Episode 93
Stuart had 309 Twitter Followers
FCG093 - Resolution Independence (feat. Stuart Moore) Resolution Independence is maybe one of the least talked about features of FCPX 10.1, however, if you do work in off-resoltions, its AMAZING!. In this episode of The Grill we talk with Stuart Moore about some of the ultra hi-res 360 degree video projects that he’s cut in FCPX and compare his workflow today with what it was just one year ago. 6400x720 1280*5=6400 - giant canvas, cut it into 5 files 5 folders, each folder has the right file for that projector
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Featuring
- Chris Fenwick
- Stuart Moore - sundog.co.uk - @sundogme
Transcription
00:00.001: I'm a no programmer, but it doesn't sound something w which would be you know, it's just an interface things feels like to me rather than any real um you know, maybe enormously complicated
00:00.080: Grill Man.
00:00.160: Hey, good morning and welcome to another episode of Final Cut Grill, episode 093 on the countdown to 100.
00:00.160: ten point one came out, one of the most important features to me at least was the fact that our canvas is is now resolution independent.
00:00.160: I think we're going to be seeing more of that around.
00:00.160: something that feels like a beginning and an end because they are loops.
00:00.160: So anyway, go check out Premium Beat.
00:00.160: That's right, just because it was at the time when 'cause where I am in the South West England, the only real there's
00:00.160: you know, not very stable.
00:00.160: it was really that then, you know, that that was really expensive in the you know, to have you know, you'd have to have a kind of a bit of a business plan to really you know, be buying your own.
00:00.160: Glastonbury in the UK, and and it was basically like a rave tent, so you'd go in and there'd be music playing and there'd be video projected all around, you know, so you're in this kind of immersed in
00:00.160: They had these, you know, the kind of the mirror, the catadioptric, you know, kind of mirror reflector to make an H D picture into the kind of the 360 doughnut shape.
00:00.160: I guess the igloo one is be a short install, not a permanent install.
00:00.160: panoramic image, if that makes sense.
00:00.160: bit of mental gymnastics and also wh whether it came from uh final cut or from after effects uh you'd end up with um the the five video images to play through each projector
00:00.160: You know, looked exactly not looked visually, but you know, in naming version.
00:00.160: and play them on the appropriate so it kind of makes sense.
00:00.160: the playout system at the beginning of a show.
00:00.160: put these keyframes in and it just did it in real time.
00:00.160: a bigger, better, faster iMac was on the horizon.
00:00.160: Quite um yeah, I don't know if you saw it, but the other day I was at the Apple store to deal with some issues with uh our purchase.
00:00.160: to more closely match the size of the video and then play it full screen.
00:00.160: virtual cores or however they describe them are definitely definitely worth it.
00:00.160: It's really fascinating.
00:00.160: So we got invited to the Assimilate BBQ, which is a great event if you ever get a chance to uh go to it.
00:00.160: uh just set up a a new uh project uh thirty two hundred wide and then put it in once to the left, once to the right, you know uh ex you know
00:00.160: it no, Quick Look won't even render it.
00:00.160: have it side by side, you know, maybe more scopes, but really just that that kind of you know, the first correction and then going backwards and you know, um just so it's more open, you know, more on screen all the time, yeah, if you want it to be.
00:00.160: Well there's that, but there's also this problem.
00:00.160: The one that you need to do.
00:00.160: Thanks very much.
00:00.240: And I'm going to encourage you to go check out our friends at Premium Beat.
00:00.240: So there's plenty of ways that you can purchase their music.
00:00.240: So anyway, enough of the commercial biz.
00:00.240: traveling around the world and you know, without photography, if you were a botanist, you had to sit down and draw.
00:00.240: The show.
00:00.240: So tell me, how did you get started in this business?
00:00.240: of your skill set.
00:00.240: tens of thousands of pounds over here to be set up to do anything like that.
00:00.240: Actually, I'm supposed to finish that off this this afternoon.
00:00.240: Yeah, that's a good point.
00:00.240: you know, but did did do some kind of uh low band, you know, two machine, three machine uh editing.
00:00.240: I never wanted to get so deep into something that I couldn't legitimately call it a really expensive hobby.
00:00.240: I probably would still own all of this stuff anyway because I really love this stuff.
00:00.240: And the one, although I wasn't actually working at Plymouth University, which is kind of large one in in Plymouth, UK um
00:00.240: that was innovation in the creative and cultural industries and the person who who was running that.
00:00.240: you know, what was often like computer generated kind of rave graphics and stuff.
00:00.240: you're shooting either with like panoramic video or multiple cameras where you're stitching it together, so it is an immersive experience.
00:00.240: So essentially, you've got five H D sixteen by nine images which go around the whole three sixty.
00:00.240: ICCI in the University in Plymouth.
00:00.240: you know, basically composited together.
00:00.240: Yes, it's a very interesting problem.
00:00.240: And we actually recently we actually kind of lost the job.
00:00.240: 4K projection.
00:00.240: lenses that forms the three sixty.
00:00.240: you know, the their their basic setup was, you know, either sm small H T at six thousand four hundred by seven twenty or nine thousand six hundred by ten eighty as as, you know, basically and I think it's then it's really it's just the cost of the projectors into these domes and um
00:00.240: if you can imagine the this almost like a semicircular dome and you're inside it, and the thigh projectors are in the ceiling.
00:00.240: if people are uh at home are doing the the maths and it's uh you know it's twelve eighty times five is all the way around um uh the the the three hundred and sixty.
00:00.240: you know, there were these two ways really, or sometimes they do a bit bit of both.
00:00.240: as the one in two, three, four, five.
00:00.240: it's it's almost like a a problem if you're thinking it in terms of project projecting five images side by side, you know, whereas in some ways it's better to think of it as a as one image wrapping around.
00:00.240: uh the the computers or the Macs playing out would then um you know would be playing uh the you know in the playlist.
00:00.240: Yeah, I d I don't really know how it happened, but yeah, this going right to left and the naming conventions was was tricky.
00:00.240: two or firewire and plenty of stress involved.
00:00.240: Yeah.
00:00.240: Something that took many, many hours.
00:00.240: And I can't remember who it was, but somebody came in with, Oh yeah, what a piece of junk that is.
00:00.240: Yeah, that's it, yeah.
00:00.240: In the States, we actually get to go one, two, three, four, five.
00:00.240: The people that do this kind of projection, they use a piece of software, I believe it's called Blenders with a Z.
00:00.240: Pixel overlap, it'll give you the projection cone width, the projection distance, the projection millimeters of the lens.
00:00.240: At any rate, and it will define the overlap.
00:00.240: Well, it was just really as the one thing came up which was which was a project from twenty twelve, which was the Olympics, and there was a very big
00:00.240: But once you do that, right, once you create that, and in the past I think I've talked about it, I call that my rig.
00:00.240: curate and make work and just actually do the technical stuff of putting it all together for a kind of a long weekend programme.
00:00.240: And it was just you know, none of the rendering in After Effects was just so easy.
00:00.240: that I just thought, oh, well, that was quite easy.
00:00.240: What had happened to the world?
00:00.240: but because it was shot on a Stills camera, it was y you know, it was taller and the clip that had been made from it was taller.
00:00.240: than it needed to be to fit into this rotunda.
00:00.240: just looked fantastic.
00:00.240: and I put a 1920 by 1080 canvas in the viewer, and then I took a snapshot of the whole screen.
00:00.240: It's like oh how cute that's H D.
00:00.240: you know, it's actually even this I wouldn't recommend getting an i5 because you really notice even like in compressor I've got a like a quad core i seven MacBook Pro and you know those extra
00:00.240: I immediately started speculating.
00:00.240: Not target disk mode now if you use it as a monitor, yeah.
00:00.240: it it'd be interesting.
00:00.240: Just kind of held off on the new Mac Pros just because everything else was so expensive to go with it, all the Thunderbolt connected stuff.
00:00.240: Sometimes the easiest way to get that off is to go into target disk mode, attach a Thunderbolt cable and just loop it onto your system, because now you're getting
00:00.240: And then 10 gigabits.
00:00.240: And if you're like me and you don't work for Apple, you can speculate all you want.
00:00.240: And it tells you that display was 6,400 pixels across.
00:00.240: But that's actually the number of pixels that you're looking at.
00:00.240: A ProRes gigantor file and dropped it into a rig that I've got.
00:00.240: as I was handing the USB stick to the projectionist, going, Yeah, here's your six files, it dawned on me, you know, I probably could have cut those in Final Cut.
00:00.240: Yeah, I have done, yeah, and it was really, really easy as well.
00:00.240: complete film, and then making that into a compound clip, and then just setting up another time line with the size of window that you need for each projector.
00:00.240: I'm like, okay.
00:00.240: And I believe you can l you know, I'm not a PC person, but I believe you can license ProRes for PC systems.
00:00.240: Very, very difficult to do.
00:00.240: And he got invited to I'm sorry, Alex, I'm probably going to get this wrong, but I believe it is Scratch, which is one of the high-end coloring tools that's used.
00:00.240: Great food.
00:00.240: in After Effects, but just the ease of use has been a real revelation.
00:00.240: image.
00:00.240: And all of that was playing in real time.
00:00.240: I'm going to guess, probably ProRus 4x4.
00:00.240: what I would ask for if to answer this question or your last question here, if you could sneak in and talk to the engineers at Apple, the programmers, and get them to make the Stuart Moore feature, what would it be?
00:00.240: Yes.
00:00.240: Although I wish you could copy guides from one slide to another, or if you made guides in the master slide, they appeared in every child of it.
00:00.240: I got to say, Philip, you were way ahead of the curve realizing how important that was going to be.
00:00.240: on iTunes.
00:00.320: Stuart is down in Plymouth, England, which is in the southwest of the country if you're looking on your map and you're trying to find it.
00:00.320: He contacted me and was like, Yeah, let's talk big screen.
00:00.320: that you want.
00:00.320: Anyway, so that's what we're going to talk about.
00:00.320: Shooting all day, and I hooked up with him at the end of his day, and it's the middle of the day here.
00:00.320: maybe?
00:00.320: and you know just got more interested in the photography than the biology.
00:00.320: Yes, that was kind of a sweet spot.
00:00.320: Yeah.
00:00.320: You've been doing this quite some time, but it's really you really just got into editorial in around 97-ish, right?
00:00.320: I don't want to do that anymore.
00:00.320: Yes, I've turned the contrast up or whatever it is and to cut down the transparency and it does look a little bit like OS well, OS
00:00.320: uh not for kind of broadcast stuff so uh it was kind of a you know shooting on tape and stuff like that and uh handing it all over so uh
00:00.320: you know, remember that well.
00:00.320: Yeah, I mean the same same with me, yeah.
00:00.320: Which is a bad option to leave on the table if you're trying to be successful in this business.
00:00.320: Yeah, it's all kind of variations on that really.
00:00.320: Early on, I don't know if you've heard of them, but the Point Grey Ladybug cameras, which were kind of 360-degree cameras that a Canadian company.
00:00.320: I think it was a digital, like an optical digital feed from the camera to another box.
00:00.320: Yeah.
00:00.320: Yeah, yeah, just 'cause it's uh you know, 'cause you you know, you know the the angle of view of the um of the GoPros and you know where you want them to point.
00:00.320: Yeah.
00:00.320: And I actually had a occasion about, oh, I'm going to say six or eight months ago where one of our clients was talking.
00:00.320: Here is a standard F frame of video.
00:00.320: realize do you do you really want to go this way?
00:00.320: You know, across the vertical height of the sensor.
00:00.320: Yeah, so I believe the Iglovision for kind of very well paying clients, they've gone quite high res now.
00:00.320: Okay, so if you didn't think the last eighteen minutes was nerdy conversation, we're going to get super nerdy here, Stuart and I, because I want to ask you about some of the methodology that you use.
00:00.320: in in After Effects, the kind of methodology is having the five screens almost as the windows, adjacent windows with the ten percent overlap, looking onto that.
00:00.320: Yeah, and it's it's only you know, once once once your mind's set in it, it is really just think thinking you've got the five screens that are 1536 by seven twenty, which is the you know the
00:00.320: the projector one, then you turn to the left, projector two, left, left.
00:00.320: Five files, you know, going from one, two, three, four, five in separate folders, but to look at, you know, as in the Finder
00:00.320: And one this might make you laugh, that the for reasons best known to themselves Igloovision system, screen one was on the right and it went from right to left.
00:00.320: I can't I would I'd really want to challenge that say really this is the recipe for disaster if something gets jumbled
00:00.320: Legacy Plus, and I use I'm probably use After Effects every single day.
00:00.320: And so then what I'll do is very meticulously I will array I will bring the master comp into those
00:00.320: And then, as it flows into 1, 2, 3, 4, 5, or 5, 4, 3, 2, 1, you can actually see how it's overlapping.
00:00.320: There could be a change.
00:00.320: Oh, I was tired.
00:00.320: Yeah.
00:00.320: That was built afterwards as a memorial.
00:00.320: And so I kind of adapted that to this dome.
00:00.320: center cut thing, or actually yeah, I think it was nineteen twenty, ten eighty, so actually it had to be scaled down to get it vertically.
00:00.320: Center left, center right, and far right window.
00:00.320: Yeah, I'm surprised you said it was an I five.
00:00.320: Yeah, and then of course now it's kind of working all right.
00:00.320: is hit Command Shift F and play back that nineteen twenty full screen and see does it look horrible?
00:00.320: And or I'd like to say Thunder Tube.
00:00.320: Display mode.
00:00.320: But anyway, target display mode allows you to use a Macintosh as a display.
00:00.320: Boom, I have target display mon I now have a 5K monitor.
00:00.320: but it's the Thunderbolt display port, whatever, language that's being spoken.
00:00.320: Do a screen capture of your whole display, Command-Shift-3, and it's going to take a snapshot of your screen.
00:00.320: And then the I can't remember the mask, but the offsetting, so the individual one would come in the right place, was really, really simple as well.
00:00.320: Yeah, there was kind of no yeah, that that that worked really well.
00:00.320: The only problem being um was uh the PC um kind of friendly codec.
00:00.320: So the it likes H two six four, but you can't compress you know, there's a maximum width in H.
00:00.320: wide.
00:00.320: you know, gird your loins for a long battle with Apple to try and, you know, uh encourage them to license it to you.
00:00.320: Put it far to the left, export one H264, put it to the right, export the next H264.
00:00.320: Uh I actually was making full size, full frame um uh
00:00.320: It's 6,000 by 1080, and I don't think that's the right dimension, whatever.
00:00.320: you know, kind of using the graphics card and all of that.
00:00.320: You know, to add another color corrector?
00:00.320: Why can't I just add another one there?
00:00.320: we could easily add a few add me another color corrector.
00:00.320: you know, not not it's not bad, but it's it just seems an obvious kind of improvement.
00:00.320: Yeah, it's to the programmers, but conceptually it's just what I'd guess most people would want, unless you're doing a couple of shots of color correcting, which I guess is pretty rare, isn't it?
00:00.320: Are you aware, uh Stuart, that um l let's say um the ideal scenario is you have a simple
00:00.320: The little ball, the little bouncy.
00:00.320: check anything.
00:00.320: highlighted with the with the bouncing.
00:00.320: A very, you know, I don't know if you would go so far as to say, you know, a small fraternity of people that do this kind of stuff, but it is a bit unusual, and I want to thank you for indulging.
00:00.320: And it just helps other people find the show when it when the grill pops up in the most recent, most current, most popular shows.
00:00.400: say that it is one of the hallmarks of good production music is that it doesn't try and be a pop song.
00:00.400: big screens and you said, Oh, I do some of those.
00:00.400: and uh and then uh so so it was kind of a uh just just uh no great plan just ended up uh where where I am now, wherever that is.
00:00.400: Yeah, I think I did a little bit of Premiere 4.
00:00.400: That was where he said, Yep, I need to recode this from the ground up, and Adobe would not let him do that.
00:00.400: in meetings with a a rental house.
00:00.400: And I said, if you had done if we had done this video at 4K resolution, we'd be talking about and I think it was something like 12,000 pixels or something.
00:00.400: And I said, that's fine, except we can't shoot video like that.
00:00.400: has a predilection for these giant wide screens.
00:00.400: So and I think the largest I've done was six projectors.
00:00.400: And aligning them.
00:00.400: Fascinating to watch, you know, kind of grids that they project, and then they have to line them all up.
00:00.400: what we have now.
00:00.400: the full six thousand four hundred times seven twenty.
00:00.400: Um kind of screens.
00:00.400: on an external monitor with a very thin strip to to see what how your editing was working, that it that was all
00:00.400: video for that projector.
00:00.400: downscale my resolution from ten eighty projection scale to seven twenty projection scale.
00:00.400: really fascinating.
00:00.400: You never have to think about it again.
00:00.400: called the Cultural Olympiad, and so there was some money available.
00:00.400: one of those projects was an actual kind of a kind of a fairly straight panoramic project from a taken in the City of London, where there's a monument to the Great Fire of London in sixteen sixty six.
00:00.400: Timeline.
00:00.400: Right.
00:00.400: and start it up holding down the letter T, it goes into what's called um target disc mode.
00:00.400: you know, ten I always forget the words, you know, ten gigabit, whatever.
00:00.400: being used as a display to enable TDM.
00:00.400: Is actually maxing out to do a 4K display.
00:00.400: Okay?
00:00.400: to be able to support a 5K display, and then it it appears as though Apple is just going to skip over the 4K display world and just bring us five K displays in the near future, maybe, who knows?
00:00.400: to all of the cables that need to go.
00:00.400: And we were chatting with one of the guys, and basically he said, Yeah, it was a long, drawn-out, protracted
00:00.400: Yeah, you know, it is it's a very interesting thing.
00:00.400: you know, timeline that is is basically just, you know, some A roll and some B roll up above, that as you play through the timeline
00:00.400: And then from those rulers, allow me to drag out guides.
00:00.400: And you know, Philip Hodgetts was the first one that I heard talking about this, you know, maybe five years ago on his blog.
00:00.400: In Final Cut 10.
00:00.400: But go to iTunes, leave a comment, leave some stars.
00:00.480: a few Media One Hundreds that you remember well, don't you?
00:00.480: like the names suggests, they'd have these kind of igloo shaped domes from nine metres across and getting o over the years getting much larger.
00:00.480: And so, you know, Fuppo, as their kind of business developed, they had this collaboration with
00:00.480: you know, composite or kind of filmed by whatever camera is needed, or you know, filmed with several cameras and then kind of
00:00.480: to kind of the the top and the bottom of the you can you picture it, the the kind of a a cylind a doughnut shape onto the sensor, which then gets walked back out into a panorama.
00:00.480: the other way was working from Final Cut seven.
00:00.480: or after effects would be five four three two one, just because you know they couldn't be things couldn't be too complicated.
00:00.480: And uh and so the system was that you'd have uh five uh so you'd have um five folders, one, two, three, four, five, and in each um each folder would be the appropriate um
00:00.480: 128 pixels either side.
00:00.480: kind of programme or days events.
00:00.480: And so with hindsight, I guess we could all be a lot more organised, maybe.
00:00.480: to oversee the installation on one of the widescreens I had done.
00:00.480: Into each one of those subcomps and meticulously aligned by the Yeah, and so you were saying a 10% overlap.
00:00.480: dome set up in Weymouth, which is on the south coast of England, where they were having sailing, you know, the Olympic sailing events.
00:00.480: Now you can just you know it's resolution independent.
00:00.480: Pause.
00:00.480: view from the top of this monument in the City of London.
00:00.480: Because the shape of this project was it was kind of too tall for the dome, and then this ICCI now have a kind of a projection
00:00.480: you know, chosen chosen what what Macs to buy and stuff like that.
00:00.480: As though the whole Macintosh is now just a hard drive.
00:00.480: Anyway, so now, have you done here's the question I really wanted to get to with you, Stuart.
00:00.480: So for this one, it was just a question of splitting the two in half.
00:00.480: And I don't know if any of that was proprietary information, but obviously it's pain, isn't it?
00:00.480: more universal or an actual standard.
00:00.480: ProRes four by four files, you know, with an alpha channel.
00:00.480: Replacement.
00:00.480: an animation codec film video in the QuickTime seven player, you'll notice it's rendering it out
00:00.480: But if you play to a shot and you go, Oh, I want to affect this, and stop it, as long as the ball is on that clip, you don't have to
00:00.480: Which it does occasionally.
00:00.480: Stuart and I in having that conversation.
00:00.560: all of the the plants and animals and whatnot that you were discovering.
00:00.560: seven.
00:00.560: Um so uh anyway uh we so how did you get into
00:00.560: although I don't work for the Igloo company, but my understanding was that it started in kind of festivals like
00:00.560: six six GoPros.
00:00.560: I mean with these with these domes because they're they're coming with a with a with y you know kind of however view recording it and I believe people have been recording six K on Reds, but with a with a one of those facing upwards with the mirror.
00:00.560: In Chicago, I turn on my phone and it lights up like a Christmas tree.
00:00.560: And they um had decided, uh for whatever reason, that um we needed to
00:00.560: of file sizes that you know, the kind of co you know, before Thunderbolt, this was, you know, the the where if you had to make uh changes, the time, you know, to reload everything onto the computer at the big you know, onto the
00:00.560: But there's so much opportunity, I think, to screw that up.
00:00.560: you know, getting too tired.
00:00.560: I had to I I was playing around well with one of the 5Ks and I opened up with you know Final Cut and I opened up some some content that was 1920 1080.
00:00.560: the Mac, even the Mac Pro, cannot display on the 5K iMac.
00:00.560: And you want know what the pixel density is of your display at any given moment
00:00.560: I think it's 69 I should know this.
00:00.560: in Final Cut.
00:00.560: Essentially, it didn't need the the watch out system could have handled it could play out the one file at six four hundred
00:00.560: just as a kind of fairly universal but reasonable file size.
00:00.560: I don't think it's readily available.
00:00.560: is quite remarkable.
00:00.560: But yeah, it's immediately transcoding that.
00:00.560: And we'll even call it that in the menu.
00:00.560: unless you're just fixing a couple of dud shots, you're going to go through the whole project colour correcting.
00:00.640: Oh, yes.
00:00.640: It was with you know, and I can't speak for the company and those it's probably all changed now, but I believe it was it was then that the
00:00.640: Yes, and I think it was because I mean, this is going back a few years now, and I think it's decisions were being made and it was all kind of bespoke.
00:00.640: I appreciate that you would like to make that change, but I want you to know that there are probably not enough hours between now and tomorrow morning to actually make that happen.
00:00.640: And the JPEG is it has targets and overl it the overlap is defined and its actual size.
00:00.640: pop the the clip, which was kind of created in QuickTime from the JPEGs that I believe there were.
00:00.640: And I started I started by putting a solid background in the frame.
00:00.640: Then I duplicated it a few times and stacked it up on top of each other in the timeline, but spread it out from each other in the canvas.
00:00.640: twenty seven inch iMac, not the very top spec, only an i five, you know, quadcore.
00:00.640: In the daytime, the view of the city looked great, but there's also fantastic clouds and all the kind of jet trails, you know.
00:00.640: you you'd look down and see all the traffic and the the lights of London.
00:00.640: stuff like that.
00:00.640: You know what, let's just let's do a little bit of research here.
00:00.640: But that was a bummer when I saw that.
00:00.640: Of the here's a good trick.
00:00.640: What ends up happening, and I've because I've watched the projectionist do this on a six screen, he brings in the six files.
00:00.640: it's been a kind of a bit of a revelation because it's just been so easy.
00:00.640: So those were playing in real time also.
00:00.640: under the hood is that Final Cut X is completely built on what is called the A V Foundation.
00:00.640: and it works okay, but it's it is very old code.
00:00.640: Some video formats will not work in the Macintosh, what's called Quick Look.
00:00.640: Stuart, if we've talked about a lot of things and I know what based on the conversation that we have had, I know
00:00.640: Um give me command R for or something give me rulers
00:00.640: But that's another show.
00:00.720: I'm going to invite you into a sort of a really geeky conversation.
00:00.720: Glad to be here.
00:00.720: But then I think in ninety seven, kind of got a reasonable Mac and then started in Premiere, the old Premiere, the Pre Premier Pro.
00:00.720: You had to turn some off in order to edit.
00:00.720: Well, that was where I'm based in Plymouth, although at the time I was working at another university because as well as kind of doing TV work and
00:00.720: That is 360 degrees, where it's actually.
00:00.720: And so they had this Ladybug Two, I believe, and that would film Three Sixty.
00:00.720: or but now very much like a lot of other people a lot of it is with kind of little computer print you know the kind of printed 3d printed
00:00.720: It's awesome now that Final Cut 10 is resolution independent, and we will talk about that.
00:00.720: basically, you know, have a wind, you know, if you imagine you've got the full panoramic image, and then you
00:00.720: there's basically worked a couple of ways with it.
00:00.720: Identically named file into five folders.
00:00.720: And then what I do is I make five or six, whatever, subcomps
00:00.720: kind of projection rig to Germany a fe uh a few months ago and that.
00:00.720: Um how do I do uh there's a breakdown.
00:00.720: Another video that's 640 by 6000 by 1080, and it has an alpha channel, which essentially is like a third video, technically, if you think about it.
00:00.720: So it's sort of converting it so that it is.
00:00.800: visual excitement, but I think that it's it becomes infinitely more difficult when you say I'm going to put an image
00:00.800: So, you know, uh, I've done 7,000 and change at 720.
00:00.800: because they tend to be a seven twenty height image.
00:00.800: You know, it's a constant 'cause the the the five projectors have to be edge blended, so you have to have like ten percent either side, and then they they kind of knit them together.
00:00.800: kind of canvas.
00:00.800: what this watch out system, you know, what codec it would kind of use.
00:00.800: You know, in this case, it was if it was sixty four hundred wide, it I made um a um a compound clip and then
00:00.880: Skill set.
00:00.880: and kind of running a production company of sorts.
00:00.880: Yeah.
00:00.880: And so they're projecting onto a dome which is going away from them.
00:00.880: Been a gap between doing any of this work.
00:00.880: And then it dawned on me, it's like, oh, wow, what would a 720 by 486 video window look like on that 4K?
00:00.880: The key thing and we'll leave it at this, but the key thing that's going on here, and the reason we're seeing such amazing performance in Final Cut 10
00:00.960: there was a kind of initiatives or a kind of a I don't quite know what you call it.
00:00.960: So I know you do some shooting.
00:00.960: many an opportunity to end up with a bogus clip playing on one of the five screens.
00:00.960: Well, I don't understand.
00:00.960: Okay.
00:00.960: was set up for several weeks.
00:00.960: That he has now caught himself on multiple occasions, and I'll point it out, oh, yeah, I did it again.
00:00.960: If your video was a lot smaller than the desktop, it would change the video resolution
00:00.960: Or in fact, this this one in the rotunda, which you're talking about, this one is a different aspect ratio.
00:00.960: software and the hardware of the watchlight system then just sends the appropriate stuff off to each projector.
00:00.960: But I don't think it's perfect and there's things we'd all like to change, but some there's some of the stuff under the hood is
00:00.960: And you know, yes, stuff snaps to each other, but why can't they just have guides?
00:01.040: quite a tricky chain of of events to come from the picture to to a recording and um so
00:01.040: my workflow has always been to make a single canvas that is the target destin uh that is the target scale.
00:01.040: The light lights are describing as windows into your work.
00:01.040: kind of event with the actual sports of which in in Weymouth was water sports.
00:01.040: I think it was the 7,000 pixel thing.
00:01.040: Yeah, but but really just your kind of question about how easy it was to kind of go from the panoramic or the very wide
00:01.040: You know, sort of depend on the AV Foundation giant air quotes here standard to
00:01.040: To be the same because people don't know what Apple is doing.
00:01.120: When I was back at college I did biology and as part of that we did a bit of photography, which then led into community video, which then led into T V.
00:01.120: Like, yes, I I study plants and look, this is what I drew.
00:01.120: with with projection inside.
00:01.120: And then, you know, feel then you had to keep it.
00:01.120: Press Command F two on the keyboard.
00:01.120: you know, the half half the pixels, and then that was just pieced together.
00:01.120: agreement phase with Apple to be able to do that because and I'm speculating again, I don't know anything.
00:01.120: You don't have to click on anything in the time line.
00:01.120: Bye.
00:01.200: kind of affordable that it's quite amazing to be able to edit stuff in your own kind of home or business setting.
00:01.200: to kind of put in to put to kind of develop what was quite an innovative I don't know what you call it, a format experience.
00:01.200: And it's a fair fair size, I think it was about 16 minutes long, you know, at this 6400 by 720.
00:01.200: Do you know the Watch Out system, which I think you mentioned?
00:01.200: And we were talking with the people at Assimilate because they had, I believe, just at this NAB, this 2014, were announcing that they now had full ProRes support.
00:01.200: So then I'm going to jump in on your bandwagon here, and I'm fairly certain we can't do this, but I would love to, as you can with many compositing apps, including Motion.
00:01.280: And I believe our friend Alex Golner, that first night that it was released, he made one that was like a million pixels wide or something.
00:01.280: I hadn't thought of that.
00:01.280: doing the sort of we'll call them off resolution or wide screen videos.
00:01.280: kind of holders for however many GoPros.
00:01.280: And it's basically a complicated spreadsheet, but it prints out from some software that these projection guys use.
00:01.280: The keyboard shortcut for that.
00:01.280: That was really bad radio.
00:01.280: But it has also brought us this amazing workhouse workhorse rather that plays back these giant files in real time and even does keying and stuff.
00:01.360: at the kind of documentation level.
00:01.360: It's a little before my time, but you know, it looks like kind of classic classic Mac, which is kind of sort of interesting.
00:01.360: So then we get to Final Cut ten.
00:01.360: the kind of high res stills and put put this quick time in.
00:01.360: It's like, yeah, okay.
00:01.360: Command.
00:01.360: until you make your own software and your own hardware, it's very dangerous for them to
00:01.440: room device, which is a a cylinder.
00:01.440: So as the day came, the whole comp kind of panned up or so or the picture dropped down, so you're seeing more of the sky.
00:01.440: Intellectual property, and they're very careful of that.
00:01.520: Oh, now I'm drawn a blank, but it was s I believe it was the journeys of Captain Cook
00:01.520: I remember, you know, re re rendering in Premiere and there was a you know, making shorts and it was a, you know, the well, I suppose it was back in the classic classic Mac days, wasn't it, with the extensions loading and the
00:01.520: really fantastic.
00:01.520: Yeah, it's the same experience, yeah.
00:01.520: So gigabit is what your Ethernet is going to be, 10 gigabit is what your Thunderbolt port is going to be.
00:01.520: Anyway, a lot of pixels, very close to doing my current video that I'm working on, which is sixty
00:01.520: It was at a pool at some off the strip crappy little hotel, but you could anyway, uh long story.
00:01.600: to get a kind of a seamless image, if that's what you, as the filmmaker, is intended intending, rather than individual images around the dome.
00:01.600: It was the middle of the night.
00:01.600: It is the successor to the QuickTime Foundation.
00:01.680: It was a very I love that history story.
00:01.680: I don't think Apple would allow it to look horrible, so they might be doing some other things.
00:01.680: So do you typically do you typically deliver H.
00:01.760: It's not rocket science, but it's, you know, it's it can be a little tricky, and you certainly got to know what you're doing.
00:01.760: And and he um there was some th there was a and maybe it's not Captain Cook, but anyway, there was a i I want to say like eighteen hundreds possibly
00:01.760: And but but it's it's quite interesting that with with really as the Macs got cheaper, it was possible to kind of do your own do your own editing, which is really
00:01.760: Let's talk about how we were doing it beforehand.
00:01.760: So what will more than likely happen, we can only speculate because nobody knows.
00:01.760: And he ends up building a timeline essentially.
00:01.760: And that's really I'm not an After Effects expert, but I've used it for years.
00:01.760: So anyway, thanks for listening.
00:01.840: Do that for me just as a favor.
00:01.840: And this is clearly a business plan.
00:01.840: Yeah.
00:01.840: Then with that way it was kind of then thinking of five screens.
00:01.840: So you'd have let's say say B one oh five was was where it would play in the program.
00:01.840: or you know, some c kind of pretty decent canon that was just a photographic time lapse.
00:01.840: You probably found the show on iTunes, although I typically tweet right or send out links right to the website.
00:01.920: Yeah.
00:01.920: And it's it's I I'm so glad I'm not involved in that part of it.
00:01.920: I'm going to call the keynote snack shop or something.
00:01.920: Anyway, that's it.
00:02.000: Here's an HD frame of video.
00:02.000: I don't know if most people know this, but with an iMac, there's a functionality called target screen mode.
00:02.000: A widescreen I just mentioned, the one I can't remember how big it is.
00:02.080: And really, what you find as you start dealing with ultra wide screens is it's the vertical resolution that determines everything.
00:02.080: Yeah.
00:02.080: And I said, I understand that you don't understand, but you need to understand.
00:02.080: I'll see if I can post one.
00:02.080: Yeah, I mean for me it was I I thought it was a bit of a although the the place I worked till last summer, another university where I'd basically
00:02.160: Yeah, so yeah, and then just kind of moved in into video and then ended up in T V but doing doing no editing.
00:02.240: Do you ever shoot content for it as well?
00:02.240: And I was like, oh, please no.
00:02.240: Yeah, it does.
00:02.240: Because at that time, I was doing everything and I still use After Effects.
00:02.240: It'll just go, yeah, here's an icon, it's a video file and it's really big.
00:02.240: When you are in the color board, if you want to add another color corrector, you have to exit out of the color board, add it, and then when you go back in, you have access to it in the little pull-down menu.
00:02.240: Yeah, it goes over the live or the focus.
00:02.240: Yeah.
00:02.240: If you hadn't double-clicked it to to kind of bring that one into w whatever it used to be.
00:02.320: What else?
00:02.320: I always pay extra for the I sevens.
00:02.400: So there's a slight rebrand going there, but always the same great music.
00:02.400: That was right before Randy Eubelos left Adobe to go to Macromedia and eventually to Apple.
00:02.400: So, you know, all kind of variations on that you know, on how to kind of project in into these domes.
00:02.400: Okay.
00:02.400: I have not done it yet.
00:02.400: Yeah, so it's quite clever, although it's quite hard to get a grasp on it.
00:02.480: So um so you never did any tape editing.
00:02.480: But the the panoramic w it it's um you know, if you think
00:02.480: I don't know anything about Adobe.
00:02.480: It'll be you just pull down, it'll say Stuart Moore.
00:02.480: I tell you what it really all boils down to is that Final Cut 10 is built on the AV Foundation as opposed to the QuickTime framework.
00:02.560: You know, it'd be looking now we're going to play film B one hundred five.
00:02.560: So I got rid of that.
00:02.560: I mean that was the problem, wasn't it?
00:02.640: We're going to talk about some of the ins and the outs of doing widescreen video.
00:02.640: And they they and so the university side was kind of commissioning and c uh creating content to
00:02.640: And a filmmaker called Chris May Andrews had done quite a high-res time-lapse using
00:02.640: And even you know, my boss has been you know, we've been doing enough of these giant screens.
00:02.720: Sorry.
00:02.800: I think it has to do with browsing.
00:02.800: So so like i if one day I decided, yeah, you know, I'm gonna go get a real job, which is a bad
00:02.800: And it's still even then because you've got the the kind of the doughnut shape of the image
00:02.800: And so, because you're not setting, and I know that you can do this like in After Effects, you can set like a bounding region, like only export these pixels from here to here.
00:02.800: And I think if you're a PC company that wants to support ProRes, you have to probably
00:02.880: I'm like, Okay, you know, that'll be a show.
00:02.880: It's still not hugely high res.
00:02.880: So you're talking about twelve very costy, very high end projectors and all of the because I'm doing short installs.
00:02.880: And then also what's really nice is the Blender software will also generate a test JPEG.
00:02.880: I did my bounding box wrong.
00:02.880: It's unbelievable, isn't it?
00:02.880: If it's an animation codec, why would you do that if you don't have an alpha channel in it?
00:02.960: But you know, in terms of file management, particularly if like me you're not particularly organized, it's you know there's many a
00:02.960: But but then again, we drive on the right-hand side of the road, too.
00:02.960: It's like, oh, oh, really?
00:03.040: So, Stuart, you've been following me on Twitter.
00:03.040: And then yes, so it's another way of looking at it.
00:03.040: So when ten point one comes out, how quickly did you start toying with the resolution?
00:03.040: And then this ICCI organization were taking their own
00:03.040: It's 69 or 5900.
00:03.040: You know, uh you kind of wonder what they're doing with After Effects, where, you know, I'm guessing what every After Effects artist would want would be, you know, kind of real time.
00:03.120: So you'd kind of go in through the tunnel in into this dome, and then you'd be surrounded by three sixty video.
00:03.120: It's like, really?
00:03.120: Some older keywords.
00:03.200: And with a colleague, I actually got to program and create kind of
00:03.200: Yeah, you want to play and then you close it.
00:03.280: And yes, so it's a it's a whole kind of range and other other other stuff is kind of generated, you know, kind of in After Effects or some animation, you know, into actually
00:03.280: But basically what it does is it turns that Mac on and treats that output port
00:03.360: So sometimes you'll have to buy the original song as well, and you'll still do a little bit of editing, but it's a lot of fun.
00:03.360: Yes, it's interesting you mentioned the business plan because I know that when I ran my own business, my philosophy always was that
00:03.360: And one one was in After After Effects where just working with
00:03.360: It's actually quite fascinating because it'll give you the full pixel count.
00:03.360: And I was thinking, oh, back to back to After Effects, you know, remember what the dimensions were, where the subcomps had to go, and all of this.
00:03.360: And it's like I know, I I totally agree.
00:03.360: I know right now this is one of those times where I say, yeah, I should edit that out, and I know I won't, so I'll just leave it.
00:03.440: I'm going to ask, they've been very generous to support what we're doing here.
00:03.440: quite innovative.
00:03.440: It's quite stressful.
00:03.440: If you have a retina Mac of any flavor, um
00:03.440: So it was just making the edit file that was six four hundred by seven twenty the kind of finished
00:03.440: When I was at NAB this last year, the first night I was there, I was with Alex McLean, my partner on Digital Cinema Cafe.
00:03.440: And I and I actually had a discussion with this with a friend of mine the other day, and I said, you know, um
00:03.440: We'll be back next time with another exciting episode.
00:03.520: I mean, it's you could shoot six K red, but you're still going to have to double it.
00:03.520: Yeah.
00:03.520: And then it was because it didn't have the resolution to actually have a six thousand four hundred wide
00:03.520: Once you have that, your iterations will be exactly the same from version one to version twenty or whatever.
00:03.520: Yeah, it's just uh, yeah, and this, this was, uh, you know, um, this was on
00:03.600: And I and I so I had to make this very intricate little slide show.
00:03.600: What is TDM, they call it?
00:03.600: Why can't I turn on and off my masks there?
00:03.600: All right.
00:03.680: I've told it a million times.
00:03.680: But it's really as you know, I mean, as I'm sure it's the same in the States, that really professional T V editing was all avid and it was you know
00:03.680: Correct.
00:03.680: And then I've just got this i5 um iMac as a as a as a stopgap because the the new, you know, in typical annoying Apple fashion, you new
00:03.680: So Mac Target Screen Mode.
00:03.680: And that is a problem.
00:03.680: You don't have to you can leave the colorboard open and just go to the next shot, diddle, because those colorboard controls are now for the new clip that is
00:03.760: Right, so if you're if you don't know this, um, if you shut down a Macintosh
00:03.760: I'm sure there must be catches.
00:03.840: So it was kind of going to be a little bit more.
00:03.840: And so what we've done in the dome in After Effects, we kind of keyframe moves so as the because
00:03.840: No edge blending, nothing else.
00:03.840: From what I understand, only the five-star works.
00:03.920: Here is this and here is this.
00:03.920: Just because I've done it a bunch.
00:03.920: So you could see all the kind of landmarks, the River Thames, a full 360.
00:04.000: You can get a full song.
00:04.000: So that's what that's what I want to talk about.
00:04.000: So how did you compose a video that was, let's say, I don't know, you pick a number, something by seven twenty, like Yeah, say just basically the sixty four hundred.
00:04.000: So I just bought a refurb one from the Apple store with the i5.
00:04.000: But yeah, they're surprisingly good, the iMacs, which probably not news to most people, but I'd always kind of gone for the Mac Pros and
00:04.000: You know, I used to find in Final Cut 7 is that if you weren't careful, the clip you were adjusting was actually the
00:04.080: I don't know why, but it was going to be 10,000 plus at 1080.
00:04.080: So it's like, you know, it's two or three days of hanging projectors and.
00:04.080: Um, so you'd have like five layers in in Final Cut seven, um, you know, and then be offsetting them and uh and then play playing them back on um
00:04.080: But each video image, each video clip would have the same exactly the same name.
00:04.080: Why not just append each file name with screen A, B, C, D, E or whatever?
00:04.080: I'll read it to you.
00:04.080: So imagine a giant canvas of whatever pixel wide, we'll call it 6,000 for now.
00:04.160: But Stewart takes wonderful pictures, but he doesn't apply himself to his schoolwork
00:04.160: They have kind of been working and lecturing in various kind of art colleges and universities over the years.
00:04.160: The pro the projection costs, and you know, for the shows that I do, they're doubling up everything for backup.
00:04.240: We are going to go all the way over to Plymouth.
00:04.240: And you know, you have all these old sketchbooks.
00:04.240: It's not a very good one.
00:04.240: Wait a second.
00:04.240: And it's 7,300 or something, whatever.
00:04.240: So I'm thinking, shall I now wait for the next refresh?
00:04.240: It would it would help everyone, I think, really.
00:04.320: If you've noticed on their Twitter account, they have a new logo.
00:04.320: So if you can imagine, as uh, under pressure, you'd have to copy your files, you know, the appropriate
00:04.320: So I didn't want to buy, you know, the I'm not sure what, is it twenty twelve or twenty thirteen, whatever, the one before the latest refresh.
00:04.320: Connect the mail domain menu display board or Thunderbolt cable.
00:04.320: What we'll probably end up seeing is a bump in the Thunderbolt protocol in the next rev of Mac Pros.
00:04.320: Yeah.
00:04.400: I haven't really read up on it.
00:04.400: So it's like six thousand four hundred pixels by seven twenty as a single panoramic image, whether it's
00:04.400: I build this rig once, and then every time I kick out my five files because like we found out in Chicago landing at O'Hare,
00:04.400: But the um the one that went to Germany, because that was on
00:04.480: Yeah, sure.
00:04.480: And it really alarmed me to see that there is now an extensions control panel.
00:04.480: So these well, the kind of system which this Iglivision developed, there's five projectors
00:04.480: So you know, you make a change and then you want to copy it onto a hard drive and it's a USB
00:04.480: Hit play.
00:04.560: And so a very large, I think it was twenty one metre diameter dome
00:04.560: And you have in on some machines you have to use the function key, whatever, okay, that gets more complicated.
00:04.640: I'll just just give it a go and just kind of pop the
00:04.640: So rather than being a dome, it's a cylinder, which they called a rotunder.
00:04.640: So immediately I thought, oh, new 5K iMac.
00:04.640: Okay.
00:04.640: It says, Do you want to save this?
00:04.640: So that's why we're seeing this amazing performance bump.
00:04.720: And the domes, some parts of the domes, are inflated, so
00:04.720: You know, it's just too easy.
00:04.720: I have the seven thousand pixel display I did recently, earlier this year, I actually kicked out
00:04.720: two six four?
00:04.800: I got I responded back real quickly.
00:04.800: So I was aware of these kind of iMacs.
00:04.800: Yeah.
00:04.800: Yeah.
00:04.800: As I said in the interview, if it doesn't get if it isn't geeky enough, we're going to turn up the geek, the geek level.
00:04.880: And the reason it's important for the Final Cut Grill is that last year in December, when
00:04.880: But you know, quite a full on, full on visual experience.
00:04.880: So, actually, let me ask you about that.
00:04.880: Oh, yeah, yeah.
00:04.880: So it seems to be going a lot of GoPros.
00:04.880: And there's a dozen text messages from the producer and the production manager and like, uh-oh, this can't be good.
00:04.880: Yeah, I I had because um I did have a a Mac Pro and it was
00:04.960: Different world now.
00:04.960: It was always computer, correct?
00:04.960: And I name those, you know, you're doing 54321.
00:04.960: And so this was done by kind of keyframing up and down and rendering.
00:04.960: And I d I wonder if maybe the five K does anything like that.
00:04.960: Again, I'm just speculating here.
00:04.960: That's it for this Monday episode.
00:05.040: And then in that way to kind of split out the amounts for the five projectors, then you'd
00:05.040: It's uh it was sixty four hundred by thirty six hundred pixels at one hundred and forty four pixels per inch.
00:05.120: I mean, that's what it was all about, just taking I was doing plant physiology and then taking pictures of plants.
00:05.120: Okay?
00:05.120: And as you say, that you know, obviously you can composite stuff farm do far more sophisticated stuff in
00:05.120: Their silence, that Willy Wonka factory with Oompa Loompas in it, does not serve this community well.
00:05.120: It's just something when you're going down what used to be a time line down your project and having to keep going backwards and forwards, it's
00:05.200: And now all of a sudden everything doesn't align.
00:05.200: You know, sometimes I think and I could be wrong with this, but I think in QuickTime seven at least, when you hit Command F and it went full screen,
00:05.280: Well, it was quite a convoluted kind of path, which was
00:05.280: And we're working with a company called Igloo Vision in the UK, which
00:05.280: And the rental house was kind of urging them on to up their budgets to be able to cover the cost of doing
00:05.280: Do you have any idea what you're getting yourself into?
00:05.280: It was almost like you know, laughable that it just worked so well.
00:05.280: Watch Out is a PC based magic box of science where
00:05.360: You can get the loop packs.
00:05.360: And they wanted to kind of represent this monument film.
00:05.360: Okay.
00:05.360: Target oh no, target display mode.
00:05.360: No, I think it's 6900 pixels wide.
00:05.360: So it can be done.
00:05.360: Oh, God, that would be so good.
00:05.440: And so it's kind of like mad curving, keystoning.
00:05.440: I don't think you fully understand exactly how much data you have just asked me to change.
00:05.440: Um but in this particular instance um
00:05.440: Not so.
00:05.440: Yeah.
00:05.520: But the kind of catches that then and there's a lot of catches with these panoramic rather than I think you were doing very wide
00:05.520: I it looked really simple in the watch out.
00:05.520: It signs, you know, with you are the final cut.
00:05.600: But it it definitely scared me when I saw that word pop up.
00:05.600: Now, as it's as it's turned out, it's worked out okay.
00:05.600: Like, didn't hesitate at all.
00:05.600: Just giving the left file and the right file at
00:05.680: And you know, I love the premium beat music.
00:05.680: How did they start doing that?
00:05.680: And as I'm landing
00:05.680: It fitted fine and played back in real time.
00:05.760: And as as it developed wh where they've gone, which like a lot of people, they
00:05.760: So like let's say you walk into an edit suite with your laptop and you have some really big files.
00:05.840: And it was like a whole part of your
00:05.840: I'm like, well, okay, obviously that's going to play.
00:05.840: Yeah.
00:05.840: Yeah.
00:05.840: Oh, yeah, yeah, I'm thinking, isn't it trying to open it up in the new QuickTime player when it it actually kind of creates its own yeah, that's exactly right.
00:05.840: Just so you can have this.
00:05.920: So it's interesting, you know, y you bypass that part.
00:05.920: So, um so
00:05.920: Well, it's not very original at all.
00:06.000: That and Final Cut Ten's resolution independence, which turns out to be a great feature for guys like you and I.
00:06.000: It really is interesting.
00:06.000: But if I was ever going to get a real job.
00:06.000: Yeah, and that's quite, you know, conceptually quite easy.
00:06.000: Taken to your system, yeah.
00:06.000: So that was ProRes LT, but then it was just the finding
00:06.000: And some of the rendering, especially with Premiere Pro
00:06.000: And it's what gives us the amazing playback performance that we have in
00:06.080: It's called ICCI, a kind of a department.
00:06.080: Yep.
00:06.080: And the other thing that I'll mention is that this current video that I'm working on
00:06.080: Anyway, Stuart, thanks for your time.
00:06.160: And now here's 4K.
00:06.160: I have yet to do my cutting, my slicing, whatever you want to call it.
00:06.240: You know, just because you've got a fit
00:06.240: That happened with 10.
00:06.240: Plus, Reef, you've actually done been able to pull that off?
00:06.240: To l to leave target.
00:06.240: And I was making little graphical elements to drop over my video elements that were filling the frame.
00:06.320: I'm not just wish it into being.
00:06.320: That could be something.
00:06.320: So it was a real revelation.
00:06.320: And somehow that thing breaks it out to all of the
00:06.320: No, I'm totally joking.
00:06.400: So it was only really with Premier and with Max getting more
00:06.400: So apparently, what goes down is that the limiting factor is not the number of pixels you actually have on the display.
00:06.400: Yeah, it's highlighting the focus clip.
00:06.400: Good grief, I sound like a bad TV show of Final Cut Grill.
00:06.480: You can get the shorts.
00:06.480: Do you ever do that where
00:06.480: But the 5k one is
00:06.480: And what that means is
00:06.480: Because if it was
00:06.560: I mean, the ugly ones, it's it's
00:06.560: Didn't even
00:06.560: Yeah, I saw that, yeah, a little plastic stamp.
00:06.640: Now, it doesn't matter what size your screen is, but you're always going to need music.
00:06.640: I do not think After Effects is a piece of junk.
00:06.640: I know, right.
00:06.640: I know what you're saying, because I remember the first time I started dropping stuff into a big
00:06.640: two six four that'll compress properly.
00:06.640: So that's five thousand six hundred by seven twenty, but it would would have done it for six thousand four hundred.
00:06.640: Yeah, exactly.
00:06.720: Yeah.
00:06.800: I've been following you.
00:06.800: My philosophy was always that
00:06.800: Yes, as it turns out, it's actually very
00:06.880: And of course, also, you know, as you're getting into gigabytes of
00:06.880: Target disc mode as it used to be, wasn't it?
00:06.960: And then there was a firewire from the box to a laptop, which tended to be a PC laptop.
00:06.960: Wow.
00:06.960: And it's not like it's a crazy, you know, Vegas party, but I but they had great food.
00:06.960: Yeah, that's a real thing, isn't it?
00:07.040: No, it did did, but not uh you know, kind of um n n not uh say not professionally, but you know, not not uh
00:07.040: I'm not quite sure how they got into it, but they got into three sixty degree video, which was
00:07.040: Anyway, you're getting ten yeah, ten good things as opposed to, you know, gigabit being yeah, that's so gigabit
00:07.120: 4.
00:07.120: And uh but uh
00:07.120: Maybe I'll make a demo and put it online.
00:07.120: And that you'd have
00:07.120: But I would say that
00:07.120: The viewer.
00:07.200: And go check it out.
00:07.200: So it's a quick way to do it.
00:07.200: I don't know.
00:07.200: It kind of for the igloo systems, it was generally ProRes LT.
00:07.200: I mean, we're not going to switch to PC well, I suppose some people do anyway.
00:07.200: They don't have to stay on when you're playing.
00:07.280: Although, I gotta say, I'm a l I will say, you know, I've been putting Yosemite on some of the machines around the office.
00:07.280: I made a comment about After Effects on Twitter a few days ago or last week, whatever.
00:07.280: And have you ever seen these documents?
00:07.280: I was a bit nervous of actually having an iMac rather than a Mac Pro.
00:07.280: He actually requested the audio as a separate file, which scared the Jesus out of me.
00:07.280: And QuickTime has been with us since 1990, forever.
00:07.280: If you would be so kind, go check out
00:07.360: So it's very, very, very simple.
00:07.360: You can star it, whatever you want, but I prefer five.
00:07.440: And you know, Stuart had been out.
00:07.440: So you have to.
00:07.440: So it's nice to get that out of the way.
00:07.440: Press Command F two on the keyboard and the iMac.
00:07.440: You know how you select a file and you just say it renders it out, doesn't it, from AUV Foundation?
00:07.520: Yeah.
00:07.520: And if somebody does know, they work for Apple and they won't talk because they like their job.
00:07.600: Yeah, you heard that right.
00:07.600: So let's go to Stuart Moore, widescreen expert in Plymouth, England.
00:07.600: 1.
00:07.600: Yeah.
00:07.600: So
00:07.600: But um
00:07.600: Another show, maybe.
00:07.680: 2, I think if I remember
00:07.680: Because I know that this company
00:07.680: So it's also exactly you know
00:07.680: It would be looking in a folder because often it would be a playlist for whole
00:07.680: It's almost you just placed them side by side, lined them up, and then and then the actual
00:07.760: No idea.
00:07.760: And I hit play and I was like, Okay, that works
00:07.760: The viewer.
00:07.840: Yeah.
00:07.840: And so, um
00:07.840: And you just sit there and you start giggling.
00:07.840: Here we go.
00:07.840: And I did that on the 5K iMac, and then you open that up in Preview and turn on the Git Info.
00:07.840: And now you have
00:07.920: You've heard me talk about the big giant screens that I do on occasion, and it's an interesting
00:07.920: It's a good idea.
00:07.920: And I don't know how that jives with 5K.
00:07.920: Yeah, into an After Effects rig that I've done in the past.
00:07.920: Really?
00:07.920: It's just really in the colorboard, just to not have to go backwards and forwards to
00:08.000: And how did yes, how did that come about?
00:08.000: And
00:08.000: But it was quite complicated.
00:08.000: So it would look in the five folders for B one oh five
00:08.000: It'll give you the
00:08.000: And it just just played so smoothly.
00:08.000: Yeah, and clearly there is some growing pains here.
00:08.000: And then the other thing is I think I tweeted a snapshot of the
00:08.080: And I made some comments about.
00:08.080: Yeah, and it you know, it's one thing to have three hundred and sixty degrees of
00:08.080: And you go, okay, click, you know, and you can finesse it, zoom in, and make sure that the pixels are exactly right.
00:08.080: And um
00:08.080: I'm going to give you the
00:08.160: And I s and this was before Final Hat Ten.
00:08.160: And so there is a a kind of a parallel
00:08.160: And it's just one thing that just feels like quite clunky.
00:08.240: And that's not really healthy for the pixels involved.
00:08.240: And I got I could be wrong about that.
00:08.240: So, you know, really
00:08.320: So you can make any size screen
00:08.320: The over I have never found that the overlap is consistent, but always a
00:08.320: So and as I said, not on a high-end iMac either.
00:08.320: Viewer, wasn't it?
00:08.400: They're actually building the mount by printing crap out of three sixty stuff.
00:08.480: And it's important to remember that sometimes the loop packs don't include
00:08.480: So roughly the same aspect ratio, almost 10 to 1.
00:08.480: Now if you're going to do the same and then I took an example of one of the current projects that we were just finishing up.
00:08.480: It was just uh that's just how it was.
00:08.480: I'm not making this up.
00:08.480: And one of those
00:08.480: Now I can't remember the
00:08.480: Yeah, so it has just transcoded it to something else.
00:08.480: If you're titling and trying to cut 10.
00:08.560: And I found Stuart Moore, he contacted me through Twitter.
00:08.560: I love the fact that it doesn't get in my way.
00:08.560: It's just problematic.
00:08.560: And that had a slightly different size.
00:08.560: And somebody else yeah, somebody else mentioned that I should have what I should have done.
00:08.560: There's a lot of gray space in that menu.
00:08.640: It's going to default to the topmost clip.
00:08.720: And anyway, he
00:08.720: But just so we can appreciate
00:08.720: He's been referring to HD video as standard deaf.
00:08.720: You can let them know.
00:08.720: I really appreciate you doing this, and good luck to you and everything.
00:08.800: They were
00:08.800: It's a very powerful tool.
00:08.800: Then I dropped a a nineteen twenty by ten eighty, you know, uh
00:08.880: Hey, so um today I have a really fun interview.
00:08.880: He tweeted it last year.
00:08.880: And
00:08.960: And then you know in Final Cut 10, you just kind of
00:09.040: I promise you, you're going to find something that you like.
00:09.040: So what I typically do is I'll take that target JPEG, drop it into the master comp
00:09.040: And so
00:09.120: It's going to have to scale it up quite a bit
00:09.120: Yeah.
00:09.200: Uh what is the keyboard shortcut, dude?
00:09.280: Right, it does it with firewire.
00:09.280: So the Thunderbolt tube
00:09.280: I am currently in the middle of doing
00:09.360: And it's so good in keynote, isn't it?
00:09.440: So the reason you're seeing that like
00:09.520: And so, you know, I was thinking
00:09.600: Yeah, no kidding.
00:09.600: And they've got these you know, it's very
00:09.600: So it was what you know, so left to right in final cut or
00:09.600: It's like.
00:09.680: So they just do a cab drawing and then print print the holders and slot slot in five or
00:09.760: I don't know if I can do that with some of the content that's in.
00:09.840: So that took a while to get there then, didn't it?
00:09.840: Maybe it's just me wishful thinking, which I've I do a lot of when it comes to
00:09.920: So you have the left window, the
00:09.920: So, um
00:09.920: Later, later.
00:10.000: And but uh photography gets used in a lot of fields.
00:10.000: Yeah, yeah, yeah.
00:10.080: I just hadn't done it yet.
00:10.160: It's got 20 years of
00:10.240: So what had happened with this time lapse, which is the
00:10.320: And I said, um
00:10.400: I'm like, oh, no, no, please.
00:10.400: There was almost there was a
00:10.400: Very much so.
00:10.400: And
00:10.400: Yes, a night scratch is a bit more.
00:10.400: I think Apple really protects the ProRes
00:10.480: Yeah, th that's interesting, you know, you say that because uh I was reading a book once about um
00:10.480: But uh yeah.
00:10.480: It also does it with Thunderbolt.
00:10.560: But
00:10.560: You're talking about re-rendering.
00:10.720: And then at night when the sky was blank
00:10.720: So
00:10.800: Yeah, so uh yeah, so I could kind of uh
00:10.800: Yeah, I had that happen once where I was flying into Chicago to s
00:10.800: I think you've mentioned that.
00:10.880: And so yes, so that kind of varies from
00:10.880: And it wasn't until I was, I think it was.
00:10.880: And A V Foundation is the
00:11.040: So
00:11.120: And I think that
00:11.120: Well, hold on a second.
00:11.200: I've said that a million times, and I still
00:11.279: Um
00:11.440: Pre Pro, yeah, yeah.
00:11.440: And then I thought, well, you know, final cut 10.
00:11.520: They really know what they're doing.
00:11.600: So uh that was just another you know
00:11.680: It's just so easy and good.
00:11.760: Yes, that's what it was.
00:11.840: And
00:11.920: Anyway, but I made this thing.
00:12.000: But how you dealt with it is is um
00:12.000: And you don't have to think about
00:12.000: So I was wondering, have you done that in Final Cut yet?
00:12.000: So it's spectacular.
00:12.080: Um
00:12.080: So there was
00:12.160: It'll just play that straight.
00:12.240: Well, we could get some standards deaf.
00:12.320: Because many years later.
00:12.400: Real time After Effects, yeah.
00:12.560: So
00:12.880: It was Assimilate.
00:13.200: So if you try to open, say
00:13.360: Yeah.
00:13.520: And um
00:13.600: I go, look.
00:13.920: So
00:14.240: So
00:14.320: Welcome to.