.
00:03.120: You know, I can, I don't have the audio background that you have, Misha.
00:03.120: I go, No, I don't, because I don't want to kind of learn it.
00:03.200: That sounds like that's okay.
00:03.200: That would be really wonderful.
00:03.200: Yeah, exactly.
00:03.200: And Play the the people who started Play split from New Tech in the mid nineties.
00:03.280: You know, before I was mainly um DSLR, we rented or I rented like C three hundred if I needed something more special or solid.
00:03.280: And that it and it's a it's an interesting phenomenon because that that little s barrage of all the saws
00:03.280: Great audio in that.
00:03.280: We actually used CoolEdit Pro back then.
00:03.280: Yeah, it's kind of like stamps.
00:03.280: But I think it that's an important thing to think about when you're doing your video.
00:03.280: David Fincher's editor had that phenomenon.
00:03.280: Now I totally get it, you know.
00:03.280: Yeah, the last two updates did quite a few good things for FCPX, and I see the potential
00:03.280: I see.
00:03.280: Anyway, I'm done.
00:03.360: Not bad.
00:03.360: Um yeah.
00:03.360: You have the mixer, you have you can load plugins, you can make submix, stuff like that.
00:03.360: No, no, I got it.
00:03.440: I've seen screen grabs of it because they sent me some.
00:03.440: Yeah.
00:03.440: There is an option.
00:03.440: And I think it's really important to know that in any software development
00:03.440: No, it's just a completely different world.
00:03.520: So, at this point, I want to go now.
00:03.520: It's like, okay, now they got my respect.
00:03.520: What if you had so you have to be familiar with Premiere's render in place, I think they call it.
00:03.520: Could you take a couple of screenshots of some of your various premiere layouts?
00:03.520: Thanks for doing that.
00:03.600: Yeah.
00:03.600: I actually used elements uh in in Audition that have come kind of reminded me of Cool Edit.
00:03.600: And he travels all over the world with a group from England called the Vamps.
00:03.600: I love the fact that I can't edit as tightly as I can.
00:03.600: No, I'm totally kidding.
00:03.600: That's basically it.
00:03.600: So now I'm curious because I cut everything in Final Katen, and maybe I'm not doing anything that you would call serious, but I'm curious.
00:03.600: I go, Well, I can cut in Premiere.
00:03.680: Right, right, right.
00:03.680: And even for tutorials or something, record dialogue right inside the app and stuff like that, that works quite nice.
00:03.680: I don't think that's true.
00:03.680: The the track size or the clip size or whatever, it's just not that
00:03.680: I want to thank you for all the kind words and the comments that people are living leaving on iTunes.
00:03.680: I'm going to have to find that because I'll put that in the show notes.
00:03.760: Hi.
00:03.760: So what do you think of the A7S?
00:03.760: I think, though, it would be better to put it right inside the
00:03.760: It would make it quite more powerful right away.
00:03.760: What are the roadblocks from making you go, oh, yeah, I don't really want to trust this edit to this to Final Cut?
00:03.760: He's given me a hard time about that.
00:03.760: These are the things that we want to do.
00:03.840: That's a great description.
00:03.840: I'm just going to clarify for what my friend Jeff Dyckhaus, who was on let me think, what episode was Jeff on?
00:03.840: Now if you add everything, you might make people happy, but you'll never but what'll happen is your software will
00:03.840: And one of the things that the guy said to me, he goes, If you just listen to every customer,
00:03.840: There's more stuff in the works.
00:03.920: Okay.
00:03.920: Well, mainly it was like getting a little bit better audio in that was most interesting and getting
00:03.920: Some of the listeners of the show are very new to video editing.
00:03.920: And basically what they mean is you lose your focus on what you want to or need to be because
00:04.000: Like you you're sounding like such a a fanboy Kool-Aid drinking
00:04.080: Okay, I find people on Twitter.
00:04.080: The end of the weekend, time to mellow out, get started on the next week.
00:04.160: I there's a there's a in the behind the scenes bit that's on uh that's on your website, there's this short little
00:04.160: He called me Where are you, Jeff?
00:04.160: So, yeah, isn't that kind of cool, huh?
00:04.240: Right, right.
00:04.240: Like you if you have a long interview stuff, like a long documentary, you know, thirty minutes of interviews.
00:04.240: So so l really you're saying that in your estimation
00:04.240: And doesn't really notice that.
00:04.240: And then you weigh those against what
00:04.320: Hey, how are you doing today?
00:04.320: And if you haven't heard this interview, if you've skipped around, go back and listen to episode eighty five because um
00:04.320: So, like, you know, we do a couple of minutes, and then it's like, so what did they do next?
00:04.320: Yet sometimes it's yeah, just not not um
00:04.320: You know, five stars is totally cool.
00:04.320: I'm out of here.
00:04.400: Hey, this is episode 091, countdown to 109 to go, and today we're talking with Misha Schmidt.
00:04.400: Hey, Misha, how are you doing?
00:04.400: I have presets for that.
00:04.400: Wait a minute.
00:04.400: Yeah, I had to cross fate everything, it seemed.
00:04.400: So anyway, it's M-I-C-H-A-S
00:04.480: Basically, it's the same thing still.
00:04.480: So I'm one of these guys that's been doing this forever, and you see people like
00:04.480: Because I know you listen to the show, and I have said many times that the
00:04.480: And edit, edit, job, job, you know, it's it's done in no time.
00:04.480: But even that, if I have a big time line or whatever it's called in FCPX
00:04.480: There's we like I said, the plugins are there, they are quite powerful, they sound good, they work good, they
00:04.480: If people want to follow you online, what's the best place to find you?
00:04.640: And it would have just been like, oh, you're killing me.
00:04.640: I remember that.
00:04.640: But you know, sometimes it also is a little bit more than just the gear and stuff like that.
00:04.640: And you go between those or different time lines, so to speak, and drag and drop clips and just to manage all your
00:04.720: But yeah, eventually it came more and more video stuff and learned it
00:04.720: I don't think that should be that hard, really.
00:04.720: You know, why can't I just insert a master compressor on all the dialogue?
00:04.720: And I like to think that
00:04.720: Okay, so even if you have a very complex composition in After Effects, because you rendered it, it will essentially, of course, play.
00:04.720: Just to have a visual reference, yeah.
00:04.720: I think it's time to do another one of those episodes
00:04.720: I run away from it, you know, like crazy every time
00:04.720: Really appreciate it.
00:04.800: So like out of curiosity, what would be your criteria to rent out to hire out the C three hundred over a D S L R?
00:04.800: Actually, the skate on art was that slow-mo high speed shot thing that was done by another company that
00:04.800: So, like when you were scan, you know, back in the old days where we had a dial, you know, whoop, whoop, whoop, you know, scanning through radio, you'd hit one
00:04.800: I can see that.
00:04.800: So, you know, I was thinking, Misha, I know that some of our listeners
00:04.800: So that's nice.
00:04.800: I'm not trying to b do a bunch of workarounds.
00:04.800: And I think that it's really easy.
00:04.800: It may not work as well because you don't have a path that you're going on.
00:04.880: Oh boy.
00:04.880: I don't want to do this and that thing.
00:04.880: And on the road, you know, on the on the on the notebook, uh, just even showing clients.
00:04.880: I just don't like FCPX.
00:04.880: Like, oh, is this the one I want?
00:04.880: You can load quite quite a few plug ins in your
00:04.880: Many years ago, I I'll tell a little side story.
00:04.960: I really need to find a good you know I I need to find the
00:04.960: There are a few things you you have to know how to handle it.
00:04.960: Wait a minute, did I miss that?
00:04.960: So, um for for people that that aren't that don't get really heavily involved in the audio world um
00:04.960: And how would that work if you were to magnetic timeline select stuff?
00:04.960: I really like to specialize.
00:05.040: Let me just see it.
00:05.040: It's nice.
00:05.040: And that's really w what what keeps me from using FCPX more often for the bigger stuff.
00:05.040: You know, I don't even know the words.
00:05.040: But yeah, very cool.
00:05.120: Was that right?
00:05.120: You did the uh the the behind the scenes of it?
00:05.120: So let's talk about cutting in
00:05.120: I don't like it, and I don't really feel like I don't, I can't, I don't
00:05.200: Well, actually, that is nothing special.
00:05.200: But Dean was on board first because it's it's that big a deal.
00:05.200: I don't think that'
00:05.200: Just, you know, it seems so so simple, you know, have tracks and submix and stuff like that.
00:05.280: Misha's been following the show and tweeting and stuff.
00:05.280: And literally, like, I think he said like three years ago.
00:05.280: And if you set that to audio, it actually uses the roles like
00:05.280: And frankly, it kind of goes back to what many people have been asking for.
00:05.280: Well, it's just workarounds, Fenwick.
00:05.280: I know I did it all the time when I could.
00:05.280: You can just drag and drop those around or something like that.
00:05.280: I made that because you know the post with the
00:05.280: Thanks for listening.
00:05.360: And like literally, like two months later, they announced Logic to X.
00:05.360: Even though stamps are like all the sound effects in one track, all the music in one track, you get separate tracks for your
00:05.440: Um well, uh two actually.
00:05.440: And still, yeah, I kind of missed those.
00:05.440: Oh, yeah.
00:05.440: I have every now and then I do a little bit of a tutorial.
00:05.440: And then his company site is referenced on the Twitter thing.
00:05.520: Yeah.
00:05.520: I can do that with my wave plugins and my isotope plugins in
00:05.520: So, what I would do quite often is I would take those chapter headers so that when I hit Shift Z and could zoom out and see my whole piece.
00:05.520: Okay?
00:05.600: Yeah, the main thing is you actually can use them on
00:05.600: Aaron Powell.
00:05.600: I want to really learn it.
00:05.600: Ah, yeah,
00:05.680: I had to test the 4K on the Xperium thingy.
00:05.680: Is it just being grabbed off the little crap mic on the sixty?
00:05.680: Even for my master track, that's also essential to have a master track.
00:05.680: I can just hear people at Apple right and they go, damn you, Fenwick, that's hard.
00:05.760: Misha's in Germany, so he sounds a little bit different than me, but interesting guy, and I think you're going to enjoy.
00:05.760: You know, because you can hire audio engineers, as you know, all over the world.
00:05.760: I don't get any insider information at Apple at all.
00:05.760: And if you were to go back into Final Cut 10 and make a change,
00:05.760: Sorry.
00:05.760: Would be, should be, could be, whatever.
00:05.840: No, no, no, no.
00:05.840: So yeah, we I kinda had to do it in a way and uh learned with an avid on an
00:05.840: Okay, I'm very curious about this, and I will I will let I would love
00:05.840: But tracks two through seven, I want those to be really small.
00:05.840: So that's no problem at all.
00:05.840: Okay?
00:05.840: Is there one we haven't mentioned?
00:05.920: I I I care for audio the most.
00:05.920: And he's like, Yeah, there should be a button right here.
00:05.920: Even copying like settings between those and it's it's a mess in the end.
00:05.920: I go, I don't know.
00:05.920: You know, you can find him.
00:05.920: de, something like that.
00:06.000: If you're not going to go buy something from them, at least promise me that you'll go check it out.
00:06.000: And yes, you can do that that way.
00:06.000: Entirely true, I think I have my criticisms.
00:06.000: If you want to leave a comment about the 100th show
00:06.000: More stuff coming from
00:06.080: So, when a producer or somebody walks in the room and they go, Hey, do you have any ideas?
00:06.080: Lots of night events and parties and stuff like that, you know, and and Skate Lab, Skate Park
00:06.080: And it's like, oh, yeah.
00:06.080: And that means that a video clip is going to be the same vertical height.
00:06.080: Yeah, that's good, actually.
00:06.160: Ah, yeah.
00:06.160: Now have you experimented with any of the kind of round tripping and I'm using giant air quotes there
00:06.160: Yes.
00:06.160: Oh, no, read the name.
00:06.160: You have a different experience because you have dealt with the logic and the pro tools, and you're obviously using
00:06.240: We did a big
00:06.240: No, I mean, it does I think in fact, you know, it sometimes it matters how you
00:06.240: Yeah, so anyway.
00:06.240: It kinda kinda looks the same in a way.
00:06.240: Like you said, you ha you make a little hole for the music, for the dialogue in the music and stuff like that.
00:06.240: But yeah, that's the same for me.
00:06.240: Remember that?
00:06.240: We will be back Friday with another episode of The Grill.
00:06.320: So let's say you could create
00:06.400: It's yeah, it's kind of funny and interesting and
00:06.400: It's amazing.
00:06.400: And those workflows, yeah, they're the link between two different applications that are specialized in video and one for audio.
00:06.400: I click on number two, it jumps to there.
00:06.400: Yeah, you gotta understand how it works for you before you let it kill you.
00:06.400: That kind of helps with the whole
00:06.400: I can't even fake like I know what I'm talking about.
00:06.480: Thanks for taking the time to do this.
00:06.480: But now it's just uh, you know, checking footage and yeah.
00:06.480: I'm glad you mentioned the s the skate lab.
00:06.480: Well, yeah, but
00:06.480: And or sometimes some clips are too connect connected to each other and you change something
00:06.480: So, like, it's very important in software development: I have a goal, this is where I want to go, and we need to
00:06.560: And now, just a couple of years later, 100% of his income
00:06.560: Wait, wait, wait, wait.
00:06.560: Oh yeah, I have all my nice plugins I know from Logic Pro nine.
00:06.560: That's no fun.
00:06.560: You know, I I manage I have different screen setups, so to speak.
00:06.560: For the the pancake edit, so to speak, to make my master
00:06.560: And I also want to remind people that you can indeed go to digitalcinema cafe.
00:06.640: But I love Premium Beat.
00:06.640: Good, and how are you?
00:06.640: You know, you have your select reel on a timeline on top.
00:06.720: It's that's not English, Chris.
00:06.720: That's a pleasure.
00:06.800: That's actually nowadays Audition.
00:06.880: That's good.
00:06.880: Now I'm going to totally.
00:06.880: Just to have a visual reference.
00:06.880: But, you know, I get to use my good plug-ins, at least
00:06.960: He's like, Yeah, yeah, shoot us some video.
00:06.960: So you actually export like all the tracks if you have maybe ten tracks
00:06.960: But so explain to me
00:06.960: I think I really know Final Cut.
00:06.960: But yeah, I I I kinda got got back to it in a way.
00:07.040: And I it's probably just that I am not audio savvy enough at all.
00:07.040: Export.
00:07.040: That might be pushing it.
00:07.040: And for every iteration, you prioritize the ones.
00:07.120: What episode were you?
00:07.120: Even sending stuff to SpeedCrate inside of Premiere Pro.
00:07.120: And yeah, I'm I'm I'm not so keen in
00:07.120: And I know for a fact, like for example, Dean, Dean Sherwood, I don't think he's cut on anything but Final Cut 10.
00:07.120: And yeah, you can make presets in FCPX as well for the plugins and open them up and load them.
00:07.120: But I got to meet a lot of people that were very much involved in the software development
00:07.120: I know he mentioned his name at the end there, but
00:07.200: And there's always a point in a piece for when I watch something, there's a point where
00:07.200: So yeah, but but then I was gonna
00:07.200: But yes, the old Final Cut seven route, so to speak, you know how to deal with that.
00:07.280: How do you turn that button on?
00:07.280: Yeah, or just, you know
00:07.280: Or do you think they would be better off
00:07.280: Okay.
00:07.360: It's quite quite good.
00:07.360: All about audio.
00:07.360: And I'll also put a link to Michael Cioni's
00:07.440: I've I have to do that.
00:07.440: That's right, yeah.
00:07.440: And the the logic plugins are quite powerful.
00:07.520: And I just I I
00:07.520: Really?
00:07.520: Yeah, and we we we did a whole documentary and like the music and art and the the seventy minute
00:07.520: And Wes had been on his big road trip across the States.
00:07.520: Yeah, that's the one.
00:07.520: They were like, whatever they want, whatever they want.
00:07.600: Nowadays uh
00:07.600: And if you have no time or tight schedule
00:07.680: And just opening up, you know, in Logic Pro X, you can actually make
00:07.760: I would I tell you, I
00:07.760: Or do you want to promote one to say this is Misha's number one choice?
00:07.760: So go check it out on Twitter, or I'll put a link to it in the show notes.
00:07.840: No, no, absolutely.
00:07.840: There's nothing worse than
00:07.840: I just want people to know what I you know
00:07.840: Oh, God.
00:07.920: Speaking of audio, I want to thank the people at Premium Beat for st
00:07.920: That's good.
00:07.920: Shooting then again.
00:07.920: And yeah.
00:07.920: And I have a maybe a Equio and a compressor on those as well.
00:07.920: If I have a complex edit
00:07.920: I will say that my time lines now look neater.
00:08.000: Yeah.
00:08.000: And you even it's
00:08.000: And it's the interface as well.
00:08.000: I have grown to absolutely love the Timeline Index.
00:08.000: Very good.
00:08.080: Sure thing.
00:08.080: And yes, you have all the nice plugins that are actually from Logic Pro 9.
00:08.080: You know, I explained it.
00:08.080: And by the way, I would love to talk to another
00:08.080: But
00:08.160: You're killing me.
00:08.160: You then
00:08.160: It's um a little bit more difficult
00:08.160: It's not
00:08.160: Yeah.
00:08.160: But one of the things that he said to me, he said.
00:08.160: Well, hey, man, thanks for taking the hour.
00:08.240: I love the way the music edits.
00:08.240: I that happens to me sometimes with Hello Richard, Richard Taylor, or as we like to say, Richard Scrolling Timeline Taylor.
00:08.240: And there's a chapter header, and then it's like they
00:08.320: I'm doing well.
00:08.320: All these are all that was shot on the six CDs.
00:08.320: I like that word better.
00:08.320: So that's quite nice.
00:08.320: So that really helps to organize stuff.
00:08.320: Hmm, good question.
00:08.320: Yeah, but you can't see them simultaneously.
00:08.400: Like, hey, hey, hey, hey, this is my deal.
00:08.400: That's
00:08.400: Yeah.
00:08.400: So that would kind of be fun.
00:08.480: Come tomorrow morning.
00:08.480: There was a post from, I'm not quite sure, Michael Cheoni, Gioni.
00:08.480: Even though a streamlined process, you know
00:08.480: So now we have a snapshot in time that is what we are opening up in logic.
00:08.480: And frankly, I do I will say, I totally miss that.
00:08.480: And I think that when you experience, if I were to experience
00:08.560: Is that the same place that you did the skate on art?
00:08.560: And it is really the moment where
00:08.560: Because yes, it can can could be tricky to implement like a
00:08.640: So yes, it is a workaround.
00:08.640: Like, oh, yeah, I get that.
00:08.640: Even presets are not possible.
00:08.720: And all of a sudden, his whole career changes.
00:08.720: And this is kind of what Scott was teasing me about.
00:08.720: Many years ago, I used in the late nineties, I used to travel around with a company called Play.
00:08.800: It's really not there because most of this episode is about what he would like to see changed.
00:08.800: It changed quite a bit my you know thing, my approach.
00:08.800: So tell me what you like about cutting in Final Cut 10.
00:08.800: So if you want to leave a comment about our
00:08.880: You don't even I don't even think you have to give them a credit card, maybe.
00:08.880: I'm good.
00:08.880: He made a job that did not exist.
00:08.880: Now everybody's gonna want that.
00:08.880: But, um.
00:08.880: It's like I think I lost it here.
00:08.960: I'm like, ah, you bastards.
00:08.960: But the quick stuff
00:08.960: And you know, so I manage all my
00:09.040: Did I pronounce your name properly?
00:09.040: But
00:09.040: Well.
00:09.040: So all of the underwater shots of the
00:09.040: Yes.
00:09.040: I have actually one that
00:09.120: And I think that
00:09.120: So and submix, you know, usually I have like in the end
00:09.120: But yes, that's that that's not possible and can be chaotic as well.
00:09.120: Later, later.
00:09.200: So that is my background.
00:09.200: Yeah.
00:09.280: And that's something simple, but sometimes quite essential to have
00:09.280: And you could you could individually select the height per track.
00:09.360: So it would be good to
00:09.360: So that's it.
00:09.440: You go, Yeah, as a matter of fact, check this out.
00:09.440: That's kind of the thing that he Michael Gioni posted
00:09.520: It's a
00:09.520: And that's why, you know, for many years I've been looking at
00:09.520: Oh, that's this guy.
00:09.520: I do go check those or read them all.
00:09.600: Okay.
00:09.600: Yeah.
00:09.600: And names the tracks right away.
00:09.600: You might have to launch Logic to be able to
00:09.680: And yet, it's a great example of
00:09.680: Yes, you can make
00:09.680: But um
00:09.760: Very cool.
00:09.760: It is kind of power more powerful than Pro Tools, even though Pro Tools still is like
00:09.760: Can we have
00:09.760: Hard to answer.
00:09.760: And I want to say, I had a chat with
00:09.760: Anyway.
00:09.840: Okay.
00:09.840: And you know, you can copy uh uh drag and drop um
00:09.840: Yeah.
00:09.840: I have a
00:09.920: Go check out what they're doing.
00:09.920: Yeah, well.
00:09.920: I don't know.
00:09.920: Because they were so excited to have
00:10.000: That makes sense.
00:10.000: I really appreciate it.
00:10.240: You know, I just uh bought a I used a Windows notebook on the road.
00:10.320: We used that in the radio days.
00:10.320: Back off, back off.
00:10.320: This is bad radio.
00:10.320: You can make changes and stuff like that.
00:10.320: So do you think
00:10.320: Yeah, I want it.
00:10.320: So, um, yeah, it's been a great year, and we're not done.
00:10.400: I'm g again, I'm guessing I've only watched the piece once.
00:10.400: Okay.
00:10.400: And the computers were not quite to the point where software would do it.
00:10.480: Well, I'm not quite sure actually.
00:10.480: He know he likes a little bit more like
00:10.560: They are actually kind of nice and
00:10.640: Explain a pancake edit to people.
00:10.720: Is that the one that you did with the uh A seven S and the phone?
00:10.800: So um
00:10.800: And yeah.
00:10.880: Now
00:10.880: But yeah, that's that's
00:10.880: Yeah.
00:10.880: So what are some of the other things that
00:10.880: And what ended up happening with NewTek back in the nineties
00:10.960: Stepping up and sponsoring what we're doing and being so generous and supporting us.
00:10.960: That's
00:10.960: So
00:10.960: The answer was the whole show, so to speak.
00:11.040: No, not an XML.
00:11.040: Both have
00:11.040: And frankly, you know, it might.
00:11.120: So do you think
00:11.200: You can't see them simultaneously.
00:11.360: Well, not all the way across, but a lot of it.
00:11.360: No, it is yeah, I lost it.
00:11.360: Oh, show notes.
00:11.440: I don't know.
00:11.440: I got some of my sweet picks here.
00:11.520: Some was 3300.
00:11.520: Definitely.
00:11.520: And this has been a lot of fun.
00:11.600: And so I bought that.
00:11.600: I think it would be nice if there was a way that you could
00:11.600: So I think it would also be nice if you could lock a roll.
00:11.680: So all the dialogue tracks are
00:11.760: And yet, when you look at
00:11.760: It's like, you know.
00:11.840: It's all safe.
00:12.000: What was it called?
00:12.000: That's
00:12.160: Yeah.
00:12.320: You know, I'm going to have to get some help doing this because it's a lot of work.
00:12.480: Yeah, yeah.
00:12.480: And
00:12.640: There's a
00:12.720: And you know.
00:12.720: com.
00:12.800: Maybe in two thousand five
00:12.960: So
00:13.120: Uh
00:13.360: When these buttons has stopped.
00:13.600: Anyway, it's like
00:13.920: Thanks.