Episode 92
FCG092 - New Muscle Memory (feat. Bill Davis)
Another Radio Man turned video editor, Bill Davis tells us about finding his dream job that he absolutely hated but then a chance meeting with a famous baseball personality changed his whole life.
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Featuring
- Chris Fenwick
- Bill Davis - @DVInfo
Transcription
00:00.001: So now I'm going to go to the second read, and I'm going to do the same thing.
00:00.001: And I'll do it occasionally, not as much in this show as the editing that happens in a digital cinema cafe.
00:00.001: And I remember the connection kit, and I went, Oh my god, my whole phone book just poured into my phone way before syncing.
00:00.080: Guitar solo in the middle, or some bizarro breakdown, and then you're taking your two and a half minute cut, and you cut out the parts you don't want.
00:00.080: Final Cut Legacy for 10 years.
00:00.080: The camera names, a drum close-up.
00:00.080: Which one come on, which one of these buttons is off?
00:00.080: Are you still doing that Funny Click Grill show?
00:00.160: So that's premiumbeat.
00:00.160: Did that solve anything?
00:00.160: They said, What do you mean?
00:00.160: business called Businessland, long gone.
00:00.160: to the AM side, which was a huge station.
00:00.160: thirties, my mine got into thirties because as I migrated to television, of course, television spots are thirties.
00:00.160: I started doing nothing but thirties and fifteens, sometimes tens.
00:00.160: That's how everything got sent out onto the air.
00:00.160: Oh, wow.
00:00.160: So you could hit like, you know, six episodes of Oprah or whatever on your crappy six-hour record.
00:00.160: But I delivered everything on VHS.
00:00.160: Right, it's a twenty minute load and it it would just barely fit in your cargo pants pocket.
00:00.160: But this was just the very beginnings of Final Cut first time.
00:00.160: Right at the top of that, you could buy it, you know, the whole system kind of that all worked.
00:00.160: for the big Pet Smart corporate offices.
00:00.160: PetSmart, correct?
00:00.160: Corporate circumstance wants to look bad.
00:00.160: You.
00:00.160: I used to counsel people on that.
00:00.160: People, so that they can get to know you.
00:00.160: In Northern Arizona, you can go skiing.
00:00.160: to knowing when to pull out a business card and when to not and when to just you know let a conversation be a conversation you know it's a good point
00:00.160: Uh I can even remember how you how you start it.
00:00.160: you're not exploring the whole range of the tool.
00:00.160: I'm going to rate that as one.
00:00.160: A one-rated paragraph two, a one-rated paragraph three, four, and five.
00:00.160: I tap W, they pop into my time line magnetically.
00:00.160: To your heart's content.
00:00.160: Most certainly.
00:00.160: If it's a screamer spot in the middle, bets are off because you're pumping out tons of air.
00:00.160: And so, yeah, there are going to be some breaths in there, and you may have to go in and do a quick range selection, pull down the breath if you need to.
00:00.160: Fricative?
00:00.160: Stuff that I do, almost all of it is transcribed.
00:00.160: So anyway, you set the thing.
00:00.160: 3, 2, 1, it's going to give you a beep, I think, whether if you don't silence it, then you know you can cut in right at the right place, but you can actually go as long as you want.
00:00.160: And of course, look what's happened now with Mike Masdorf and all those guys.
00:00.160: Ten manages to pull this off.
00:00.160: 103 used to be, and I do replace, you know, replace.
00:00.160: Yeah, yeah, no, I tot I totally agree.
00:00.160: Wait, I think it's in the second half.
00:00.160: It's like, I know I've got this clip someplace, and I know I put it some, and I think I put it in the right place, but I'm not quite sure where that is.
00:00.160: I did an interesting thing when Multicam first came out, when 10.
00:00.160: and make good choices about cutting.
00:00.160: Flows downhill from that point on, and it just gets easier and easier and more and more fun.
00:00.160: There are things that it's not as suited for.
00:00.160: Because again, it helps to have a universal naming system.
00:00.160: You know, Sasha sat down at the uh at w w I put uh Yosemite on one of the editors as a test, just one of them, and she sat down, she goes, Ew, I don't like it and I said, Get used to it, 'cause you're not gonna be editing an OS seven you know, on a Media One Hundred forever.
00:00.160: Things are going to change.
00:00.160: Here's an idea for one of your shows with the with the vamps.
00:00.160: That turned out the whole thing was a Planet Hollywood commercial.
00:00.160: Communicate with people in different ways.
00:00.240: And also, he has some very interesting insight about the voiceover tool and Final Cut, but we'll talk all about that.
00:00.240: Then when a producer comes in, he goes, Oh, yeah, this is a really great track and you realize they've only listened to like the first thirty seconds of it.
00:00.240: go over to my H4N I'm using is the audio thing.
00:00.240: The appropriate feed into the thing.
00:00.240: Cool.
00:00.240: you know, 18 inches from a crappy microphone instead of two inches from a really nice microphone.
00:00.240: What would you ask them to change in Final Cut?
00:00.240: That I had to crank through.
00:00.240: 29 and a half seconds, that's it.
00:00.240: Were any of them any good?
00:00.240: Factory Fresh Mac.
00:00.240: in and out, literally sometimes I write three paragraphs and the machine asked me to swap the the floppy drive floppy disk out seven times, ten times.
00:00.240: You look at that and you're like, What were we thinking?
00:00.240: Yeah, on Floppies.
00:00.240: So I started studying a little bit and I hooked up with a guy who had a Linotronic typesetter.
00:00.240: And then what happened the magic moment, I got a call one Saturday morning, and one of the marketing directors at a mall we did a lot of work for said, Bill, did you tell me you got
00:00.240: So what happened?
00:00.240: Sony made it, and it was a little dual weld deck, and you put an 8 millimeter tape on one side and a blank 8 millimeter tape on the other side, and you could just simply cut scenes in order together.
00:00.240: And I got this camera and I talked myself into doing the things and I just fell in love with video.
00:00.240: Yeah.
00:00.240: In Santa Monica or somewhere close to that.
00:00.240: Yeah, you know, that's very interesting.
00:00.240: One a month.
00:00.240: is to kind of do that sort of back door.
00:00.240: You have to, or in some companies, they call that a preferred vendor.
00:00.240: Yeah.
00:00.240: You do build relationships with those people.
00:00.240: And then there's times when, you know, you might like, oh, I didn't quite understand what you meant.
00:00.240: And in fact, if there's a, I recommend this to people, if you're passionate about a particular industry or something like that, and you want to know how to start making videos for that industry
00:00.240: It's a bar, it's a restaurant bar thing.
00:00.240: He's like, he's the new CEO.
00:00.240: Tremendously well.
00:00.240: Administrative assistant, that young man or young woman sitting at the desk who everybody else is yelling at all day long, if you take a little bit of time to get to know them,
00:00.240: Then I've had circumstances where I walk in and Christy, who's the one behind the desk, goes, Boy, are you into marketing?
00:00.240: Right, yeah.
00:00.240: That's a really small part about what we do.
00:00.240: Right.
00:00.240: You just have to honestly be engaged in the human side of this.
00:00.240: Yeah, totally.
00:00.240: Sam Woodhall on the Secret Illuminati Society of Final Cut Pro.
00:00.240: I guess now it's been about a year since I've done a voiceover or cut any radio spot or anything else on anything other than Final Cut Pro 10.
00:00.240: But one of the best strategies is to pay attention to all the front-end stuff and really watch the workflow go through.
00:00.240: And now you place your playhead where you want roughly about where you want to start your voice over, maybe a little early.
00:00.240: And I want to talk over it.
00:00.240: So I happen to know l let's talk about w when you open up the VoiceOver tool, what you're going to get is you're going to get a little window that has an audiometer.
00:00.240: And let's say there are five paragraphs that comprise this script, right?
00:00.240: Well, I'm going to listen back and I'm going to go, okay, take one in A.
00:00.240: And I thought, I've edited this thing with a single keystroke.
00:00.240: Correct.
00:00.240: I I started out going, Okay, I'm just going to put my end point and my out point vaguely in front of the scenes that I need.
00:00.240: J and move back and forth in single frame increments until I find the place that I actually want to put my endpoint and put my endpoint there, tap I, and I can work with that level of precision in the event browser.
00:00.240: and prepping for an edit saves you huge amounts of time in the actual edit.
00:00.240: There is an actual amount of space that's kind of the appropriate rhythm between that.
00:00.240: You know, definitely watch her stuff.
00:00.240: And in fact, I actually think topping and tailing and pieces of hardcore editing like that become simpler in 10 because if you tail something and move it three or four
00:00.240: So what I do is I design a corporate branded acceptable lower third look with the appropriate font and maybe a little shadowy background so things are legible.
00:00.240: Frames shorter, the magnetic timeline closes everything up and you're done with that edit.
00:00.240: Out of the factory, okay.
00:00.240: Now, if you can follow along with the script, or you even know just a little bit of Spanish or German or French or whatever localization you're doing.
00:00.240: you're going to tail off the end of that ten second graphic, and you're going to snug up the next one.
00:00.240: If I'm doing um slide narration or something like that, so I'm going to eventually end up with a hundred little chunks of audio.
00:00.240: Top it, and bang, it's just going to be right out of the silence of the slug, directly into the piece of audio I want.
00:00.240: Yeah, I hear people yell at me about, oh, this is horrible, it's the worst thing in the world.
00:00.240: There's an H4N, a little zoom H4N that functions as nothing but a little USB translator and preamp for the mic.
00:00.240: That's going via XLR into the bottom of the H4N.
00:00.240: Now, aren't you getting your cuts sometimes in the middle of a breath?
00:00.240: actions.
00:00.240: And so, you know, if I'm doing a national spot, I'll be honest with you, I still go in and obsessively take out anything I don't want.
00:00.240: And that's the place where I'll make the cut.
00:00.240: I'm going to look at the threshold of the first, let's say, and the threshold of the second, let's say.
00:00.240: And when I pull out the one in between, the pacing is going to feel the same.
00:00.240: From the beginning of one to the beginning of the other, and it'll sound very much in rhythm and the rest of that.
00:00.240: obsess over these.
00:00.240: Yeah.
00:00.240: and a lead apart because you you can't have the two words together can be a real and it's very difficult when you're doing you know at least
00:00.240: And then you'll just have to cut and open up space for that magnetically and pop the eleven words in where the five words used to be.
00:00.240: Yeah, and once again, I will say that this is the kind of thing that some of our avid brethren will go, Oh, I don't care, I just get that sent to me from the sound guys or whatever.
00:00.240: It appears to be incredibly capable for being able to do a huge Hollywood movie and all the kind of sound department collaborative stuff he had to do there.
00:00.240: And then also with um Misha, uh just uh what day?
00:00.240: And I was like, you know, okay, well, I want to kind of call you on that.
00:00.240: And I know what's going to happen, which is we're going to build these in groups.
00:00.240: this thing where I had this piece with like oh it was like, you know, fifty lower thirds.
00:00.240: Sorting by clip name.
00:00.240: And it's changing the structural nature of how these programs are written.
00:00.240: part of the magic of Multicam in 10 is this idea that you go back and you make one part of your switch, and then you can actually rewind things and add additional switching passes.
00:00.240: There's never that.
00:00.240: And then all of a sudden, and here is a guy who's talking, and he's talking a little bit longer, and that's a longer sound bite than all the others.
00:00.240: And so we were watching this thing and we get to the end of it and I said to Steve, I said, Hey, go back to the like the second to the last sound bite of the woman and he plays it and I get to it and I go, Stop.
00:00.240: Can we get the other angle in there?
00:00.240: You know, and it was in the second angle, it was great.
00:00.240: I think my story, and I've said this a million times, is that, you know, I started with it.
00:00.240: fifteen percent longer.
00:00.240: But almost everybody I know, at some point, whether it's a day or during a cut or at some point, there's this thing that happens and you go, Oh, okay.
00:00.240: Angst in their beginning training.
00:00.240: He said, You know, I've been listening to your podcast and I was like, I want to see what everybody's talking about.
00:00.240: That's what they're there for.
00:00.240: Phone book, just my little address book.
00:00.240: Yeah.
00:00.240: In the database view, and I'm sorting by camera angles.
00:00.240: the kind of multicam work you want to do really quickly because it's a database.
00:00.240: You are using the power of your brain to go, uh, it's in this folder.
00:00.240: You're trying to find it.
00:00.240: whether it's preview or text edit or whatever, and it's like, I didn't make those folders.
00:00.240: But you can always find them because they're associated with the application that they were made with.
00:00.240: on that at another time.
00:00.240: handy cams and GoPros and iPhone cameras and everything else.
00:00.240: and the news guy is going to go, Anybody who has footage of this thing, please contact the station.
00:00.240: Yeah.
00:00.240: And as long as he pass codes you in with either the fingerprint or the four kit four button ID, you actually can sort of squirrel down into the
00:00.240: But you talk about something that was that's dealing with many, many, many angles, not one hundred and seventy five or whatever number you pulled out of your head.
00:00.240: No, that's a two.
00:00.240: of the increasingly saturated video world that we live in.
00:00.240: Go take a look at that.
00:00.240: Put some of that in so people just because I want to document it.
00:00.240: And I gotta say, I watched this like four years ago when it came out and it really, really impressed me.
00:00.240: Epic Rap Battles.
00:00.240: All right, that's good radio.
00:00.240: And one of these days I would love to talk to these guys because it is a fascinating study of viral marketing and how this thing came about and how I got sucked into it and ended up watching about two hours of footage.
00:00.240: If you'd be up for it, I'll have you back in a couple of months.
00:00.240: You know, I want you to.
00:00.240: 'Cause that helps other people find the show, and that's actually just, you know, kind of good for everybody.
00:00.320: I'm just going to say, like, maybe a couple of weeks from the release of their new website.
00:00.320: At least, just, you know, look, do me a favor, go check it out.
00:00.320: So anyway, I like Premium Beat.
00:00.320: But I'm not going to belabor the point.
00:00.320: on Skype.
00:00.320: So Bill, tell us a little bit.
00:00.320: And they had an FM and an AM.
00:00.320: So it really was boring.
00:00.320: So I did that for a while.
00:00.320: So I stumbled into being one of the first guys in this part of the world to have a Macintosh and just completely fell in love.
00:00.320: Yeah.
00:00.320: Yeah, and the bigger beef is just that I don't know.
00:00.320: To being what did you call it?
00:00.320: So I'd have to crank out commercials.
00:00.320: advertiser spots.
00:00.320: But it was life-changing to sit in front of that box in 1984 and to have icons, to have the ability to do even rudimentary bitmap typefaces.
00:00.320: But, you know, it shipped to me with every program that was existing in the Macintosh world, which was McWright.
00:00.320: And we used to create a lot of 22 by 28 posters for the malls.
00:00.320: So I grabbed my stupid little CCD V9 Sony camera and I went down and I shot what I, you know, the event as best I could.
00:00.320: Because I got hired to write and narrate a local real estate show called The Home Hunter.
00:00.320: And I had been sitting behind editors and watching editing happen, but I had never been able to get my hands on the equipment.
00:00.320: And I blurted out.
00:00.320: And I did that, and I brought back a finished video, my very first finished video, and she went, Oh my god, that's great.
00:00.320: I eventually migrated to high eight.
00:00.320: What it it turned out that the thing that the populace wanted was duration.
00:00.320: Uh as far as I know, almost never made it to the consumer level.
00:00.320: And then three weeks later, she called me for another project.
00:00.320: And whereas on Beta two, you could, I think, do ninety minutes, and beta three it was maybe two hours or something, I can't remember.
00:00.320: that would after two generations put about an eighth of an inch red halo around everything you edited.
00:00.320: Yeah.
00:00.320: And it had this big banner that said Final Cut Pro.
00:00.320: And all of a sudden, I thought, I've got to come back to this.
00:00.320: And I remember taking my very first Final Cut project to the offices of PetSmart.
00:00.320: The very first 1.
00:00.320: If you can just do like some titles on the beginning, this is great.
00:00.320: first program that I cut and played for people in a corporate environment on Final Cut transformed my entire career.
00:00.320: Enough thumbs go down, and particularly if any single thumb from somebody high up goes down, you might be gone.
00:00.320: they can ease over some of the ones that don't go as smooth.
00:00.320: What you have to do, this is an old technique I used to use, you know, it's like you got to find out where they hang out.
00:00.320: Oh, really?
00:00.320: Everything we do is about human connection.
00:00.320: And two guys grabbed me and practically threw me against the wall and said, What did he say to you?
00:00.320: And I said, so I haven't seen you around.
00:00.320: that everybody kind of feels good about and wants to trust.
00:00.320: But part of it is just being the guy who somebody sits down next to you.
00:00.320: pay attention to them.
00:00.320: Sunday afternoon, there's this really great little group of people.
00:00.320: It's exhilarating conversation with really smart people, and that's what that's what I like doing.
00:00.320: When I started thinking about doing my audio work in there, that made a huge difference.
00:00.320: The audio work that I was doing, rate them in the database, and then auto-assemble things based on that.
00:00.320: You can do that.
00:00.320: It was just, it was stupid.
00:00.320: Sure.
00:00.320: Now, I pull them all into the event browser and I have keywords available.
00:00.320: But I will say I have I have a great use for it.
00:00.320: So here's what happened to me early in doing my voiceovers.
00:00.320: Right.
00:00.320: In the event browser, before I ever got to the timeline, was real editing.
00:00.320: To be or not to be, that is the question.
00:00.320: precisely, put my cut point directly halfway through the natural pause, and that's how I learned that when I get to the point where I want to tap one key and assemble the whole thing, the rhythm of the spot will be intact.
00:00.320: We do a lot of stuff that needs to be localized for international distribution.
00:00.320: So you lay the first one in, you lay it up on top at the beginning of the thing.
00:00.320: And I hit E so that it appends it to the end of the sub-storyline.
00:00.320: Ready to tail off the end of that one.
00:00.320: Absolutely.
00:00.320: So, no compression, no additional EQ, no data goes on through the Logic plugins in 10.
00:00.320: I very seldom go, And I wanna, you know, if that's the beginning of the I I very seldom do, and I wanna, I will go, and I wanna.
00:00.320: To breathe in, pause a half a second, and then do my narration.
00:00.320: The actual words are.
00:00.320: And these controls are is part of the Final Cut logic plug-ins.
00:00.320: Yeah, and I you it needs playing around with, number one.
00:00.320: Listen, editing is an art.
00:00.320: Okay.
00:00.320: Awanna.
00:00.320: Diphthong is a word.
00:00.320: Oh, how do you do that?
00:00.320: And do a five-word string and replace it with an eleven-word string, you can do that, and the program will just keep recording.
00:00.320: So it's interesting that the same tool can work both types of dances.
00:00.320: that at first blush it may feel like, oh, this is a great personal editor, but with the 10.
00:00.320: slash three upgrade, it's an amazing collaborative work tool.
00:00.320: That's right in Ten's wheelhouse.
00:00.320: And a hundred of them end up as finalists, so we're putting together the show reels for how they're going to do the big awards banquet and stuff like this.
00:00.320: Everybody knows that.
00:00.320: That can be literally a 10-second repair in 10.
00:00.320: Yeah, and I have said many times Funnel Cut 10 solves problems that you don't realize you have yet.
00:00.320: Phil Hodges was really nice to me in the early days of me trying to learn 10.
00:00.320: 16 cameras without bogging down.
00:00.320: being able to handle 16 mixed GoPro DSLR pieces of footage on my laptop.
00:00.320: Pardon me, did you make proxies of those?
00:00.320: One guy didn't show up with a camera and one camera went down as we were prepping it.
00:00.320: Questioning whether or not it was going to be able to process all this and work smoothly enough for me to do things.
00:00.320: Because I went into this process thinking I was going to do this the way I'd always thought of multicam.
00:00.320: If there's something better than the shots I've already got, I'm going to add those new shots.
00:00.320: It was a I don't know what you I guess it's like a customer testimonial.
00:00.320: And those of us who have been on 10 now, I mean, I don't know how long you've been on it.
00:00.320: It really is now my new muscle memory.
00:00.320: And I can't tell you exactly why, except I know I'm getting my work done significantly faster.
00:00.320: A pair of projects back to back that I knew nobody else had to touch.
00:00.320: laptop and at a meeting somewhere, somebody gave me their address, so I put it in my laptop and then it starts building, right?
00:00.320: That my life is in there, and it's really efficient.
00:00.320: And 10 feels to me a little bit like that.
00:00.320: Having it right there, having a keyword database system right there, and learning it, learning the taxonomy.
00:00.320: This carries over to what is happening in the Macintosh OS as well as the iPhone and iPads, and probably in the PC world, but I don't follow that at all, so I don't care.
00:00.320: We have the addition of the launch pad, which is very iPad like.
00:00.320: We have this ridiculous thing in the finder called all my files.
00:00.320: Placed it there as a breadcrumb or as a harbinger of what is to come.
00:00.320: And when I'm in that creator, I have access to the things that was created there.
00:00.320: $15,000 video cameras, which is where I started all those years ago.
00:00.320: Shoot your concert from 20, 30, 40 angles, whatever.
00:00.320: And Phone View is very cool and it allows you it's I care I think Ecamm makes it and it allows you to plug in an iPhone to
00:00.320: of the concert fire, whatever, and you can suck that off really easily without having to actually sink it.
00:00.320: by Shay Carle, and it was called Famous, P-H-A-M-O-U-S.
00:00.320: All right.
00:00.400: Bill has a radio background.
00:00.400: But I tell you, the current website works just fine.
00:00.400: instrumentation wise, but in terms of like the movement of the of the music, like you can go from like, you know, the high energy part to the lower energy, and it's it's just really great, a very useful tool.
00:00.400: Do I sound different?
00:00.400: Yeah, so I'm wondering if it's worth it for me to try that too.
00:00.400: It's doable, but there's a lot of little things you have to adhere to.
00:00.400: Doing.
00:00.400: And she said there's this thing called the Onimac program, and you can get a 128, a Mac 128, and an image writer printer for this number.
00:00.400: Wow.
00:00.400: Yeah, well, of every different type of quality imaginable.
00:00.400: Wow.
00:00.400: Kind of spreadsheet thing.
00:00.400: that meant that I could actually set type.
00:00.400: Like a video camera?
00:00.400: I knew just barely enough to be able to shoot this thing.
00:00.400: Really?
00:00.400: No, and I was completely incompetent in terms of understanding any of what I was doing.
00:00.400: Yeah, probably somewhere around there.
00:00.400: you know, forty-five years old, you can like tune out for the next ten minutes.
00:00.400: Okay, so Betamax.
00:00.400: Yeah, this CF card is so big.
00:00.400: looking for an editing system.
00:00.400: Maybe the fast video controller.
00:00.400: Major change in life.
00:00.400: What was the company that did that out of LA?
00:00.400: Mid-level guys in the room.
00:00.400: Eight years, I got a ton of work.
00:00.400: in working my way into these corporate things.
00:00.400: pretty much equivalent.
00:00.400: To be a part of Editors in Sync.
00:00.400: changed my opinion of how I edit in Final Cut Pro 10.
00:00.400: Now, radio scripts are easy for this because there's a rhythm when you read copy.
00:00.400: Yeah, no, it's a very good point.
00:00.400: I actually create the lower thirds in Photoshop.
00:00.400: really rapidly.
00:00.400: Tell me about position mode.
00:00.400: 18 dB.
00:00.400: I E I E D E Wow And then the other word I've I uh is diphthong a word?
00:00.400: There's a really cool new addition in the last upgrade where you can actually record multiple voiceover takes right into auditions.
00:00.400: Your next take and have you do three takes of the line, and they'll show up as auditions that you can literally just skim through.
00:00.400: Well, it's just a different piece.
00:00.400: Oh, I want that shot.
00:00.400: Recently, I gave me a term for that.
00:00.400: You know, premiere that the other, let's just say the other options were not going to be what I needed them to be.
00:00.400: Now I get it.
00:00.400: And sooner or later, you start saying, Oh, well, you know, let me get that guy's wife's name in there, and let me add some notes here at the bottom.
00:00.400: And you go, now I can take this power, this huge, important thing that has all these notes and all this information, all this power in my life.
00:00.400: the producer said, Hey, where's the window dubs for this stuff?
00:00.400: Indicator of my theory of the macOS and the iOS merging together is that the is in the Yosemite now, we now have the iCloud icon.
00:00.400: You know, um, we were talking you were talking about it, and you know, I would I could do a whole episode on that.
00:00.400: Emails going, I got it because everybody was holding up their phone.
00:00.400: the phone OS and see all the folders for all the various applications and whatnot.
00:00.400: Right.
00:00.400: And the editor gets to work.
00:00.480: You know, this is an interesting week.
00:00.480: It does sound different.
00:00.480: That's it.
00:00.480: Okay.
00:00.480: Right.
00:00.480: Started on radio, actually.
00:00.480: creating spots, ads, promos for the station.
00:00.480: We got a problem.
00:00.480: But it was kind of cool.
00:00.480: Right.
00:00.480: Oh, yeah, we could.
00:00.480: Clicked on my one-rated group, and I noticed that I had one rated paragraph one.
00:00.480: That's a whole that could be a whole episode just discussing the embedded graphics episode.
00:00.480: It's essentially an adjustment layer up there.
00:00.480: you can then, because it's in the sub a secondary storyline that's at the top of everything else, it's the at the top of your title graphics, your fade to black, your lower third graphics, it's way up above, okay, because it's in a secondary storyline.
00:00.480: If I want to compress my voice or if I need some kind of audio processing, I do it afterwards.
00:00.480: You had said earlier that if you cut the gap in half on both the in and the out, you're going to maintain the same pacing in between.
00:00.480: Well, you just listen, there's no single answer to any of this stuff.
00:00.480: Yeah.
00:00.480: And I'm looking at the editor, I'm looking at the producer behind me and going, So what's next?
00:00.480: And I learned things like I don't need to have 16 cameras up in front of me.
00:00.480: And we were having a watch through with some of the guys in the office, and and there was one place in one of the sound bites where and and and this is an editorial thing, you look at things in terms of like your pacing, you know?
00:00.480: And that came for you fast.
00:00.480: It's in this folder?
00:00.480: the camera archives and the appropriate way to work with those.
00:00.480: A Macintosh that is not considered the host to that iPhone.
00:00.560: Interesting.
00:00.560: I can.
00:00.560: There's a little bit of breakup, but so I may have to ask you to repeat something if it breaks up right in the middle of something important.
00:00.560: A job opened up as a production director, and I became the production director of the stadium at the station.
00:00.560: So yeah, for a while I had every piece of software known to the Macintosh.
00:00.560: In those days, in the mid 80s, early and mid 80s, the cool format, in my opinion, was what was called.
00:00.560: And you know, indie filmmaker types.
00:00.560: Tuma Cockery and you eventually get down to Nogalis and that kind of thing.
00:00.560: but it has great audio capabilities.
00:00.560: The worst thing people do when they're coming into Final Cut Pro 10 is they just treat it like any other NLE and they think, I can just push buttons until I figure out how it works.
00:00.560: Keyword driven and started really paying attention to that.
00:00.560: Use of the program of Final Cut Pro 10 for narration work and specifically for doing radio spots.
00:00.560: Option W to put a slug in all of those, or a slug between them, knowing that down arrow is going to always take me to the next clip.
00:00.560: I can't think of a good example right off the top of my head, but let's say he went.
00:00.560: And by using the database in 10 and linking the shots to a number that was universal through the organizational system, this is clip SB103, and it's always going to be SB103.
00:00.560: What?
00:00.560: And then I remember, gosh, getting my first smart-ish phone, probably like a Sony or a it wasn't a Razor, it was before that.
00:00.560: Critical distinction between looking for something and searching for something.
00:00.560: Could it be the NLE system that has a database with a ranking system built into it?
00:00.640: The wrong thing, also.
00:00.640: Yeah, that's what I did.
00:00.640: That's bogus.
00:00.640: Unbelievable.
00:00.640: Before I go home tonight at seven.
00:00.640: your video background?
00:00.640: And so these are serious news guys who are going, you got to hurry this guy up because we're at 14 minutes and we're going to run out of tape here.
00:00.640: I don't know how to even say that at Chris Fenwick plus GFen.
00:00.640: And the voiceover tool will work great for that because I just rewounded to the beginning of the head of the timeline.
00:00.640: And it started saying to me, don't take this pre-marking, don't take this range selection, setting ins and out points too loosely when you're going through the event browser.
00:00.640: That you know, I think I think that in general we do need to
00:00.640: Are this far apart, and here's a shadow B roll, and here's a headshot, and here's an
00:00.640: Media in this connected internet society we live, which is, there's going to be a lot more.
00:00.640: It's completely rational for me to do that.
00:00.720: Why not?
00:00.720: And there was a hundred thousand people around the mall waiting in line to get Mickey Manel's autograph and to talk to him.
00:00.720: And sure enough it did.
00:00.720: It does all of those things.
00:00.720: So you're doing absolutely a completed radio spot right there.
00:00.720: One of the things that I have found it works the best in terms of just the audio editing that I do is, let's say
00:00.720: I generally don't do that.
00:00.720: It was major fun.
00:00.720: But you refresh the brains of everybody in your audience.
00:00.720: And when I click on that, now it not before, but now everything is subdivided into the application that it was created in.
00:00.720: Take care of yourself.
00:00.800: The functionality of what is capable is great, but it's written by geniuses and they forget that mere mortals touch this.
00:00.800: Humans have to figure out how to work it.
00:00.800: And once I make a PNG of it, it's not dependent on the appropriate font being on the playback machine when I actually do the edit.
00:00.800: And again, you're exactly right, is that you have all the ability in the world to change your trims, to stretch things out, to change timing, slip, slide, roll.
00:00.800: Now, on a sensitive mic, will it be possible, yes, that you will hear a breath sound.
00:00.800: And who went is still going to be understandable to the audience, but there is absolutely no cutting space between he and went.
00:00.800: Oh, funny.
00:00.800: Mentioned, alluded to the fact that, yeah, Final Cut 10 is a great job, a great tool, as long as it's an easy job.
00:00.800: Every time you have a serious edit, I just take all my free time and make podcasts.
00:00.800: Okay.
00:00.880: Is this recording?
00:00.880: My FaceTime is defaulting to the built-in microphone, also.
00:00.880: Well, good grease.
00:00.880: You know, the the work, you know, it's so funny 'cause we spend so much time like, oh, I'm gonna learn how to animate, or I'm gonna learn some 3D or I'm gonna do some better audio, you know.
00:00.960: It's not a very risk tolerant environment in big corporations.
00:00.960: It's not having a network, and you're not trying to work the system.
00:00.960: And you know, what what are the things that, you know, what you're passionate about?
00:00.960: Wow, this is a totally different show than I thought we were going to have.
00:00.960: Okay.
00:00.960: Squirrel, look over here.
00:00.960: I said to Steve, I go, just type window in the little findy box and it's going to call up anything.
00:01.040: Great sound, and it's a curated collection of music that's not going to fight you.
00:01.040: He said, You're going to be a guy in a room all by yourself talking out loud all day long.
00:01.040: You have a great voicemail and everything's going fine, but like 80% of the ads on the station are you.
00:01.040: In the last several months, ever since having the once again, Austin, hello, the Austin Flack episode about the avid trimming.
00:01.040: If I had a bad a bad reading style and I went it's Sylvester, it's suffering succotash.
00:01.040: You know, you may not like the look of it, but that's the way it's going to go.
00:01.040: That's a two.
00:01.120: Yes, loud and clear.
00:01.120: You're breaking up a little bit.
00:01.120: So we were talking about your radio career.
00:01.120: No, not a 512, a 128.
00:01.120: And I went, Is I was about to go, Is that enough?
00:01.120: They were probably the Media 100.
00:01.120: It was really good.
00:01.200: I'm wondering how many people i if if you know Cupertino at all, have you ever been to the Infinite Loop, right like literally like in the parking lot in front of Apple Corporate is a is a
00:01.200: It's the smartphone of video editors.
00:01.200: That'd be cool.
00:01.280: And they probably don't have any need for video right now, but they may remember you.
00:01.280: Let's say it's a five-minute video, and you might have, I don't know, 20 lower thirds filled with a translation of the dialogue.
00:01.280: Absolutely.
00:01.280: I did use the word fricative.
00:01.280: Hey, Bill, I should let you go.
00:01.360: So when the sales guys went out and sold spots in the local Mexican food restaurant or whatever the business was, that would they'd come back.
00:01.360: There was no port in and out for a hard drive at all.
00:01.360: She said we did this promotion at the mall, and our general manager used to be part of the Yankees organization, and he asked his buddy to come down and sign autographs.
00:01.360: I don't I'm not sure what the third one would be.
00:01.360: Just be interested in them, talk to them, yet to know them.
00:01.360: Nope, keep going, keep going, keep oh, we're at the end.
00:01.360: But when you search for it, you let the computer find it for you.
00:01.440: com.
00:01.440: You're there.
00:01.440: Right, right.
00:01.440: This is corporate video, it is about relationships.
00:01.440: And no one's suggesting that you can do a video the way I just did the audio example there.
00:01.440: If you really want things to flow smoothly, you've got to make sure that you can roll or tweak and edit.
00:01.440: Yeah.
00:01.440: So that's an elite.
00:01.440: I think you can do the in-n-out, but I just mark ins.
00:01.440: I, as the editor, have to know that, and so the change order comes down.
00:01.440: I'm pretty sure this was Randy, but if it wasn't Randy, somebody in the team understood this fundamental change that was happening in the world of
00:01.440: And if you haven't seen those, I'm going to put that in the show notes.
00:01.520: Yeah, that sounds much better.
00:01.520: I think the world should know how hard this is.
00:01.520: Wow, really?
00:01.520: I think at the time, this was many years ago.
00:01.520: Oh my God, this is going to transform my entire business.
00:01.520: Corporations don't hire people.
00:01.520: I would highly recommend you write a great script and cut the pictures to the script.
00:01.520: I don't even know what I'm trying to say.
00:01.520: Right.
00:01.600: That was an unceremonious, horrible beginning to a show.
00:01.600: The decisions you make there, if you make them precisely, that precision will carry through into your storyline when you bring your clips in.
00:01.600: Tell me how to turn off magnetism.
00:01.600: Oh, I'm not sure I can find that.
00:01.600: Some of the people in that thing, Qasim G is one of the people that is, I don't even know how he relates, but he's sort of behind the
00:01.680: Because I'm thinking about it and I don't know how to set the audio preferences for FaceTime.
00:01.680: I set it to the H4N and then I rebooted it and it came back up and it looked out and saw the H4N.
00:01.680: Wow.
00:01.680: And I said, Yeah, my last IRS refund, I bought a little video camera to take some pictures around the house.
00:01.680: So I ordered it literally when I got back to Phoenix immediately.
00:01.680: 0 final cut.
00:01.680: This should be no problem.
00:01.680: So in the back of the days, I had Atari reel-to-reel machines around here and Task M stuff, and I had a big mixing board, and it's like crushed down to now
00:01.680: So yeah, the the the ins and outs of the um uh the the the thing, what did we say it was called?
00:01.680: Yeah.
00:01.680: Me trying to spell.
00:01.760: Yes, it is.
00:01.760: Please go check them out for me.
00:01.760: It's bogus, man.
00:01.760: And then about two weeks later, I think there was a coupon in there for Multi-Plan, which was Microsoft's very first Mac little, you know
00:01.760: So you got to kind of count all those keystrokes, but yes.
00:01.760: I think that's more in oh, that is a that's a vocal term.
00:01.760: My friend Gordon would say, Yes, Chris, that is a word, but I don't think it means what you think it does.
00:01.840: Actually, right out of college, I got my first little radio gig, and I had studied radio in college, so I started out on the air at a local FM station.
00:01.840: Yeah, so the I would love to you know, you know, I always you know on this show, like I always ask people, hey, so if you could sneak in the back door at Apple.
00:01.840: The production director?
00:01.840: So I might want to look at the footage while I'm doing it.
00:01.840: So you're gonna have, you know, in your five-minute video, you might have ten minutes of graphics, okay
00:01.840: And it's because of magnetism.
00:01.840: Is the breaths.
00:01.840: It is not always a science.
00:01.840: Absolutely.
00:01.840: Take care.
00:01.920: I did not plan it this way, but this is the week of Radio Guys Getting Into Filmmaking.
00:01.920: Now I'm tapping my Neumann.
00:01.920: I mean, yeah.
00:01.920: And you're touching on something there that, you know, and again, you know, there's a lot of people that listen to this.
00:01.920: Yeah.
00:01.920: And in Southern Arizona, there's a bunch of like there's a cool drive you can take down past the missions at San Avier and Tubac and the Old Presidio.
00:01.920: I actually don't want them gone.
00:01.920: Okay, got it.
00:02.000: You're going to hear all about that and all about how he got into this.
00:02.000: You have to look at every bit of an edit, in, out, overlap, whatever.
00:02.000: And I do the same thing with audio clips.
00:02.000: I've just never been able to find a NoiseGate that I liked the way it worked.
00:02.000: And and that's one of the things I think I mentioned on the uh when I did y you did the episode three of the virtual user group.
00:02.000: I can't remember what it was, but it has to do with waking people up.
00:02.000: When you get on board, when you realize that, yes, indeed, the world is changing, and you say, you know what, I better keep up with this, otherwise, it's going to mow me over.
00:02.000: Okay, that's like a seven.
00:02.000: Yeah.
00:02.000: I said, Yes, I am, Kevin.
00:02.080: You do sound hollow coming into my earphone, but is there stuff inside your head that would decrease the hollowness?
00:02.080: So the only question for me is your recording.
00:02.080: So eventually, after, I think I did it for maybe seven to ten months on the air.
00:02.080: Okay, love that.
00:02.080: And so I flew to LA and took that class.
00:02.080: And you've been the one to go, oh, I heard your dog died, ma'am, and then I'm really sorry about that.
00:02.080: The script says, I want to tell you, and the guy goes, I want to tell you.
00:02.080: If I have a small quick job, I can pull it out on my laptop and get a small, quick job done.
00:02.080: And he literally just reached up and just go tick hits camera, hits the two on his keypad, play through it, done.
00:02.080: Now I understand what those guys have been talking about.
00:02.080: I like that, Chris.
00:02.080: Everybody jokes about, oh, yeah, we're going to make a viral video.
00:02.160: You know, we know each other from the the Facebook the I call it the Illuminati of Final Cut Facebook groups.
00:02.160: And then there was an early database called Habitex.
00:02.160: Then I'm going to listen to the rest and I go, you know, two, three, four, and five, those paragraphs were okay, but I don't think they were really that strong, so I'm going to give them all threes.
00:02.160: There's even a little advanced pull-down thing, and you can record, you can monitor.
00:02.160: I'd never put anything in it because it was a computer on my desktop.
00:02.240: Well, all the regular fluff.
00:02.240: Huh.
00:02.240: But Skype is very compressed.
00:02.240: I did.
00:02.240: In this one, if you could sneak in the back door of Google, whose head would you club with a baseball ball?
00:02.240: Wow, that's a that's really amazing.
00:02.240: In fact, I flew to Southern California and our dear friend Steve Martin was teaching the very first, I think, on the planet, final cut class at the Market Center
00:02.240: So you don't want to bring in somebody and have things fail.
00:02.240: Yeah, that's one of the things, since I do a lot of voiceover work, that's one of the things that I've been rediscovering.
00:02.240: I mean, you remember, I I don't know, I tell the story occasionally.
00:02.240: But back to the thing, I didn't quite finish that up, but think about that.
00:02.320: Hey, good morning and welcome to another episode of Final Cut Grill.
00:02.320: They have the full song, they have the shortened versions, the 15s, 30s and 60s, and they also have the loop pack, which allows you to kind of not rearrange it.
00:02.320: And then life changed big time in 84 when one of my wife's friends had just gotten married.
00:02.320: So let's throw 27 things onto the screen all in little boxes because that's what we can do in HTML.
00:02.320: So yeah, that was my gig for a while.
00:02.320: But in the corporate world, one of the staples of work and finding more work
00:02.320: Make sense out of them.
00:02.320: Okay.
00:02.320: If you're interested in viral marketing, go watch this video.
00:02.400: All right, but but at eight millimeter as a production tool, if you rented that thing, that's going to be about I'm going to say like 889.
00:02.400: I never shot and edited on VHS.
00:02.400: So I went and saw a couple of other things.
00:02.400: And I remember I had been shooting on kind of just making it work with the high eight stuff.
00:02.400: Well, I wasn't entirely working for VPs, but the point was, I I think in corporate work, the single most important factor is you have to become a safe choice.
00:02.400: And in some casual conversation over a drink at the watering hole where everybody hangs out, somebody will ask you, What do you do?
00:02.400: Now, and and and I'm speaking specifically, and I know you're doing like your radio spots, but let's say if I have a clip of video and here is, you know, the the walking tour of the front of the garden or something.
00:02.400: That's da da da da da da da da da.
00:02.400: It was fun doing the iBook, but it was actually really fun doing the project.
00:02.400: That's very exciting to me.
00:02.400: This has gone way too late.
00:02.480: Yeah.
00:02.480: And there's like the typical 30s and 60s?
00:02.480: I want an SD card.
00:02.480: Yes.
00:02.480: I'll just click on things.
00:02.480: Almost, yes, yes.
00:02.480: And if you set the attack and release fast enough, you can sometimes gate out breaths.
00:02.480: And it was just a breeze to even just type in the guy's name and your cursor can jump right to it as opposed to.
00:02.480: We can have the sparse disk bundle versus camera archives versus whatever network attached storage conversation.
00:02.480: All right.
00:02.560: Let's now go to Bill Davis down there in Arizona, member of Fennel Cut what is it FCPX Insync Hello, hello
00:02.560: And I started out doing overnight shifts like most young radio guys did.
00:02.560: But it was like, Yeah, look at me.
00:02.560: Well, what happened was I so we leveraged the Mac, and I started learning the rudiments of typesetting and things like that because we were fascinated by that.
00:02.560: So the EVO deck called me for another project.
00:02.560: And there's times when you hit it out of the park.
00:02.640: They would like do turnkey systems at the time.
00:02.640: Now you say system.
00:02.640: What is a fricative?
00:02.640: Is that spelled A-L-E-A-D?
00:02.640: I mean, there's a philosophical thing here about wh whether 10 I originally thought of it as more a personal editing tool.
00:02.640: Last year I did the Rocky Mountain Emmy Awards, and so 700 submissions come in from all these TV stations all over the Southwest.
00:02.640: Your epiphany.
00:02.640: I'm going to write that down.
00:02.720: Oh, yes, sorry.
00:02.720: It was stupid.
00:02.720: It's working on these huge Hollywood movies.
00:02.720: Bang, two keystrokes and it's in front of you.
00:02.720: Bingo.
00:02.720: We'll do that.
00:02.800: Okay.
00:02.800: One of these days I'll do an explanation of how I do all this, but for now we'll just say, yeah, it's you don't hear me well, but we hear you well, and the recording is good.
00:02.800: So it's like find a piece of music, get the copy, straighten up the copy, get the thing produced and get it on the air, get it carted up.
00:02.800: Then I flew back to Phoenix and my system arrived.
00:02.800: So you have to keep cognizant of that.
00:02.800: Are you from here?
00:02.880: I've been using it all week, as a matter of fact, getting different tracks for things that I'm cutting.
00:02.880: Oh, my goodness.
00:02.880: I showed them the work, and there was one woman who was a a vice president who was in there.
00:02.880: And I'm just wondering how many people hang out there just in the hopes of, like, hey, hi.
00:02.880: It's like a lot of the other tools in 10.
00:02.880: I mean, and I do, and again, I don't want to sound like the total apologist, but I agree with you that it.
00:02.880: And sometimes it's a lot of angst.
00:02.880: Hey, thanks for listening.
00:02.960: At one point, the program director, Nat Stevens, this great guy who was kind of one of my mentors and was trying to kind of bring me into the business, said, Bill, you understand this is the dictionary definition of insane.
00:02.960: And they said there's this weird computer that's about to come out and uh we can get you one really cheap if you're interested.
00:02.960: The fast video controller you had have, it was a depth controller system.
00:02.960: People hire people.
00:02.960: I don't know if I can actually accept somebody, but you can contact me, Chris Fenwick on G.
00:02.960: And I do that because I can do it quickly, I can repeat it, and it's not dependent.
00:02.960: And literally, in playing the five-minute video, usually in about five and a half minutes, you've cut all those graphics to length.
00:02.960: 0.
00:02.960: So you did your Arizona jazz thing, right?
00:02.960: So when we create window dubs, it's like the Bill Davis interview hyphen window.
00:02.960: And I did not realize it till I was about an hour and a half into it.
00:02.960: So, for part of the interview there, we started talking about some viral marketing things.
00:03.040: Okay, well, there you go.
00:03.040: Some guys were good writers, some guys were not.
00:03.040: Taking an existing video and doing a narrator track on top of that is one thing the VoiceOver tool does really well.
00:03.040: Yeah.
00:03.040: I did, but even with proxies, I was
00:03.040: You went from I'm still seeing the same thing to now I have something new to process in my brain and that wakes an audience up from it.
00:03.040: And so I don't think I think you know, it just it feels way faster and it feels way simpler than those ten years I cut in other editors.
00:03.040: Let's regulate that a seven.
00:03.120: Okay, interesting.
00:03.120: So now let's go to system preferences and see what it's set at.
00:03.120: KTAR AM in Phoenix is like one of the flagship stations.
00:03.120: Gee, what did you find?
00:03.120: I was in the cafeteria of one of my large clients one time, and I was literally just waiting for a meeting that was in twenty minutes.
00:03.120: And then I did the second one and I was like, I I don't have anything to do on the last day that I have scheduled for this.
00:03.200: Yeah.
00:03.200: I play it back and I looked at myself for about a second, kind of in the screen of my computer, and I went, it's done.
00:03.200: So somebody is reading it on paper and they go, I don't understand why you just take that word there.
00:03.200: Okay, go back.
00:03.200: As you build your database, as you build your database chops, as you learn to use keywords.
00:03.200: In fact, I have this little fantasy that something is going to happen, like somebody's going to light on fire at a big rock concert.
00:03.200: Uh right there.
00:03.280: I went to my local rental house and I rented an old goofy machine.
00:03.280: Once you're inside with one person inside a company, especially a large company, you said six other vice presidents, those are all VPs inside
00:03.280: And he said, no.
00:03.280: And that'll do more for you in a corporate environment than having three more pieces of gear than the next guy.
00:03.280: So it's just it just magnetism.
00:03.280: I want them there because I want it to sound like I'm breathing unless I'm doing a screamer spot.
00:03.280: Yeah.
00:03.280: Well, I can't tell you on the radio, but trust me, look it up, and it's possible through a setting to dump
00:03.360: I want to go back to the program director, but I'm going to say let's switch to Skype because you are breaking up a little bit here.
00:03.360: The production director.
00:03.360: Generally, no.
00:03.360: Sorry, sorry.
00:03.360: She goes, Great.
00:03.360: Because I can remember in the late 80s going to a little, I don't know what to call it, be like a mini trade show.
00:03.360: But the bottom line is you just need to be there.
00:03.360: And then you have to be confident.
00:03.360: You don't know if it's the new secretary or receptionist, and you don't know if it's the CEO.
00:03.360: But I agree, you editing in the browser is a functional way to edit.
00:03.360: 3 was there.
00:03.360: It's just it changes the whole program.
00:03.360: I have one place, I can take it with me where everything that I've learned in the past about all these people is stored.
00:03.440: Go listen to their music.
00:03.440: Well, let me ask you this.
00:03.440: And when I moved from the FM side from the FM side, which was pretty popular
00:03.440: You jumped up to the the five twelve or the one twenty eight Mac, whatever.
00:03.440: All right.
00:03.440: And then that just all went away.
00:03.440: There's a USB cable coming out of that into my Mac, and that's my entire audio recording chain.
00:03.440: I am going to give a shout out, a call out to something that actually was not done in Final Cut X.
00:03.520: Number two, on top of that, you have to know, okay, is this going to be voice over out in the middle of nothing?
00:03.520: I mean, the whole point of the voiceover tool is that it's great because it's going to give you a countdown.
00:03.520: The first segment's going to have these 25 clips, and the second segment's going to have the next 25.
00:03.520: Sorry for all the Skype/slash FaceTime/slash GP.
00:03.600: What is your background?
00:03.600: Oh, shut up.
00:03.600: I came back and I sat through a demo and it just binged in my mind.
00:03.600: That's a good idea.
00:03.600: I'm going to rate each paragraph.
00:03.600: When you're editing audio, especially dialogue, the number one thing that is going to be a problem in your edit.
00:03.600: I can just get my four primary cameras.
00:03.600: I'd like to see that.
00:03.600: And suddenly, database visual range tagging and all of this stuff starts to make astonishing sense, just in terms of being able to bring order to the chaos.
00:03.680: And so we found ourselves doing a lot of kind of pseudo ad agency work, particularly for our local malls.
00:03.680: And I went, what's that?
00:03.680: I think this was even before the DSR twenties, those little decks that did DVCam, which eventually I got into.
00:03.680: I don't know, whatever.
00:03.680: They get together and uh I don't know how I think it's pretty much maxed out, but um it's it's
00:03.680: And it was okay for a while.
00:03.680: I will agree.
00:03.680: So now you hit play, hold down your option key, and at the end of each sentence, you hit your closed bracket.
00:03.680: Yes, right.
00:03.680: Absolutely love to.
00:03.760: Yeah, yeah.
00:03.760: I think I just went crazy and I blurted out like 600 bucks.
00:03.760: It was kind of funny, but it was really stupid.
00:03.840: Well, but the point was I had like a short list of three and I walked into the to the South Hall at NAB and I walked directly into the Apple big booth or past it.
00:03.840: Of course, you need to be able to do that.
00:03.840: I had been doing this national spot, and I
00:03.840: Maybe it's in the first half.
00:03.840: I like to think of it as epiphany.
00:03.840: You're absolutely right.
00:03.920: Did you like buy a whole computer to run it on?
00:03.920: And, you know, when you have those gigantic wins.
00:03.920: So we end up talking for twenty five, thirty minutes.
00:03.920: And it took me maybe six to eight months to kind of wrap my head around what was possible just manipulating through things through the database in 10.
00:03.920: It's got a rhythm.
00:04.000: The original, no external disk drive when I got it.
00:04.000: I'm I'm I'm I'm a spaceman with a computer box.
00:04.000: So, in the Betamax VHS battles of the 80s, everybody.
00:04.000: Because I well, I came in that day and I had like three editing systems in my short list.
00:04.000: Somebody has to be a formal part of the process.
00:04.000: We've been friends for many years from NAB time.
00:04.000: And what it revealed to me is that I could cut in entirely different ways.
00:04.000: We'll call it a customer testimonial.
00:04.000: It was, we were changing it just for pacing.
00:04.000: And I'm going to put a link to this Planet Hollywood flash mob on the site here.
00:04.000: Yes, I am.
00:04.080: If your recording is clean, then I don't have a problem hearing you at all.
00:04.080: It was everything that wasn't creative about being on the air was there on the production side.
00:04.080: People inside the corporation.
00:04.080: I mean you find these little kind of sub teams in there.
00:04.080: And if you pay attention okay, so here's my thing about 10.
00:04.080: And I kept saying, just get used to it.
00:04.080: Okay, I'm going to edit peak to peak.
00:04.080: You know, there are elides.
00:04.080: Sorry.
00:04.160: I had to reboot the Mac.
00:04.160: Wow.
00:04.160: Um, the the the cool format was what was what was called beta one.
00:04.160: I started with this eight millimeter stuff and I kept going with it.
00:04.160: He said, I just moved up from Mexico City.
00:04.160: Or you can hear a great drum fill and go, oh, I got to go find that.
00:04.160: I started literally right after that intro at NAB in 99.
00:04.160: So I wasn't going to cause any fires in the office.
00:04.160: It's not that.
00:04.160: Uh, it's in this folder.
00:04.160: Tell the kids, get out your iPhones, iPhone sixes, maybe.
00:04.240: We even had an art director at that period, and we were kind of functioning as an ad agency.
00:04.240: That EVO deck, if it was high eight.
00:04.240: Well, let's draw back.
00:04.240: Let me tell you this quick little story.
00:04.240: The first paragraph was really strong.
00:04.240: I thought, oh, that's cool.
00:04.240: Why would I want to put stuff in that?
00:04.240: Okay, that's a zero.
00:04.320: The production director.
00:04.320: It didn't go by that name then if it was around.
00:04.320: Hi, my name is Chris Fenwick, and in this five-minute boring video, I'm going to tell you whatever.
00:04.320: Yeah, it was very interesting.
00:04.320: And if you can get to that point, then everything just kind of
00:04.320: Let me just type that in here because that's fun stuff too.
00:04.320: We'll be back Monday with another episode.
00:04.400: So do you hear this scratching?
00:04.400: So my annoyment is plugged into the H4N, the H4N is USB driving into the USB port of the Mac.
00:04.400: Yeah.
00:04.400: Yeah, it's it's very interesting.
00:04.400: Very short period.
00:04.400: But it was such a simple thing.
00:04.480: The CEO might turn out to be incredibly important for you.
00:04.480: You have to be good at what you do.
00:04.480: Absolutely.
00:04.480: Okay, and so you had said earlier, I'm going to nerd out on audio editing here.
00:04.480: Okay, so this will be the Friday episode.
00:04.480: I wanted to see if 10 could handle this.
00:04.480: Yeah, okay.
00:04.480: Thanks so much for allowing me to come in and babble.
00:04.560: It's very much um it's it it can it can sound not as good as FaceTime, but apparently I'm having a hard time figuring out how to actually patch
00:04.560: That's all it took.
00:04.560: Okay.
00:04.560: And eventually I got money together to buy an early laser writer when the LaserWriter came out.
00:04.560: Phonetic sounds like fast and furious if I did that fast.
00:04.560: Replace from start.
00:04.560: It was killing me.
00:04.640: 15 ads a day.
00:04.640: If you could figure out how to find me on G, I will forward the request to Sam and I'll get you in.
00:04.640: 103 is out, you're going to use 73 instead.
00:04.640: A click, and everything sorts out instantly.
00:04.640: And frankly, I would like to invite you right now to come back and go totally in depth.
00:04.640: You know what?
00:04.720: So I'm going to read it all the way through, paragraphs one through five.
00:04.720: I did a ridiculous video with my good friend Gordon who recently passed away in Anton and and
00:04.720: When I edit my audio, I do the same thing.
00:04.720: This is like cooking.
00:04.720: But the point of this was, I thought Final Cut Pro 10 was going to bog down.
00:04.720: Oh, yeah.
00:04.800: So you I'm not my uh
00:04.800: And this, you know, I'm trying to use FaceTime.
00:04.800: So you can tell those of us from that era because our right wrists are very big to this day because you would be flopping switching floppies.
00:04.800: And if you become a you know, I like this guy.
00:04.800: Well, there's a little bit of the rating ahead of time.
00:04.800: E-L-I-D-E, I believe.
00:04.800: Shuttle, shuttle, oh, forget that.
00:04.800: You know, just today we were reviewing a piece for one of our clients, and it was a
00:04.800: And you start seeing your family again instead of working until 11 o'clock at night.
00:04.800: Yeah, actually, Westplate said exactly the same thing.
00:04.800: I was just at the Adobe building tonight at the SF Cutters meeting, and my friend Kevin Monaghan, who works there, goes
00:04.880: The reason I like their music is it doesn't get in the way.
00:04.880: Not for the fainted heart, is it, Chris?
00:04.880: And I went, Yeah, I don't have time to look for one of the other disc jockeys to do a spot.
00:04.880: So 512 Mac.
00:04.880: Come on, go away.
00:04.880: And the following week, I got six more calls from six more vice presidents asking me to come meet with them about doing video.
00:04.880: Then I started getting really frustrated.
00:04.880: Oh, in this one, the third paragraph really popped.
00:04.880: You can go in and put a noise gate on things and set its threshold about where the breath is and not where the
00:04.880: Because I just type in 73 and the clip pops up in front of me, and I drag it to where
00:04.880: And we and we had to double check or cha m change a couple of things, I can't remember, and I was able to use the timeline index.
00:04.960: And let me tell you, it takes a little bit extra time in Yosemite to reboot.
00:04.960: And same thing for the women involved.
00:04.960: And she wrote me a check on the spot.
00:04.960: Which, by the way, is the wrong way to do it.
00:04.960: So the breaths aren't right there next to things.
00:04.960: Well, and there's re and that's the thing that it always impresses me is that
00:04.960: I will offer this up as an idea to a video producer, and actually, maybe Dean Sherwood could do this.
00:05.040: I absolutely fell in love with video.
00:05.040: I want you to do one of these a month.
00:05.040: And the pause between that line and whether 'tis nobler in the mind to suffer the slings and arrows of outrageous fortune
00:05.040: Let's say I stumbled and I had to pull that up
00:05.040: It's just I think it's the power of the database because, let's face it, databases are designed to be efficient.
00:05.040: Looking for something means that you're starting from a position of disorganization.
00:05.040: You now have a world saturated with
00:05.040: And they're going to go out they're going to get thirty three thousand
00:05.040: So like your friend comes over and goes, Hey, I want to get that video file off your phone.
00:05.040: If you have literally one hundred and seventy five angles, what's the tool that can make best sense out of that for you?
00:05.040: You can't really tell if it's going to do that.
00:05.120: Radio stations used to have production directors, and what we had to do was create.
00:05.120: I mean, when you get around that conference room and people are going to see the work, if the thumbs go up, you get another call.
00:05.120: She's going, wait a second, I was starting a phone call.
00:05.200: I think the interview went a little long tonight.
00:05.200: And that was just catnip for me.
00:05.200: Yeah.
00:05.200: So you just don't know how this is going to happen.
00:05.200: Of course, we always can make our adjustments and whatnot and stuff like that.
00:05.200: That's funny.
00:05.200: Almost every 10 editor I know, they have some.
00:05.200: I'm just saying, a database is a powerful thing, whether it's in a phone or whether it's in an NLE system.
00:05.200: Okay.
00:05.200: Anyway, uh once again, thanks for listening.
00:05.280: How did you get to be Bell Davis?
00:05.280: Yeah, they did.
00:05.280: I do remember though, because by this time I had gotten my first kind of serious corporate gig and I was producing videos for PetSmart.
00:05.280: You need to be there for them to solve their problem and to make their problems go away.
00:05.280: I said, What did he say to me?
00:05.280: I'm assuming you know how to do that.
00:05.280: I have a couple of questions for you.
00:05.280: You know, in the conversation that I had with Wes Plate a couple episodes ago.
00:05.280: And so Multicam shows up in 10.
00:05.280: So we got a whole group of we got a five-piece jazz band, and then we did 16 cameras.
00:05.280: I can switch those, go back to the head of the timeline and then switch in the next group of four.
00:05.280: And a lot of times they bow out and go to premiere or something else because they just don't want to get through that.
00:05.280: Yeah, again, the same edit that I was telling you about where we made the change in the camera angle.
00:05.280: What is that about?
00:05.280: And I believe that the iOS and the macOS are blending together.
00:05.280: Seriously, would you come back another time?
00:05.360: For some reason, it got stuck on.
00:05.360: Let me is it is it unacceptable?
00:05.360: Exactly.
00:05.360: Yeah.
00:05.360: In fact, I think they even let me in like for half price because I couldn't even really pay for it.
00:05.360: And what I learned is that when I was editing my audio, I could actually cut that space in half.
00:05.360: Yeah, exactly.
00:05.360: That guy didn't have anything.
00:05.440: Back then, if you didn't work for a TV station, you were just out of luck.
00:05.440: It spun a lot faster
00:05.440: And you're not manipulating something, but you're just trying to get around the
00:05.440: I had absolutely no clue.
00:05.440: Could that take 175 shots of the same event and allow you to go through, you and your editorial assistants to go through and go
00:05.520: So as I eventually worked my way into T V into T V stations
00:05.520: And I think one of the things that I've very much appreciated with some of the clients that I have is
00:05.520: Form these relationships, take care of them.
00:05.520: I'm going to open it up.
00:05.520: So I do a lot of spot work.
00:05.520: And our workflow for subtitling stuff, I don't know.
00:05.520: So it is a collaborative tool for there.
00:05.520: Yeah, I did the jazz thing.
00:05.520: There were some really beautiful sit-down interviews, multi-camera of various people in this company.
00:05.520: You know, it really happens.
00:05.520: It's sitting on my desk.
00:05.600: This is 092 with my friend Bill Davis.
00:05.600: Do you mind if I do a quick reboot and then call you back?
00:05.600: I was really excited about the idea of being on radio and discovered that it was something I absolutely loathed.
00:05.600: And I thought, should I no?
00:05.680: But other than that, we're cool.
00:05.680: I've talked a lot about the difference between like a broadcaster and a filmmaker.
00:05.680: And the issue was, I remember one day my program director came in and he said, look,
00:05.680: So I kind of understood T V a little bit.
00:05.680: You have to make a connection with somebody.
00:05.680: You just have to pay attention to being that guy.
00:05.680: Yeah, I think I've been criticized maybe mostly by myself.
00:05.680: You can do that.
00:05.680: Elides will kill you.
00:05.680: I don't yeah, I don't really deal with that.
00:05.680: And this is kind of typical of 10, too.
00:05.680: It wasn't like, oh, yeah, we got to go check the time code, go back to the bin, go get the source reel, you know
00:05.760: And it was like one floppy.
00:05.760: And I had to learn how to do that because when I started out
00:05.760: Here's an interesting workflow that I was showing Sasha, who works in our office the other day.
00:05.760: Yeah, replace from start, and it's done.
00:05.760: And at some point, you're realizing, yes, I can as an individual guy without tons of money and a huge infrastructure, I can shoot 16 cameras.
00:05.760: And then at the end of it, you'll notice there are six links to different people's behind-the-scenes story about how this video came to being.
00:05.840: I mean, they send people to the loony bin for that, and that's your job description now.
00:05.840: So from the audio background and then dabbling in the computer things, how did you get into
00:05.840: Every single video you will ever do in a business sense is all about relationships.
00:05.840: I mean, the single biggest success I ever had
00:05.840: And I said, oh, that's interesting.
00:05.840: I mean, your work can't be bad, but if there's three guys in the workers
00:05.840: So if I'm going to do, you know.
00:05.840: So the Monday episode with um uh Misha Schmidt.
00:05.840: I want to reference the original window dubs.
00:05.920: Make sure we put ads in it too because we have to monetize everything.
00:05.920: Yes.
00:05.920: I said, you know, I've got Macs, I've had Macs, I'm a Mac guy, I understand how to do this.
00:05.920: And there were some really nice folks back in those early days who had that.
00:05.920: And when I was starting to learn it, I mean, I tried to do it that way.
00:05.920: Because I realized that I could version and do takes of
00:05.920: Also, if you're careful with gating,
00:05.920: You start adding more and more names to your phone book.
00:05.920: And if you think about what has been evolving in the Mac OS over the last three to four years.
00:05.920: And one of these days I'm going to do an in-depth study about viral marketing and how it works and when it works and why it doesn't work.
00:06.000: I know they're excited about it.
00:06.000: Right, now, so now you hear this, Mike.
00:06.000: So, any of it
00:06.000: And this was 99 when they introduced it, the introduction year.
00:06.000: You said we should talk about what did you say you wanted to talk about?
00:06.000: And they came in and they said, I said, hey, let's do a behind the scenes version, you know, the sort of director's commentary for it.
00:06.000: So I clicked on the one rating.
00:06.000: It's no different.
00:06.000: Okay.
00:06.000: And I'm going to put my two slices there.
00:06.000: That's not actually a good example, but you can read that as he went, or you can do he went.
00:06.000: 10 changes the way you think about your editing because it has these amazing metadata-driven tools.
00:06.000: And it's a little bit like the jangly keys: hey, look over here, over here, over here.
00:06.000: So the database relationships are being formed whether you like them or not.
00:06.000: And it was done it was a flash mod done for Planet Hollywood.
00:06.080: I'm wondering if it goes by system preferences.
00:06.080: Mostly 30s, because that was a highly rated station.
00:06.080: Yes.
00:06.080: I don't want to hear you're complaining.
00:06.080: Yeah.
00:06.080: Well, you want to slip over to the other stuff?
00:06.080: So, what am I going to do with my keywords?
00:06.080: Yeah, and they're not real.
00:06.080: When you look, when you look for something.
00:06.080: There's an application called, I don't know if you've ever heard of this, it's called Phone View.
00:06.160: Right.
00:06.160: No, you're not on your Neumann, you're on something else.
00:06.160: It does tend to make a difference, doesn't it?
00:06.160: They're the sports people and they're the movie people and you know, and and it's not that you have to become something different.
00:06.160: And if it's, you know, act no, I want a freezer full of frozen food free, you've got to just keep going and get your breath whenever you can.
00:06.160: Because, yes, I made a mistake, but that's where I wanted to start the word anyway.
00:06.160: Yeah.
00:06.160: Right.
00:06.160: You cut it into the program and you move on.
00:06.160: And you can see, oh, here's the last movie file you just shot.
00:06.160: Okay?
00:06.240: I feel like I'm playing a game show here.
00:06.240: Big time done.
00:06.240: Understand.
00:06.240: And there's things like multicam.
00:06.240: Yeah.
00:06.240: Uh, no, that's not it.
00:06.320: That obviously wasn't making video.
00:06.320: And Habitex was the first time I'd ever seen a database.
00:06.320: Well, it's the magnetic timeline that everybody was all upset about in that first year.
00:06.320: But every circumstance has to be just looked at, and you're going to
00:06.320: I mean, if you have two reads of the same sentence and you've got a fricative or a plosive sound or something, you can cut.
00:06.320: And he was counseling me, Bill, you don't understand this whole metadata thing, it's very important.
00:06.320: I got a paper phone book here.
00:06.320: But very much like your iPad, your iPad is storing things, although I can't see it.
00:06.400: So VHS had the the standard two-hour mode.
00:06.400: It seemed like a really small camcorder and a small tape.
00:06.400: So I l you know, say, Hey, Bob, it's really nice to meet you.
00:06.400: So then what you do is you take and you make a bunch of PNGs of the graphics that you've made.
00:06.400: Okay, now each one is going to drop in at the default duration.
00:06.400: I can give you my recipe, but it's going to work for me because this is how I this is the rhythm of my
00:06.400: No.
00:06.400: We have the increased importance, especially now with Yosemite, of Spotlight.
00:06.480: But I walked out of there going, that was fun.
00:06.480: Well, Betamax had the same thing.
00:06.480: It just woke up in my brain the possibility that spending more time in the event browser
00:06.480: I mean, I have these takes.
00:06.480: So let me go search for five minutes.
00:06.480: And the thing keeps growing and growing and growing.
00:06.480: And oh, look at here's my oh, yeah, got it, got it.
00:06.560: I might have fifteen, twenty commercials on an average day.
00:06.560: And as I got better and better at ten, I realized I don't have to be vague about that.
00:06.560: Okay, so now I'm going to get into something that this is something that I have really enjoyed learning about doing the podcasts.
00:06.560: Might be two L's.
00:06.560: And it'll replace them just nice.
00:06.560: And when you have complexity that you have to break down
00:06.560: So I took another look at it and I did
00:06.640: A little bit of an old school guy.
00:06.640: And as an editor, I really appreciate that.
00:06.640: I typically do my recordings.
00:06.640: Oh, I mean, absolutely.
00:06.720: Who?
00:06.720: And so I go in and I take the big the big piece that I've just narrated and I cut it up and I just do um
00:06.720: Elides are one of the worst deals because that's where you take a word that should be read as separate syllables.
00:06.720: And I was a little intimidated because I had 16 cameras, and how am I going to be able to watch, you know, or 14 cameras, how am I going to be able to watch them all?
00:06.720: I remember back in my early computers, I didn't have my my
00:06.800: But that would come back, and then I'd have to produce the spot.
00:06.800: No, no, no.
00:06.800: But whatever it is, nobody in a.
00:06.800: Let me tell you a little bit about Arizona, because we're sitting here in Phoenix, and I was talking to him about
00:06.800: Okay, what gate do you use?
00:06.800: And what that was, I actually did an iBook about it called Jazz at the Nash.
00:06.800: I walked away from it.
00:06.800: How do I name things?
00:06.800: That you don't just have
00:06.800: Oh, look, there's a nine.
00:06.880: And she said, Bring it!
00:06.880: There's times when you save their bacon.
00:06.880: What is it?
00:06.880: When I woke up to the fact that I was dealing with this two-part system, and the first part was this amazing database.
00:06.880: And I hit the button and we huddled around a mic and they narrated what was going on.
00:06.880: Can you do this thing with it?
00:06.880: So I like that.
00:06.880: But here's the point that people don't get when they're coming to ten and they haven't done this before.
00:06.880: So there's two ways I'm going to explain why you don't have to do that.
00:06.880: People do that all the time in conversations.
00:06.880: And I mentioned the Planet Hollywood video.
00:06.960: So, what I had to do is I had to go into the control panel and I had to.
00:06.960: We're letting that all go live?
00:06.960: Well, you know, it is uh it's
00:06.960: Okay.
00:06.960: There was like five
00:06.960: And so I just dove into trying to understand how it worked.
00:06.960: But
00:06.960: Oh, no, no problem at all.
00:07.040: You just build these little bonds
00:07.040: So I would get a script in.
00:07.040: I'm going to do it again and again and again.
00:07.040: And maybe I don't know how to set it.
00:07.040: Like, whoa, whoa, whoa, whoa, the tempo just got lost, right?
00:07.120: It was unbelievable.
00:07.120: It was called an EVO9700.
00:07.120: Yeah, she didn't want you to think twice about it.
00:07.120: Big time.
00:07.120: I know that people a lot of people that listen to this show are doing corporate stuff like I do.
00:07.120: Like they're having a bad day up there.
00:07.120: What do you like around the lunch table?
00:07.120: So you're taking those takes, those five-paragraph reads, and you're highlighting individual paragraphs with a range-based keyword, correct?
00:07.120: It's going to go to the end.
00:07.120: Okay.
00:07.120: This is this whole construction thing that people, I think it's really hard for people to get their heads around about 10.
00:07.120: If you haven't done so, go to the iTunes and leave a comment and leave stars.
00:07.200: No, this was low eight.
00:07.200: So anyway, that's yeah, that was me me barely getting in.
00:07.200: And that's why at 1999 I was on the floor at NAB
00:07.200: Because that's a nightmare.
00:07.200: You know, I don't know anybody who effectively uses all my files, but they have
00:07.200: We were talking the other day about um
00:07.280: And then there's some weird
00:07.280: It'd be the Media 100 was made in Boston.
00:07.280: It's called Editors in Sync.
00:07.280: I don't really have to do anything else.
00:07.280: Even I mean, remember, Final Cut Pro 10 will let you work in subframes.
00:07.280: And you know, you've got no place to cut in, I want to tell you.
00:07.280: Right.
00:07.280: And I just want to talk about camera archives, because that's something that doesn't get talked about enough.
00:07.360: I want to thank the people at Premium Beat.
00:07.360: Ah, once upon a time, my mother and my father, no, let's not go there.
00:07.360: The sales guy would write the copy, which was lovely because it was usually interesting copy.
00:07.360: This is like so nerdy.
00:07.360: And I walked out of there with just like
00:07.360: That
00:07.360: Okay.
00:07.360: You'll find you like it.
00:07.360: Doesn't that sound to you like you're describing years in Final Cut Pro Legacy?
00:07.440: I'm excited about it.
00:07.440: And she said,
00:07.440: Yeah, trying to do off-the-cuff really good narration, that's a difficult thing to do.
00:07.440: They're clean as a whistle, they're lovely.
00:07.440: But most of us, I know I am, I've just conditioned myself.
00:07.440: I haven't looked at it on paper in decades.
00:07.440: So I've got a hundred clips to manage.
00:07.520: We can turn this in for the big mall promotion of the year awards.
00:07.520: Bob.
00:07.520: So I'm going to give it a rating.
00:07.520: I really like that.
00:07.600: And you should be looking at it too.
00:07.600: Now you're down to like 60 seconds or something.
00:07.600: I did have it set.
00:07.600: And I hadn't even thought that that was possible.
00:07.600: That's all there is left.
00:07.600: So do you like mark an in and out, and it'll just loop around through there?
00:07.600: And yet it's also completely capable, it appears to be, at least if you believe Mike and the work on Focus, the Will Smith movie.
00:07.600: I said, No, it's done.
00:07.600: And, you know, that doesn't mean that it's a 30% better program than any other program.
00:07.680: You are officially accepted.
00:07.680: Yeah, no, the recording is perfectly fine 'cause it's t it goes to the thing before it goes even through the Macintosh.
00:07.680: Other than that, it was I could get a decent picture out of it.
00:07.680: It didn't work back in the beta SP thing where the news guys were shooting on 20-minute loads at best.
00:07.680: He's polite, he doesn't mess around.
00:07.680: There's a real art.
00:07.680: But a lot of times I will look at the threshold of a word starting.
00:07.680: We'll be back Monday with another episode of The Grill.
00:07.760: And that's probably because I'm.
00:07.760: The key is to treat them both.
00:07.760: In your VO work, what is your audio chain that you record your voice through?
00:07.760: I guess I don't have bad ones.
00:07.760: I mean, I I
00:07.760: You know?
00:07.760: He said
00:07.760: Type the word window.
00:07.760: There's some very clever people using, leveraging this new technology to.
00:07.760: But anyway.
00:07.760: Epic Rap Battles.
00:07.840: Let's see, it wasn't the USB audio input, it was something else.
00:07.840: And it looks like it took that.
00:07.840: But then I got my first
00:07.840: And I said, type the word window.
00:07.920: So it was a 5 it was a 128
00:07.920: Some of the smart ones.
00:07.920: I selected all five of those takes, right?
00:07.920: Now
00:07.920: But if I'm not doing a screamer spot, I want the natural sounds of hear the guy's breathing.
00:08.000: Yeah, that's funny.
00:08.080: I loved working with tape.
00:08.080: Beta one would crank through that same cassette shell in like forty five or sixty minutes or something like that.
00:08.080: And so I have A, B, C, D, and E.
00:08.080: And then eventually people are going to come in and start changing things around.
00:08.080: 0.
00:08.080: I realized that.
00:08.160: Everybody involved in Google Plus from the day one.
00:08.160: So I'm going to give it a one.
00:08.160: And then I make a sub-storyline of that.
00:08.160: I can tail it if I want at the end.
00:08.160: How do I sort things in my list of names?
00:08.160: The audience hopefully won't know the issues we had in getting things going, but it's been a pleasure talking to you, Chris.
00:08.240: We have used a lot of the same equipment over the years, and it's always kind of fun to hear about that.
00:08.240: Today, tonight, yesterday.
00:08.240: No.
00:08.240: Not at all.
00:08.240: And this is the laptop battery.
00:08.240: Can you hear me okay?
00:08.240: How fun?
00:08.240: And who cares about the fact that nobody can figure out what to do?
00:08.240: And it's not an audio editor, as we know.
00:08.240: I took a breath there, but you just get into the habit of breath suppression so that most narrators don't go
00:08.240: I think
00:08.240: But there was a Flash Mob thing that was done
00:08.320: And if that is the case, then mine was set for
00:08.320: So I've got a 30-second ad here.
00:08.320: The uh the voiceover tool.
00:08.320: And so I'm three and a half years in, so I don't even think about this stuff anymore.
00:08.320: He had a great angle between people's heads of whatever happened on stage.
00:08.320: Dude, I do two of these a week.
00:08.400: Yeah.
00:08.400: And it that's a terrible strategy because it doesn't work really like all the other ones.
00:08.400: 3.
00:08.400: And you can, you know, you can do
00:08.480: So you're saying you had to set it and then reboot it?
00:08.480: Exactly.
00:08.480: And you go, I make video.
00:08.480: I'm kind of shocked to
00:08.480: I tried to I've been editing and
00:08.480: And they go, how do I turn it off?
00:08.480: It's not close to the other thing.
00:08.480: And so you kind of have to say to yourself, how can we be both at the same time?
00:08.560: Now I had been around TV for a while at that point.
00:08.560: They had Beta 1, 2, and 3.
00:08.560: When we were talking Sunday, so every Sunday, I'm going to do a sort of a soft sell for this.
00:08.560: You wanted to talk about the voiceover tool?
00:08.560: Because it doesn't sound like that.
00:08.560: And I got, I did the first one.
00:08.640: Okay, anybody who's like under.
00:08.640: Then I can just play it and
00:08.640: I can put it on my phone too.
00:08.720: So 60s, well, actually, that's not true.
00:08.720: We used to use these big plastic carts and you jam the cart in the playback machine.
00:08.720: The first time I did it, it was not even high eight.
00:08.720: I'm saying to myself, can it really do
00:08.800: Not at all.
00:08.800: And at the end of that, there was silence for a minute, and then she said
00:08.800: I mean, it's not always going to happen that way, but the point is.
00:08.800: Yes, you can.
00:08.800: What do you want to do next?
00:08.800: It's like, oh.
00:08.800: Okay, fine, fine, fine.
00:08.880: It's great.
00:08.880: I'm trying to remember the name of the outfit in Southern California that was
00:08.880: So if you want to get invited.
00:08.960: And I literally hit the share button, shared it out via email to the client, and I got a check later.
00:08.960: Hand me your phone.
00:09.040: I'm sure there's some really bitch and cool way to do it, but this is what we do.
00:09.120: There's nothing I hate more.
00:09.120: Way off, it's like it's on Mike.
00:09.120: Just prepare yourself.
00:09.120: One of those flip phones.
00:09.200: I've got to quit a few.
00:09.200: And broadcasters, you always have one eye on that clock 'cause you just get that stuff out.
00:09.200: And so it was terrible.
00:09.200: Shook hands, walked away from the table, went to fill up my Diet Soda.
00:09.200: I'm going to pop open the keyword editor and I'm going to give it a one.
00:09.200: You can do all the traditional editing step.
00:09.200: What was the other word you used next to fricative?
00:09.200: You drop your cursor, you dig through, and you can even look at the.
00:09.200: Absolutely.
00:09.200: And in the same way as on your iPad, you don't know where things are stored.
00:09.280: So if you're not looking at premium beat.
00:09.280: You said that you went from being on air, the crazy guy in the box
00:09.280: So.
00:09.280: And I shot finally was able to shot up shoot on D V
00:09.280: So if somebody's changed copy on you and you want to go into your original program,
00:09.280: Did you make a lot of those?
00:09.360: Am I going to have a music track?
00:09.440: I think we are
00:09.440: It's like, ugh, and I need three minutes of it.
00:09.440: Right, I do.
00:09.440: I've got nine more to do.
00:09.440: He seems to know what he's talking about.
00:09.440: Now, most of our machines are still set for 10 seconds.
00:09.440: I usually don't take out breaths.
00:09.440: I got to get people in here.
00:09.520: Does this thing really work on a Mac
00:09.520: Zero.
00:09.520: And one day you look up and go, Oh my God.
00:09.520: No, no, no, no.
00:09.600: I don't know when I recorded this.
00:09.600: And you know, other than a horrible, horrible chroma shift
00:09.600: And the guy sat down next to me and we started chatting.
00:09.600: Let me just get this out there
00:09.600: But if you limit yourself to doing just this thing with it,
00:09.600: Um both of them uh
00:09.680: I loved working.
00:09.680: Yeah.
00:09.680: That's all I want to know.
00:09.680: I was on episode two and I mentioned a
00:09.680: Some of you can do slow-mo, some of you do normal, whatever.
00:09.760: Let's see if that's different.
00:09.760: I had just gotten married.
00:09.760: And it was like under a grand.
00:09.760: Completely.
00:09.760: 12
00:09.840: It's emotive.
00:09.840: And I had been really looking forward to uh replacing my little Timex Sinclair with something serious.
00:09.840: The two-hour mode.
00:09.840: You can just blast through huge amounts of audio cleanup.
00:09.840: Right.
00:09.840: And this brings on a really important thing.
00:09.840: Right.
00:09.920: I have these takes.
00:09.920: L-E-A-LED?
00:10.000: Let me take care of that for you.
00:10.080: Just arbitrary.
00:10.080: I select the rest of them.
00:10.080: So I'm sitting here talking into a Neumann TLM 103.
00:10.080: But there's an absolute
00:10.080: Later, later.
00:10.160: Well, mine is selected.
00:10.160: I really love that.
00:10.160: Because I'm going to spend a lot of time with you.
00:10.160: Okay, I'm going to slow you down because you just blew my mind there a little bit.
00:10.160: I can actually go into my JKL keys, hold down the K and tap.
00:10.160: It's like, well, you know what, that's fine, but we do a lot of stuff ourselves, don't we?
00:10.160: Whether you like them or not.
00:10.240: Let's see if we can get them both working great.
00:10.240: So trying to cut
00:10.240: Yeah.
00:10.240: Somebody wants to be able to do that.
00:10.240: So go.
00:10.320: Wow.
00:10.320: They're fun.
00:10.400: And I had to reboot with that setup.
00:10.400: But for the time, it was what it was.
00:10.400: Completely.
00:10.400: And if you look at the way now that the next
00:10.480: So you got the same thing going that I did.
00:10.480: I can't remember what they were.
00:10.480: And you get to kind of
00:10.480: Hm.
00:10.480: When you're looking for it.
00:10.560: And one of my wife's friends was working at a
00:10.560: We had all these type things.
00:10.560: But there are lots of other things.
00:10.560: Okay.
00:10.560: It's just all one big mashup of sounds.
00:10.560: I couldn't imagine it
00:10.640: And then you could go four and six.
00:10.640: It's going to have a record button, I think, and rem whatever.
00:10.640: And I'm going to read it.
00:10.640: I was like, okay, that took me.
00:10.720: But Beta 1.
00:10.720: It was dreadful back then.
00:10.720: Is it going to make any sense?
00:10.720: You can get down really, really, really close.
00:10.720: I tried to get 16 cameras.
00:10.800: It's, you know
00:10.880: But Bob became a friend.
00:10.880: I'm making up these ratings.
00:10.880: The iPad is storing things based on what what its creator was.
00:10.960: It has.
00:10.960: So I'd been hanging around inside T V stations because I was a narrator.
00:10.960: I usually suppress them down maybe maybe
00:11.040: And I thought, oh, I can probably stretch and make that work.
00:11.040: Okay, yeah.
00:11.040: It was low eight, regular eight millimeter tape.
00:11.040: When I go over
00:11.120: His buddy was Mickey Mattel.
00:11.120: You always have the option to trim.
00:11.120: Oh, cool.
00:11.200: And I remember.
00:11.280: And so, in the same way,
00:11.360: How much do you want for this?
00:11.360: The work I did
00:11.360: Dean, if you're listening.
00:11.440: So let's pause real quick.
00:11.440: You know what I mean?
00:11.440: But somehow
00:11.520: I think it's important.
00:11.600: So I'm probably going to read it through five times top to bottom.
00:11.680: Everything was black and white, obviously, on the first Macs.
00:11.680: They were just goofy editing systems.
00:11.680: I that's i if you're striking false notes, I don't think it's working for you.
00:11.680: Okay, so now I'm already faster.
00:11.760: Mostly 60s back in those days.
00:11.760: There's some broadcast people I know.
00:11.760: How long have you been narrating or doing spots?
00:11.760: I actually got 14.
00:11.760: And I don't think a lot of people really understand how they work.
00:11.840: That would be good.
00:11.840: But every.
00:11.920: Very, very it's
00:12.080: He's not just trying to read.
00:12.080: The producer knows that.
00:12.160: Okay, so do you hear this scratching?
00:12.160: I'll give you a quick example.
00:12.160: It's not about that.
00:12.240: And anybody who's just like
00:12.240: How bad a problem are these breaths going to be?
00:12.320: It now pops up in the middle of the screen.
00:12.400: And I think that, you know,
00:12.480: And really
00:12.480: You can top and tail things differently.
00:12.480: And I may have mentioned this before.
00:12.560: L-L-I-D-E.
00:12.880: It was thirty seven seconds seconds long.
00:12.880: And I create um
00:12.880: And then at the end of the day, you go, bring me my ten.
00:12.880: I always enjoy this.
00:13.040: So.
00:13.040: I want to.
00:13.040: You think differently about
00:13.200: All inside of At Smart.
00:13.280: I'll guess what they were.
00:13.360: And for the next
00:13.360: I go
00:13.440: I want to.
00:13.520: In fact,
00:13.520: Try that.
00:13.680: And if your edits
00:13.680: I'm going to have to.
00:13.840: Did you just use the word Finn?
00:13.920: And this
00:14.000: So
00:14.000: I want to.